Zoom R16 User Manual

OPERATION MANUAL

Reproduction of this manual, in whole or in part, by any means, is prohibited.

Usage and safety precautions

SAFETY PRECAUTIONS

In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The meanings of these symbols are as follows:

This symbol indicates explanations about extremely dangerous matters. If users ignore this symbol and handle the device the wrong way, serious injury or death could result.

This symbol indicates explanations about dangerous matters. If users ignore this symbol and handle the device the wrong way, bodily injury and damage to the equipment could result.

Please observe the following safety tips and precautions to ensure hazard-free use of the R16.

Power requirements

Since power consumption of this unit is fairly high, we recommend the use of an AC adapter whenever possible. If you use batteries, use either alkaline or nickel-metal hydride batteries.

AC adapter operation

• Be sure to use only a DC5V /1A/center plus AC adapter (ZOOM AD-14). Use of an adapter other than that speciﬁed could damage the unit and pose a safety hazard.

• Connect the AC adapter only to an AC outlet that supplies the rated voltage required by the adapter.

• When disconnecting the AC adapter from the AC outlet, always grasp the adapter itself and do not pull on the cable.

• During lightning or when not using the unit for an extended period, disconnect the AC adapter from the AC outlet.

Battery operation

• Use six conventional size AA-1.5 volt batteries.

• The R16 cannot be used for recharging. Pay close attention to the labeling of the batteries to make sure you choose the correct ones.

• When not using the unit for an extended period, remove the batteries from the unit.

• If battery leakage has occurred, wipe the battery compartment and the battery terminals carefully to remove all remnants of battery ﬂuid.

• While using the unit, the battery compartment cover should be closed.

About grounding

Depending on installation conditions, a slight electrical charge may be felt when touching a metal part of the R16. If you w ish to avoid this, ground the unit by connecting the ground screw on the rear panel to a good external ground.

• To prevent the risk of accidents, never use any of the

following for grounding:

• Water pipes (risk of electric shock)

• Gas pipe (risk of explosion)

• Telephone wiring ground or lightning arrestor

(risk of lightning strike)

Environment

Avoid using your R16 where it will be exposed to:

• Extreme temperature

• High humidity, moisture, or splashing water

• Excessive dust or sand

• Excessive vibration or shock

Handling

Never place objects ﬁlled with liquids, such as vases, on the R16 since this can cause electric shock. The R16 is a precision instrument. Do not exert undue pressure on the keys and other controls. Also take care not to drop the unit, and do not subject it to shock or excessive pressure.

Connecting cables and input and output jacks

You should always turn off the power to the R16 and all other equipment before connecting or disconnecting any cables. Also make sure to disconnect all connection cables and the power cord before moving the R16.

Alterations

Never open the R16 case or attempt to modify the product in any way since this can result in damage to the unit.

Volume

Do not use the R16 at a loud volume for a long time since this could cause hearing impairment.

Usage Precautions

Electrical interference

For safety considerations, the R16 has been designed to provide maximum protection against the emission of elec tromagnetic radiation from inside the device, and protection from external interference. However, equipment that is very susceptible to interference or that emits powerful electromagnetic waves should not be placed near the R16, as the possibility of interference cannot be ruled out entirely. With any type of digital control device, the R16 included, electromagnetic interference could cause malfunction and could corrupt or destroy data. Care should be taken to minimize the risk of damage.

Cleaning

Use a soft, dry cloth to clean the R16. If necessary, slightly moisten the cloth. Do not use abrasive cleanser, wax, or solvents (such as paint thinner or cleaning alcohol), since these may dull the ﬁnish or damage the surface.

Back up

The data on the R16 could be lost because of malfunction or incorrect operation. Back-up your data.

Copyrights

Except for personal use, unauthorized recording from copyrighted sources (CDs, records, tapes, video clips, broadcast material and so on) is prohibited. ZOOM Corporation does not bear any liability for injunctions regarding copyright law infringement.

The SD symbol and SDHC symbol are trademarks.

Windows®/Windows Vista® are trademarks or registered

trademarks of Microsoft®. trademarks or registered trademarks of Apple Inc. Cubase are trademarks or registered trademarks of Steinberg Media Technologies GmbH Inc. registered trademarks of Intel® Corporation. trademark or registered trademark of Advanced Micro Devices, Inc. All other trademarks, product names, and company names mentioned in this documentation are the property of their respective owners. All trademarks and registered trademarks mentioned in this manual are for identiﬁcation purposes only and are not intended to infringe on the copyrighted properties of their respective owners.

Macintosh® and Mac OS® are

Steinberg and

Intel® and Pentium® are trademarks or

AMD Athlon™ is a

Introduction

Thank you very much for purchasing the ZOOM R16 Recorder/Interface/Controller. In this manual, we will call it the R16. The R16 has the following features.

Introduction

Multitrack recorder that can use up to 32

GB SDHC cards

The R16 can record up to 8 tracks simultaneously. For example, recording a full band on individual tracks or multiple microphones placed around a drum kit. After making linear PCM recordings (WAV type) at 16/24-bit and 44.1-kHz sampling rate, you can transfer the recorded ﬁles to your computer to make use of them in your DAW software. You can even connect two R16s together with a USB cable, allowing you to record a maximum of 16 tracks.

Hi-Speed USB (USB 2.0) audio interface

You can use the R16 as a Hi-speed USB (USB

2.0) audio interface that has abundant input and output jacks. The R16 can handle 8 inputs and 2 outputs at a maximum of 24-bit and 96 kHz, and its effects can even be used at 44.1 kHz sampling rate. The unit can also operate using only USB bus power.

Usable as a control surface for DAW software

The R16 is equipped with functions that enable you to control DAW software in a computer via a USB cable. You can operate the transport of the DAW software, such as play, record and stop, and you can physically control fader operations. You can also assign various DAW functions to the R16’s F1–F5 function keys. (The assignable functions depend on the DAW software.)

Various effects

The R16 has 2 main built-in effects—an insert effect that can be applied to specific channel signals and a send-return effect that can be used like the send-return bus of a mixer. You can use these effect in a wide variety of ways, including during recording, by applying them to already recorded tracks, and in mastering operations like mixing down and bouncing.

Handles various input sources including guitars, microphones and line-level equipment

The R16 is equipped with 8 input jacks that accept both XLR and phone connectors, including one that can handle high impedance signals and two that can supply 48V phantom power. The R16 can handle high impedance guitars and basses, dynamic and condenser microphones, and various line level instruments like synthesizers. It also has two built-in high performance microphones that are very convenient for recording acoustic guitar and vocals.

Comprehensive built-in mixer features

The R16 is equipped with a digital mixer that allows you to mix the playback of recorded and imported audio tracks. You can adjust the volume, pan, EQ and effects for each track and mix them into a stereo output.

Multiple tuner modes and a metronome for guide rhythms

The R16 not only has a standard chromatic tuning function, it also has functions for unusual tunings, including 7-string guitars and 5-string basses. The metronome can be used as a guide rhythm while recording. You can play the metronome sound through the mixer OUTPUT jacks or you can send it only through the headphones if you want. For example, in a live situation you could send the click just to the drummer via the headphone output.

Exchange files with computers and USB memory devices

The R16 has a USB 2.0 jack that allows high speed data transfer. You can transfer WAV audio ﬁles recorded on the R16 to a computer just by dragging and dropping. You can also exchange files with a conn ected USB memory device without using a computer.

Please read through this manual caref ully in order to understand the R16 functions effec tively. After reading it, please keep t he manual along w ith the warranty in a safe place. *Specifications are subject to change for improvement without notice.

R16 operation ﬂow

Multitrack Recorder

Preparation Recording

Make various settings for built-in microphones, connected musical instruments, other input sources, signals and tracks. Use the tuner and the metronome to prepare for a new project or a live performance.

Effects P.45

• Patch editing, etc. P.51~

USB connection

Project creation P.17

Prepare a new project to save and mix recordings.

• New project

Connecting external equipment P.18, 19

The R16 can handle various types of instruments and equipment.

• Built-in microphones P.19

• Hi-Z P.18

• Phantom power P.18

• Stereo link P.20

Performance settings

• TUNER P.33

• METRONOME P.34

Insert effects P.49

1. After the input jack

Track recording P.21

Record the input signals from connected input sources to tracks.

• Undo/Redo P.16

Playback P.29

Play up to 16 tracks of monaural and stereo audio simultaneously.

• A-B repeat P.30

• Setting marks P.43

Linking two units: Sync recording P.33

Audio Interface

Control Surface

Record 8 tracks of mono and stereo audio simultaneously.

Select up to 330 effects.

Mixing & Mixdown Edit & Output

Use the various effects to process signals as they are input, during track playback and when outputting a mix.

Effects used on speciﬁc track signals

Overdubbing P.25

Record new tracks while playing back previously recorded tracks.

• Track assignment P.23

Mixer P.34 Project P.56

Adjust the recorded track using the track mixer.

3. Before the master fader2. On mixer tracks as desired

Send/return effect

There are two i nter nal send/return effects i n the built-in mixer—a chorus/delay effect and a reverb effect. Adjust the send levels of both effects separately for each mixer track.

Starting over

Mixing P.34

Pick and re-record just part of a ﬁle.

• Punch in/out P.27

Adjust parameters for each track.

• EQ • Volume • Pan P.37

R16 operation ﬂow

Recorded music files and settings for a song can be managed and stored as a project and then edited in various ways.

• PROJECT/FILE P.56

• INFORMATION P.59

• IMPORT P.64

• DIVIDE P.63

• COPY P.60

• DELETE P.62

• RENAME P.61

• PROTECT P.56

SD cards P.71

Mixdown

Combine multiple tracks into one stereo pair.

• Bounce P.39

• Record on the master track P.42

Exchange signals between DAW software and audio equipment

Operate DAW software with the R16

SD card reader P.73

USB memory P.73

P.77 (PDF version)

Basic recording guide

Here we explain how to record in stereo with the built-in microphones on the left and right side of the R16

Basic recording guide

and how to make a monaural recording of an electric guitar using the high impedance function.

Let’s make a quick recording with the R16!

STEP 1

STEP 2

Insert an SD card and turn the power on.

Create a new project.

Press and hold until you return to the main screen.

Press [PROJECT].

PROJECT >SELECT

>NEW

Select

PROJECT >NEW [SD]003:22:52]

Search the menu with the cursor and press [ENTER].

Name the new project.

PROJECT No.003 PRJ003

Conﬁrm the name and press [ENTER].

Select [CONTINUE].

SETTING? [CONTINUE] RESET

Select the item with the cursor, and press [ENTER].

Execute.

No.003:PRJ003 Create?

Conﬁrm the creation of your new project and press [ENTER].

Return to the main screen.

PRJ 003

00 00:00:00:000

This screen shows your new project name and number.

Ref: Project

Cursor keys

Press the

right and left

cursor keys

to change the

selection.

The new project number

The new project name

Cursor keys

P.5 6

STEP 3

Turn input source switches on.

Using the built-in microphones

(Stereo recording)

Press the status keys of INPUT 7 & 8

until their indicators light red.

When lit red, you can start recording.

Turn the [MIC] switch on for INPUT 7 & 8.

Press the [PLAY/ MUTE/REC] key one or two times.

To record an electric guitar

(High impedance/monaural input)

Connect the guitar to INPUT 1.

Press the status key of INPUT 1 until the

indicators lights red.

When lit red, you can start recording.

NOTE

Hi-Z is only on INPUT 1, and the built-in stereo

microphones function only on tracks 7 & 8.

Tracks 7 & 8 correspond to INPUT 7 & 8 and are

set up as 2 mono tracks by default. When you are using the built-in mics for a stereo recording, make a stereo link to create one stereo track.

Ref: Stereo link

Instrument connection

Turn the [Hi-Z] switch on for INPUT 1.

Press the [PLAY/ MUTE/REC] key one or two times.

P.2 0

P.19 , 2 0

STEP 4

Adjust the input sensitivity, monitoring level and output

Adjust the INPUT sensitivity with

the [GAIN] knob.

You should adjust the [GAIN] of each INPUT so that the PEAK indicator blinks occasionally.

STEP 5

Record—Complete—Play

Record

Move to the beginning.

PRJ 003 PRJ003

00 00:00:00:000

Press [STOP] & [REW] at the same time.

Basic recording guide

Adjust the recording level.

The red (0 dB) indicator of the level meter should not light when you apply an insert effect to an INPUT. You should adjust the PATCH LEVEL, for example, if necessary.

Adjust the monitoring level.

You can adjust the monitoring level of an instrument with the fader of the track it is being recorded on. (INPUT 1, for example, would be TRACK 1 or 9).

NOTE

If the input signals distort during recording, adjust the

input sensitivity or recording level, referring to Step 4.

After recording has completed, the “wait” bar will

be displayed. Do not turn the power off or take the SD card out until the “wait” bar disappears. If you do not follow this procedure, you may damage the data or cause other problems.

Start recording.

Start performing.

PRJ 003 PRJ003

00 00:00:10:152

The counter starts to run.

Stop recording.

Press [REC] & [PLAY] at the same time.

Press [STOP].

Playback

Exit record standby mode.

Press the STATUS KEY to turn the green light on.

Press the [PLAY/

When lit green, you can play the track.

When the light changes from red to green, the track status changes from “record standby” to “playback standby.”

Return to the top.

PRJ 003 PRJ003

00 00:00:00:000

Start playback.

Press the [PLAY] key.

PRJ 003 PRJ003

00 00:00:10:152

MUTE/REC] key one or two times.

Press [STOP] & [REW] at the same time.

Ref: Recording methods in detail

How to use the INSERT EFFECT

P.17 —

P.4 9

Stop playback.

Press the [STOP] key.

Table of contents

Usage and safety precautions ➞P. 1

Introduction ➞P. 2

R16 operation ﬂow ➞P. 3

Basic recording guide ➞P.5

Names of parts ➞P. 9

Connections ➞P.11

SD card insertion ➞P.12

Preparing the power ➞P.13

Turning the power on/off ➞P.14

Date & time setting ➞P.14

Switch and key operation ➞P.15

Display information ➞P.16

Track recording

R16 recording ﬂow ➞P.17

Creating a new project ➞P.17

Connecting instruments and

making monaural settings ➞P.18

Instrument connections:

stereo settings and status keys ➞P.19

Stereo link ➞P.20

Recording the ﬁrst track ➞P.21

Track assignment ➞P.23

Overdubbing

Recording additional tracks ➞P.25

Playback

Playback of a project ➞P.29

Repeat playback of a

speciﬁc section (A-B repeat) ➞P.30

Using the counter and

markers to move (locate) ➞P.31

Tool

Tuner ➞P.33

Metronome ➞P.34

16-track synchronized recording ➞P.35

Mixing

R16 mixing procedure ﬂow ➞P.36

Track settings for EQ, pan

and send-return level ➞P.37

Track parameters ➞P.38

Mix down/Bounce

Combining multiple tracks to 1-2 tracks ➞P.39

Using a mastering effect ➞P.41

Recording to the master track ➞P.42

Entering names ➞P.43

Error list: what to do when these

messages appear on the screen ➞P.44

Punching in and out

Automatic punch-in/punch-out ➞P.27

Manual punch-in/punch-out ➞P.28

Table of contents

Effect

Effect patch overview ➞P.45

Input/output of the insert

and send return effects ➞P.47

Insert effect insertion position ➞P.49

Patch editing ➞P.52

Patch save ➞P.53

Patch import ➞P.54

Using the insert effect

only for monitoring ➞P.55

Project

Project overview & project protection ➞P.56

Selecting projects and ﬁles ➞P.58

Project and ﬁle information ➞P.59

Copying projects and ﬁles ➞P.60

Renaming ﬁles and projects ➞P.61

Deleting ﬁles and projects ➞P.62

Dividing ﬁles ➞P.63

Import ﬁles from other projects ➞P.64

Sequential playback of projects ➞P.65

USB

Computer connection ➞P.72

Card reader ➞P.73

Using USB memory to

save and import data ➞P.74

Audio interface/control surface ➞P.75

R16 Effect types and parameters ➞P.79

Effect patch list ➞P.89

Speciﬁcations ➞P.95

Troubleshooting ➞P.96

Index ➞P.97

System/SD card

Recording format bit rate setting ➞P.67

Adjusting the display ➞P.68

Changing the SD card

while the power is on ➞P.69

Formatting SD cards and

verifying card capacities ➞P.70

Conﬁrming the version &

setting the battery type ➞P.71

Panel Layout and functions

Rear panel

Level meters

(1/9~8/16, MASTER)

Built-in mic

Fader section

METRONOME indicator

Control sectionInput section

Transport section

Display

Display section

Right side panel

Bottom panel (not shown)

Battery compartment

SD card slot USB HOST jack USB DEVICE jack

Input section

[PHANTOM] switch[Hi-Z] switch

PEAK indicators GAIN controls (1~8) BALANCE control

[MIC] switch

[METRONOME] switch

Panel Layout and functions

Fader section

Status keys

(1/9~8/16, [MASTER])

Track indicator

Master indicator

Faders

(1/9~8/16, [MASTER])

Rear panel

POWER switch

Control section

PAN/EQ key

9-16Tr key

1-8Tr key

Transport section

[AUTO PUNCH IN/OUT] key

[ENTER] key

Cursor keys

[SEND RETURN EFFECT] key

[A-B REPEAT] key

[REW] key

OUTPUT jacks

[INSERT EFFECT] key

MARKER [

PHONES jack

[USB] key

[EXIT] key

[TOOL] key

[SWAP/BOUNCE] key

MARKER [

] key

DIAL

[PROJECT] key

[UNDO/REDO] key

] key

[MARK/CLEAR] key

[REC] key[PLAY] key[STOP] key[FF] key

DC5V1A jack OUTPUT control PHONES control INPUT jacks

Connections

Refer to the instructions on this page when you connect instruments, microphones, audio equipment or

Connections

a computer to the R16.

OUTPUTS INPUTS

Use the [METRONOME] switch to set whether the metronome is output to only the [PHONES] jack or also to the [OUTPUT] jacks.

1) Stereo system, speakers with built-in ampliﬁers, etc.

When connecting speakers, be sure to turn off the system’s power beforehand. Connecting them with the power on could cause damage.

You can connect cables with XLR and monaural phone plugs (balanced or unbalanced) to the INPUT jacks.

2) Microphones

In order to supply phantom power to a condenser microphone, first connect the microphone to [INPUT 5/6] and then turn the [PHANTOM] switch ON.

3) Other equipment with stereo outputs

When using a synthesizer or a CD player with stereo outputs, for example, be sure to connect its left output jack to an odd number [INPUT] jack on the R16 and its right output jack to an even number [INPUT] jack on the R16.

4) Guitar/Bass

Use [INPUT 1], which can handle high impedance, when you directly connect a passive-type electric guitar or bass, and turn the [Hi-Z] switch ON.

5) Built-in microphones

These microphones are useful for recording drums indirectly and recording a band. When you turn the [MIC] switch ON, the sounds will be input into INPUT 7 and 8.

Rear panel

8) AC adapter

Make sure to use a ZOOM AD-14 adapter designed for this unit.

7) Connecting two R16s

By connecting two R16s together, you can record 16 tracks simultaneously.

3 4

R L

Right side

USB memory

6) Connecting a computer by USB

Connecting to a computer, you can send audio ﬁles and projects directly to and from the R16. You can also use the

R16 as an audio interface and a control surface for DAW software.

panel

SD card installation

The R16 saves recording data and settings on SD cards. To protect your data, turn the [POWER] switch OFF when inserting or ejecting a card.

An SD card is necessary for recording.

Always turn the [POWER] switch OFF ﬁrst

(ordinary use)

1) Turn the [POWER] switch

OFF and detach the cover of the SD card slot.

2) Insert an SD card

(write-protect unlocked) into the slot. To eject: Push the card in ﬁrst to eject it.

Unlock the SD card write-protection.

Prevent unwanted removal of an SD card

NOTE

• If you must change an SD card while the power

is on, please follow the specific procedures

described on page 69.

• When inser ting or ejecting an SD card make sure

the [POWER] switch is OFF. If you insert with the

[POWER] switch ON, your data might be lost.

• If you cannot insert a card into the slot, you

may be trying to insert it in the wrong direction

or upsidedown. Try again with the correct card

orientation. If you force it in, you might break the

card.

• If an SD card was previously used with a

computer or a digital camera, you must format it

in the R16 before using it.

• If no SD card is inser ted, [REC] and [UNDO/REDO]

keys will not function in RECORDER MODE.

If these messages about SD cards are shown

• “No Card”: No SD card is detected. Make sure an

SD card is inserted properly.

• “Card Protected”: The SD card write-protection

lock is closed, preventing rewriting. To release it,

slide the switch away from the lock position.

• “SD Card Format?”: The inserted card is not

formatted for the R16. Press the [ENTER] key to

format it. (Ref. P.70)

SD card installation

First remove the screw beside

the slot, and then screw it into the screw-hole in the SD card cover.

HINT

• The R16 can use 16 MB – 2 GB SD cards and

4–32 GB SDHC cards.

• You can get up-to-date information about

compatible SD cards on the Zoom site.

Zoom site: http://www.zoom.co.jp

Ref: SD CARD >EXCHANGE

SD CARD >FORMAT

P.6 9

P.7 0

Powering the R16

Please use the included AC ADAPTER that is designed for the R16 or six AA batteries (sold separately).

Powering the R16

Using the included AC ADAPTER with an ordinary electricity supply

Make sure that [POWER]

is OFF, and then plug the included AC ADAPTER into the back of the unit.

You must use the included ZOOM AD-14 AC ADAPTER, which is designed for the R16. Using any adapter other than the AS-14 may damage the unit and void the w ar r an t y.

HINT

Power supply from USB

With the [POWER] switch OFF, connecting a

computer to a USB cable makes the R16 start-up

automatically with power supplied by USB.

In this status, functions are different from when the

[POWER] switch is ON. The R16 can be used only

as an SD Card Reader or as an audio interface.

Ref.: R16 Battery type settings

BATTERY TYPE

P.6 9

Using batteries

Turn the [POWER] switch OFF

and open the battery case cover on the bottom of the unit.

Install six AA batteries and

close the cover.

Power indicator on screen

No Indicator Indicator On

Using the AC adapter

Using batteries

Battery power status

Turn the [POWER] switch OFF and replace the batteries.

NOTE

• Make sure that the [POWER] switch is OFF

when you open/close the battery cover or plug/

unplug the AC adapter. Removing batteries or

unplugging the AC adapter when the [POWER]

switch is ON, might cause lost recording data.

• The R16 can only use Alkali and NiMH batteries.

The approximate lifetime for Alkali batteries is

about 4.5 hours.

• Replace the batteries when you notice “Low

Battery” or the empty battery icon on the display,.

Turn the [POWER] switch OFF immediately

and install new batteries, or connect the included

AC adapter.

• Be sure to set the correct BATTERY TYPE setting

for accurate battery metering.

Powering the R16 · Date & time setting

Precautions for starting-up and shutting down and how to set the date and time for ﬁles and data

Turning the power on and off

1) Make sure the power is off on all equipment.

2) Insert an SD card into the R16. Conﬁrm that the connections for the power, instruments, and monitoring system (or stereo headphones) are correct.

Turn [POWER] switch ON: Start-up

Turn the [POWER]

Setting the date and time

TOOL>SYSTEM>DATE/TIME

TOOL >TUNER

Select

TOOL >SYSTEM

Press [ENTER].

Press [TOOL].

>SYSTEM

cursor keys

switch ON.

SYSTEM

ZOOM R16 Ver:1.00

PRJ 000 PRJ000 00 00:00:00:000

Turn power on for connected instruments

and then for the monitoring system.

Turn [POWER] switch OFF: Shut-down

Turn the [POWER] switch OFF.

Project Saving...

Goodbye See you!

>LCD

Select

>DATE/TIME

SYSTEM >DATE/TIME

Press [ENTER].

Select items under

Make setting for the year, month, day and time (hour: minute: second).

DATE TIME 2009/01/01 00:00:00

>DATE/TIME

Selected ﬁgure blinks

Change the time

DATE TIME 2009/03/01 00:00:00

DATE TIME 2009/03/10 10:15:03

Press [ENTER].

Rotate the DIAL

Use the

to move in

the Menu

Move with the cursor

keys

Move with the cursor

keys

Move with the cursor

keys

to change the

numbers.

Powering the R16 · Date & time setting

NOTE

• Before turning the [POWER] switch ON, turn

the volume down on all instruments and the

monitoring system connected to the R16.

• If no power is supplied to the R16 for more than 1

minute, the DATE/TIME setting will be reset to its

initial value.

If this is displayed:

Reset DATE TIME

• The DATE/TIME setting has been set to its initial

value. Reset the DATE/TIME settings.

Switch and key operation overview

Here we explain how to use the keys of the R16 and their functions. Please look at the display for keys

Switch and key operation overview

that have icons shown on the screen.

Transport section

[REC] key

Functions only when tracks are in recording standby. This key puts the R16 in recording standby mode. When in recording standby this key stops recording standby.

[PLAY] key

This key starts playback. When in recording standby this key starts the recording.

[STOP] key

When recording this key will stop the recording. This key stops playback.

[REW] key

Rewind.

Fast forward.

Press [REC] and [REW] keys at the same time to return to the top of the song.

[FF] key

[ENTER] key

Conﬁrms selections

Control section

[PAN/EQ] key

[TOOL] key

[PROJECT] key

[1-8Tr] & [9-16Tr] keys

[USB] key

[SWAP/BOUNCE] key

Fader section

TRACK 1~8 (9~16) status keys

MASTER status key

Press to access track mixer settings → P.41

Opens TOOL menu (TUNER, METRONOME, SYSTEM and SD CARD)

Opens PROJECT menu

Select tracks 1-8 or 9-16 with light showing selected tracks

Opens USB menu

Opens SWAP/BOUNCE menu

Change track ready status Green: PLAY (playback) No light: MUTE (mute) Red: REC (record)

Change MASTER track status Green: PLAY (playback) No light: MASTER (not playback/recording ready) Red: MIX DOWN (recording)

A quick press returns to the

[EXIT] key

[DIAL]

previous step, and a long press returns to the top screen.

Use to change and move among menus and numbers.

Ref.: Mark-related keys see P.27.

Cursor: Appearance and indication

The display shows cursor directions

Movable in all directions

Display

Use the cursor to move up, down, left and right to choose different function items.

The appearance of the display and its notation in the manual is shown above.

Manual notation

Movement in the menu

Black: direction explained Gray: movable directions No color: not effective

Display

Appearance

Various switches & controls

[POWER] switch

[Hi-Z] switch

[MIC] switch

[METRONOME] switch

[GAIN] controls

[PEAK] indicators

[BALANCE]

Level meters

[METRONOME] indicator

During audio interface use, control surface functions (shown in boxes below keys) are provided by the row of keys starting with AUTO PUNCH I/O (F-1 to F-5), as well as the [1-8Tr] and [9-16Tr] keys (<BANK>) and the [MASTER/ MIX DOWN/PLAY] (REC/SOLO/MUTE) key.

Turns power ON & OFF

Turns Hi-Z connection on/off (only for INPUT 1).

Turn built-in microphones on/off (signals to INPUT 7 & 8).

Set metronome output.

Adjust input sensitivity

Light at the moment of maximum input

When [METRONOME] is set to “PHONES ONLY” during recording, this adjusts the balance of the preMASTER fader and metronome signals

Show recording/playback levels

Flashes in time with the count

Display information

On the R16’s display you can see project data, recorder connection and operation status, computer audio-interface connection and status, available functions and the R16 menus.

Display and indications

The TOP screen shows the current projects.

Top line: project number and project name Bottom line: icon mark/number and counter (time)

MENU screens show operation menus

PROJECT 1/7 >SELECT

Top line: current menu Bottom line: menu & items available

Page in menu/total number of pages

Effect & Mode

Send return effects → P.48 REVERB/CHORUS icons

INSERT EFX icon P.48

Shown when insert effects on, set by key operation

INSERT EFFECT

Key operation: Open effect menus

MODE

Displays current R16 operation mode Recorder → P.17Audio Interface → P.75Card reader → P.73

Shown when on, set by key operation

key

SEND RETURN EFFECT

key

Icon display area: active settings shown

Information display area

Shown means active

Not shown means inactive

Usable directions

Icon display and setting keys

PHANTOM icon

Display on: 48V phantom power is supplied to mics connected to INPUT 5 & 6 Setting: [PHANTOM] switch ON

BATTERY icon → P.13

Display on: Batteries in use and their remaining charge No display: AC adapter or USB power in use (no display while powering with batteries means the batteries need to be replaced)

PROTECT icon → P.56

Display on: project cannot be overwritten No display: project not protected Set using menu

A-B REPEAT icon → P.30

[A-B REPEAT] key

Display on: A-B points are set Set by key operation

BOUNCE icon → P.37

Display on: active

AUTO PUNCH IN/OUT icon → P.27

[AUTO PUNCH IN/OUT] key

Display on: active Set by key operation

Display information

[UNDO/REDO]

UNDO icon REDO icon

UNDO: You can return to the previous recording operation Valid UNDO operations: PUNCH IN/OUT, BOUNCE, MIX DOWN (to MASTER TRACK) REDO: Reverse the UNDO operation

[UNDO / REDO] key

Icon shown/not shown After certain operations, “UNDO” is displayed, meaning an UNDO operation is possible After pressing the [UNDO/REDO] key, “REDO” is displayed, meaning a REDO operation is possible. Set by key operation.

NOTE

• UNDO is only valid for audio data recorded on tracks.

• You can only UNDO and REDO one operation.

Track recording

R16 recording ow • Creating a new project

With multitrack recording you can create a complete work of music using the R16.

R16 recording ow • Creating a new project

To begin, create a new project for each piece.

Recording preparation

Connect instruments to the appropriate INPUT jacks

Make project and track settings

Create a new project

Select the INPUTS and the recording tracks

Set stereo links

Change track status (recording, play, mute)

Adjust input sensitivity using the [GAIN] controls

Performance preparation

Set PRE-COUNT/METRONOME

Set and use TUNER

Record the ﬁrst tracks

Create a new project

PROJECT>NEW

Press [PROJECT].

PROJECT >SELECT

Select

PROJECT >NEW [SD]003:22:52]

Press [ENTER].

>NEW

Conﬁrm the PROJECT name.

New project number

Project No.003 PRJ003

New project name

Press [ENTER].

Select whether to use the settings of

the last project.

SETTING? [CONTINUE] RESET

Select this to restore the default values

Press [ENTER].

Change

letters

Change

Record standby—Record—Stop

Record more tracks

Overdubbing

Playback of already recorded tracks

Overdubbing

Record standby—Record—Stop

Execute.

No.003:PRJ003 Create?

Press [ENTER].

HINT

You can change the new project name at Step 3.

Ref: Name change

Using the previous settings

P.4 3

P.5 7

Track recording

Connecting instruments and making monaural settings

You will need to adjust settings for musical instruments such as high impedance guitars, line input synthesizers, the built-in microphones and microphones that use phantom power, as well as stereo and monaural inputs, for example.

Connecting passive-type guitars

Connect high impedance (Hi-Z) instruments to INPUT 1, and the turn the [Hi-Z] switch ON.

Assign INPUT 1–8 connections to tracks 1–16

Connect instruments and microphones to jacks

INPUT 1 – 8

Make settings for speciﬁc instruments, built-in microphones and stereo tracks.

Signal to INPUT 1

Connecting low-impedance instruments (monaural connection)

Connect low impedance instruments to any of the INPUTS.

Signals to any INPUT between 1~8

PHANTOM

STEREO

Select the Track switches

TRACKS 1~8

Change the status of the connected INPUTS

Press the status key of a track one or two

MONAURAL×2

TRACKS 9~16

Enable the faders either for tracks

1–8 or 9–16

MICHi-Z

MONAURAL

times to turn the red light on.

Using phantom power

Red light on: recording enabled (REC)

Connecting instruments and making monaural settings

Supply phantom power to INPUT 5 and 6 jacks

NOTE

*Turn the [PHANTOM] switch on to provide +48V

power to INPUT 5 and 6. You can use either INPUT 5 or 6 or both when the switch is ON.

*Use the fader that corresponds to the INPUT jack.

The signal from INPUT 1 goes to track 1/9.

*To use Track 9~16, switch the fader assignment by

pushing the [9 –16Tr] key.

*Depending on the INSERT EFFECT selection, the

output ﬂow will change.

*Creating one stereo file from two faders requires

the use of the STEREO LINK setting.

Set tracks to receive INPUTS

Press the [1-8Tr] or [9-16Tr] key to set which tracks will record the INPUTS.

INPUT TRACK

[1~8Tr] active [9~16Tr] active

1 1 9 2 2 10 3 3 11 4 4 12 5 5 13 6 6 14 7 7 15 8 8 16

Ref: STEREO setting

P.19

Track recording

Instrument connections: stereo settings and status keys

To make a stereo recording, you can create one stereo ﬁle by recording on the neighboring

Instrument connections: stereo settings and status keys

odd/even-numbered tracks and by setting a stereo link. The status key must be pushed to transfer the signal from an INPUT to a recording track.

Files corresponding to INPUTSUsing the built-in microphones

Turn the [MIC] switch ON.

Signals to INPUT 7/8

Connecting line input instruments (stereo connection)

Choose INPUT 1, 3, 5 or 7 and connect the musical instrument.

Use INPUT 1/2, 3/4, 5/6 and 7/8 as pairs. Input left signals to odd-numbered tracks and right signals to even numbered tracks.

Assign INPUTS 1–8 to tracks 1–8 or tracks 9–16.

Connect instruments and

microphones to the jacks.

INPUT1~8

Recording INPUTS 1–8 results in file names

that correspond with the track numbers.

When STEREO LINK has been used

Stereo-linked tracks result in stereo ﬁles. Lch = odd-numbered input signal recorded Rch = even-numbered input signal recorded

Make stereo settings for the speciﬁc

instruments and built-in microphones.

STEREO

Select the tracks.

TRACKS

1~8

Set the status of the connected INPUTS.

Press the STATUS KEY of the paired tracks one or two times each to turn both lights on.

Red lights on: record ready (REC )

MONAURAL×2

TRACKS

9~16

Assign faders to

either tracks 1–8 or 9–16

MONAURAL

NOTE

* Use the fader that corresponds to the INPUT

jack. Signals from INPUT 1 go into Track 1/9.

* To use tracks 9-16, press the [9-16tr] key to

switch the fader assignments.

* The input and output ﬂow change depending on

the INSERT EFFECT setting.

Track recording

Stereo link

Set STEREO LINK for tracks for recording in advance to create a stereo ﬁle of the recording. You can also assign stereo ﬁles.

STATUS KEYS and TRACK INDICATORS

Press a STATUS KEY to change the color of the TRACK INDICATOR light and set the role of the track fader. The three TRACK INDICATOR colors show the track status.

Stereo link

PAN/EQ>STEREO LINK

Press [PAN/EQ].

Switch tracks.

Track1 EQ HI G=0db

Change type

Select a track.

Track3 EQ HI G=0db

[REC]

Record ready

[PLAY]

Playing back

[MUTE]

Sound

disabled

Track indicators (1~16)

Press

REC

Red light on

Press

MASTER

Red light on

Press

→

Green light on→ No light on

→

Track indicator (MASTER)

→

Green light on

→

PLAY

Press PLAY

→

Press

MUTE

Press

MIX DOWN

No light on

HINT

* In order to send the signals from an INPUT to a

recording track, press its STATUS KEY 1–2 times until the track indicator lights red.

* For use of two INPUTS press both STATUS KEYS

to connect both INPUTS to tracks.

* Creating one stereo file from 2 tracks requires

STEREO LINK to be set.

* If the MASTER track is set to PLAY, all other

tracks will be set to MUTE (no sound).

Select

Tu r n

HINT

* The STEREO LINK track pairs are

Track 1/2, Track 3/4, Track 5/6, Track 7/8, Track 9/10, Track 11/12, Track 13/14 and Track 15/16.

* STEREO LINK changes the setting from two

monaural tracks to one stereo track.

* At Step 4, whatever track number you choose,

the neighboring number track will be linked. You cannot change these combinations.

* To adjust the volume of a pair of tracks set to

STEREO LINK you must operate the odd number fader. The even number fader has no effect.

* The PAN parameter of a pair of tracks set to

STEREO LINK can be used to adjust their relative volume balance.

* Even when STEREO LINK is active you can select

ﬁles and make phase settings for each track.

STEREO LINK.

Track3 STEREO LINK Off

STEREO LINK On.

Track3/4 STEREO LINK On

Press [EXIT] to complete the setting.

Change

parameter values

Change setting

On/Off

Stereo link

Track recording

Recording the ﬁrst track

After connecting instruments and completing all recording preparation, we can prepare the recorder and

Recording the ﬁrst track

start recording the ﬁrst track.

Starting from the top screen of the new project

Return to the top screen.

Press and hold [EXIT] for more than 2 seconds.

Return the counter to its head.

Press [REW] & [Stop] at the same time to return the counter to its head.

The top screen should look like this.

PRJ 001 PRJ001 ト00 00:00:00:000

The counter is at the head position (mark 00).

HINT

The top screen display of the new project

Counter at the head position (mark 00) Batteries and phantom power active

After setting the input (Step 5 and after), you can process input signals with the INSERT EFFECT.

Adjusting the input level

Arm the track for recording.

Red light on: recording enabled (REC).

Adjust the input sensitivity (GAIN).

Press 1-2 times until the track light turns red.

Sounds start.

Adjust the recording level.

If an INSERT EFFECT is applied to an INPUT, make adjustments to the patch level, for example, to prevent the LEVEL METER red light (0dB) from turning on.

Adjust the monitoring system

Should light occasionally when the volume reaches maximum

Using the recording track fader, adjust the monitoring level of the instrument being recorded. (INPUT 1 is track 1 or 9).

Adjust the recording level and monitor.

Ref. : New project creation

Insert effect

P.17

P.4 8

NOTE

Red lights on PEAK indicators and Level meters

• A PEAK indicator turns red when the input

signal exceeds the maximum detectable level of 0 dB, resulting in input clipping. The red light on a Level meter means that the signal being recorded (signal after passing through the insert effect) is clipping. If clipping happens, the recorded sound will be distorted. You should reduce the recording level.

Recording the ﬁrst track

Start record standby.

Press [REC].

Start recording.

Press [PLAY].

Red light on

PRJ 001 PRJ001 00 00:00:00:123

The counter starts to move.

Stop recording.

Press [STOP].

Green light on

PRJ 001 PRJ001 00 00:02:04:247

The counter stops moving, but does not return to 0.

Red light on

Green light on

Lights off

HINT

• Press [UNDO/REDO] to cancel the recording.

Recording again

• If you record on the same track again, the

previous recording will be overwritten.

• The three ways to record a new le or re-record

are:

• Press the [UNDO/REDO] key to execute the

undo-action (cancel the recording).

• Through PROJECT>FILE, set the recorded track assignment to “NOT ASSIGN.” (Ref.: P.23)

• Through PROJECT>FILE>EDIT>DELETE,

delete the FILE (AUDIO DATA). (Ref. : P.62)

Playing back the ﬁrst track

Stop.

Press [STOP].

Green light on

PRJ 001 PRJ001 00 00:04:31:153

Play the track.

Press the [PLAY/MUTE/ REC] key of the TRACK to

playback 1–2 times until

Green light on: playback enabled [PLAY]

Return the counter to its head.

PRJ 001 PRJ001 ト00 00:00:00:000

Play.

Stop.

the green light is on.

Press [REW] & [Stop] at the same time to return the counter to its head.

Press [PLAY].

Press [STOP].

Lights off

The counter stops moving.

Green light on

NOTE

• Recorded audio les in a track will be recorded

over. If you rewind the counter back to the head, a new recording will overwrite the previous one. During playback the ﬁles stored on the tracks will be played.

If you want to record a new ﬁle, do not assign a ﬁle

to the track.

Ref. : Assigning ﬁles to tracks

Mark

P.2 3

P. 31

Track recording

Track assignment

Here, after completing the ﬁrst track recording, we record the next track while playing back the already

Track assignment

recorded audio ﬁle. The preparation is almost identical to the ﬁrst one, but we will conduct playback on a different track.

Playback track preparation

Assign the playback ﬁle to a

different tracks.

Press [PROJECT].

PROJECT >SELECT

Select

>FILE

PROJECT >FILE

Press [ENTER].

Select the track for playback.

TRACK1　　　　 NOT ASSIGN

Select a different track from the one for the next recording.

Select the ﬁle for the track.

TRACK5　　　　 MONO-000 [TR 5

Assign it.

Press [ENTER].

TRACK5　　　　 MONO-000 [TR 5]

Press and hold [EXIT] to return to the top screen.

Prepare the already recorded track for playback.

Press the [PLAY/MUTE/ REC] of the track to be

played back 1–2 times until

the green light turns on.

change

Track

change

File change

NOTE

• Recorded audio ﬁles on tracks will be overwritten by new recording. If you rewind the counter to the top and begin recording again, be aware that the overwritten previous recording will be lost.

• During playback the ﬁle assigned to the track is played.

• If you want to record to a new ﬁle, do not assign any ﬁle to a track.

• When you move a ﬁle on a track, conﬁrm that no files are assigned to the track to be recorded (“NOT ASSIGN”). If there is any assigned ﬁle, that recording will be overwritten by new recording.

• Files exclusively for reading (read only) are shown

with <R.0> on the display, and you cannot record

over them if they are assigned to tracks.

• Files marked with an asterisk (*) cannot be assigned to the selected track.

HINT

• File track assignment status

TRACK　 5　　　　 NOT ASSIGN

Display of a track with no ﬁle

TRACK　 5　　　　 MONO-000

Display of track with no assigned ﬁles

TRACK　 5　　　　 MONO-000

Display of a track with assigned ﬁle

• If the ﬁrst and second recordings are on different tracks, you can skip to Step 7, because you only need to change the track status and start recording.

• You can select tracks using the status key. The indicators of selectable tracks will light orange.

• You can assign ﬁles imported from a computer or USB memory.

• Stereo ﬁles can only be assigned to the tracks set to stereo link or the master track.

[TR 3]

Green light on: playback enabled [PLAY].

Switch two tracks (SWAP)

Track assignment

Select

SWAP/BOUNCE >SWAP

Press [SWAP/BOUNCE].

>SWAP

Press [ENTER].

Select the ﬁrst track to swap.

SELECT TRACK

Indicators blink orange on tracks that can be selected. Press the track status key to select a track.

Selectable: blinking orange Selected: lit orange

Select the second track to swap.

SELECT TRACK TRACK1

Already selected track

Indicators blink orange on tracks that can be selected. Press the track status key to select a track.

change

Selectable: blinking orange Selected: lit orange

Swap the tracks.

TRACK1 TRACK2 Swap?

Tracks to be swapped

Press [ENTER] to conﬁrm.

NOTE

• The swap function switches two tracks, including the assigned files and all track parameter information.

• Stereo tracks cannot be swapped.

Overdubbing

Recording the second and later tracks

After completing the first track recording, you can record the next track in turn while playing back

Recording the second and later tracks

recorded audio files. The preparation for recording is the same as for the first track, and you can playback on a different track.

Playing back the already recorded track

]

Green light on: playback enabled [PLAY]

Press the [PLAY/MUTE/ REC] of the TRACK for playback 1-2 times until the green light turns on.

Recording~Stop

PRJ 001 PRJ001 ト00　　00:00:00:000

Press [REW] & [Stop] at the same time to return the counter to the head.

Recording preparation for the second track

Red light on: recording enabled [REC]

Press the [PLAY/MUTE/ REC] of the recording track 1-2 times until the red light turns on.

Adjust the [GAIN].

Instrument starts sounding

Red

Orange

Green

HINT

Other Uses

• If you want to use the same track as you recorded before for the second track recording, you should transfer the file to another track, and make the target track empty. Refer to “Preparation of playback tracks” on P.24.

• You can also swap recorded tracks with unrecorded tracks.

• This method is useful for creating a second guitar track using Hi-Z.

Briefly lights when the sound volume reaches maximum.

The level should cause no red light (0dB) even at the maximum sound.

Press [REC] and then

PRJ 001 PRJ001 ト00　　00:00:00:123

[PLAY] to star t recording.

Green light onRed light on

The counter starts moving.

Perform.

Press [STOP] to stop recording.

Green light on The lights off

PRJ 001 PRJ001 　00　　00:02:04:247

The counter stops moving, but does not return to 0.

NOTE

• If the ﬁrst and second recordings are on different tracks, you can skip to Step 7, because you only need to change the track status and start recording.

• When you move file tracks, make sure there is no file assigned to the track where you plan to record (display says “NOT ASSIGN”). If there are assigned files, old files will be overwritten and cannot be retrieved.

• Select tracks using the STATUS KEYS. Orange lights indicate selectable tracks.

• Read-only files are displayed as <R.0> and cannot be recorded over if assigned.

Playback all the tracks

Recording the second and later tracks

Green light on: playback enabled [PLAY]

2 3

Green light on

Press the [PLAY/MUTE/ REC] keys 1-2 times on all TRACKS to be played until the green lights are on.

Press [REW] & [Stop] at the same time to return the counter to the head.

Press [PLAY] to star t playback.

Press [STOP] to stop playback.

NOTE

• When you move a ﬁle on a track, conﬁrm that no files are assigned to the track to be recorded (“NOT ASSIGN”). If there is an assigned ﬁle, that recording will be overwritten by new recording.

• During playback the ﬁle assigned to the track is played.

HINT

• If you want to record a new ﬁle, do not assign any ﬁle to a track.

Recording again

Automatic punch-in/punch-out

The punch-in and punch-out functions enable you to pick already recorded portions of a recorded ﬁle

Automatic punch-in/punch-out

and re-record them. You can set the beginning and ending points of the portion in advance and record automatically with punch-in at the beginning and punch-out at the ending.

Prepare the track you want to re-record with punch-in/punch-out

Re-recording a track

Raise the fader.

Press [PLAY/MUTE/REC] 1-2 times until the red light is on.

Red light on: recording enabled

Adjust the recording level and the GAIN to be the same as the already recorded part.

Rehearse

Press [PLAY]

Re-recording: punch-in/punch-out

to start playing.

When the punch-in point is passed, the [MUTE] function of the track automatically starts.

Perform (not recording)

When the punch-out point is passed, the [MUTE] function is released.

Press [STOP] to stop.

Move to before the PUNCH IN point.

Light on

Light off.

Make punch-in and punch-out settings

Using [REW], [FF] and [PLAY]

4 5

6 7

locate the point just before the re-recording (PUNCH IN).

Press [AUTO PUNCH I/O]

Pressing [FF] & [PLAY], locate the punch-out point.

Press [AUTO PUNCH I/O]

Set the punchin point.

Icon blinks

Set the punchout point.

Icon lights

NOTE

•

Once you make auto punch-in/out settings, you

cannot change the points. To change the points you must cancel and reset them.

•

Press the [AUTO PUNCH IN/OUT] key again to

cancel the points set.

Light on Light off

Pass the punch-in point

Performance Recording.

Pass the punch-out point

Light on Light off

Press [STOP]

Release PUNCH IN/OUT

to stop.

Press [AUTO PUNCH I/O].

Re-recorded portion.

Press [REC] and then [PLAY] to star t playback.

Not recording.

Lights on

Not recording.

The recorder stops.

Light off

Icon off

Recording again

Manual punch-in/punch-out

You can punch in and out manually. Press the [REC] key during playback to start re-recording from that point.

Prepare the track for punch-in/ punch-out

Re-recording track

Raise the fader

Press [PLAY/MUTE/REC] 1-2 times until the red light turns on.

Red light on: recording enabled

Adjust the recording level and the GAIN to be the same as the already recorded part.

Re-recording: punch-in/punch-out

Using [REW], locate the point just before where you want to re-record.

Press [PLAY] to star t playback.

Start performance, not yet recording

Press [REC] to start recording, (punch-in)

Perform and record.

Press [REC] recording/start playback (punch out).

Light on Light off

to stop

Light on

Lights on

Manual punch-in/punch-out

Press [STOP] to stop.

Start

Re-recorded portion

The recorder stops.

Lights off

Stop

NOTE

• Punch-in/punch-out recording overwrites the existing recording. A previously recorded file should be assigned to the track.

• You can use the [UNDO/REDO] function.

Playback

Playback of a project

Recorded audio ﬁles are assigned to tracks for storage. During playback, all the tracks that you have

Playback of a project

enabled for playback with their status keys (green lights on) will be played.

Overview of recording and playback process in a project

TRACK

1/9

TRACK

2/10

TRACK

3/11

TRACK

4/12

TRACK

5/13

TRACK

6/14

TRACK

7/15

TRACK

8/16

Recording the ﬁrst track

Track 1: monaural recording Track 7 & 8: stereo recording

1-8 TRACK

REC NOT ASSIGN

NOT ASSIGN NOT ASSIGN

MONO-000.WAV

9-16 TRACK

NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN

NOT ASSIGN NOT ASSIGN

REC

STE-000.WAV

Recording more tracks/Playback of the previously recorded tracks

Track 1: monaural playback

PLAY

NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN

MONO-000.WAV

NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN

Monaural recording on tracks 11, 12 and 13

PLAY

STE-000.WAV

REC REC REC

MONO-001.WAV MONO-002.WAV MONO-003.WAV

Playback

Track 1, 11, 12 and 13: monaural playback Track 7 & 8: stereo playback

PLAY

NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN

MONO-000.WAV

NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN NOT ASSIGN

PLAY PLAY PLAY

MONO-001.WAV MONO-002.WAV MONO-003.WAV

PLAY

STE-000.WAV

MASTER

TRACK

Assigning tracks and playback

Track 1, 2, 3 & 4: monaural playback Track 7 & 8: stereo playback

PLAY PLAY PLAY PLAY

VOCAL2.WAV VOCAL.WAV BASS.WAV GUITAR.WAV

NOT ASSIGN NOT ASSIGN NOT ASSIGN

NOT ASSIGN

STE-000.WAV

NOT ASSIGN NOT ASSIGN

Ref. : Assigning ﬁles to tracks.

PLAY

P.2 3

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Playback

Repeat playback of a speciﬁc section (A-B repeat)

You can set and repeat playback between a beginning point (A) and an ending point (B) in a project.

Setting A-B points

Locate the

1 2

A↔ blinks.

3 4

A↔B icon

A-B repeat: playback repeatedly

Press [PLAY] to star t repeat

playback.

beginning point.

Press [A-B REPEAT] .

Locate the end point.

Press [A-B REPEAT] .

HINT

• When playback reaches point B, it automatically goes back to point A and continues playback.

• While the A↔B icon is on, playback repeats continuously.

• You can make these settings both during playback and when stopped.

• If you set point B at a time before point A, repeat playback will start from point B.

• If you want to make new settings, cancel the previous ones by pressing the [A-B REPEAT] key again and then make the new ones.

A-B Repeat section

Plays again and again

A-B repeat

Cancel A-B repeat and the points

Press [STOP] to stop playback.

Press [A-B REPEAT] again to cancel.

A↔B icon off

Using the counter and markers to move (locate)

The counter indicates recording time and elapsed time in minute/second/millisecond and bar/beat/tick

Using the counter and markers to move (locate)

(1/48beat). Use it to set marks that you can then quickly move (locate) to in your project.

Locate a time or position using the counter

Preparation: Stop the recorder. Select the project. Start from the top screen.

Select hour: minute: second or

bar-beat-tick.

PRJ01　PRJ001 　00 00:00:00:000

Hour: minute: second: millisecond

PRJ01　PRJ001 　00 00 - 00 - 000

Bar- beat- tick (1/48 beat)

Choose the desired unit.

(Hour: minute: second: millisecond

or bar-beat-tick.)

PRJ01　PRJ001 　00 00:00:00:000

Move between units, the selected item blinks

Change the values.

PRJ01　PRJ001 　00 00:15:00:000

Switch

Move between

items

Place a mark

Place a mark using the counter

Start from the top screen. Set the counter to the desired mark position.

PRJ01　PRJ001 　00 00:01:12:037

PRJ01　PRJ001 　01 00:01:12:037

Marker icon

Place a mark during recording/playback

Press [MARK/CLEAR].

Mark number

In the middle of recording/playback

PRJ01　PRJ001 　00 00:06:19:004

PRJ01　PRJ001 　01 00:06:19:004

Press [MARK/CLEAR].

Move between

items

NOTE

• You cannot use these procedures during recording/

playback.

HINT

• After Step 3 you can start playback from the set

counter value.

HINT

Mark icon display

ト03　000:10:08:015

Mark number 3 is located at 10 minutes, 8 seconds, 15

milliseconds.

Counter is at the indicated mark

No mark registered at this counter position

Mark Numbers

Mark 0 = Counter 0. This is the head of the

project. You cannot change this par ticular mark.

• If you place a new mark ahead of a registered

mark, all the following marks will be automatically

renumbered in order.

• You can place a maximum of 100 marks in one

project.

Locate to the position of a mark Delete a mark

Using the counter and markers to move (locate)

With key operations you can move between marks

Press the forward or backward mark key until you reached the desired mark.

PRJ01　PRJ001 　03 00:12:00:037

Project

Move to mark numbers in counter sequence

Choose a mark.

PRJ01　PRJ001 　00 00:00:00:000

Blinks

Choose the mark number.

PRJ01　PRJ001 　03 00:12:00:037

Move between

items

Press the forward and backward mark keys until you reach the desired mark.

PRJ01　PRJ001 　03 00:12:00:037

PRJ01　PRJ001 　02 00:12:00:037

The selected (highlighted) mark is erased and the preceding mark is shown (the counter does not move).

Press [MARK/CLEAR].

NOTE

• Once you delete a mark, you cannot retrieve it.

• You cannot delete the top mark

00.

HINT

• If you press the [MARK/CLEAR] key at a place

where a mark exists (mark icon highlighted), that

mark is deleted. If there is no mark at a location

(icon not highlighted), a new mark is placed there.

To delete a mark, you must move to it ﬁrst (mark

icon highlighted).

• When placing and deleting marks, numbers are

automatically given in order from the beginning.

New mark is added

Mark is deleted

Not possible to change

Tool

Tuner

The R16 has a multifunctional tuner that includes, for example, chromatic tuning that detects note

Tool>Tuner

names by semitones, standard guitar/bass tuning and half-step-down tuning.

Press [TOOL].

Select

TOOL >TUNER

Press [ENTER].

>TUNER

Select the type of tuner.

CHROMATIC 440Hz

Tuner type

GUITAR 440Hz <E> String6

String note name

Standard pitch

Chromatic tuner

TOOL>TUNER>CHROMATIC

CHROMATIC 440Hz

Change the standard pitch (if necessary) and begin tuning.

Press [PLAY/ MUTE/REC] 1-2 times until the red light turns on.

Red light on: recording enabled

Menu select

Tuner type

Change the standard pitch

Tuner type

Change the standard pitch

select

Other tuner types

TOOL>TUNER>GUITER/BASS, etc.

Select the tuner type.

GUITAR 440Hz E String6

Change string number

GUITAR 440Hz <E> String6

Note name: play the open string of the indicated note and adjust the pitch

Set the standard pitch and string number. Start tuning.

→

Tuner type

Change standard pitch

select

HINT

Pitch indicator

Low Standard

Standard High

• The pitch indicator responds to sources input on

tracks with red status lights.

• The standard pitch setting is between 435 Hz and

445 Hz in 1 Hz units. The initial setting is 440 Hz.

• Using the other tuners you can use common half-

step and whole-step down tunings, for example.

• The standard pitch value setting will be stored

separately for each project.

CHROMATIC 440Hz >>A

The note closest to the input signal is indicated.

This display indicates if the pitch is higher or lower compared to the note indicated.

Tuner type GUITAR BASS OPEN A OPEN D OPEN E OPEN G DADGAD

String/

note

String1 E G E D E D D String2 B D C# A B B A String3 G A A F# G# G G String4 D E E D E D D String5 A B A A B G A String6 E E D E D D String7 B

Tool

Metronome

This metronome, which includes a pre-count function, allows you to change its volume, tone and pattern. You can also choose to output the metronome sound only through the headphones.

Press [TOOL].

TOOL >TUNER

Select

>METRONOME

TOOL >METRONOME

Press [ENTER].

These are the standard metronome settings (common).

Change menu

Select each setting MENU.

METRONOME >ON/OFF

METRONOME >TEMPO

Change menu

Select the settings and setting values.

METRONOME　ON/OFF Play&REC

Press [ENTER].

Change item

HINT

Tapping the tempo

• On the TEMPO screen, press the (TOOL) key

several times at the tempo you desire, and the tempo will be set to the detected median value.

Changing and adjusting the metronome output

[METRONOME] switch: Sets the output

OUTPUT + PHONES

The METRONOME sound is output through both the OUTPUT and PHONES jack.

PHONES ONLY

The metronome sound is output through only the PHONES jack.

Use the BALANCE knob to adjust the relative volumes of the [MASTER] fader signal and the metronome sound.

MASTER CLICK

• These settings are stored for each project.

• You can use the metronome even during MASTER

TRACK playback.

(metronome)

MENU settings and setting values

ON/OFF: Set when active

Settings

Play Only During playback only

REC Only During recording only

Play&REC During both playback & recording

Off (default) No metronome sound

TEMPO: Set manually or by number

Manual input

Setting range

40.0~250.0 Initial value: 120.0

LEVEL: Change metronome volume

Setting range

0–100 Initial value: 50

Setting range

L100–R100 Initial value: C (center)

Settings

BELL (default)

CLICK Click sound only

STICK Drum stick sound

COWBELL Cowbell tone

HIGH-Q Synthesized click sound

Settings

0/4 (no accent)

1/4~8/4, 6/8

Settings

Off No sound

1~8

SPECIAL Special (rhythm shown below)

Input the tempo by tapping the [TOOL] key repeatedly

PAN: Stereo position

SOUND: Change tone

Metronome sound with a bell on the accent

PATTERN: Change rhythm

Initial value: 4/4

PRE-COUNT: Pre-count setting

Enable sound during pre-count for 1 to 8 beats. Initial: 4 beats

NOTE

Be aware that the metronome starts sounding from the instant that recording/playback begins. Therefore, if you begin in the middle of a song, the metronome sound and the pulse of the music might be out of sync. Moreover, if you turn the metronome volume up high, the accented beat of some sounds might become difﬁcult to distinguish.

Metronome indicator

During metronome use the metronome indicator lights in time with the tempo.

Tool>Metronome

Tool

16-track synchronized recording by connecting two R16s

If you want to record more then 8 tracks at the same time for a band performance, for example, you can

Tool>System>Sync rec

increase the number of tracks by connecting two R16s with a USB cable.

Make sender settings.

Set the R16 that will be used for key control as the Master.

1 2

Press [TOOL].

Select

>SYSTEM

PROJECT >SYSTEM

Press [ENTER].

Select

>SYNC REC

SYSTEM >SYNC REC

Press [ENTER].

Select

>Master

SYNC REC >Master

Press [ENTER].

USB Indicator: [HOST] light on

. .

Master/Slave

Change

menus

Change

menus

Make receiver settings.

Set the R16 that receives commands as the Slave.

1 2

Press [TOOL].

Select

>SYSTEM

PROJECT >SYSTEM

Press [ENTER].

Select

>SYNC REC

SYSTEM >SYNC REC

Press [ENTER].

Select.

>Slave

SYNC REC >Slave

Press [ENTER].

USB Indicator: [DEVICE] light on.

Change

menus

Change

menus

Master/Slave

Connect two R16 with a USB cable.

Plug a USB 2.0 (AB-type) cable into the socket that has a lit indicator.

NOTE

• Perfect synchronization of the start timing in

recording by two R16s is not guaranteed.

• There will be a gap of approximately 1-2 ms.

HINT

Command keys that effect both sender and receiver.

[REC] key [FF] key

[PLAY] key [REW] key

[STOP] key

Mixing

R16 mixing procedure ﬂow

Use the track mixer to make stereo link settings, to adjust sound volume, EQ and PAN (balance), and to adjust the send signal strength, which affects the depth of send return effects.

NOTE

Adjust volume, EQ and

PAN of sounds

• When you are using a stereo track, except for the

phase setting, parameter values are shared by both L and R channels.

HINT

Select the SEND-

RETURN EFFECT patch

Adjust the

SEND-RETURN EFFECT

Apply the insert effect

to tracks

What is the track mixer?

• This mixer can mix audio tracks from the recorder

into stereo.

• You can adjust the sound volume and PAN and

EQ parameters of each track using its fader.

The recorder (recording)

The track mixer

R16 mixing procedure ﬂow

Mix down

Master track (recording)

Mixing

Track settings for EQ, pan and send-return level

This track mixer uses track parameters to adjust PAN (stereo position), EQ (equalizer) and SEND-

Pan/EQ/Send-return effect

RETURN EFFECT of the recorder's audio tracks.

Press [PAN/EQ].

Track

Track1 EQ HI G=0dB

Type (EQ is on)

Select a track.

Change track number

Track1 EQ HI G=0dB

Turn ON/OFF and select types and values.

Track3 EQ HI G=0dB

EQ is ON

Track3 EQ HI Off

EQ is OFF.

Track3 EQ HI G=0dB

Tur n setting off.

Change the parameter type.

Parameter

Press [ENTER].

Parameter ON/

OFF.

HINT

• Using the track mixer, you can adjust each track

element (track parameter), including PAN and the SEND-RETURN EFFECT settings to change the signal processing track by track.

• At step 2, tracks can be selected using track

status keys. Track indicators light orange when the track is selected.

NOTE

• The parameters of the L/R channels in stereo

tracks are the same except the phase setting (INVERT).

• The settings are stored with the project.

• The MASTER TRACK does not have any settings

except for volume control with its fader.

Track3 PAN=R2

Adjust the value of the parameter.

Track3 EQ HI G=0dB

Press [ENTER] to conﬁrm settings.

Change the

parameter type.

Adjust the value

of the parameter.

Mixing

Track parameters

Parameters available to each track

Display Parameter

PAN

EQ HI EQ boost for high pitch/frequency range

EQ HI G

EQ HI F

EQ MID EQ boost for middle pitch/frequency range

EQ MID G

EQ MID F

EQ MID Q

EQ LOW EQ boost for low pitch/frequency range

EQ LO G

EQ LO F

SEND-RETURN EFFECT levels

REVERB

SEND

CHORUS

SEND

EQ HI GAIN*

EQ HI FREQUENCY*

EQ MID GAIN*

EQ MID FREQUENCY*

EQ MID Q-FACTOR*

EQ LOW GAIN*

EQ LOW FREQUENCY*

REVERB SEND LEVEL*

CHORUS/ DELAY SEND LEVEL*

Setting range:

Initial value

L100~

R100

−12~

+12dB :0dB

500(Hz)~

18(kHz) :8.0(kHz)

−12~

+12dB :0dB

40(Hz)~

18(kHz) :1..0(kHz)

0.1~1.0

:0.5

−12~

+12dB :0dB

40(Hz)~

1.6(kHz) :125(Hz)

0~100

Explanation

Adjusts a track’s PAN. In case of a stereo track adjusts the volume balance between the left and right tracks.

Adjust amount of boost/cut of high frequencies by

-12 ~ +12 dB. This parameter is shown only when

EQ HI is on.

Adjust EQ boost/cut frequency of high frequencies. This parameter is shown only when EQ HI is on.

Adjust amount of boost/cut of medium frequencies

by -12 ~ +12 dB. This parameter is shown only

when EQ MID is on. Adjust EQ boost/cut frequency of medium

frequencies. This parameter is shown only when EQ MID is on.

Adjust the Q value (width of the frequency band affected) of medium frequencies. This parameter is shown only when EQ MID is on.

Adjust amount of boost/cut of low frequencies by

-12 ~+12dB. This parameter is shown only when

EQ LO is on.

Adjust EQ boost/cut frequency of low frequencies . This parameter is shown only when EQ LO is on.

Adjust the signal level sent from tracks to the Reverb effect.

Adjust the signal level sent from tracks to the Chorus/Delay effect.

Monaural tracks: 1 ~16

Stereo tracks: 1/2 ~ 15/16

Stereo

Monaural

tracks

Master

track

Pan/EQ/Send-return effect

FADER

ST LINK

INVERT

FADER

STEREO LINK

INVERT

0~127

:0 On/Off

:Off On/Off

:Off

Adjust the sound volume.

Switch on/off to set the stereo link function that connects 2 monaural tracks together. (→P.20)

Set whether the phase of a track is inverted or not. Off: normal phase, ON: inverted phase.

*Switch parameters with asterisks (*) On/Off using the ENTER key.

Mix down/Bounce

Combine multiple tracks into 1~2 tracks

Combine multiple tracks into one monaural or stereo ﬁle.

Bounce/Project>Rec setting>Bounce

Using BOUNCE, this creates a new ﬁle in the same project.

Settings for the bounced tracks

PROJECT>REC SETTING>BOUNCE

Start from the top screen.

1 2

Press [PROJECT].

Select

>REC SETTING

PROJECT >REC SETTING

Press [ENTER].

Select

>BOUNCE

REC SETTING >BOUNCE

Press [ENTER].

Set whether the track that is overwritten by the bounce recording is muted or not.

Select

>REC TRACK: Play

BOUNCE REC TRACK: Play

Change

menus

Change

menus

Bounce (preparation)

Set tracks that you want to bounce

to playback.

Press the [PLAY/MUTE/ REC] 1-2 times until the green light turns on.

Green light on: playback enabled (PLAY)

Select destination track(s) for the

bounce.

Press [PLAY/MUTE/REC] 1-2 times until the red light turns on.

Red light on: record enabled [REC]

HINT

• “Bounce” means combining audio data from

several tracks and ﬁles together into one stereo or monaural file. This is also called “ping-pong recording.”

Press [ENTER].

Mute: Set the bounce destination track to be silent (initial setting). Play: Set the bounce destination track to play and be included in the bounce.

NOTE

• You can cancel a bounce using the [UNDO/

REDO] key.

• If you bounce 2 monaural tracks to stereo, set the

PAN of the odd number track to L 100 and the even number track to R 100.

Ref: Mix down

P. 41, 4 4

• To also record the signal of the track(s) that the

bounce is being recorded to, set “REC TRACK” to “Play” in the BOUNCE Menu as described at Step 4.

• Once the bounce is executed, a new le will be

created in the same project.

• If you set the bounce destination to a monaural

track, the recorded signals are mixed to monaural. If set to a stereo link track pair, the recorded signals are mixed to stereo.

Bounce/Project>Rec setting>Bounce

Bounce (recording)

3 4

Press [SWAP/BOUNCE].

Select

>BOUNCE

SWAP/BOUNCE > BOUNCE

Press [ENTER].

Select On.

BOUNCE On

Press [ENTER].

BOUNCE icon appears on display

Proceed to the next step or cancel

Select OFF to exit bounce mode.

Press and hold [EXIT] to return to the top.

Press [REW] & [Stop] at the same time to return the counter to the head.

Change

menus

Set On/Off

Adjust the mix balance (audition)

Adjust the mix balance including REC LEVEL, volume, PAN and EQ

for each track.

Playback the track after bouncing

Press [PLAY/MUTE/REC] of the bounce destination track.

Press [PLAY] to star t playback.

Make sure that the red (0 dB) signal does not light on the MASTER level meter.

Press [STOP] to stop playback.

Press it 1-2 times until the green light turns on.

Green light on: playback enabled (PLAY)

Press [REC] and then [PLAY] to star t recording.

Green light onRed light on

Press [STOP] to end the bounce.

Press [PLAY/MUTE/REC] on the tracks bounced.

Press 1-2 times each until the light turns off.

Light off: MUTE (no sound)

Press [REW] & [Stop] at

3 4

the same time to return the counter to the head.

Press [PLAY] to star t playback.

Mix down/Bounce

Using a mastering effect

Use a mastering algorithm as an insert effect on the master track that affects just the mix down.

Using a mastering effect

Insert an INSERT EFFECT before the [MASTER] fader.

Press [INSERT EFFECT].

Effect ON/OFF switch

If “INSERT EFFECT Off” is displayed,

press [ENTER].

Change algorithms

CLEAN　　　　　　<IN1> No.00:Standard

Select

MASTERING

MASTERING　 <IN1/2> No.00:PlusAlfa

Press[ ].

No.00:Plus Alfa >EDIT

Select

>INPUT SOURCE

No.00:Plus Alfa >INPUT SOURCE

Press [ENTER].

Input Source INPUT1

Select

MASTER.

Input Source MASTER

Press [ENTER].

Change menus

Change input

Select the patch.

MASTERING <MASTER> No.03:DiscoMst

Audition the patches while listening to the tracks playback, and then select one.

Press [EXIT].

PRJ001 <MASTER>

00 000:00:000

Change patch

NOTE

• If the INSERT EFFECT is applied to the [MASTER]

fader, you cannot also use the INSERT EFFECT on track inputs.

• At step 7, if you notice any distortion of the signals

because of the MASTERING EFFECT, check the sound of playback on the track and adjust it by lowering all the faders. (If a track sound is distorted, adjust that track.)

• You can select STEREO, DUAL, MIC or MASTER

algorithms. If you set another algorithm, the insert

position changes to the inputs.

HINT

• When you choose a MASTERING algorithm, you

can use the MASTERING EFFECT processing on the stereo mix.

Recording signal ﬂow to the master track

No.00:Plus Alfa >EDIT

MASTERING　 <MASTER> No.00:PlusAlfa

Press[ ].

Change menus

Mix down/Bounce

Recording to the master track

Record a "ﬁnal" stereo mix as a mix down on the [MASTER] track. Signals are recorded to the [MASTER] track after passing through the [MASTER] fader.

Recording to the [MASTER] track.

Preparation: Adjust the signal levels.

Play the tracks, and adjust the mix balance of the tracks.

Press [REW] + [STOP] at the same time and then [PLAY] to star t playback from the top.

Adjust the level of the signal that passes through the master fader.

Red

Carefully control

Orange

the level so as not to light the

Green

red indicator (clip=0dB).

Green

Recording to the master track

Press [STOP].

Press [MASTER/MIX DOWN/PLAY] 1-2 times until the red light turns on.

Red light on: recording enabled

Press [REW] & [Stop] at the same time to return the counter to the head.

Press [REC] and [PLAY] in turn to start recording.

Play the master track

Press [MASTER/MIX

Green light on: playback enabled Doing this mutes the other tracks and disables all effects.

Press [PLAY] to star t playback.

Disable master track playback.

Press [STOP] to stop playback.

Light off: muted

DOWN/PLAY] 1-2 times until the green light turns on.

Press [REW] & [Stop] at the same time to return the counter to the head.

Press [MASTER/MIX DOWN/PLAY] 1-2 times until the light turns off.

Muting of the other tracks is canceled and their status lights become as they were before enabling master track playback.

HINT

• Each project can have one master track.

• The master track will have a le assigned.

•

You can even mix down from the middle of a song,

overwriting the data of the recorded section.

• During recording you can confirm the playback

levels of each track and the recording levels of the master track.

• The signals sent from the OUTPUT jacks are

the same signals that have passed through the [MASTER] fader.

• You can use the [UNDO/REDO] key.

• You can use the metronome during playback.

Recording to the master track

Press [STOP] to stop

recording.

NOTE

The settings of the pan/balance, insert and send/ return effects of each track affect the signals sent to the master track and are reﬂected in its sound.

Consecutive playback of multiple master tracks.

No.65

Entering names

You can change names when you create new data, use RENAME menu functions or edit patches.

Entering names

Whatever name change method you use, the handling of letter positions and letters is the same.

Keys used for name changes

Move letter position Letter deletion Insert and select

letter

Select a letter.

P RJ001

When a letter in a name is highlighted, you can change it.

Change the initial letter.

0 PRJ001

Insert and select

letter

Choose the second

letter to be changed.

0 PRJ001

Move letter position

Change the second letter.

0 5PRJ001

Insert and select

letter

Delete the third letter.

05P RJ001

Letter deletion

05R J001

Choose the last letter and change.

0518_01

Proceed to the next action or exit without saving the change.

Names and rules

Project number

PRJ xxx: PRJ (space, 3 numerals)

The project number is given automatically starting with the lowest and is not changeable.

Project name

PRJxxx: PRJ, 3 numerals, Maximum

of 8 characters

Monaural ﬁles

MONO-xxx.WAV

MONO-, 3 numerals (x), extension (.WAV)

Stereo ﬁles

STE-xxx.WAV

STE-, 3 numerals, extension (.WAV)

Mix Down (Master)

“MASTRxxx.WAV"

MASTR, 3 numerals, extension (.WAV)

Insert effect/Send-Return effect Usable characters

Patch number: 2 numerals. The patch number is given automatically starting with the lowest and is not changeable.

Patch name: 8 characters.

Project Usable characters

None

Numerals: 0-9 Alphabet: A-Z, a-z Symbols: (space) ! " # $ % & ' ( ) *+ , - . /: ;

<> = ?@ [ ] ^ _ ` { }|

File (recorded)

None

Numerals: 0-9 Alphabet: A-Z Symbols: (space) ! " # $ % & ' ( ) *+ , - . /: ; <

> = ?@ [ ] ^ _ ` { }|

Usable

characters

Maximum of 8 characters + .WAV (extension)

Numerals: 0-9, Alphabet: A –Z,

Symbol: _

(under score)

NOTE

• When a name is displayed and the initial letter is highlighted during operation, you can change the name.

• If the same name exists, a

attached to the top of the name. You have to change the name to save it.

• Deleted letters cannot be retrieved. You can restart

the procedure with the EXIT key.

• If you have mistakenly changed a patch name,

move to the next patch without saving.

• The numbers “xxx” of a name are automatically

assigned at naming time.

symbol will be

Error list: what to do when these messages appear on the screen

Push the [EXIT] key when you see a message like “---Error” or “Please push the EXIT key.” When other errors and messages occur, the displayed screen will automatically close within three seconds.

Message Meaning Response

Message when something is missing.

No Card There is no card inserted. Make sure that an SD card is inserted correctly.

No Project There is no project at all.

No File There is no ﬁle in the project.

No USB Device There is no USB connection.

Messages shown frequently

Reset DATE/TIME Setting lost because of low battery. Set the [DATE/TIME] again. →P.14

Low Battery! Time to change the batteries. Change batteries or connect the adapter.

Stop Recorder

Messages that objects (projects, ﬁles, etc) are protected

Card Protected SD card is protected.

Project Protected The project is protected.

File Protected

USB Device Protected USB device connection is protected. Disable the protection of the equipment.

Over capacity or over limit messages

Card Full The card is full. Change to a new card or delete unneeded data.

Project Full

File Full File is full. Delete unneeded ﬁles.

USB Device Full The connected USB device is full. Change the connected USB device or delete data.

Cannot be accessed during playback/ recording.

This is a read-only ﬁle, you cannot write to it.

No more projects can be saved on the card.

Check that the project has not been deleted or changed to a different place.

Check that the ﬁle has not been deleted or stored in a different place.

The connection may have been canceled or there may be problems with the cable.

Stop the recorder ﬁrst, and then try again.

Eject the SD card and unlock the write protection. Insert the card again. →P.12

Disable project protection using the [PROTECT] menu. →P.56

Disable the read-only status of the ﬁle using a computer.

Delete unneeded projects.

Error list: what to do when these messages appear on the screen

No access messages

Card Access Error Unable to read or write the card. Press EXIT and try the operation again.

Project Access Error Unable to read or write the project. Press EXIT and try the operation again.

File Access Error Unable to read and write the ﬁle. Press EXIT and try the operation again.

USB Device Access Error

Card Format Error This is a card format the R16 cannot use. Change the card format to one that the R16 can use.

File Format Error This is the ﬁle format the R16 cannot use. Change the ﬁle format to one that the R16 can use.

USB Device Format Error This is a USB format the R16 cannot use Change the USB format to one that the R16 can use.

Other errors

Card Error

Project Error

File Error

USB Device Error

Unable to read or write to the connected USB device.

There is an error occurring. Press EXIT and try the operation again.

Press EXIT and try the operation again.

Effect

Effect patch overview

You can select patches in the R16, use effects easily, make ﬁne adjustments to suit the music, and then

Effect patch overview

edit and save patches.

Effect patch use process

Use effects

→INSERT EFFECT P.49 →SEND RETURN P.49

Edit a patch

→EDIT P.53

You can make subtle adjustments to effect module parameters to achieve sounds you like.

Patch selection

→PATCH SELECT P.50

You can select and use algorithms, pre-set patches and their combinations.

Import patches

→IMPORT P.55

You can use patches imported from other projects.

Set insertion position

→INPUT SOURCE P.51

Use only for monitoring

→REC SIGNAL P.57

Patch initialization

→PATCH INITIAL (PDF)

Algorithms and patches

One effect is called an “effect module” and it consists of 2 elements. Effect types, which are different types, and effect parameters, which control the depth of the effect. A patch is the result of adjusting the effect type and parameters of each module. An algorithm is the orderly arrangement of the initial patches arranged for recording targets or methods.

Adjust the parameters

Algorithms

CLEAN

ACO/BASS SIM

Patch

COMP/

LIMITER

Module

Effect types

Parameters

EFX

Adjust the effect send level

→REV/DLY SEND P.41

Edit the modules

Select the types

Edit the patch level

All patches

One patch

INPUT 1-8

Track 1-16

MASTERING

3BAND

PRE

AMP

MODULATION/

DELAY

CHORUS

Depth

Rate Tone

Mix

Adjust the effect send level

→REV SEND P.41

Save patches

→SAVE P.55

Guide

: Only “AI” uses “SEND E”

: “R” and “AI” both use

“SEND E”

: Only “AI” uses “INSERT E” : “R” and “AI” share INSERT

: All shared R/AI shared: INSERT E/SEND E shared R = Recorder AI = Audio Interface SEND E. = SEND RETURN EFFECT INSERT E. = INSERT EFFECT

DISTORTION

BASS

MODULATION/

ZNR

ENSEMBLE FLANGER

Depth

Rate Tone

Mix

DELAY

Depth

Rate

Resonance

Manual

PAT CH LEVEL

Insert effects and send return effects

The insert effects in one project include 330

patches classified into 9 algorithms. You can select the algorithms and patches according to your application and choose where to insert those patches.

Arrangement

Effect patch overview

The send/return effect is internally connected in the SEND/RETURN at the MIXER section. There are 2 types of effects adjustable by their mixer SEND LEVELS (signal volumes sent to the effect) and they can be used together.

Display

Arrangement

Display

Arrangement

Display

Arrangement

Display

Arrangement

Display

Arrangement

Display

Monaural

×2

Monaural

×2

Stereo

Monaural

×8

Monaural

×8

Stereo

Effect

Input/output of the insert and send return effects

There are 2 types of effects processors built in to the R16—insert effects and send return effects. You

Insert effect/send return effect

can use them at the same time.

INPUT 1-8 TRACK 1-16

INSERT EFFECT

You can use insert effects on

speciﬁc channels.

SEND RETURN EFFECT

The built-in effects in the send return

effect of the mixer.

Insert effect points

CHORUS/DELAY

Input

You can select inputs to apply effects to signals before recording them to recorder tracks.

Tr ac k

Apply processing to the playback sound of any audio tracks in the track mixer.

Master

Process the ﬁnal stereo mix just before the [MASTER] fader (signals recorded to the master track).

The recorder (recording)

The track mixer

Mix down

The master track (recording)

REVERB

Send level

(Signal volume sent to

the effect)

Mix (return) with the original sounds of

the sent track.

Insert effect signal ﬂow Send return effect signal ﬂow

Put the insert effect on a monaural input and output in monaural.

Ref.: Insert effect position

P.52

Uses of effects and patches Select effect & patch

Insert effects and send return effects are selected and adjusted the same way.

You can select the most appropriate modules from the algorithms, edit types and parameters and use saved patches.

There are a few major differences between the two types of effects when making settings. For an INSERT EFFECT, you select a patch and set the insertion point. For a SEND RETURN EFFECT, you adjust the send level of the signals using the mixer.

Other functions are “IMPORT” to get patches from another project and “REC SIGNAL” to apply the effect only to monitoring.

The use procedures of effects are the same when using the R16 as an audio interface and control surface, but the patches are initialized when the unit is not used as a recorder.

INSERT EFFECT

Algorithm name

on display

Algorithm suitable for guitar/bass recording

CLEAN DISTORTION ACO/B ASS SIM BASS

For microphone recording, such as vocals

MIC

For 2 independent channels (2 mono inputs/outputs)

DUAL MIC

For recording synthesizers, electric pianos and other lineoutput instruments

STEREO

Algorithm with 8 independent channels of input/output

8×COMP EQ

Processing for ﬁnal stereo mixes

MASTERING

Number of patches

(programmed patches)

30(22)

50(40) 20(10)

30(20)

50(30)

50(40)

20(10)

30(21)

SEND RETURN EFFECT

Algorithm name

on display

Process ﬁnal stereo mix signals

CHORUS/DELAY

Process ﬁnal stereo mix signals

REVERB

Number of patches

(programmed patches)

30(18)

30(22)

Effect

Press until the red light turns on.

Red light on.

Press [INSERT EFFECT] or [SEND RETURN EFFECT ].

Press [ENTER] to turn on/off.

Select the algorithm.

Algorithm name Patch number: Patch name

Insert effect example

CLEAN <IN1> No.00:Standard E

CLEAN, DISTORTION, ACO/BASS BASS, MIC, DUAL MIC, STEREO, 8x MASTERING

CHORUS/DELAY REVERB

Send return effect example

SEND CHORUS/DELAY No.00:ShortDLY

Select the patch.

CLEAN <IN1> No.15:Standard E

EDIT

IMPORT

INPUT SOURCE

REC SIGNAL

SIM,

COMP EQ,

Press [ ].

Press [PLAY/ MUTE/REC].

Insert effect insertion point

Change

algorithm

E (edit mark): items are already edited

Change patch

P.53

P.55

P.51

P.5 7

Insert effect/send return effect

Effect

Insert effect insertion position

You can change the insert position of the Insert Effect.

Insert effect>Patch sel>Input source

This menu is only for Insert Effect.

Press [INSERT EFFECT].

Effect on/off switch.

If “INSERT EFFECT Off” is displayed,

press [ENTER].

Select .

>INPUT SOURCE

No.00:Standard >INPUT SOURCE

Press [ENTER].

Input Source INPUT1

Change

input place

Select the algorithm/patch.

Current insert position

CLEAN <IN1> No.00:Standard

IN**

IN**/**

TR**

TR**/**

IN*~**

TR*~**

MASTER

Inserted in INPUT **

Inserted in INPUTS ** and **

Inserted in TRACK **

Inserted in TRACKS ** and **

Inserted in INPUTS * to **

Inserted in TRACKS * to **

Inserted in the master track

Press[ ].

Change

algorithm

Change

patch

NOTE

• You can select a single INPUT (1~8) only when

you have chosen the CLEAN, DISTORTION, ACO/BASS SIM, BASS or MIC algorithm.

• You can select Track 1-8 or Track 9-16 only when

the 8 x COMP EQ is chosen as the algorithm.

• INPUT 1-8 can be selected only when the 8 x

COMP EQ algorithm has been chosen.

• After you select an insertion place, if you change

the algorithm to 8 x COMP EQ, the insertion place will be changed to Input 1-8, Track 1-8 or Track 9-16 (depending on the previous setting).

• To insert into a single monaural track output, you

must select TRACK 1 ~ TRACK 8. To insert into a two monaural tracks or a stereo track, you must select TRACK 1/2 ~ TRACK 15/16. If you want to inser t before the MASTER FADER, you must select MASTER.

Set source of input into effect.

Input Source INPUT8

Input Source TRACK8

Press [ENTER].

On display Insert place

Input

Input1~Input8

Track1,Track2

Track1/2,

Track3/4

Master

With 8 x Comp EQ setting case

Track1-8

Track9-16

CLEAN <TR8> No.00:Standard

Mixer input

Single mixer input

Output from either monaural track 1 or 2

Output from either stereo track or 2 monaural tracks

Just before the [MASTER] fader

All track 1–8 outputs

All track 9–16 outputs

Press[ ].

Current insert position

HINT

Change the insertion place of the insert effect.

When a project is at the default status, the insert effect is inserted on INPUT 1. To change this place, select an INPUT SOURCE at Step 4:

Change

input place

Odd-

numbered

Track

インサートエフェクトの挿入位置

Odd-

numbered

INPUT

Track

Even-

numbered

INPUT

Track

INSERT EFFECT

Even-

numbered

Track

Odd-

numbered

INPUT

Track

MasterL

Even-

numbered

INPUT

Track

MasterR

INSERT EFFECT

Odd-

numbered

Track

MasterTrack

(L)

Even-

numbered

Track

MasterTrack

(R)

INPUT1

Track1/9

INPUT2

Track2/10

INSERT

EFFECT

INSERT EFFECT

Track1/9

Track2/10

INPUT2

Track2/10

INSERT

EFFECT

Track2/10

Insert position of insert effect

Inserting the INSERT EFFECT into 2 monaural inputs (DUAL algorithm)

Insert effect>Patch sel>Input source

Inserting an INSERT EFFECT into a stereo input (Stereo Master algorithm)

Inserting an INSERT EFFECT on 8 inputs (8 x COMP EQ algorithm)

Effect

Insert effect Send return effect

You can create patches that combine effects together, change effect types in patches, or change

Insert effect/send return effect>Patch sel>Edit

processing however you like by adjusting the depth of effects using their parameters.

: Patch editing

Select the algorithm/patch.

Effect on/off switch.

If “INSERT EFFECT Off ” is displayed, press [ENTER].

CLEAN <IN1> No.15:Standard E

Press [ ].

Select .

>EDIT

No.15:Standard >EDIT E

Press [ENTER].

Press [INSERT EFFECT] or [SEND RETURN EFFECT].

Change

algorithm

Change

patch

Change

item

Edit effect modules

Turn the effect types on/off.

Effect module off

Compressor Off

Press [ENTER] to switch.

Type (effect module) ON

COMP/LIMITER E Compressor

E: Edit mark Effect type Shown after you edit or change

Set the effect module

Select the effect module.

COMP/LIMITER 　　　 E Compressor

MOD/DELAY　　　　　　E Chorus

Effect type

Change module

HINT

• Some patches say “Empty,” because no modules

in the patch have been set yet.

• When you want to edit the ZNR module, go to the

page with “TOTAL” in the ﬁrst row.

• You can individually edit the modules arranged in

the L/R Channels of the DUAL MIC ALGORITHM. Your selection is the left channel when the first row displays “L” and the right channel when the ﬁrst row displays “R.”

• In the 8 x COMP EQ ALGORITHM, each channel

has its own HPF, COMPRESSOR and EQ modules and you can turn each effect module on/ off on each channel independently. You can check the current channel by looking at the number in the ﬁrst row of the display.

Edit the patch level (ﬁnal patch sound volume)

Set the patch level.

TOTAL Patch Level=25

Press [EXIT] to return.

Change module

Change

value

Insert effect/send return effect>Patch sel>Edit

Adjust the effect parameters

Select a parameter.

Ensemble E Depth=2

Change

parameters

Set the value.

Ensemble E Depth=2

Change

value

Press [EXIT] to return.

NOTE

• You cannot edit an algorithm itself, including

the combination and arrangement of the effect modules.

• If you turn “off” an effect module, all the settings

after the effect module, such as the type and parameters will also be turned off.

• When you are using 8 x COMP EQ, you cannot

turn an effect on or off for all channels at once. But if you press [ENTER] when an effect setting value is displayed for the desired channel, you can switch it off for that channel.

• You cannot turn off the “TOTAL” modules.

• There is no ZNR module in the 8 x COMP EQ

algorithm.

• If you change to another patch without saving a

patch that shows the ‘E’ mark, your edits will be lost completely. Please refer to the next page for patch saving.

Change INSERT EFFECT name

Select .

TOTAL

TOTAL Patch Leve1=25

Press [ ] until you see

PATCH NAME.

Press[ ].

Patch Name

S tandard

Blinks

Change name

Press [EXIT] to ﬁnish.

Change module

Change SEND RETURN EFFECT name

Press [ ] until you see

PATCH NAME.

Press[ ].

Patch Name

S tandard

Blinks

Change name

Press [EXIT] to ﬁnish.

Change

value

Effect

Insert effect Send return effect

Once you have edited a patch, use “SAVE” to save it. You can save a patch at any place within

Insert effect/send return effect>Patch sel>Save

the same algorithm.

: Patch save

Press [INSERT EFFECT] or [SEND RETURN EFFECT].

Effect ON/OFF switch

When “INSERT EFFECT Off” is displayed,

press [ENTER].

Select the algorithm/patch.

CLEAN <IN1> No.15:Standard E

Patch has been edited

Select .

No.00:Standard >SAVE

Press [ ].

>SAVE

Press [ENTER].

Select the place to save.

Save to NO.29:Empty

Save location number: patch name

Press [ENTER].

Execute [SAVE] action.

NO.29:Empty Save?

Press [ENTER].

Change

algorithm

Change

patch

Change

Change place to

save

NOTE

• These procedures are the same for both insert

and send return effects.

• If you switch to another patch without saving

an edited patch, you will lose all the edits. Remember to always save your edited patches.

• The import source and the import destination are

different projects when using PATCH IMPORT.

HINT

• You can save your edited patch at any place within

the same algorithm.

• You can make a patch copy by saving an existing

patch to a different area.

Effect

Insert effect Send return effect

: Patch import

Import one or all patches that have been created in another project to use in the current project.

See steps 1~3 on the previous page.

Select .

>IMPORT

No.00:Standard >IMPORT

Press [ENTER].

Change

Import one patch.

IMPORT>PATCH

Select .

>PATCH

PATCH IMPORT >PATCH

Press [ENTER].

Change menu. Select import method.

PATCH IMPORT >ALL

Change menu>ALL: impor t all patches from the target project Change menu>PATCH: select one patch and import it from the target project

Import all patches.

IMPORT>ALL

Select .

>ALL

PATCH IMPORT >ALL

Press [ENTER].

Change

menu/item

Change item

Select the project to import from.

PATCH IMPORT No.001:PRJ001

Source project number and name

Press [ENTER].

Select the patch to import.

Import No.00:Standard

Source patch number

Press [ENTER].

Change item

Change

project

Change

patch

Insert effect/send return effect>Patch sel>Import

Select the project to import from.

ALL PATCH IMPORT No.001:PRJ001

Source project number and name

Press [ENTER].

Conﬁrm the project to import from

and press [IMPORT].

No.001 : PRJ001 All Patch Import?

Press [ENTER].

Change

project

Select the patch to import.

Import to No.00:Standard

Destination patch number (save location)

Press [ENTER].

Import the patch.

NO.01:Ensemble Import?

Press [ENTER].

Change

place to save

Effect

Using the insert effect only for monitoring

By applying an insert effect only to monitoring, unaffected input signals can be recorded to tracks.

Insert effect> Patch sel >Rec signal

Press [INSERT EFFECT].

Effect ON/OFF switch

When “INSERT EFFECT Off” is displayed,

press [ENTER].

Select the Algorithm/Patch.

CLEAN No.15:Standard E

Press [ ].

Using the insert effect only

for monitoring

By default, when an insert effect is applied to an input signal, the signal with the effect is recorded to the track. However, when desired, you can apply the insert effect only to the monitoring outputs and record the non-processed input signal on the track. For example, you can apply an insert effect to a microphone, to make a vocalist feel more comfortable singing, but still record the vocal without the effect.

Change

algorithm

Change patch

Select

>REC SIGNAL

No.00:Standard >REC SIGNAL

Press [ENTER].

Select

DRY

REC SIGNAL Dry

Press [ENTER].

WET

(Default value)

DRY

The input signal will be recorded to the track after it passes through the insert effect.

The input signal will be recorded to the track before passing through the insert effect. However, the input signal monitored from the OUTPUT and PHONES jacks will pass through the insert effect ﬁrst.

Change setting

HINT

• The settings made here will be stored project by

project.

• If necessary, restore the initial “Wet” setting before

recording other parts.

Project

Project overview & project protection

A project stores data and elements necessary for music playback. The “PROTECT” function allows you to prevent the alteration of a completed project.

All elements of a piece of music are stored in a project as one unit, including audio ﬁles, information about track assignments, and mixer, effect, metronome and tuner settings. The unit can handle a maximum of 1000 projects on a single card. Create a new project for each new piece of music.

Data saved in a project:

* Audio data for every track including the

MASTER track

* Folder settings selected by tracks * Mixer settings * Patch numbers and patch contents set for

insert and send return effects

* Contents of play lists * All other necessary ﬁles

Protecting a project

PROJECT>EDIT>PROTECT

1 2

Press [PROJECT].

Select

>EDIT

PROJECT >EDIT

Press [ENTER].

Select

>PROTECT

PROJECT EDIT >PROTECT

Press [ENTER].

Select

PROJECT　PROTECT On

>ON

Press [ENTER].

Change

Turn ON/OFF

Project/Project>edit>Protect

NOTE

• You can play back a project when it is protected,

but you cannot change it. If you want to record in it or edit it again, set “PROTECT” to “Off.”

• Projects that are not protected will be automatically

saved to the SD card when you turn the POWER switch OFF or when you open another project.

• We strongly recommend setting “PROTECT” to

“On” once you complete a piece of music to avoid saving a mistaken operation later.

HINT

• The lock icon appears on

the screen when a project is protected.

Project

Create a new project

With the R16 you can create up to 1000 projects on a single card. You can also transfer the settings of

Project>New

the previous project to a new project.

Press [PROJECT].

PROJECT >SELECT

>NEW

Select

PROJECT >NEW [SD]003:22:52]

Press [ENTER].

Conﬁrm the project name.

New project number

Project No.003

P RJ003

Blinks

Press [ENTER].

New project name

Change the name to be saved

Select whether to use the settings

from the last project.

SETTING? [CONTINUE] RESET

Select to use default settings

Press [ENTER].

Change menu

NOTE

You can use the settings and values of the last project in the new one or use the R16 default settings.

Settings carried over with CONTINUE

• BIT LENGTH setting

• INSERT EFFECT settings

• SEND RETURN EFFECT settings

• Track status (PLAY/MUTE/REC) settings

• BOUNCE settings

• REC TRACK settings

• Track parameter settings

• METRONOME settings

[RESET]

Use default setting values for every item

Create the project.

No.003:PRJ003 Create?

Press [ENTER].

HINT

At Step 3, you can change the name of the new project.

Ref.: Changing names

P.43

Project

Selecting projects and ﬁles

You can select a project for recording, playback and editing from the top screen. You can also select ﬁles for playback and assign them to tracks.

Select a project

PROJECT>SELECT

Press [PROJECT].

Select

PROJECT >SELECT

Press [ENTER].

>SELECT

Select the project.

PROJECT　SELECT No.002:PRJ002

Press [ENTER].

Load the project.

No.002:PRJ002 Load?

Press [ENTER].

Change menu

Change project

Select a ﬁle

PROJECT>FILE

Select

PROJECT >FILE

Press [ENTER].

Press [PROJECT].

>FILE

Select the ﬁle.

TRACK15 M15TR000 [TR1]

Select ﬁle.

*If you want to listen to a ﬁle for conﬁrmation, you can use the following keys.

Playback: [PLAY] key

Stop: [STOP] key

Project>Select/Project>File

Change menu

Change track

or use [1 - 8] and [MASTER]

status keys

NOTE

You can only playback and record to the project that is currently loaded. You cannot load and use multiple projects at the same time.

HINT

When the R16 [POWER] switch is turned ON, the project loaded the last time the unit was used will be loaded automatically. (If you have changed SD cards, then the last project used on the inserted card will be loaded.)

Fast forward: [FF] key

Rewind: [REW] key

Zero return:

＋

[STOP] and [REW] keys

Moving to a marker:

[>>|] and [|<<] MARKER keys

Ref.: Track assignment

P.23

Project

Project and ﬁle information

You can display information about the currently loaded project and ﬁles including creation dates and

Project>Information/Project>File>Information

times, capacities, recording lengths and ﬁle formats.

Project information

PROJECT>INFORMATION

Press [PROJECT].

Select

>INFORMATION

PROJECT >INFORMATION

Press [ENTER].

Change menu

Select the type of information.

PROJECT　INFORMATION

NAME

NAME:PRJ001

Project name

PROJECT　INFORMATION

DAT E

DATE:09/10/10 15:00

Year/month/day/time of creation

PROJECT　INFORMATION

SIZE

SIZE378.5MB

PROJECT　INFORMATION

TIME

TIME:00:09:13

Length of project recording

HINT

• Project and le INFORMATION pages can only be

viewed. Their contents cannot be edited directly.

Change item

Size

File information

PROJECT>FILE>INFORMATION

1 2

Press [PROJECT].

Select

PROJECT >FILE

Press [ENTER].

>FILE

Select track number (1–16,

MASTER) and ﬁle name.

TRACK 15 MONO-000 [TR1]

Track number

File name

Select

MONO-000.WAV >INFORMATION

Press[ ].

>INFORMATION

Press [ENTER].

Select the types of information.

F OR M AT

FILE INFORMATION

NAME

NAME:MONO-000.WAV

FILE INFORMATION

DAT E

DATE:2009/03/03

Year/month/day of the creation

FILE INFORMATION

TIME

TIME:12:47:47

Time of creation

FILE INFORMATION FORMAT:WAV44.1/16 MN

Format, sampling frequency/bit rate, ST (stereo), MN (monaural)

Change menu

Change track

Change ﬁle

Change menu

File name

Change item

SIZE

LENGTH

FILE INFORMATION SIZE:24384.0KB

FILE INFORMATION LENGTH:00:04:42

File recording length

Size

Project

Copying projects and ﬁles

You can copy a saved project and use it as a new project. You can make copies of ﬁles in the same project by changing the ﬁle names.

Project copy

PROJECT>EDIT>COPY

Press [PROJECT].

Select

>EDIT

PROJECT >EDIT

Press [ENTER].

Select

>COPY

PROJECT >COPY

Press [ENTER].

Select the project to copy.

PROJECT COPY No.002:PRJ002

Press [ENTER].

The new project number of the copy is shown.

Copy to No.011

Change menu

Change project

File copy

PROJECT>FILE>EDIT>COPY

1 2

Press [PROJECT].

Select

>FILE

PROJECT >FILE

Press [ENTER].

Select the ﬁle to copy.

TRACK 1 VOCAL.WAV

Press[ ].

Select

>EDIT

VOCAL.WAV >EDIT

Press [ENTER].

Select

>COPY

VOCAL.WAV >COPY

Press [ENTER].

Project>Edit>Copy/Project>File>Edit>Copy

Change menu

Change

track

Change ﬁle

Change menu

Press [ENTER].

Copy the project.

No.002->No.011 Copy?

Press [ENTER].

Old->new project

numbers

NOTE

• When there is a project with the same name, a *

will be added to the top. Change the name and save.

Change the name of the copied ﬁle.

FILE COPY

V OCAL.WAV

Copy the ﬁle.

XOCAL.WAV Copy?

Blinks

Change saved

Press [ENTER].

ﬁle name of

the copy

Project

Renaming ﬁles and projects

Change the name of the currently loaded project and ﬁles.

Project>Edit>Rename/Project>File>Edit>Rename

Project name change

PROJECT>EDIT>RENAME

1 2

Press [PROJECT].

Select

PROJECT >EDIT

Press [ENTER].

Select

PROJECT >RENAME

Press [PROJECT].

>EDIT

>RENAME

Change characters.

PROJECT　RENAME PRJ002

Selected character highlighted and blinking

PROJECT　RENAME SONG2009

Press [ENTER].

Change menu

Delete

character

Delete

character

Change position

Change

character

NOTE

• If there is a project with the same name, a * mark

will be added to the top. Change the name and save.

HINT

Project names

Characters that can be used: 8 maximum Numerals: 0-9 Alphabet: A-Z, a-z Symbols: (space) ! ” # $ % & ‘ ………..etc.

File names

Characters that can be used: 12 including extension Numerals: 0-9 Alphabet: A-Z (capital letters) Symbol: _ (underscore)

File name change

PROJECT>FILE>EDIT>RENAME

Select

PROJECT >FILE

Press [ENTER].

Press [PROJECT].

>FILE

1 2

Select the ﬁle name.

TRACK 1 S07TR000

Press[ ]

Select

Ref.: Name changing

>EDIT

PROJECT >EDIT

Press [ENTER].

Select

>RENAME

PROJECT >RENAME

Press [ENTER].

Select

>RENAME

PROJECT　RENAME

P RJ002.WAV

Selected character highlighted and blinking

PROJECT　RENAME QRJ002.WAV

Press [ENTER].

Change menu

Change

track

Change ﬁle

Change menu

Delete

character

Change position

Change

character

P.43

Project

Deleting ﬁles and projects

Delete selected ﬁles and projects.

Delete a project

PROJECT>EDIT>DELETE

1 2

Press [PROJECT].

Select

>EDIT

PROJECT >EDIT

Press [ENTER].

Select

>DELETE

PROJECT >DELETE

Press [ENTER].

Select the project to delete.

PROJECT DELETE No.001:PRJ001

Press [ENTER].

Delete the project.

No.001:PRJ001 Delete?

Press [ENTER].

Change menu

Change

project

Delete a ﬁle

PROJECT>FILE>EDIT>DELETE

1 2

Press [PROJECT].

Select

>FILE

PROJECT >FILE

Press [ENTER].

Select the ﬁle name.

TRACK1 MONO-000 [TR7]

Press[ ]

Select

>EDIT

MONO-000.WAV >EDIT

Press [ENTER].

Select

>DELETE

MONO-000.WAV >DELETE

Press [ENTER].

Delete.

MONO-000.WAV Delete?

Project>Edit>Delete/Project>File>Edit>Delete

Change menu

Change

track

Change ﬁle

Change menu

NOTE

• Once deleted, projects and files cannot be

retrieved. Please be careful when deleting.

• You cannot delete projects or files that have

PROTECT set to ON.

• If you delete the currently loaded project, the

project with the lowest number will be loaded.

Press [ENTER].

NOTE

• When you delete les, the tracks they are assigned

to become empty.

Project

Dividing ﬁles

You can divide a ﬁle at any point to make two ﬁles. Do this to delete unnecessary portions of recordings

Project>File>Edit>Divide

or to divide long recordings.

Select

PROJECT >FILE

Select a ﬁle.

TRACK15 MONO-000.WAV

Select

MONO-000.WAV >EDIT

Select

MONO-000.WAV >DIVIDE

Press [PROJECT].

>FILE

Press [ENTER].

Select ﬁle

Press [ ].

>EDIT

Press [ENTER].

>DIVIDE

Change menu

Change

track

or use [1-8]

and [MASTER]

status keys

Change

track

Change

track

Divide.

MONO-000.WAV Divide?

Press [ENTER].

When you set the dividing point, you can use the following keys to listen to the ﬁle.

Playback: [PLAY] key

Stop: [STOP] key

Fast forward: [FF] key

Rewind: [REW] key

Zero return: [STOP] and [REW] keys

Move to markers:

[>>|] and [|<<] MARKER k eys

Press [ENTER].

Set the divide point.

DIVIDE POINT ト00 00:00:00:000

DIVIDE POINT ト00 00:01:25:086

Press [ENTER].

Use markers or change time

Change numbers

HINT

• When a le is divided, les with new names will be

created automatically in the same folder.

"A" is added to the end of the name of the file

created from the part before the dividing point.

"B" is added to the end of the name of the file

created from the part after the dividing point.

If the original ﬁle name already had 8 characters,

the last character will be replaced with "A" and "B" in the new ﬁle names.

• The original divided le is deleted.

Ref.: LOCATE/MARKER

P.2 7

Project

Import ﬁles from other projects

Import ﬁles from projects other than the current project.

4 5

Press [PROJECT].

Select

>FILE

PROJECT >FILE

Press [ENTER].

Select a ﬁle.

TRACK15 MONO-000.WAV

Select ﬁle

Press [ ].

Select.

>IMPORT.

MONO-000.wav >IMPORT

Press [ENTER].

Change menu

Change

track

or use [1-8]

and [MASTER]

status keys

Change menu

Conﬁrm the ﬁle.

FILE IMPORT

L EADGTR.WAV

Change the name to be saved.

Cursor blinks

Import the ﬁle.

ACOGTR.WAV Import?

Project>File>Import

Press [ENTER].

Select the project that has

the ﬁle to be imported.

FILE IMPORT No.000:PRJ001

Press [ENTER].

Select the ﬁle to import.

FILE IMPORT LEADGTR.WAV

Press [ENTER].

Change

project

NOTE

• If there is a le with the same name in the project,

a * mark will be added to the top. Change the name and save.

HINT

Characters that can be used: 12 maximum Numerals: 0-9 Alphabet: A-Z (Capital letters) Signs: _ (underscore)

Ref.: Name changing

P.30

Project

Sequential playback of projects

The playback order of multiple projects can be registered and managed in playlists. This is useful for

Project >Sequence play

playing back several songs consecutively, live play accompaniment and output to an external recorder.

Play a playlist

Press [PROJECT].

PROJECT >SELECT

Select .

>SEQUENCE PLAY

PROJECT >SEQUENCE PLAY

Press [ENTER].

Select the playlist.

“Empty”: no songs in list

List1:Empty Total 00:00:00:000

Number of registered projects shown

List1:2Songs Total 00:03:16:186

Number of projectsPlaylist number

Total playback time of list

Display during playback

NO.003:PRJ003 00 02:18:017

Playlist number Elapsed playback time

Playback stops at the end of the ﬁnal project.

Press [PLAY].

Change

Project name

Select

list

Edit a playlist

PROJECT>SEQUENCE PLAY>EDIT

Press [

Select .

>EDIT

List1:2Songs >EDIT

Press [ENTER].

Select the ﬁrst project

(or the project to change).

The end of the project list or no projects registered

Track1 End of List

Project number you want to register

No.001:PRJ001 003:00:047 1/1

Project: playback length

End of list display

Project name you want to register.

Selected track number

Change menu

Change

project

Total number of tracks

HINT

Audio tracks assigned to the current list play back.

Button operation during playback

Playback from the top of the current project

Stop playback and return to the top of the present project

Start playback from the top of the ﬁrst project in the list

Stop playback and start playback from the top of the next project in the list

Stop playback and start playback from the top of the previous project in the list

Select and register more projects.

Track2 End of List

No.002:PRJ002 004:00:01 2/2

Press [EXIT].

Change track

Remove a project from a list

Select a project to remove.

No.002 : PRJ002 004:00:01 3/5

Press [

No.002:PRJ002

INSERT [DELETE]

Select .

DELETE

Press [ENTER].

No.002:PRJ002 004:00:01 3/4

Insert a project into a list

Project >Sequence play

Delete a Playlist

PROJECT>SEQUENCE PLAY>DELETE

Press [

List1:2Songs >EDIT

Change track

Change

project

Change item

Select .

>DELETE

List1:2Songs >DELETE

Press [ENTER].

Change menu

Delete.

List1:2Songs Delete?

Press [ENTER].

Select the track to insert to.

No010:PRJ010 002:14:58 4/5

Press [

Select .

INSERT

Track5 [INSERT] DELETE

Press [ENTER].

No.010:PRJ010 002:14:58 4/6

Selected project is inserted

Change track

Change

project

Change item

NOTE

• If a master track or the le assigned to the master

track is deleted, the playlist will become empty.

• Set the master track to the recording that you

want to hear when you register a project in a playlist.

• To change the les of registered projects, change

the master tracks and edit the playlist.

• The maximum number of playlists is 10, and each

playlist can have a maximum of 99 registered projects.

• To register a project, the master track must have a

recorded ﬁle with a length of at least 4 seconds.

Ref. : Master Track setting

P.4 6

System

Recording format bit rate setting

Usually CDs are recorded in 16-bit, 44.1 kHz format, but with the R16 you can also use higher

Project>Rec setting>Bit length

quality 24-bit recording.

Setting and changing the bit rate

PROJECT>REC SETTING>BIT RATE

Press [PROJECT].

Select .

>REC SETTING

PROJECT >REC SETTING

Press [ENTER].

Select

>BIT LENGTH

REC SETTING >BIT LENGTH

Press [ENTER].

Select bit number.

BIT LENGTH 16bit

Press [ENTER].

Change

16bit – 24bit

HINT

• If you are overwriting a recording, you cannot

change this.

• This setting is stored for each project.

• The initial setting is 16bit.

• If you use 44.1 kHz/24-bit, you will have to convert

to 16-bit to create an audio CD.

System

Adjusting the display

You can adjust the backlight and contrast.

Turning the backlight On/Off

TOOL>SYSTEM>LCD>LIGHT

Press [TOOL].

TOOL >TUNER

Select .

>SYSTEM

TOOL >SYSTEM

Press [ENTER].

Select .

>LCD

SYSTEM >LCD

Press [ENTER].

Select .

>LIGHT

LCD >LIGHT

Change

Adjusting the contrast

TOOL>SYSTEM>LCD>CONTRAST

Press [TOOL].

TOOL >TUNER

Select .

>SYSTEM

TOOL >SYSTEM

Press [ENTER].

Select .

>LCD

SYSTEM >LCD

Press [ENTER].

Select .

>CONTRAST

LCD >CONTRAST

Change

Tool>System>LCD>Light/Contrast

Press [ENTER].

Select .

ON/OFF

LIGHT On

Press [ENTER].

Backlight on (default setting)

Off

Backlight off

Tur n On/Off

HINT

Turn the back light off to conserve the batteries.

Select a number.

CONTRAST:3

Press [ENTER].

Change number

Press [ENTER].

SD card

Changing the SD card while the power is on

You can change the SD card with the power on. You might need to change an SD card when using the

Tool>SD card>Exchange

R16 if the remaining capacity of the inserted card becomes low, or when you need to import data from a previously recorded SD card.

Press [TOOL].

Load the SD card to use in the R16

SD CARD DATA>LOAD

Select .

>SD CARD

TOOL >SD CARD

Press [ENTER].

Select .

>EXCHANGE

SD CARD >EXCHANGE

Press [ENTER].

Remove SD CARD

Eject SD card.

Insert SD CARD

Insert another SD card.

SD CARD Format?

SD card is new and not formatted for the R16.

SD CARD DATA [LOAD] SAVE

SD card formatted for R16.

Format the SD card for use.

SD CARD Format?

Press [ENTER].

Change

Card removal possible

SD card formatted for the R16

Select .

Save current R16 project to the SD card

SD CARD DATA>SAVE

SD card formatted for the R16

[LOAD]

SD CARD DATA [LOAD] SAVE

Press [ENTER].

Load a project on the card.

SD CARD Load?

Press [ENTER].

The lowest-numbered project on the inserted SD card is loaded.

Select .

[SAVE]

SD CARD DATA LOAD [SAVE]

Press [ENTER].

Select the project to save to.

Save to No.011:PRJ011

Save destination project number: name

Press [ENTER].

Save the current project.

Save to No.011 Save?

Press [ENTER].

Change

SD card

Formatting SD cards and verifying card capacities

You can format SD cards for use with the R16, deleting all the data on it, and check SD card capacity (remaining space).

Tool>SD card>Format/Remain

Format SD card and delete all data

TOOL>SD CARD>FORMAT

1 2

Press [TOOL].

Select .

>SD CARD

TOOL >SD CARD

Press [ENTER].

Select .

>FORMAT

SD CARD >FORMAT

Press [ENTER].

Change

Execute.

SD CARD Format?

Press [ENTER].

NOTE

• If you insert an SD card that has not been

formatted for use with the R16, the “FORMAT” menu opens automatically.

• If you format an SD card, all its data will be

permanently erased.

• When you format an SD card, all data on the card

will be deleted, and folders and ﬁles exclusively for R16 use will be created.

Data structure of R16 SD cards

PROJ000

PRJDATA.ZID EFXDATA.ZID AUDIO

SYS

ZOOM.ZDT

Verify SD card remaining capacity

TOOL>SD CARD>REMAIN

1 2

Press [TOOL].

Select .

>SD CARD

TOOL >SD CARD

Press [ENTER].

Select .

>REMAIN

SD CARD >REMAIN

Press [ENTER].

SD CARD REMAIN 054:06:00/15317.7MB

Remaining recording time for the current recording format

Remaining capacity of the card

Change

NOTE

• If the remaining capacity of an SD card is less

than the amount of recording data, recording will fail. Change the card before you run out of space.

Ref. : Importing data from USB memory to an SD card : Saving data from an SD card to USB memory

: Operation without an SD card

P.76

P.12

NOTE

• Release the write-protection lock of the SD card

before inserting it.

• [SAVE] includes various data for the project in

use, but no audio data is saved.

HINT

• Insert an unformatted SD card and execute when “Format?” appears. Then options to [SAVE] and

[LOAD] the present project will follow.

System

Conﬁrming the version & setting the battery type

You can conﬁrm the current version of the system software. If you set the battery type, the remaining

Tool>System>System version/Battery type

battery charge will be displayed more accurately.

Conﬁrming the system version

TOOL>SYSTEM>SYSTEM VERSION

Press [TOOL].

TOOL >TUNER

Select .

>SYSTEM

TOOL >SYSTEM

Press [ENTER].

SYSTEM >LCD

Select .

>VERSION

SYSTEM >VERSION

Press [ENTER].

Select the type of information.

SYSTEM

ZOOM R16 SYSTEM Ver:1.00

Ver

SUB

ZOOM R16 SUB SYSTEM Ver:1.00

Ver

Current system version

Current sub-system version

Change

Set the type of batteries

TOOL>SYSTEM>BATTERY TYPE

Press [TOOL].

TOOL >TUNER

Select .

>SYSTEM

TOOL >SYSTEM

Press [ENTER].

SYSTEM >LCD

Select .

>BATTERY TYPE

SYSTEM >BATTERY TYPE

Press [ENTER].

BATTERY TYPE ALKALINE

Type of battery set

Press [ENTER].

ALKALINE

Ni-MH

Default value: ALKALINE

Alkaline batteries Nickel-metal hydride batteries

Change

Change type

BOOT

SYSTEM

ZOOM R16 BOOT SYSTEM Ver:1.00

Ver

Current boot system version

HINT

You can check for up-to-date system software information at the ZOOM WEB site: www.zoom.co.jp.

NOTE

Please use only either alkaline or nickel-metal hydride batteries.

USB

Computer connection

Use USB to connect an R16 to a computer (Windows or Macintosh OS) .

By connecting this unit to a computer, you can use it as an SD card reader, an audio interface for sound input and output and a control surface to control DAW software.

NOTE

• To import an audio ﬁle into the R16, its format must

be WAV with a sampling frequency of 44.1 kHz and a bit rate of 16 or 24.

• File names should use only capital letters, numbers

and the "_" (underscore). They should be 8 or fewer characters plus the “.WAV” extension.

• You can connect the R16 and a computer by USB

when the power is on. If you connect the R16 by USB when its [POWER] switch is OFF, you can start it up with power supplied over USB.

• When you are using the R16 as a card reader

or as an audio interface, you cannot use it as a recorder.

Computer connection

HINT

• Card reader OS compatibility

Windows: Windows XP and later Macintosh: Mac OS x 10.2 and later

• Project data is saved to the ROOT DIRECTORY of

the SD card as PROJxxx (xxx is the project number) and audio data is saved as “WAV” files inside “AUDIO” in the project directory.

• The MASTER track and stereo tracks are stereo

WAV ﬁles.

For details about use with a computer, refer to the detailed manual (PDF) on the CD-ROM included with the R16.

USB

Card reader

You can access the R16 SD card through a computer to backup, read and import various data, projects and ﬁles.

USB>Card reader

Using as an SD card reader

USB>CARD READER

Connect the R16 with a computer

by USB (DEVICE JACK).

2 3

Press [USB].

Select .

>CARD READER

USB >CARD READER

Press [ENTER].

Change

Execute.

CARD READER Enter?

Press [ENTER].

Operating the R16 from a computer.

To computer

Back up project data on an SD card to a computer.

From computer

Import to an SD card from a backup of audio and computer data.

Disconnecting

To properly disconnect the R16

from your computer, follow your operating system's procedure for removing hardware.

Press to disconnect the R16 as a card reader.

NOTE

• To import an audio file into the R16, its format

must be WAV with a sampling frequency of 44.1 kHz and a bit rate of 16 or 24.

•

File names should use only capital letters, numbers and the "_" (underscore). They should be 8 or fewer characters plus the “.WAV” extension.

HINT

• Card reader OS compatibility

Windows: Windows XP and later Macintosh: Mac OS x 10.2 and later

• Project data is saved to the ROOT DIRECTORY of

the SD card as PROJxxx (xxx is the project number) and audio data is saved as “WAV” files inside “AUDIO” in the project directory.

• The MASTER track and stereo tracks are stereo

WAV ﬁles.

• To import WAV les from a computer, copy them

to the “AUDIO” folder in the “PROxxx” project folder (xxx=project number) where you want to use them. Use the R16 to assign the files to tracks.

•

You can connect the R16 to a computer by USB when the power is on.

• If you connect the R16 by USB when its [POWER]

switch is OFF, you can start it up with power supplied over USB.

Ref. : Assign to tracks

P.2 3

For details about use with a computer, refer to the detailed manual (PDF) on the CD-ROM included with the R16.

USB

Using USB memory to save and import data

By connecting USB memory directly to the R16, you can save and import ﬁles. This is convenient for exchanging ﬁles with band members.

Saving to USB memory

USB>USB STRAGE>SAVE

Connect the USB memory to the

USB Host Jack of the R16.

2 3

Press [USB].

Select .

>USB STRAGE

USB >USB STRAGE

Press [ENTER].

Select .

>SAVE

USB STRAGE >SAVE

Press [ENTER].

Select project with data to save.

DATA SAVE No.001:PRJ001

Press [ENTER].

Select a ﬁle.

Select File LEADGTR.WAV

Press [ENTER].

Select the data to save.

DATA SAVE LEADGTR.WAV

Press [ENTER].

Change the name of the ﬁle to be saved.

Save the ﬁle.

ACOGTR.WAV Save?

Press [ENTER].

Change

project

Change

project

Change ﬁle

Importing from USB MEMORY

USB>USB STRAGE>LOAD

Connect USB MEMORY to the

USB Host Jack of the R16.

2 3

Press [USB].

Select .

>USB STRAGE

USB >USB STRAGE

Press [ENTER].

Select .

>LOAD

USB STRAGE >LOAD

Press [ENTER].

Select the folder.

Select File Folder:WAVFILES

Appears if there is a folder.

Press [ENTER].

Select a ﬁle.

Select File DR_LOOP.WAV

Press [ENTER].

Select a ﬁle.

Save to No.001:PRJ001

Press [ENTER].

Load the ﬁle.

DR_LOOP.WAV Load?

Press [ENTER].

Change

Change folders

and ﬁles

Change folders

and ﬁles

Change ﬁle

USB>USB strage

NOTE

•

Never remove the USB memory when sending and receiving data. Disconnect after the “Saving” or “Loading” display is gone.

• During USB storage use, no recording is possible.

• When saving on USB memory, the saved data is stored at the top level of the le structure.

USB

Audio interface/control surface

Connect the R16 by USB to a computer to use it as a controller and as an audio interface with DAW

Interface/controller

software.

Connecting the R16 as an audio interface/control surface

1. Audio interface mode

By using the R16 as an interface between a computer and other audio equipment and instruments, you can record and edit audio signals with DAW software. You can also connect instruments that require Hi-Z or phantom power.

2. Control surface mode

Using the faders and keys on the R16, you can control transport and mixer operations in your DAW software.

1 2

Install DAW software

Install driver

ZOOM R16 audio driver

Connecting the R16 with a computer for the ﬁrst time

Install ZOOM R16 USB Audio

drivers on the computer.

Connect the R16 to the computer.

Set and connect the R16

Set DAW software.

Device settings

Control surface settings

Connect R16 to computer

AUDIO INTERFACE

Set DAW software

Set device

ZOOM R16 audio driver

Control surface settings

Mackie Control

NOTE

• To use the R16 as an audio interface for DAW

software (for example, Cubase LE 4) it is necessary to install the ZOOM R16 USB audio driver. Install it correctly according the included installation guide.

• Please download the latest version of the ZOOM

R16 USB audio driver from our home page, http:// www.zoom.co.jp.

Connecting and setting the R16

Follow these procedures from the second time connecting

Press [USB].

Disconnecting

Press [USB].

Interface/controller

Select .

>AUDIO INTERFACE

USB >AUDIO INTERFACE

Press [ENTER].

Conﬁrm.

AUDIO INTERFACE Enter?

Press [ENTER].

Select whether to use previous settings.

SETTING? [CONTINUE] RESET

Press [ENTER].

Connect USB cable to R16.

Sample Rate=48.0kHz

s :Solo

[DEVICE] USB indicator lights

AUDIO INTERFACE icon blinks.

Connect USB cable to the

computer.

AUDIO INTERFACE icon lights after connection

Change

Disconnect.

AUDIO INTERFACE Terminate?

Press [ENTER].

Unplug the USB cable.

NOTE

You can use the settings and values of the last project in a new one or reset them to the defaults

Data transferred with CONTINUE

• INSERT EFFECT settings

• SEND RETURN EFFECT settings

• Track parameter settings

• TUNER settings

RESET

Default settings for each item

NOTE

• Before you unplug the USB cable when

disconnecting from a computer, follow the proper procedures for the computer OS to disconnect the device ﬁrst.

• After step 2 of "Disconnecting" above, unplug

the USB cable only after “AUDIO INTERFACE” disappears from the R16 display.

• Even without power from the R16 (adapter or

batteries), you can start-up with just USB bus power when using the audio interface/control surface functions.

• We strongly recommend that you always keep

the R16 system software up-to-date. If you use an R16 running an old system, a computer might not recognize it.

Connection complete

R16 effect types and parameters 1

R16 effect types and parameters

Effect parameters

Insert effect

CLEAN, DISTORTION, ACO/BASS SIM algorithms

COMP/LIMITER module

Type Parameters/Descriptions

Compressor

Rack Comp

Limiter

Parameter descriptions

Parameter

name

Sense 0~10

Attack

Tone 0~10

Level 2~100

Threshold 0~50

Ratio 1~10

Release 1~10

EFX module

Type Parameters/Descriptions

Auto Wah

Tremolo

Phaser

Ring

Modulator

Slow Attack

Fix-Wah

Parameter descriptions

Parameter

name

Position

Sense

Resonance

Level

Depth

Rate

Wave

Color

Frequency

Balance

Time

Curve

Dry Mix

RTM Mode

RTM Wave

RTM Sync

Sense Attack Tone Level

MXR Dynacomp type compressor.

Threshold Ratio Attack Level

Compressor with more detailed adjustments.

Threshold Ratio Release Level

Limiter for suppressing signal peaks above a certain level.

Setting range Description

Compressor: Fast, Slow

Rack Comp: 1~10

Position Sense Resonance Level

Auto wah dependent on dynamics of input signal.

Depth Rate Wa ve Level

Periodically varies the volume level.

Position Rate Color Level

Produces a swooshing sound.

Position Frequency Balance Level

Produces a metallic ringing sound. Adjusting the Frequency parameter results in a drastic change of sound character.

Position Time Curve Level

Slows down the attack rate of the sound.

Position Frequency Dry Mix Level RTM Mode RTM Wave RTM Sync

Changes the wah frequency according to rhythm tempo.

Setting range Description

Before, After Sets connection position of EFX module to “before” or “after” preamp.

−10~−1, 1~10 Adjusts auto wah sensitivity. 0~10 Adjusts resonance intensity.

2~100 Adjusts signal level after passing module. 0~100 Adjusts modulation depth.

0~50

(P86 Table1) Adjusts modulation rate. Can be set in rhythm tempo note units.

Up 0~9, Down 0~9, Tri 0~9

4Stage, 8State, Invert4, Invert8 Selects sound type.

Ring Modulator: 1~50 Adjusts frequency used for modulation.

Fix-Wah: 1~50 Adjusts wah center frequency.

0~100 Adjusts balance between original sound and effect sound.

1~50 Adjusts rise time for sound. 0~10 Adjusts volume rise curve. 0~10 Adjusts original sound mix ratio.

P86 Table 2 Adjusts change range and direction. P86 Table 3 Selects control waveform.

(P86 Table 4) Adjusts control frequency.

Adjusts compressor sensitivity. Selects compressor response speed. Adjusts compressor response speed. Adjusts tonal quality. Adjusts signal level after passing module. Adjusts threshold for compressor/limiter action. Adjusts compressor/limiter compression ratio. Adjusts delay until compressor/limiter release from point where signal

level falls below threshold level.

Sets modulation waveform to “Up” (rising sawtooth), “Down” (falling sawtooth), or “Tri” (triangular). Higher values result in stronger clipping, emphasizing the effect.

R16 effect types and parameters 2

PREAMP module

Type Parameters/Descriptions FD Clean

VX Clean

JC Clean

HW Clean

UK Blues

US Blues

TweedBass

BG Crunch

MS #1959

MS Drive

Rect Vnt

HK Drive

DZ Drive

ENGL Drive

PV Drive

TS+FD CMB

SD+MS STK

FZ+MS STK

Acoustic Sim

Aco_Ere Pre

Bass Sim

Parameter description

Parameter

name

Cabinet

Level

Body

Color

3Band EQ module

3Band EQ

Parameter description

Parameter

name

Middle

Treble

Level

MOD/DELAY module

Chorus

Ensemble

Flanger

Pitch

Clean sound of Fender Twin Reverb ('65 model) favored by guitarists of many music styles.

Clean sound of combo amp VOX AC-30 operating in class A.

Clean sound of Roland JC series with built-in chorus which gives a broad, clear tone.

Clean sound of legendary all-tube Hiwatt Custom 100 from Britain.

Crunch sound of 30-watt combo amp Marshall 1962 Bluesbreaker.

Crunch sound of Fender Tweed Deluxe '53.

Crunch sound of Fender Bassman, a bass amp with a strong presence. Crunch sound of Mesa Boogie MkIII combo amp. Crunch sound of legendary Marshall 1959.

High gain sound of Marshall JCM2000 stack amp.

High gain sound of Mesa Boogie Dual Rectiﬁer red channel (vintage mode). High gain sound of Hughes & Kettner ﬂagship model Triamp MKII. High gain sound of the Diezel Herbert hand-made German guitar amp with three separately controllable channels. Drive sound of ENGL Ritchie Blackmore Signature 100. High gain sound of Peavey 5150 developed in cooperation with a world-famous hard rock guitarist. Combination of Fender combo amp and Ibanez TS-9 sound. Combination of Marshall stack amp and Boss SD-1 sound. Combination of Fuzz Face and Marshall stack amp sound.

Gain Tone Cabinet Level

FD Clean - FZ+MS STK have the same parameters.

This effect makes an electric guitar sound like an acoustic guitar.

This is a dedicated preamp for electroacoustic guitar.

This effect makes an electric guitar sound like a bass guitar.

Gain

Tone

Top

Type Parameter/Description

This is a 3-band equalizer.

Bass

Type Parameters/Descriptions

Mixes a variable pitch-shifted component with the original signal, resulting in a full-bodied resonating sound.

Chorus ensemble with three-dimensional movement.

Produces a resonating and strongly undulating sound.

Shifts the pitch up or down.

Top Body Level

Color Tone Level

Tone Level

Setting range Description

0~100 Adjusts preamp gain (distortion intensity).

0~30 Adjusts tonal quality.

0~2 Adjusts speaker cabinet sound intensity.

1~100 Adjusts signal level after passing module.

0~10 Adjusts characteristic acoustic guitar string resonance. 0~10 Adjusts characteristic acoustic guitar body resonance.

1~4 Adjusts characteristics of dedicated electroacoustic guitar preamp.

Bass Middle Treble Level

Setting range Description

−12dB~12dB Adjusts low frequency boost/cut.

−12dB~12dB Adjusts mid frequency boost/cut.

−12dB~12dB Adjusts high frequency boost/cut. 2~100 Adjusts signal level after passing module.

Depth Rate Tone Mix

Depth Rate Resonance Manual

Shift Tone Fine Balance

R16 effect types and parameters

R16 effect types and parameters 3

R16 effect types and parameters

Vibe

Step

Cry

Exciter

Air

Delay

Analog Delay

Reverse Delay

ARRM Pitch

Parameter descriptions

Parameter

name

Depth

Rate

Tone

Mix

Resonance

Manual

Shift

Fine

Balance

Shape

Range

Sense

Frequency

Low Boost

Size

Reﬂex

Time

Wet Level

Dry Level

Feedback

Hi Damp

Type

RTM Wave

RTM Sync

Depth Rate Tone Balance

Effect with automatic vibrato.

Depth Rate Resonance Shape

Special effect that changes the sound in a staircase pattern.

Range Resonance Sense Balance

Varies the sound like a talking modulator.

Frequency Depth Low Boost

Enhances the sound outline, making it more prominent.

Recreates the airy ambience of a room, with a feeling of depth.

Delay effect with a maximum setting of 2000 ms.

Delay effect with a maximum setting of 2000 ms. Simulates the warm sound of an analog delay.

Reverse delay effect with a maximum setting of 1000 ms.

Changes the pitch of the original sound in time with the tempo of a rhythm.

Size Reﬂex Tone Mix

Time Feedback Hi Damp Mix

Time Feedback Hi Damp Balance

Type Tone RTM Wave RTM Sync

Setting range Description

Exciter: 0~30 Adjusts effect depth.

All others: 0~100 Adjusts modulation depth.

Chorus, Ensemble: 1~50 Adjusts modulation rate.

Flanger, Vibe, Step: 0~50 (P.86 Table1)

0~10 Adjusts tonal quality.

0~100 Adjusts mix ratio of effect sound to original sound.

Flanger: −10~10

Step, Cry: 0~10 Adjusts effect intensity.

0~100 Adjusts frequency range of effect.

−12~12, 24 Adjusts pitch shift amount in semitone units.

−25~25 Adjusts pitch shift amount in cent (1/100 semitone) units. 0~100 Adjusts balance between original sound and effect sound.

0~10 Adjusts effect sound envelope. 1~10 Adjusts frequency range of effect.

−10~−1, 1~10 Adjusts effect sensitivity. 1~5 Adjusts frequency of effect.

0~10 Adjusts low frequency boost.

1~100 Adjusts size of simulated space.

0~10 Adjusts amount of wall reﬂections.

Wide: 1~64

Delay, Analog Delay:1~2000ms (P.86 Table1)

Reverse Delay: 10~1000ms (P.86 Table1)

0~30 Adjusts effect sound level. 0~30 Adjusts original sound level.

0~100 Adjusts feedback amount.

0~10 Adjusts intensity of delay sound high range damping.

P.86 Table 5 Selects pitch change type. P.86 Table 3 Selects control waveform. P.86 Table 4 Selects control waveform cycle.

Adjusts modulation rate. Using a rhythm tempo as reference, setting in note units is also possible.

Adjusts resonance intensity. Negative values result in reversed phase of effect sound.

Adjusts delay time.

ZNR module

Parameter description

Type Parameter/Description

ZNR

Parameter

name

Threshold

ZOOM original noise reduction for reducing noise during playing pauses without affecting the overall tone.

Setting range Description

Off, 1~30

Adjusts ZNR sensitivity. For maximum noise reduction, set value as high as possible without causing the sound to decay unnaturally.

R16 effect types and parameters 4

BASS algorithm

COMP/LIMITER module

Type Parameters/Descriptions

Rack Comp

Limiter

EFX module

Auto Wah

Tremolo

Phaser

Modulator

Slow Attack

Fix-Wah

Parameter descriptions

Parameter

name

Position

Sense

Resonance

Dry Mix

Level

PREAMP module

Bassman

Hartke

Super Bass

SANSAMP

Tube Preamp

Parameter descriptions

Parameter

name

Cabinet

Balance

Level

3Band EQ module

3Band EQ

MOD/DELAY module

Chorus Ensemble Flanger Pitch Vibe Step Cry Exciter Air Delay Analog Delay Reverse Delay ARRM Pitch

ZNR module

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Type Parameters/Descriptions

Ring

Type Parameters/Descriptions

SVT

Gain

Tone

Type Parameters/Descriptions

ZNR

Position Sense Resonance Dry Mix Level

This effect varies the wah action according to the intensity of the input signal.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Setting range Description

Before, After

−10~−1.1~10 Adjusts auto wah sensitivity. 0~10 Adjusts resonance intensity. 0~10 Adjusts original sound mix ratio.

2~100 Adjusts signal level after passing module.

Simulation of Ampeg SVT sound. Simulation of Fender Bassman sound.

Simulation of Hartke HA3500 sound.

Simulation of Marshall Super Bass sound. Simulation of Sansamp Bass Driver DI sound. ZOOM original tube preampliﬁer sound.

Gain Tone Cabinet Balance Level

All PREAMP modules have the same parameters.

Setting range Description

0~100 Adjusts preamp gain (distortion depth).

0~30 Adjusts tonal quality.

0~2 Adjusts intensity of speaker cabinet sound. 0~100 Adjusts mix balance of signal before and after module. 1~100 Adjusts signal level after passing module.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Sets insert position of EFX module to “Before” (before PREAMP) or “After” (after PREAMP).

R16 effect types and parameters

R16 effect types and parameters 5

R16 effect types and parameters

MIC algorithm

COMP/LIMITER module

Type Parameters/Descriptions

Rack Comp

Limiter

EFX module

Tremolo

Phaser

Ring Modulator

Slow Attack

Fix-Wah

MIC PRE module

Mic Pre

Parameter descriptions

Parameter

De-Esser

Low Cut

3BAND EQ module

3Band EQ

MOD/DELAY module

Chorus Ensemble Flanger Pitch Vibe Step Cry Exciter Air Delay Analog Delay Reverse Delay ARRM Pitch

ZNR module

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Type Parameters/Descriptions

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Type Parameters/Description

name

Type

Tone

Level

Type Parameters/Description

Type Parameters/Descriptions

Type Parameters/Description ZNR

Type Tone Level De-Esser Low Cut

This is a preampliﬁer for using an external microphone.

Setting range Description

Vocal, AcousticGt, Flat Selects preamp characteristics.

0~10 Adjusts tonal quality.

1~100 Adjusts signal level after passing module.

Off, 1~10 Controls the de-esser setting.

Off, 80~240Hz

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithm

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Controls a filter for reducing low frequency noise often picked up during mic recording.

DUAL MIC algorithm

COMP/LIMITER L module

Compressor L

Limiter L

Parameter descriptions

Parameter

name

Threshold

Ratio

Type Parameters/Descriptions

Threshold Ratio Attack Level

Compressor for attenuating high-level signals and boosting low-level signals.

Threshold Ratio Release Level

Limiter for attenuating high-level signals that exceed a certain threshold.

Setting range Description

−24~0 Adjusts threshold level of compressor/limiter.

Compressor: 1~26

Limiter: 1~54, ∞

Adjusts compression ratio of compressor/limiter.

R16 effect types and parameters 6

Attack

Level

Release

MIC PREAMP L module

Type Parameters/Description

Mic Pre L

3BAND EQ L module

3Band EQ L

DELAY L module

Delay L

Echo L

Doubling L

Parameter descriptions

Parameter

name

Feedback

COMP/LIMITER R module

Compressor R

Limiter R

MIC PREAMP R module

Mic Pre R

3BAND EQ R module

3Band EQ R

DELAY R module

Delay R

Echo R

Doubling R

ZNR module

For an explanation of types and parameters, see MIC algorithm.

Type Parameters/Description

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Type Parameters/Description

Delay effect with a maximum setting of 2000 ms.

Warm delay effect with a maximum setting of 2000 ms.

Doubling effect which creates body by adding a short delay.

Time

Tone

Mix

Type Parameters/Description

Type Parameters/Descriptions

Type Parameters/Description

ZNR

Delay L, Echo L: 1~2000ms (P.89 Table 1)

For an explanation of types and parameters, see COMP LIMITER L module.

For an explanation of types and parameters, see MIC algorithm.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

For an explanation of types and parameters, see DELAY L module.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

0~10 Adjusts attack rate of compressor.

2~100 Adjusts module output level.

0~10

Time Feedback Mix

Time Tone Mix

Setting range Description

Doubling L: 1~100ms

0~100 Adjusts feedback amount.

0~10 Adjusts tonal quality.

0~100 Adjusts mix ratio of effect sound to original sound.

Adjusts speed of limiter release after signal falls below threshold level.

Adjusts delay time.

R16 effect types and parameters

STEREO algorithm

COMP/LIMITER module

Type Parameters/Descriptions

Compressor

Limiter

Lo-Fi

Parameter description

Parameter

name

Character

Color

Distortion

For an explanation of types and parameters, see DUAL MIC algorithm.

Character Color Distortion Tone EFX Level Dry Level

Lo-ﬁ effect purposely degrades sound quality.

Setting range Description

0~10 Adjusts ﬁlter characteristics. 1~10 Adjusts sound color. 0~10 Adjusts distortion.

R16 effect types and parameters 7

R16 effect types and parameters

Tone

EFX Level

Dry Level

ISO/MIC MODEL module

Type Parameters/Descriptions

Isolator

Mic Modeling

Parameter descriptions

Parameter

name

Xover Lo

Xover Hi

Mix High

Mix Mid

Mix Low

Mic Type

3BAND EQ module

Type Parameters/Description

3Band EQ

MOD/DELAY module

Type Parameters/Descriptions

Chorus

Flanger

Phaser

Tremolo

Auto Pan

Pitch

Ring

Modulator

Delay

Echo

Doubling

Dimension

Resonance

Parameter descriptions

Parameter

name

Depth

Resonance

Color

LFO Shift

Width

Xover Lo Xover Hi Mix High Mix Mid Mix Low

Divides the signal into three frequency bands and allows individual adjustment of the mixing ratio for each band.

Mic Type

Changes the character of the built-in microphones.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Mixes a variable pitch-shifted component with the original sound, resulting in full-bodied resonating tone.

Produces a resonating and strongly undulating sound.

Produces a swooshing sound.

Periodically varies the volume level.

Shifts the panning position of the sound between left and right.

This effect shifts the pitch up or down.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Delay effect with a maximum setting of 2000 ms.

Warm delay effect with a maximum setting of 2000 ms.

Doubling effect which creates body by adding a short delay.

Effect producing spatial expansion.

Depth Freq Offset Rate Filter Type Resonance EFX Level Dry Level

Resonance ﬁlter with LFO.

4Stage ,8Stage, Invert4, Invert8 Selects sound type.

0~10 Adjusts tonal quality. 0~100 Adjusts effect sound level. 0~100 Adjusts original sound level.

Setting range Description

50Hz~16kHz Adjusts low-to-mid crossover frequency. 50Hz~16kHz Adjusts mid-to-high crossover frequency.

Off, −24~6 Adjusts high range mix level. Off, −24~6 Adjusts mid range mix level. Off, −24~6 Adjusts low range mix level.

SM57

MD421

U87

C414

Depth Rate Mix

Depth Rate Resonance

Rate Color LFO Shift

Depth Rate Clip

Width Rate Clip

Shift Tone Fine Balance

Time Feedback Mix

Time Tone Mix

Rise1 Rise2

Setting range Description

0~100 Adjusts modulation depth.

−10~10

0~180 Adjusts left/right phase shift.

0~10 Adjusts auto pan width.

Simulation of SM57 mic suitable for recording of various analog instruments as well as guitars.

Simulation of MD421 professional standard mic indispensable for broadcasting, recording and live applications

Simulation of U87, a standard condenser type microphone used in studios worldwide.

Simulation of C414, a famous microphone highly trusted in recording situations.

Adjusts resonance intensity. Negative values result in reversed phase for the effect sound.

R16 effect types and parameters 8

Rate

Clip

Shift

Time

Feedback

Mix

Tone

Fine

Balance

Rise1

Rise2

Freq Offset

Filter Type

Resonance

EFX Level

Dry Level

ZNR module

Type Parameters/Description ZNR

Parameters marked with

Table 1

The note durations for the setting values are shown below.

Thirty-second note Sixteenth note Quarter triplet note

NOTE

• The note range actually available depends on the parameter.

• Depending on the combination of tempo setting and selected note symbol, the parameter setting range could be exceeded. In such a

case, the value is automatically halved (or set to 1/4 if the range is still exceeded).

Table 2

Setting value Description

Off

Frequency does not change.

Down

Table 3

Setting

value

Up Saw

Up Fin

DownSaw

DownFin

Table 5

Setting

value

Frequency changes from minimum to maximum according to the controlling waveform. Frequency changes from maximum to minimum according to the controlling waveform.

Frequency changes from patch setting to maximum according to the controlling waveform.

Frequency changes from minimum to patch setting according to the controlling waveform.

Description

Rising sawtooth wave

Rising ﬁn wave

Falling sawtooth wave

Falling ﬁn wave

1 semitone lower — original sound

Original sound — 1 semitone lower

Doubling — detune + original sound

Detune + original sound — doubling

Original sound — 1 octave higher

1 octave higher — original sound

Original sound — 2 octaves lower

2 octaves lower — original sound

1 octave lower + original sound — 1 octave higher + original sound

0~50

(P.86 Table 1)

0~10 Adds emphasis by clipping the modulation waveform.

−12~12,24

Delay, Echo: 1~2000ms

Doubling: 1~100ms

HPF, LPF, BPF Selects ﬁlter type.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Setting

value

TrixTri

Square

Description

(P.86 Table 1)

0~100 Adjusts feedback amount. 0~100 Adjusts mix ratio of effect sound to original sound.

0~10 Adjusts tonal quality.

−25~25 Adjust pitch shift amount in cent (1/100 semitone) units. 0~100 Adjust balance between original sound and effect sound.

0~30 Adjusts stereo component intensity. 0~30 Adjusts mono component intensity. 1~30 Adjusts LFO offset.

1~30 Adjusts resonance intensity. 0~100 Adjusts effect sound level. 0~100 Adjusts original sound level.

allow selection of a setting value in note units, using the song/pattern tempo as reference.

Dotted sixteenth note Eighth note Half triplet note

Description

Tri

Triangular wave

Squared triangular wave

Sine

Sine wave Square wave

Adjusts modulation rate. Using the rhythm tempo as reference, setting in note units is also possible.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Adjusts delay time.

Dotted eighth note Quarter note x 2 Quarter note Dotted quarter note Quarter note x 20

Table 4

Setting

value

Setting

value

Description

Eighth note Quarter note Half note Dotted half note

1 octave higher + original sound — 1 octave lower + original sound

Complete fifth down + original sound — complete fourth up + original sound

Complete fourth up + original sound — complete ﬁfth down + original sound

0 Hz + original sound — 1 octave up 1 octave up — 0 Hz + original sound 0 Hz + original sound — 1 octave up + original sound 1 octave up + original sound — 0 Hz + original sound

: :

Setting

value

1 bar

2 bars

3 bars

4 bars

Description

1 measure 2 measures

3 measures

4 measures

R16 effect types and parameters

R16 effect types and parameters 9

R16 effect types and parameters

8x Comp EQ algorithm

Modules 1~8

Unit Type Parameter

HPF 1-8 HPF

COMP/LIMITER

1-8

3BAND EQ 1-8 3Band EQ

Parameter description

Parameter

name

Frequency

MASTERING algorithm

COMP/Lo-Fi module

Type Parameter

3Band Comp

Lo-Fi

Parameter descriptions

Parameter

name

Xover Lo

Xover Hi

Sense Hi

Sense Mid

Sense Low

Mix High

Mix Mid

Mix Low

NORMALIZER module

Type Parameter

Normalizer

Parameter description

Parameter

name

Gain

Xover Lo Xover Hi Sense Hi Sense Mid Sense Low Mix High Mix Mid Mix Low

Compressor that divides the signal into three frequency bands and allows individual adjustment of compressor sensitivity and mixing ratio for each band.

For an explanation of types and parameters, see STEREO algorithms.

Adjusts COMP/Lo-Fi module input level.

Rack Comp

Limiter

Setting range Description

80~240Hz Adjusts cutoff frequency.

Setting range Description

50Hz~16kHz Adjusts low-to-mid crossover frequency. 50Hz~16kHz Adjusts mid-to-high crossover frequency.

0~24 Adjusts high range compressor sensitivity. 0~24 Adjusts mid range compressor sensitivity.

0~24 Adjusts low range compressor sensitivity. Off, −24~6 Adjusts high range mixing ratio. Off, −24~6 Adjusts mid range mixing ratio. Off, −24~6 Adjusts low range mixing ratio.

Gain

Setting range Description

−12~12 Adjusts level.

High-pass ﬁlter blocks the low range and passes high frequencies.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

Frequency

3BAND EQ module

Type Parameters/Description

3Band EQ

DIMENSION/RESO module

Type Parameters/Descriptions

Dimension

Resonance

ZNR module

Type Parameters/Description ZNR

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

For an explanation of types and parameters, see STEREO algorithms.

For an explanation of types and parameters, see CLEAN, DISTORTION, ACO/BASS SIM algorithms.

R16 effect types and parameters 10

Send/return effect

CHORUS/DELAY module

Type Parameters/Descriptions

Chorus

Delay

Parameter descriptions

Parameter

name

LFO Type

Depth

Rate

Pre Delay

EFX Level

Rev Send

Time

Feedback

Hi Damp

Pan

REVERB module

Hall

Room

Spring

Plate

Parameter description

Parameter

name

Pre Delay

Decay

EQ High

EQ Low

E.R.Mix

EFX Level

LFO Type Depth Rate Pre Delay EFX Level

Mixes a variable pitch-shifted component with the original sound, resulting in full-bodied resonating tone.

Time Feedback Hi Damp Pan EFX Level Rev Send

Delay effect with a maximum setting of 2000 ms.

Setting range Description

Mono, Stereo

0~100 Adjusts effect depth.

1~50 Adjusts modulation rate. 1~30 Adjusts pre-delay time.

0~100 Adjusts effect sound level.

0~30 Adjusts delay sound reverb send level.

1~2000ms (P.86 Table 1) Adjusts delay time.

0~100 Adjusts feedback amount.

Left10~Left1, Center, Right1~Right10 Adjusts delay sound panning.

Simulates the acoustics of a concert hall. Simulates the acoustics of a room.

Pre Delay Decay EQ High EQ Low E.R.Mix EFX Level

Hall and Room have the same parameters. Simulates a spring reverb. Simulates a plate reverb.

Pre Delay Decay EQ High EQ Low EFX Level

Spring and Plate have the same parameters.

0~10 Adjusts intensity of delay sound high range damping.

Setting range Description

1~100 Adjusts pre-delay time.

1~30 Adjusts reverb time.

−12~6 Adjusts high range effect sound.

−12~6 Adjusts low range effect sound. 0~30 Adjusts mix ratio of initial reﬂections.

0~100 Adjusts effect sound level.

Sets LFO phase to mono or stereo.

Parameters/Descriptions

R16 effect types and parameters

Effect patch list 1

R16 effect patch list

Effect Patch List

Insert effect

CLEAN algorithm

No. Patch name Description

0 Standard

1 Ensemble

2 CompPlus

3 R&Roll

4 CutPhase

5 Hi-WT

6 DlyLead

7 Blues

8 MultiFLG

9 DaDaFunk

10 Tremolo

11 BeatRock

12 Rockably

13 WarmCho

14 Unison

15 Crunch

16 CleanArp

17 CompLead

18 FastRate

19 ClubJazz

20 SlowVibe

21 Ethnic

22 Insect

23-29 Empty

DISTORTION algorithm

No. Patch name Description

0 5-1-5-0

1 MS#1959

2 AnyOD

3 RectiDRV

4 MultiLD

5 Detune

6 UK Blues

7 Fusion

8 AutoWah

9 JB Style

10 Hvy Riff

11 BlueLine

12 Melody

13 TalkTime

14 ArpenCho

15 HK Drive

16 MS Drive

17 Crunch

18 NuanceOD

19 Tremolo

20 ShortDLY

21 Half Wah

22 Jet Riff

23 SmoothLD

24 HR Core

25 ENGL 650

Standard clean sound optimized for line-level equipment.

Transparent sound with ensemble effect.

Universal compressor with a wide range of uses.

Sound tailored for vintage genres such as rock’n’roll.

Phase effect for that great cutting style.

Hiwatt amp tone gets natural distortion from the picking dynamics.

Clean lead patch, characterized by long delays with solid presence.

Choose this for an orthodox blues feel.

Flanger suitable for many uses including arpeggio, cutting, and lead guitar.

Auto wah brings out picking nuances.

Twin reverb with added tremolo for color.

Get into the Merseybeat for rock bands.

Rockabilly sound with effective use of short delay.

Combination of warm tone with deep chorus.

Unison sound with added bass (-12 shift), good for low range phrasing.

Light crunch for rock and pop backing.

Wide ensemble sound that works well with arpeggios and obligato.

Streamlined lead sound with effective compressor action.

Fast phaser turns full chords into a unique lead sound.

Simulates the ambience in a jazz club or a similar live venue.

Slow attack sound for imaginative chord work.

ARRM effect effectively emphasizes open-string phrasing.

Special effect sound of a small insect buzzing.

5150 simulation, great for hard riffs.

British rock sound with airy distortion that comes alive at high volumes.

Overdrive suitable for both lead and backing.

Sound modeled on the Boogie Rectiﬁer.

Versatile lead tone for many applications.

Solid sound with detune effect.

Bluesbreaker with added delay gives fat and smooth sound.

Fusion type sound with a surging deep chorus.

Versatile auto wah for lead or backing.

Octaver sound made famous by Jeff Beck.

Choose this for heavy riffs.

Bluesy sound with a dry character.

Sustain sound for melodious solos.

Talk sound featuring a cry effect. A sense of persistence makes it easy to play.

Chorus effect great for arpeggios.

The full-bodied sound of AMP3 high-gain distortion with added delay.

JCM2000 lead channel simulation. Air effect adds the cabinet touch.

Crunch sound optimized for cutting.

Overdrive sound brings out those ﬁne amp details.

Tremolo sound for arpeggio.

Rock lead sound with short delay.

Midrange-oriented sound with half open wah.

Flanger jet sound.

Smooth and glossy distortion sound.

Punchy hard rock sound.

Simulation of the ENGL E650 favored by Ritchie Blackmore.

Effect patch list 2

26 5thPitch

27 375 DLY

28 PsycheVB

29 D’live

30 NicePick

31 X’over

32 Combo

33 MildTone

34 Bright

35 OLD DLY

36 Tweed

37 BoxBody

38 Big Wave

39 Bottom

40-49 Empty

ACO/BASS SIM algorithm

No. Patch name Description

0 Ensemble

1 Delay LD

2 Chorus

3 FineTune

4 Air Aco

5 Standard

6 CompBass

7 WarmBass

8 Flanging

9 Auto Wah

10-19 Empty

BASS algorithm

No. Patch name Description

0 SVT

1 BASSMAN

2 HARTKE

3 SUPER-B

4 SANS-A

5 TUBE PRE

6 Attack

7 Wah-Solo

8 Talk&Cry

9 Melody

10 SlapJazz

11 Destroy

12 Tremolo

13 SoftSlow

14 Limiter

15 X’over

16 CleanWah

17 Exciter

18 ClubBass

19 DriveWah

20-29 Empty

Synthesizer-like pitch sound with ﬁfth-down for ad-libbing.

Dotted eighth delay at 120 bpm creates a gimmicky sound for solo play.

Psychedelic vibe sound of the sixties as personied by Jimi Hendrix.

Crunch sound with intense live feeling.

Crunch sound controlled by picking.

Slick semi-acoustic sound with overdrive.

Crunch sound in the boogie combo style.

Mild tone emphasizes the low range.

Bright and airy sound.

Lead tone ﬂavored with analog delay.

Tweed amp sound with a clear edge.

Old-style semi-acoustic fusion sound.

Special effect sound using ARRM creates a wave that rolls back to you.

Twang those lower strings with this sound.

Gorgeous sound with deep ensemble effect.

Lively acoustic guitar sound for lead playing.

Chorus sound suitable for everything from rhythm guitar to lead guitar.

Delicate detune creates sonic depth.

Air sound creates a micing effect.

Standard bass sound with many uses.

Bass sound comes alive with compressor and exciter.

Bass sound with warm and round feeling.

Flanging sound covers a lot of ground from 16-beat phrases to melody playing.

Funky bass sound that makes good use of auto wah.

Walk the high road of rock. Great for ﬁnger picking or ﬂatpicking.

Vintage rock sound for any occasion.

Hartke simulation with all the glitz and glitter.

Choose this for guitar unison play and solo play.

Edgy sound with a strong core is a good match for ﬂatpicking.

All-rounder tube sound always comes in handy.

Compression sound effective for slap and ﬂatpick playing.

Solo sound with distortion and a touch of wah. Pitch shift is the secret ingredient.

Typical special effect that makes a cry sound like a talking modulator.

Chorus sound for melody, solo, chord playing and harmonics.

Basic slap sound in the jazz bass style.

Smashing sound mixing distortion, pitch shifting and ring modulator.

A great match for a moody bass line and chord playing.

Melody or solo play tone that is ideal for a fretless bass.

Limiter evens out the sound when using a pick.

Flanger sound for picking, typical of the crossover genre.

Auto wah sound that has a million uses.

Universal sound with a fresh and transparent character.

Play those walking phrases with this sound that simulates the ambience of a small club.

Auto wah sound with variable drive that follows picking dynamics.

R16 effect patch list

MIC algorithm

No. Patch name Description

0 Rec Comp

1 RoomAmbi

2 VocalDly

3 Rock

Conventional preamp + compression sound for recording.

Simulates the acoustics of a radio station broadcast studio.

Delay effect that works best with wet vocals.

Massive compression sound for rock vocals.

Effect patch list 3

R16 effect patch list

4 Long DLY

5 InTheBOX

6 Limiter

7 AG MIC

8 AG Dub

9 12st Cho

10 AG-Jumbo

11 AG-Small

12 AG Lead

13 Live AMB

14 Tunnel

15 Filter

16 BrethCmp

17 Vib MOD

18 Duet Cho

19 Ensemble

20 VocalDub

21 Sweep

22 VoiceFlg

23 PH Voice

24 VibVoice

25 FutureVo

26 M to F

27 F to M

28 WaReWaRe

29 Hangul

30-49 Empty

DUAL MIC algorithm

No. Name Comment Recommended L/R input

0 Vo/Vo 1

1 Vo/Vo 2

2 Vo/Vo 3

3 AG/Vo 1

4 AG/Vo 2

5 AG/Vo 3

6 ShortDLY

7 FatDrum

8 BothTone

9 Condnser

10 DuoAtack

11 Warmth

12 AM Radio

13 Pavilion

14 TV News

15 F-Vo/Pf1

16 JazzDuo1

17 Cntmprry

18 JazzDuo2

19 Ensemble

20 Enhanced

21 Warmy

22 Strum+Vo

23 FatPlus

24 Arp+Vo

25 ClubDuo

26 BigShape

27 FolkDuo

28 GtrDuo

29 Bright

30-49 Empty

For duets Vocals

Chorus for main vocal Vocals

For harmony Vocals

Creates a story-like character Acoustic guitar/Vocal

Similar to AG/Vo 1 but vocal character different Acoustic guitar/Vocal

Aggressively modiﬁes vocal character Acoustic guitar/Vocal

Short delay sound with effective doubling Microphones

For drum recording with single point stereo mic Microphones

Tuned for male on L channel and female on R channel Vocals

Simulates condenser mic sound with dynamic mic input Vocals

Chorus for lead vocals with emphasized attack Vocals

Warm sound with prominent midrange Vocals

Simulates AM monaural radio Vocals

Narration sound at expo booths Vocals

TV newscaster sound Vocals

For female vocal piano ballads Vocal/Piano

Simulates jazz session LP with lo-ﬁ sound Vocal/Piano

All-round clear sound Vocal/Piano

JazzDuo 1 for male vocal Vocal/Piano

For guitar with strong attack and mellow piano Acoustic guitar/Piano

Enhances clear, strong outline for ballads Acoustic guitar/Vocal

Moderates overbright ambience Acoustic guitar/Vocal

Smooth fat sound with midrange compensation Acoustic guitar/Vocal

Spruces up a thin midrange Acoustic guitar/Vocal

Overall solid sound Acoustic guitar/Vocal

Simulates live sound in small club Acoustic guitars

Enhances overall clarity Acoustic guitars

Fresh and clean sound Acoustic guitars

Suitable for guitar duos Acoustic guitars

Bright and sharp global feeling Acoustic guitars

Long delay sound for vocals (2-beat at 120 bpm)

This effect seems to put the entire sound into a small box

Limiter effect that is very useful for recording

Preamp tone that is great for recording acoustic guitar

Doubling sound that gives a stroke more of a pick feeling

Chorus sound for 12-string guitar

Increases the apparent body size of an acoustic guitar

Reduces the apparent body size of an acoustic guitar

Delay sound for acoustic guitar leads

Bright reverb sound for acoustic guitar increases the live feeling

Simulation of tunnel reverb

Filter effect lets you change the sound character during a song

Fairly strong compressor sound emphasizes breathiness

Crafty vocal sound combines phaser and vibrato

Detune sound creates an instant duet

Fresh ensemble sound great for chorus

Conventional doubling sound

Voice sound with slow phase sweep

Flanging chorus sound with strong modulation

Gimmicky phase sound seasoned with delay

Clearcut vibrato sound

A message from the aliens

Transforms male vocals into a female sound

Transforms female vocals into a male sound

Special effect sound speaks to you from the cosmos

Special effect sound that turns Japanese into Korean

Effect patch list 4

STEREO algorithm

No. Name Comment

0 Syn-Lead

1 OrganPha

2 OrgaRock

3 EP-Chor

4 ClavFlg

5 Concer t

6 Honkey

7 PowerBD

8 DrumFlng

9 LiveDrum

10 JetDrum

11 AsianKit

12 BassBost

13 Mono->St

14 AM Radio

15 WideDrum

16 DanceDrm

17 Octaver

18 Percushn

19 MoreTone

20 SnrSmack

21 Shudder!

22 SwpPhase

23 Dir tyBiz

24 Doubler

25 SFXlab

26 SynLead2

27 Tekepiko

28 Soliner

29 HevyDrum

30 SM57Sim

31 MD421Sim

32 U87Sim

33 C414Sim

34 Doubling

35 Shor tDLY

36 Lo-Fi

37 Limiter

38 BoostPls

39 All Comp

40-59 Empty

For synthesizer single note lead

Phaser for synthesizer/organ

Boomy distortion for rock organ

Beautiful chorus for electric piano

Wah for clavinet

Concert hall effect for piano

Honky-tonk piano simulation

Gives a bass drum more power

Conventional ﬂanger for drum

Simulates outdoor live doubling

Phaser for 16-beat hi-hat

Changes a standard kit to an Asian kit

Emphasizes low range

Gives spaciousness to a monaural source

AM radio simulation

Wide stereo effect for drum machine track

Reinforces bass for dance rhythms

Adds one-octave lower sound

Gives air, presence, and stereo spread to percussion

Distortion with emphasized midrange body

Emphasizes snappy snare sound

Sliced sound for techno tracks

Phaser with powerful resonance

Lo-ﬁ distortion using ring modulator

Doubling for vocal track

Forces special effect sound on synthesizer

Old-style jet sound for synthesizer lead

For sequenced phrases or single note muted guitar

Simulates analog strings ensemble

For hard rock drums

Simulation of SM57 mic suitable for recording of various analog instruments as well as guitars

Simulation of MD421 professional standard mic indispensable for broadcasting, recording and live applications

Simulation of U87, a standard condenser type microphone used in studios worldwide

Simulation of C414, a famous microphone highly trusted in recording situations

Creates doubled sounds as if the entire sound body became thicker

Delay sound suitable for vocals and ﬁeld recordings, and also for creating a gimmicky effect

Create Lo-Fi sounds with a nostalgic atmosphere as if the sound is coming from a radio

A limiter very effective on band rehearsals and live recording

Boosts sound by adding sound pressure during recording

Compressor adjusts volume differences of instruments in a band performance, for example, and evens them out

R16 effect patch list

8x COMP EQ algorithm

No. Name Comment Recommended input 1 - 8

0 VoclBand

1 Inst

2 AcoBand

For vocal band

For jazz or fusion band

For acoustic band

5-6

7-8

1-2

5-6

7-8

5-6

7-8

Guitar amp

Bass amp

Vocal

Chorus

Drums

Keyboard

Guitar amp

Bass amp

Piano

Drums

Keyboard

Acoustic bass

Piano

Vocal

Chorus

Acoustic guitar

Percussion

Effect patch list 5

R16 effect patch list

3 1ManBand

4 StdDrum

5 VtgDrum

6 EhcdDrum

7 Percus

8 CompLtr

9 A Capla

10-19 Empty

MASTERING algorithm

No. Name Comment

0 PlusAlfa

1 All-Pops

2 StWide

3 DiscoMst

4 Boost

5 Power

6 Live

7 WarmMst

8 TightUp

9 1930Mst

10 LoFi Mst

11 BGM

12 RockShow

13 Exciter

14 Clarify

15 VocalMax

16 RaveRez

17 FullComp

18 ClearPWR

19 ClearDMS

20 Maximizr

21-29 Empty

For private recording studio

Standard sound for recording each sound of a drum kit

1970s drum sound with enhanced hi-hat

Punchy compressed drum sound

Suitable for recording individual percussion sounds

Versatile, mellow sound

For a cappella group

Enhances the overall power

Conventional mastering

Wide-range mastering

For club sound

For hi-ﬁ ﬁnish

Powerful low range

Adds a live feel

Adds a warm feeling

Adds a hard feeling

Mastering with 1930's sound

Lo-ﬁ mastering

Mastering for background music

Gives a rock style mix a live feel

Lo-ﬁ mastering with slight distortion in mid and upper range

Emphasizes high-end range

Brings vocals to the foreground

Special sweep effect using sharp ﬁlter

Strong compression over full frequency range

Power tuning with emphasized midrange

Enhances clarity and spaciousness

Boosts overall sound pressure level

1-2

Guitar

Bass

Keyboard

Vocal

Chorus

7-8

Sequencer

Bass drum

Snare drum

Hi-hat

High tom

Mid tom

Low tom

7-8

Overhead mics

1-2

Various percussion

3-4

Cymbal/bell

5-6

Drums

7-8

All percussion together

1-8

1-2

Female vocals

3-4

Male vocals

5-6

Vocal duo

7-8

All vocals together

Effect patch list 6

Send/return effect

CHORUS/DELAY

No. Name Comment

0 Vocal

1 GtChorus

2 Doubling

3 Echo

4 Delay3/4

5 Delay3/2

6 FastCho

7 DeepCho

8 ShortDLY

9 DeepDBL

10 SoloLead

11 WarmyDly

12 EnhanCho

13 Detune

14 Natural

15 Whole

16 Delay2/3

17 Delay1/4

18-29 Empty

REVERB

No. Name Comment

0 TightHal

1 BrgtRoom

2 SoftHall

3 LargeHal

4 SmallHal

5 LiveHous

6 TrStudio

7 DarkRoom

8 VcxRev

9 Tunnel

10 BigRoom

11 PowerSt.

12 BritHall

13 BudoKan

14 Ballade

15 SecBrass

16 ShortPla

17 RealPlat

18 Dome

19 VinSprin

20 ClearSpr

21 Dokan

22-29 Empty

Chorus for adding color to vocals

Chorus to enhance weak guitar sound

Versatile doubling

Showy analog-style delay

Dotted-8th-note delay in sync with rhythm tempo

Dotted-quarter-note delay in sync with rhythm tempo

Fast-rate chorus

Versatile deep chorus

Versatile short delay

Deep doubling

Keeps fast phrases tight

Simulates warm analog delay

Enhancer using phase shift doubling

For instruments with strong harmonics such as an electronic piano or synthesizer

Chorus with low modulation for backing

Whole-note delay in sync with rhythm tempo

Half-triplet-note delay in sync with rhythm tempo

16th-note delay in sync with rhythm tempo

Hall reverb with a hard tonal quality

Room reverb with a hard tonal quality

Hall reverb with a mild tonal quality

Simulates the reverberation of a large hall

Simulates the reverberation of a small hall

Simulates the reverberation of a club

Simulates the reverberation of a rehearsal studio

Room reverb with a mild tonal quality

Tuned to enhance vocals

Simulates the reverberation of a tunnel

Simulates the reverberation of a gym

Gate reverb

Simulates the bright reverb of a concert hall

Simulates the reverberation at the Budokan in Tokyo

For slow ballads

Reverb for brass section

Short reverb

Spring reverb simulation

Reverb of a domed-stadium

Simulates analog spring reverb

Clear reverb with short reverb time

Simulates the reverberation of a clay pipe

R16 effect patch list

Speciﬁcations

Recorder

Audio interface

Mixer

Effects

Metronome

Others Other functions Sequential playback, synchronized recording

Hardware

Section R16

Track count 16 (monaural) Maximum number of

simultaneous recording tracks Maximum number of

simultaneous playback tracks Recording data format 44.1kHz, 16/24bit Maximum recording time 200 minutes/1GB (of mono tracks) Projects 1000 maximum per SD Card Markers 100/project Locator Minute/second/millisecond or bar/beat/tick File editing Divide Other functions Punch-in/out (manual, automatic), Bounce, A-B repeat, UNDO/REDO Number of input channels 8 Number of output channels 2 Quantization 24-bit Sampling frequency 44.1, 48, 88.2, 96 kHz Faders 9 (monaural x 8, master x 1) Level meters 4-segment display Track parameters 3-band equalizer, pan (balance), effect send x 2, invert Stereo linking Track pairs 1/2 – 15/16 selectable

Algorithms

Patches 330 insert, 60 send return Effect modules 7 insert, 2 send return Tuner Chromatic, guitar, bass, open A/D/E/G, D modal Tones 5 Beat No accent, 1/4 - 8/4, 6/8 Tempo 40.0~250.0 BPM

Recording media SD card (16MB-2GB), SDHC card (4-32GB) Analog-digital conversion 96kHz 24bit delta-sigma ADC Digital-analog conversion 96kHz 24bit delta-sigma DAC Display 20-digit 2-line custom LCD (with backlight)

Inputs

Phantom power supply 48V

Output

USB

Power supply

Dimension 376mm (W) × 237.1mm (D) × 52.2mm (H) Weight 1.3kg

INPUT 1-8

Built-in microphones

OUTPUT TRS phone type (balanced) PHONES Standard stereo phone jack 20mW x 2 (32

16 audio + metronome

9 (CLEAN, DISTORTION, ACO/BASS SIM, BASS, MIC, DUAL MIC, STEREO, 8× COMP EQ, MASTERING)

XLR/standard phone combo jack x8 Input impedance: (Balanced input) 1K

(Unbalanced input) 50K 1 equipped with Hi-Z switch, input impedance 470k 2 equipped with phantom power switches Input level: –50dBm < continuous < +4dBm

Omnidirectional condenser microphones Gain: -50dBm < continuous < +4dBm

USB 2.0 High Speed (operation as audio interface/control surface or card reader)

DC 5V 1A AC adaptor (ZOOM AD-14) Six AA batteries (4.5-hour continuous operation time with backlight on and phantom power off)

balanced, 2 hot

unbalanced

(Hi-Z on)

load)

Troubleshooting

If you have any problems during operation of the R16, check the following points ﬁrst.

Problems during playback •••••••••••••••••

No sound, or sound is very weak.

• Check the connections to your monitoring system and the volume settings of the system.

• Make sure that status keys in the mixer section are lit green (except the [MASTER] status key) and that faders are raised. If a key is not green, press it repea tedly until it lights green.

• Make sure that the [MASTER] status key is not lit and that the [MASTER] fader is raised.

Moving the fader does not affect the volume.

• On channels for which stereo link is turned on, the fader of the even-numbered channel will have no effect. Either turn stereo link off (→P.20), or use the fader of the odd-numbered channel in the pair.

No sound from input signal, or sound is very weak.

• Make sure that the [GAIN] control for the respective input is increased.

• Check that the status light is green (playback enabled) and that the fader of the track is raised.

An operation does not work and the message “Stop Recorder” is shown on the display.

• Some operations are not possible while the recorder is operating. Press the [STOP] key to stop the recorder and then conduct the operation.

Problems during recording ••••••••••••••••

Cannot record on a track.

• Make sure that you have selected and enabled a recordable track.

• Check whether you have run out of free space on the SD card (→P.70).

• Recording is not possible if the project is protected. Either set “PROTECT” to “OFF” (→P.54), or use a different project.

The recorded sound is distorted.

• Make sure that the [GAIN] (input sensitivity) and recording level are not set too high.

• Lower the fader so that the 0 (dB) indicator of the level meter does not light.

• If the EQ gain of the track mixer is set extremely high, the sound may be audibly distorted even if the fader is lowered. Set the EQ gain to a lower value.

• When an insert effect is applied to an input, check whether the effect output level (patch level) setting is appropriate.

Problems with effects ••••••••••••••••••••

Insert effect cannot be inserted.

• When using the 8x COMP EQ algorithm, the selection of insert points is limited (→P.49).

Insert effect does not work.

• Check that the “INSERT EFFECT” icon is shown on the display. If it is not shown, press the [INSERT EFFECT] key and then press [ENTER] to enable it.

• Make sure that the insert effect is inserted in the desired location (→P.49).

Send/return effect does not work.

• Check that the “CHORUS/DELAY” icon is shown on the display. If it is not shown, press the SEND RETURN EFFECT key and then press [ENTER] to enable it.

• Make sure that the send level for the track is raised (→P.37, 48).

Other problems •••••••••••••••••••••••••

Cannot save a project.

• The project cannot be saved if the project is protected. Set “PROTECT” to “OFF” (→P.56).

Cannot create a new project or copy a project.

• If “Project Full” appears on the display, all the memory available on the card has been used. Delete unneeded projects to free up memory.

An error message is shown when attempting to execute a command.

• Please check the error message list (→P.44).

Troubleshooting

Index

A-B repeat function ➞P.30

Point A ➞P.30

Point B ➞P.30

Algorithm ➞P.45

Audio interface ➞P.75

Auto punch in/out ➞P.27

Bit rate ➞P.67

Bounce ➞P.39

Built-in microphone ➞P.11, 19

Changing names ➞P.43, 61

Chromatic tuner ➞P.33

Connections ➞P.11

Contrast ➞P.68

Control surface ➞P.75

Date setting ➞P.14

Deletion

Deleting ﬁles ➞P.62

Delete letters ➞P.43

Deleting marks ➞P.32

Deleting projects ➞P.62

Display ➞P.16

Backlight ➞P.68

Contrast ➞P.68

Effects

Effect modules ➞P.51-52, 79-88

Effect parameters ➞P.52, 79-88

Effect types ➞P.47, 51, 79-88

Insert effect ➞P.41, 45-55

Mastering effect ➞P.41

Send return effect ➞P.45-48, 51-54

EQ ➞P.37-38, 80

File

Change ﬁles names ➞P.61

Copy ﬁles ➞P.60

Delete ﬁles ➞P.62

File information ➞P.59

Import ﬁles ➞P.64

Select ﬁles ➞P.58

Formatting an SD card ➞P.70

GAIN ➞P.21

Hi-Z ➞P.18

Import

File import ➞P.64

Patch import ➞P.54

Project import ➞P.64

USB memory import ➞P.74

Using the card reader ➞P.73

Input sensitivity (gain) ➞P.21

Insert effect ➞P.41, 45-55

Before the master fader ➞P.41

Insertion position ➞P.49

Using only for monitoring ➞P.55

Level

Track level ➞P.21

Send level ➞P. 37

Locating ➞P.31

Manual punch-in/out ➞P.28

Marks ➞P.31

Master track ➞P.42

Mastering effect ➞P.41

Metronome ➞P.34

Mixer & Mixing ➞P.36

Mix Down ➞P.42

Stereo link ➞P.20

Track parameters ➞P.38

Track mixer settings ➞P.37

Out point for punch recording ➞P.27

Overdubbing ➞P.25

Pan ➞P.37

Patches

Change patch names ➞P.51

Edit patches ➞P.51

Format patches ➞PDF

Import patches ➞P.53

Patch list ➞P.89-94

Save and change patches ➞P.53

Select patches ➞P.51

Power

Power On/Off ➞P.13-14

Installing batteries ➞P.13

Battery type setting ➞P.71

Punch-in/out

Automatic punch-in/out ➞P.27

Manual punch-in/out ➞P.28

Punch-in/out points ➞P.27

Playlist ➞P.65-66

Project

Basic operations ➞P.56

Creating a new project ➞P.17, 57

Changing projects names ➞P.61

Copying projects ➞P.60

Deleting projects ➞P.62

Protecting projects ➞P.56

Selecting projects ➞P.58

Sequential playback ➞P.65

Recording

Overdubbing ➞P.25

Preparation before recording ➞P.17

Recording the ﬁrst track ➞P.21

Recording second and later times ➞P.25

Recording on a master track ➞P.42

Recording format ➞P.67

Tracks assignment ➞P.23

SD card

Card capacity conﬁrmation ➞P.70

Card reader ➞P.73

Changing card with power on ➞P.69

Formatting a card ➞P.70

Insertion ➞P.12

Selecting and using jacks ➞P.11, 18, 19

Send return effect

Patches ➞P.51-54

Track send level setting ➞P.37

Sequential project playback ➞P.65

Shutdown ➞P.13

Speciﬁcations ➞P.95

Stereo link ➞P.20

Stereo settings ➞P.19

Switches and keys ➞P.15, 18-19

System version ➞P.71

Tracks ➞P.20-26, 29, 35, 37-40

Track assignment ➞P.23

Track mixer settings ➞P.37

Track parameters ➞P.38

Tuner functions ➞P.33

Tuner types ➞P.33

USB ➞P.72-76

DAW software operation ➞PDF

Exchanging ﬁles with a computer ➞P.73

Using USB memory ➞P.74

Index

FCC regulation warning (for U.S.A.)

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant

to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful

interference in a residential installation. This equipment generates, uses, and can radiate radio frequency

energy and, if not installed and used in accordance with the instructions, may cause harmful interference

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

installation. If this equipment does cause harmful interference to radio or television reception, which can be

determined by turning the equipment off and on, the user is encouraged to try to correct the interference by

one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

For EU Countries

Declaration of Conformity: This product complies with the requirements of EMC Directive 2004/108/EG and Low Voltage Directive 2006/95/EC

Disposal of Old Electrical & Electronic Equipment

(Applicable in European countries with separate collection systems)

This symbol on the product or on its packaging indicates that this product

shall not be treated as household waste. Instead it shall be handed over to

the applicable collection point for the recycling of electrical and electronic

equipment. By ensuring this product is disposed of correctly, you will help

prevent potential negative consequences for the environment and human

health, which could otherwise be caused by inappropriate waste handling of this

product. The recycling of materials will help to conserve natural resources. For

more detailed information about recycling of this product, please contact your

local city ofﬁce, your household waste disposal service or the shop where you

purchased the product.

ITOHPIA Iwamotocho 2-chome Bldg. 2F

2-11-2 Iwamoto-cho, Chiyoda-ku, Tokyo 101-0032 Japan Web site: http://www.zoom.co.jp

R16-5000-1

Zoom R16 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual