DIGITAL MULTITRACK RECORDER Owner’s Manual TIME DISPLAY CAPTURE ABS/REL REMAIN OVER OVER –dB 0 0 –dB 2 2 6 6 10 12 12 14 20 20 18 30 20 42 30 ABS H M S 00 00 00 00 DIGITAL MULTITRACK RECORDER POWER F YAMAHA D24 VARI SPEED UTILITY SETUP V.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
Laser Diode Properties * Material : AlGaInP * Wavelength : 675–695 nm * Emission Duration : Continuous * Laser Output Power : Less than 44.6 µW (Note) Laser output is measured at a distance of 20 cm from the object lens on the optical pick-up head. CLASS 1 LASER PRODUCT LUOKAN 1 LASERLAITE KLASS 1 LASERAPPARAT This unit is classified as a Class 1 laser product. This label is located on the exterior. Klassmärkning för Finland. DANGER APL INVISIBLE LASER RADIATION WHEN OPEN.
i Important Information Read the Following Before Operating the D24 Warnings • Do not subject the D24 to extreme temperatures, humidity, direct sunlight, or dust, which could be a potential fire or electrical shock hazard. • Connect the D24 power cord to an AC outlet of the type stated in this Owner’s Manual or as indicated on the D24. Failure to do so is a fire and electrical shock hazard. • Do not plug several devices into the same AC outlet.
ii MO Disks • Use only MO disks of the type specified in this manual. • Store MO disks in a place free from extreme temperatures, humidity, dust, and dirt. • Do not slide open the MO disk shutter, and never touch the actual disk. • If an MO disk is stored in a cold place (e.g., overnight in a car), and then moved to a warmer environment, condensation may form on the disk. In this case, the disk should be left to acclimatize for about 30 minutes before use.
iii Contents Contents 1 Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . 1 Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D24 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv Contents Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting the Solo Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Absolute & Relative Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Roll-back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Roll-back Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v Contents Deleting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erasing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inserting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Insert Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi Contents 15 Other Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Setting the Peak Hold Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Fade In/Out Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Display Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Remote ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recovering Disk Space . . . . . . . .
Welcome to the D24 1 Welcome to the D24 1 In this chapter... Welcome to the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D24 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2 Chapter 1—Welcome to the D24 Welcome to the D24 Thank you for choosing the Yamaha D24 Digital Multitrack Recorder. The D24 uses standard 3.5-inch removable MO (Magneto Optical) disks for digital audio recording and playback. By employing a removable media, backup downtime in between sessions is eliminated. When one session is complete, simply insert a new disk and begin recording right away.
About this Manual 3 Tape recorder-like transport controls, and the Large vacuum fluorescent display, with large, easy to read counter, make operation a breeze. Visual level monitoring is provided by eight 16-segment track level meters. Selectable normal and fine scales make it easy to set precise levels when recording reference tones. Also, projects can be titled for easy identification. The D24 can generate, or synchronize to either SMPTE/EBU or MTC (MIDI Timecode) timecode.
4 Chapter 1—Welcome to the D24 D24 Features Recording Media • Standard 3.5-inch MO (Magneto Optical) disks. • Convenient removable media for quick access to recorded material and sound libraries. • No backup downtime, loading, or winding. • Up to 99 projects per disk. Sonic Performance • 16/20/24-bit linear recording for superb sonic quality. • 44.1/48/88.2/96 kHz sampling rates. • Sampling rate and recording resolution can be set on a project-by-project basis.
D24 Features 5 Flexible I/O • Optional mini YGDAI (Yamaha General Digital Audio Interface) cards offer a variety of analog and digital I/O configurations, with support for all the popular digital audio interconnect formats: AES/EBU, ADAT, and Tascam TDIF-1. • S/PDIF Coaxial I/O. • Phones. Editing • Project editing functions include Copy, Delete, Erase, Title, Protect, and Timecode Modify. • Track editing functions include Copy, Move, Erase, Swap, and Slip.
6 Chapter 1—Welcome to the D24 Choosing MO Disks The D24’s internal MO disk drive uses removable 3.5-inch MO (Magneto Optical) disks for recording and playback. Normal or Overwrite-type MO disks in a variety of sizes can be used, but only 640 MB Overwrite-type disks support 8-track simultaneous recording with a 24-bit recording resolution. The number of tracks available for simultaneous recording depends on the type of MO disk used, its capacity, the selected recording resolution, and sampling rate.
7 Choosing MO Disks The following table lists the approximate recording times available using 640 MB MO disks at a variety of recording resolutions and sampling rates. Bit 16 20 24 Sampling Rate Track minutes (mono) 2 tracks 4 tracks 8 tracks 44.1 kHz 120 min 60 min 30 min 15 min 48 kHz 111 min 55 min 27 min 13 min 88.2 kHz 60 min 30 min 15 min — 96 kHz 55 min 27 min 13 min — 44.1 kHz 96 min 48 min 24 min 12 min 48 kHz 88 min 44 min 22 min 11 min 88.
Touring the D24 9 Touring the D24 2 In this chapter... Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Power Switch & Phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 Chapter 2—Touring the D24 Front Panel TIME DISPLAY CAPTURE ABS/REL REMAIN OVER OVER –dB 0 0 –dB 2 2 6 6 10 12 12 14 20 20 18 30 20 42 30 26 60 60 ABS M H S 00 00 00 00 DIGITAL MULTITRACK RECORDER POWER F YAMAHA D24 VARI SPEED UTILITY SETUP EDIT UNDO/ REDO 42 LOCK READY READY 2 3 4 5 6 24 FS 48K TC MASTER V.
11 Display C Counter The main counter shows the current position in hours, minutes, seconds, and frames, (00:00:00.00), and can display the absolute (ABS) time or relative (REL) time. See “Using Absolute & Relative Zero” on page 49 for more information. The 2nd line of the message area displays time information in hours, minutes, seconds, frames, and sub-frames (00:00:00.00.0). Each sub-frame is one tenth of a frame, making 10 sub-frames per frame.
12 Chapter 2—Touring the D24 Transport Controls 6 PROJECT SEARCH 5 4 3 2 1 RTN TO ZERO ROLL BACK 7 LAST REC OUT IN A SET REPEAT A B B REW FF STOP M N O 8 AUTO PUNCH REHE PLAY REC P Q 9 J K L The “Transport Operation Table” on page 27 and the “Indicator Status Tables” on page 28 list how the transport buttons and indicators function in each transport mode. A A & B buttons & indicators These buttons are used to set and locate the A and B points.
Transport Controls 13 F MO disk drive slot MO disks are loaded into the internal MO drive through this slot. See “Inserting & Ejecting Disks” on page 25 for more information. G Manual eject hole This hole is used when disks cannot be ejected in the normal way. See “Ejecting Troublesome Disks (emergency use)” on page 174 for more information.
14 Chapter 2—Touring the D24 O STOP button This button is used to stop playback, recording, rehearsal, rewind, and fast forward, and to cancel the Rehearse Standby mode. The STOP button indicator lights up when the D24 is stopped. P PLAY button This button is used to start playback, punch out of recording or rehearsal, and in conjunction with the [REC] and [REHE] buttons, punch in for recording or rehearsal, respectively. The PLAY button indicator lights up during playback, recording, and rehearsal.
Jog/Data & Shuttle/Cursor Controls 15 Jog/Data & Shuttle/Cursor Controls JOG ON 1 2 3 JOG/DATA SHUTTLE/ CURSOR A JOG ON button & indicator This button is used to turn on the Nudge and Shuttle functions. The JOG ON indicator lights up when these functions are on. See “Nudging the Current Position” on page 53 and “Shuttling” on page 52 for more information. B JOG/DATA dial This is a dual-function control, the operation of which depends on the [JOG ON] button.
16 Chapter 2—Touring the D24 Function Buttons TIME DISPLAY CAPTURE ABS/REL REMAIN 6 5 4 3 7 VARI SPEED UTILITY SETUP 8 V. TRACK SELECT EDIT 2 1 UNDO/ REDO 9 A EDIT button & indicator This button is used to access the edit functions. The EDIT indicator lights up when this button is pressed. The D24 must be stopped to use the edit functions. See “Editing Projects” on page 77, “Editing Tracks” on page 85, and “Editing Parts” on page 95 for more information. B V.
Peak, Monitor, Format & Chase Buttons 17 Peak, Monitor, Format & Chase Buttons 1 2 3 PEAK HOLD AUTO INPUT ALL INPUT 4 FORMAT 5 CHASE MONITOR SELECT A PEAK HOLD button & indicator This button is used to turn the Peak Hold function on and off. The Peak Hold indicator lights up when the Peak Hold function is on. See “Using Peak Hold” on page 41 for more information. B AUTO INPUT button & indicator This button selects the Auto Input function.
18 Chapter 2—Touring the D24 Keypad 7 8 9 PROJECT SELECT 2 4 5 6 LOC MEM RECALL 3 1 1 2 3 LOC MEM STORE 4 0/- CANCEL ENTER LOCATE 5 6 7 A Keypad buttons The keypad is used with various functions to enter time values, parameter values, project numbers, locate memory numbers, and so on. The [0/-] is used to enter the number “0” and to make values plus or minus. B PROJECT SELECT button & indicator This button is used to select projects by number.
Track Buttons 19 Track Buttons 1 1 RECORD READY 2 SOLO/ SELECT 2 3 4 5 6 7 8 A RECORD READY buttons 1–8 These buttons are used to select tracks for recording. When a track is selected for recording, the corresponding READY indicator flashes. During recording or rehearsal, the corresponding indicator lights up continuously. See “Recording” on page 33 for more information. B SOLO/SELECT buttons & indicators 1–8 These buttons are used to solo individual tracks.
20 Chapter 2—Touring the D24 Rear Panel 1 2 3 4 5 6 OUTPUT VIDEO INPUT 7 WORD CLOCK OUTPUT INPUT 75 ON OFF MIDI OUT THRU 8 9 J SCSI SERIAL I/O SYNC OUT IN K REMOTE IN/ SYNC IN 75 TERM THRU MODEL D24 DIGITAL MULTITRACK RECORDER SLOT 3 (ANALOG OUT) SLOT 1 (ANALOG IN) SLOT 4 (ANALOG OUT) SLOT 2 (ANALOG IN) TIME CODE OUTPUT INPUT 1 3 2 2 1 3 AC IN COAXIAL OUTPUT INPUT STEREO DIGITAL L M NO PQ R A VIDEO OUTPUT connector This BNC connector transmits the video sync signal receive
Rear Panel 21 H SCSI port This 50-pin, half-pitch SCSI connector is used to connect external SCSI disk drives and removable media drives for additional recording space. The SCSI interface supports Narrow SCSI-2 (FAST-20). A personal computer equipped with SCSI can also be connected, which can then access files on the MO disk in the D24. See “SCSI & the D24” on page 154 for more information.
The Basics 23 The Basics 3 In this chapter... Connecting the Power Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Turning On & Off the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Write Protecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inserting & Ejecting Disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Formatting MO Disks . . .
24 Chapter 3—The Basics Connecting the Power Cord Warning: Turn off all equipment before making any power connections. Connect the socket-end of the supplied power cord to the AC IN socket on the rear panel of the D24, and the plug-end to a suitable AC wall outlet, one that conforms to the power supply requirements stated on the D24 rear panel.
Inserting & Ejecting Disks 25 Inserting & Ejecting Disks This section explains how to insert and eject MO disks. 1 Insert the MO disk into the disk drive with the shutter facing forward and the labeled side facing up, as shown below. Push it in until it clicks into place. H ARC T SE JEC PRO O AUT CH PUN SET C T RE LAS OUT IN E REH EAT REP B A B A TO RTNRO ZE LL ROC K BA REC Y PLA P STO FF REW The disk should slide easily into the disk drive.
26 Chapter 3—The Basics Formatting MO Disks New MO disks and MO disks that have been used to store other kinds of data must be formatted before they can be used in the D24. The formatting process prepares a disk for storing D24 data. Formatting erases all previously stored data, so if you’re reusing a disk, make sure that it contains no important data before formatting. Before formatting a disk, set the sampling rate as required.
27 Transport Operation Table Transport Operation Table The following table shows the function of each control in each transport mode.
28 Chapter 3—The Basics Indicator Status Tables The following tables show the status and meaning of the front-panel indicators.
Recording 29 Recording 4 In this chapter... About Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparing to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Recording Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30 Chapter 4—Recording About Projects D24 recordings are organized as projects, with a typical project consisting of many sound files and a settings file. Up to 99 projects can be recorded on a single MO or external disk drive.
Preparing to Record 31 Projects recorded using an external wordclock source can also be played, edited, or recorded using an internal wordclock source, and vice versa. A project originally recorded with an external wordclock source running at 44.1 kHz, for example, can also be used with an internal wordclock of 44.1 kHz. Projects recorded using an external timecode source can be played, edited, or recorded using an internal timecode source even at a different frame rate, and vice versa.
32 Chapter 4—Recording Setting the Recording Resolution The recording resolution can be set to one of three bit rates: 16, 20, or 24. Once something has been recorded in a project, the recording resolution cannot be changed, so it’s important that you set the correct resolution when creating a new project. 1 Press the [SETUP] button. The SETUP indicator lights up. 2 Use the JOG/DATA dial to select “REC BIT,” and then press the [ENTER] button.
Recording 33 Recording Before recording a new project, you must first set the wordclock source, timecode source, timecode frame rate, and recording resolution. See “Preparing to Record” on page 31 for more information. The following illustration shows the procedure for recording.
34 Chapter 4—Recording If the [PLAY] button is pressed while recording, the D24 punches out of recording and continues with normal playback, in which case the REC button indicator goes out, the READY indicators flash, and the LAST REC OUT point is set. 8 Press the [STOP] button to stop recording. The REC and PLAY button indicators go out and the READY indicators flash. The LAST REC OUT point is set automatically and its indicator lights up.
Conserving Disk Space 35 Conserving Disk Space Like all digital audio recorders, the D24 uses up disk space regardless of what’s being recorded, so recorded silence uses as much disk space as recorded music. A two minute section of continuous music, for example, will use the same amount of disk space as a two minute section of silence. Obviously, it’s wasteful to leave the D24 recording silence longer than necessary.
36 Chapter 4—Recording Rehearsing In Rehearsal mode, recording can be practiced, with automatic playback and input monitor switching at the punch in and out points, without actually recording anything to disk. The following illustration shows the procedure for rehearsal.
Extending the Top of a Project 37 Extending the Top of a Project Since it’s not possible to record before the absolute 00:00:00.00 position of a recorded project, if you need to record something new at the top of a project, for example, you need to extend the intro of a song, you must use the Track Slip function to slip forward the tracks already recorded, and then record the new material. See “Slipping Tracks” on page 93 for more information.
38 Chapter 4—Recording Checking the Time Remaining The Remain function displays how much time is available for additional recording. 1 Press the [REMAIN] button. The amount of time left for additional recording is displayed on the 2nd line of the display, as shown below. H M S 00 00 00 00 F R- 006040000 The Remain function displays the recording time available relative to the number of tracks selected for recording.
Metering 39 Metering Playback and input signal levels are displayed on the eight 16-segment track meters, with Peak Hold, and Normal and Fine metering modes. The 0 dB indicators light up when audio samples reach the maximum digital level. The OVER indicators light up when several consecutive samples exceed the digital saturation point. When setting recording levels, it’s okay for signals to light the 0 dB indicator.
40 Chapter 4—Recording Using Normal & Fine Metering Track meters function in one of two modes: Normal or Fine. In Normal mode, the meter range is from –60 dB to 0 dB. In Fine mode, it’s from –26 dB to 0 dB.
41 Using Peak Hold Using Peak Hold By keeping the highest lit segment of each meter illuminated, the Peak Hold function provides a convenient way to check for signal peaks. Peak Hold can be set so that the highest lit segment of each meter remains lit for 800 ms (MOMENTARY) or continuosuly (PERMANENT). See “Setting the Peak Hold Mode” on page 170 for more information. 1 Press the [PEAK HOLD] button to turn on the Peak Hold function. The PEAK HOLD indicator lights up.
42 Chapter 4—Recording Monitoring In a typical D24 multitrack recording system, monitoring is performed at the mixing console via the tape returns, which are connected to the D24’s track outputs via mini YGDAI cards (“About mini YGDAI Cards” on page 182). The signal source for each track output, either playback or input signal, depends on that track’s [RECORD READY] button setting, the transport mode (e.g.
Monitoring 43 In the following illustration, the [ALL INPUT] button, which has priority over all other settings, is turned on and the track outputs output the track input signals regardless of the transport mode and [RECORD READY] button. All Input is useful when you want to monitor track inputs regardless of any other settings.
General Operation 45 General Operation 5 In this chapter... Using Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using Fast Forward & Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–B Repeat Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46 Chapter 5—General Operation Using Playback The Playback function is used to play back recorded material. 1 While the D24 is stopped, press the [PLAY] button. Playback starts and the PLAY button indicator lights up. 2 Press the [STOP] button to stop playback. Playback stops and the PLAY button indicator goes out. If the [REW] or [FF] button is pressed and held during playback, the D24 rewinds (8x) or fast forwards (8x) respectively and returns to normal playback when the button is released.
A–B Repeat Playback 47 A–B Repeat Playback A–B Repeat playback can be used to repeatedly play a specific part of a project, with playback cycling between the specified A and B points, as shown below. A point B point Repeat playback To use the A–B Repeat function, you must first set the A and B points, which can be set while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal, but cannot be changed during A–B repeat playback.
48 Chapter 5—General Operation Soloing Tracks Tracks can be monitored individually using the Solo function. 1 To solo a track, press its [SOLO/SELECT] button. The signal from the soloed track is fed to the outputs selected using the Solo Out function, and the corresponding SOLO/SELECT indicator lights up. Several tracks can be soloed at the same time, with odd numbered tracks mixed to the left channel, and even numbered tracks mixed to the right channel.
Using Absolute & Relative Zero 49 Using Absolute & Relative Zero The zero point can be the absolute zero position of a project, or a specified point relative to it. In Absolute mode (ABS), 00:00:00.00 is typically the top of the project. In Relative mode (REL), you can set the zero point to any position within the project. Before being set, the relative zero position is the same as the absolute zero position.
50 Chapter 5—General Operation Using Roll-back The Roll Back function rolls back from the current position in steps of between 1 and 30 seconds, the default being 5 seconds. 1 Press the [ROLL BACK] button to roll back by the specified amount. If the [ROLL BACK] button is pressed during playback, the D24 rolls back by the specified amount, and then continues playing.
Using Virtual Tracks 51 Using Virtual Tracks Each main track has access to eight virtual tracks, making 64 tracks in all. Virtual tracks are assigned to their respective main track using the Virtual Track function. Main and virtual track combinations are identified using the notation 1-1, 1-2, 2-1, etc., (main-virtual). For example, “2-3” indicates that virtual track 3 is assigned to main track 2, as shown in the following illustration.
52 Chapter 5—General Operation Shuttling The Shuttle function can be used to shuttle forwards or backwards at various speeds while listening to the recorded material. 1 Press the [JOG ON] button. The JOG ON and [STOP] button indicators light up. 2 Turn the SHUTTLE/CURSOR ring clockwise to shuttle forwards, or counterclockwise to shuttle backwards. The further you turn the ring, the faster the shuttling. “SHTL” appears on the 1st line of the display.
Nudging the Current Position 53 Nudging the Current Position The Nudge function can be used to nudge the current position backwards or forwards in sub-frame steps while auditioning a small section of the recorded material after the current position. This is useful for locating precise positions when editing parts, storing locate memories, or setting the LAST REC IN and OUT points for auto punch in/out recording.
54 Chapter 5—General Operation Setting the Nudge Time The length of the section to be auditioned is set using the Nudge Time function. 1 Press the [UTILITY] button. The UTILITY indicator lights up. 2 Use the JOG/DATA dial to select “NUDGE TIME,” and then press the [ENTER] button. The currently set nudge time appears on the display. 3 Use the JOG/DATA dial to set the nudge time to 20, 50, or 100 ms. The default setting is 100 ms.
55 Using Varispeed Using Varispeed The Varispeed function can be used to adjust the playback, recording, and rehearsal speed in 0.05% steps from –6.00% to +6.00% (approximately ±100 cents, or ±1 semitone). Increasing the speed has the effect of raising the pitch, while decreasing it lowers the pitch. Varispeed can be set while the D24 is stopped or during playback, recording, or rehearsal. 1 Press the [VARI SPEED] button. The VARI SPEED indicator lights up and the following display appears.
Quick Locate 57 Quick Locate 6 In this chapter... Searching for Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Project Search Confirmation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Projects Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Returning to Zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58 Chapter 6—Quick Locate Searching for Projects Projects can be selected using the PROJECT SEARCH buttons. 1 Press the [ ] PROJECT SEARCH button to locate the top of the current project. Press the button again to locate the top of the previous project. Current position 01 PROJECT 2 Press the [ 02 PROJECT 03 PROJECT 04 PROJECT ] PROJECT SEARCH button to locate the top of the next project.
Selecting Projects Directly 59 Selecting Projects Directly A project can be selected directly by entering its number using the keypad or JOG/DATA dial. 1 Press the [PROJECT SELECT] button. The PROJECT SELECT indicator lights up. 2 Use the keypad or JOG/DATA dial to enter the number of the project. The number and title of the project appear on the display. 3 Press the [ENTER] button to locate the top of the specified project. The PROJECT SELECT indicator goes out.
60 Chapter 6—Quick Locate Returning to Zero The Return to Zero function can be used to locate the zero position. In Absolute (ABS) mode, Return to Zero locates the absolute zero position. In Relative (REL) mode, it locates the relative zero position. See “Using Absolute & Relative Zero” on page 49 for more information about the Absolute and Relative modes. 1 Press the [RTN TO ZERO] button to locate the zero position.
Using the A & B Points 61 Using the A & B Points The A and B points can be used for quick locate or A–B Repeat playback. See page 47 for more information on A–B repeat playback. Setting the A & B Points The A and B points can be set while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal. 1 While holding down the [SET] button, press the [A] button to set the A point, or the [B] button to set the B point.
62 Chapter 6—Quick Locate Locating the LAST REC IN & OUT Points The LAST REC IN and OUT points are typically used to mark the punch-in and punch-out points for recording and rehearsal, but can also be used as general locate points. 1 While holding down the [SET] button, press the [IN] button to set the IN point, or the [OUT] button to set the OUT point. When a point is set, the corresponding indicator (IN or OUT) lights up.
Locating Positions Directly 63 Locating Positions Directly Positions can be located directly by entering time values. 1 Use the keypad to enter the position that you want to locate, starting with hours, minutes, and seconds. To enter the position 3 minutes and 27 seconds (00:03:27), for example, press [3], [2], and [7]. The entered value appears on the 2nd line of the display, as shown below.
64 Chapter 6—Quick Locate Storing Locate Points Up to 99 locate points can be stored with each project using the Locate Memory Store function. Locate points can be stored while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal. 1 Display the position that you want to store on the 2nd line of the display.
Storing Locate Points Automatically 65 Storing Locate Points Automatically Locate points can easily be stored on-the-fly by using the Auto Memory Store function, which automatically selects the next locate memory as each locate point is stored. 1 Press the [LOC MEM STORE] button. The LOC MEM STORE indicator lights up, “STORE MEM nn” (the flashing “nn” being the memory number), and the value already stored in the locate memory appear on the display. If no value has been stored in the memory, “--:--:--.--.
66 Chapter 6—Quick Locate Recalling Locate Points Stored locate points can be recalled using the Locate Memory Recall function. 1 Press the [LOC MEM RECALL] button. The LOC MEM RECALL indicator lights up, “RECALL MEM nn” (the flashing “nn” being the memory number), and the value stored in the locate memory appear on the display. If no value has been stored in the memory, “--:--:--.--.-” is displayed. 2 Use the keypad or JOG/DATA dial to select a locate memory from 1 to 99.
Punch In/Out Recording 67 Punch In/Out Recording 7 In this chapter... About Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Manual Punch In/Out Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Manual Punch In/Out Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the LAST REC IN & OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Auto Punch In/Out Rehearsal . . . .
68 Chapter 7—Punch In/Out Recording About Punch In/Out Recording The D24 provides both manual and automated punch in/out recording, both of which can be rehearsed before actually recording anything to disk. The number of tracks available for simultaneous punch-in recording is the same as that for regular recording. See “Tracks Available for Simultaneous Recording” on page 6 for more information.
Manual Punch In/Out Rehearsal 69 Manual Punch In/Out Rehearsal The Rehearse function allows you to practice manual punch in/out recording without actually recording anything to disk. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information. The following illustration shows the procedure for manual punch-in/out rehearsal.
70 Chapter 7—Punch In/Out Recording Manual Punch In/Out Recording This section explains how to perform manual punch in/out recording for real. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information. The following illustration shows the procedure for manual punch-in/out recording.
Setting the LAST REC IN & OUT Points 71 Setting the LAST REC IN & OUT Points The LAST REC IN and OUT points are set automatically when you manually punch in and out of recording or rehearsal. They can also be set using the [SET] and LAST REC [IN] and [OUT] buttons while the D24 is stopped or during rewind, fast forward, playback, recording, or rehearsal. When the LAST REC IN or OUT point is set, the corresponding indicator (IN or OUT) lights up.
72 Chapter 7—Punch In/Out Recording Auto Punch In/Out Rehearsal The Rehearse function allows you to practice auto punch-in/out recording without actually recording anything to disk. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information. The following illustration shows the procedure for auto punch-in/out rehearsal.
Auto Punch In/Out Recording 73 Auto Punch In/Out Recording This section explains how to perform auto punch in/out recording for real. With the Auto Input monitoring function turned on, playback and input monitor switching is performed automatically at the LAST REC IN and OUT points. See “Monitoring” on page 42 for more information. The following illustration shows the procedure for auto punch-in/out recording.
74 Chapter 7—Punch In/Out Recording Use the Audition Take function to listen to the take that you’ve just recorded (see bellow), record additional takes by repeating step 4 (or simply pressing the [ENTER] button), or leave the Auto Punch In/Out function by pressing the [AUTO PUNCH] button.
Auto Punch In/Out Recording 9 75 Use the JOG/DATA dial to select the take that you want to audition, and then press the [ENTER] button. The D24 plays the selected take along with the seven other main tracks from the Pre-roll point through to the Post-roll point. Then it locates the Pre-roll point and waits. Press the [ENTER] button again to audition the selected take again. 10 Use the JOG/DATA dial and [ENTER] button to select and audition other takes.
76 Chapter 7—Punch In/Out Recording Setting the Pre-roll Time The pre-roll time can be set from 1 to 30 seconds, the default being 5 seconds. Pre-roll point LAST REC IN point Pre-roll time 1 Press the [UTILITY] button. The UTILITY indicator lights up. 2 Use the JOG/DATA dial to select “PRE ROLL,” and then press the [ENTER] button. The currently set pre-roll time appears on the display. 3 Use the JOG/DATA dial to set the pre-roll time from 1 to 30 seconds.
Editing Projects 77 Editing Projects 8 In this chapter... Copying Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erasing Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Titling Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
78 Chapter 8—Editing Projects Copying Projects The Project Copy function is used to copy projects. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “COPY,” and then press the [ENTER] button. “FROM PROJ nn—project title” appears on the display (“nn” and “project title” being the number and title of the project to be copied).
Erasing Projects 79 Erasing Projects The Project Erase function is used to erase the contents of a project. The project number is kept. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “ERASE,” and then press the [ENTER] button.
80 Chapter 8—Editing Projects Deleting Projects The Project Delete function is used to delete a project. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “DELETE,” and then press the [ENTER] button. “PROJECT nn—project title” appears on the display (“nn” and “project title” being the number and title of the project to be deleted).
Titling Projects 81 Titling Projects Projects can be titled for easy identification, and titles can be up to 12 characters long. When a titled project is selected, the first nine characters of its title appear on the display. 1 Select the project that you want to title. 2 Press the [EDIT] button. The EDIT indicator lights up. 3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button. 4 Use the JOG/DATA dial to select “TITLE,” and then press the [ENTER] button.
82 Chapter 8—Editing Projects Protecting Projects The Project Protect function can be used to protect projects against accidental editing. When a project is protected, it cannot be edited using the Project, Track, or Part edit functions, although it can still be copied. 1 Select the project that you want to protect. 2 Press the [EDIT] button. The EDIT indicator lights up. 3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button.
Modifying a Project’s Start Time 83 Modifying a Project’s Start Time The TC Modify function is used to modify a project’s start time, which is initially set when a project is first recorded. See “Recording” on page 33 for more information. 1 Select the project whose start time you want to modify. 2 Press the [EDIT] button. The EDIT indicator lights up. 3 Use the JOG/DATA dial to select “PROJECT EDIT,” and then press the [ENTER] button.
Editing Tracks 85 Editing Tracks 9 In this chapter... Copying Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Moving Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erasing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Swapping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86 Chapter 9—Editing Tracks Copying Tracks The Track Copy function is used to copy tracks. Existing material on the destination track is overwritten by the Copy function. The source track is unaffected. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “COPY,” and then press the [ENTER] button.
Copying Tracks 9 87 Press the [EDIT] button to leave edit. The EDIT indicator goes out. The following five examples show how tracks can be copied using a variety of FROM and TO combinations.
88 Chapter 9—Editing Tracks Moving Tracks The Track Move function is used to move tracks. Existing material on the destination track is overwritten by the Move function. The source track is left empty. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “MOVE,” and then press the [ENTER] button.
Moving Tracks 9 89 Press the [EDIT] button to leave edit. The EDIT indicator goes out. The following five examples show how tracks can be moved using a variety of FROM and TO combinations.
90 Chapter 9—Editing Tracks Erasing Tracks The Track Erase function is used to erase the contents of a track. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “ERASE,” and then press the [ENTER] button. “EDIT ERASE—TR nn” appears on the display (“nn” being the number of the track to be erased). 4 Use the JOG/DATA dial to select the track you want to erase.
Swapping Tracks 91 Swapping Tracks The Track Swap function is used to swap tracks. The material on the source track is swapped with that on the destination track. 1 Press the [EDIT] button. The EDIT indicator lights up. 2 Use the JOG/DATA dial to select “TRACK EDIT,” and then press the [ENTER] button. 3 Use the JOG/DATA dial to select “SWAP,” and then press the [ENTER] button. “EDIT SWAP—FROM TR nn” appears on the display (“FROM TR nn” being the source track).
92 Chapter 9—Editing Tracks 9 Press the [EDIT] button to leave edit. The EDIT indicator goes out. The following five examples show how tracks can be swapped using a variety of FROM and TO combinations.
Slipping Tracks 93 Slipping Tracks The Track Slip function is used to modify a track’s start time. The following points, which can be adjusted in sub-frame steps, can be selected when specifying a new start time: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set the point that you intend to use before entering the Track Slip function. See the Quick Locate Chapter on page 57 for more information about setting these points.
94 Chapter 9—Editing Tracks 10 Press the [EDIT] button to leave edit. The EDIT indicator goes out. In the following example, track 2 is slipped to a new start time. Project start time 00:00:00.00 Track Slip TR: 2 1 2 3 4 5 6 7 8 D24—Owner’s Manual Track slipped to 00:00:30.
Editing Parts 95 Editing Parts 10 In this chapter... Copying Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Moving Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Deleting Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Erasing Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
96 Chapter 10—Editing Parts Copying Parts The Part Copy function is used to copy part of a track. Existing material on the destination track is overwritten by the Copy function. The source track is unaffected. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Copy function.
Copying Parts 97 12 Use the JOG/DATA dial to select the destination track. When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, parts from all tracks can be copied to their corresponding virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V.
98 Chapter 10—Editing Parts 19 Press the [ENTER] button to copy the selected part, or the [CANCEL] button to cancel. The specified part is copied. When the copy operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information. To copy another part, press the [ENTER] button to return to step 4. 20 Press the [EDIT] button to leave edit. The EDIT indicator goes out.
Moving Parts 99 Moving Parts The Part Move function is used to move part of a track. Existing material on the destination track is overwritten by the Move function. The part on the source track is left empty. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Move function.
100 Chapter 10—Editing Parts 12 Use the JOG/DATA dial to select the destination track. When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, parts from all tracks can be moved to their corresponding virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V.
Moving Parts 101 19 Press the [ENTER] button to move your selection, or the [CANCEL] button to cancel. The specified part is moved. When the move operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information. To move another part, press the [ENTER] button to return to step 4. 20 Press the [EDIT] button to leave edit. The EDIT indicator goes out.
102 Chapter 10—Editing Parts Deleting Parts The Part Delete function is used to delete part of a track. Subsequent material on the track is moved forward. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Delete function. See the Quick Locate Chapter on page 57 for more information about setting these points.
Deleting Parts 103 12 Press the [ENTER] button to delete the specified part, or the [CANCEL] button to cancel. The part is deleted and subsequent material is moved forward. When the delete operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information. To delete another part, press the [ENTER] button to return to step 4. 13 Press the [EDIT] button to leave edit.
104 Chapter 10—Editing Parts Erasing Parts The Part Erase function is used to erase part of a track. The erased part is left empty. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Erase function. See the Quick Locate Chapter on page 57 for more information about setting these points. 1 Press the [EDIT] button.
Erasing Parts 105 12 Press the [ENTER] button to erase the specified part, or the [CANCEL] button to cancel. The part is erased. When the erase operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information. To erase another part, press the [ENTER] button to return to step 4. 13 Press the [EDIT] button to leave edit. The EDIT indicator goes out.
106 Chapter 10—Editing Parts Inserting Parts The Part Insert Space function is used to insert an empty part into a track. Existing material on the track is moved backward. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Insert Space function.
Inserting Parts 107 12 Press the [ENTER] button to insert the specified part, or the [CANCEL] button to cancel. An empty part is inserted into the specified track and existing material is moved backward. When the insert space operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information. To insert a part into another track, press the [ENTER] button to return to step 4.
108 Chapter 10—Editing Parts Insert Copying Parts The Part Insert Copy function is used to insert a copied part into a track. Existing material on the track is moved backward. The following points, which can be adjusted in sub-frame steps, can be selected when specifying edit points: LAST REC IN, LAST REC OUT, A, B, or a locate memory from 1 through 99. Note that you must set these points before entering the Part Insert Copy function.
Insert Copying Parts 109 12 Use the JOG/DATA dial to select the destination track. When FROM is an individual track, TO can be a main track or one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of main tracks or a pair of the source’s virtual tracks. When FROM is set to ALL, parts from all tracks can be copied and inserted into their corresponding virtual tracks.
110 Chapter 10—Editing Parts 19 Press the [ENTER] button to insert the copied part, or the [CANCEL] button to cancel. The specified part is copied and inserted into the destination track. Existing material on the track is moved backward. When the copy and insert operation is complete, “FINISHED” appears on the display and the UNDO/REDO indicator lights up, indicating that it can be undone. See “Undoing a Recording or Edit” on page 35 for more information.
Time Compression 111 Time Compression The Time Compression function is used to stretch or squeeze recorded material without affecting its pitch. For example, a 34-second section of material could be squeezed to fit a 30-second video scene. Individual tracks or a pair of tracks can be processed simultaneously. To process all eight tracks, Time Compression must be run four times, selecting a different pair of tracks each time.
112 Chapter 10—Editing Parts Test Play Mode 7 Having selected “TEST PLAY,” press the [ENTER] button. “TIME COMP—FROM TR nn” appears on the display (“nn” being the source track containing the material to be processed). 8 Use the JOG/DATA dial to select the source track. You can select individual tracks or track pairs: 1–8 or 1/2–7/8. To process a virtual track, assign it to a main track first, and then process the main track. 9 Press the [ENTER] button.
Time Compression 113 The following illustration shows the procedure for auditioning. ST point 00:01:00.00 From TR: 2 Audition ENTER ENTER Rec Mode 16 Having selected “REC,” press the [ENTER] button. “TIME COMP—FROM TR nn” appears on the display (“nn” being the source track containing the material to be processed). 17 Use the JOG/DATA dial to select the source track. You can select individual tracks or track pairs: 1–8 or 1/2–7/8.
114 Chapter 10—Editing Parts 25 Use the JOG/DATA dial to select the destination virtual track. When FROM is an individual track, TO can be one of the source’s virtual tracks. When FROM is a pair of tracks, TO can be a pair of the source’s virtual tracks. The following table lists the FROM and TO options, with several examples (“TR” stands for “main track,” and “V. TR” for “virtual track”). Source & Destination From To Examples From To Result TR 1–8 Source’s V. TR 1–8 TR 1 V.
Time Compression 115 length of 30 seconds, starting at the TO point. ST point 00:01:00.00 ED point 00:01:34.00 From TR: 2 Squeezed 88.23% To V_TR: 2-1 TO point 00:01:00.00 00:01:30.00 When a part is stretched or squeezed, any stored locate points will be out of sync with the recorded material.
116 Chapter 10—Editing Parts Pitch Change The Pitch Change function is used to raise or lower the pitch of recorded material without affecting its length. For example, a 15-second section of material could be pitched by +100 cents and the length would remain the same. The pitch can be changed by up to ±1,200 cents (±12 semitones, or ±1 octave). Individual tracks or a pair of tracks can be processed simultaneously.
Pitch Change 9 117 Press the [ENTER] button. “PITCH CHANGE—ST MARK IN” appears on the display (“ST” being the start point of the part to be pitched). 10 Use the JOG/DATA dial to select one of the following points: MARK IN—LAST REC IN point MARK OUT—LAST REC OUT point MARK A—A point MARK B—B point LOC MEM 01–99—a locate memory from 1 through 99 11 Press the [ENTER] button. “PITCH CHANGE—ST 00:00:00.00.0” appears on the display (“00:00:00.00.0” being the position of the selected point).
118 Chapter 10—Editing Parts Rec Mode 16 Having selected “REC,” press the [ENTER] button. “PITCH CHANGE—FROM TR nn” appears on the display (“nn” being the source track containing the material to be pitched). 17 Use the JOG/DATA dial to select the source track. You can select individual tracks or track pairs: 1–8 or 1/2–7/8. To pitch a virtual track, assign it to a main track first, and then pitch the main track. 18 Press the [ENTER] button.
Pitch Change 119 26 Press the [ENTER] button. “PITCH CHANGE—TO MARK IN” appears on the display (“TO” being the position on the virtual track at which the pitched part is to be recorded). 27 Use the JOG/DATA dial to select one of the following points: MARK IN, MARK OUT, MARK A, MARK B, or a locate memory from 1 through 99. 28 Press the [ENTER] button. “PITCH CHANGE—TO 00:00:00.00.0” appears on the display (“00:00:00.00.0” being the position of the selected point).
Wordclocks 121 Wordclocks 11 In this chapter... Wordclocks & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wordclock Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dual AES/EBU Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting a Wordclock Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wordclock System Examples . . .
122 Chapter 11—Wordclocks Wordclocks & the D24 Unlike analog audio equipment, digital audio equipment must be synchronized when digital audio signals are transferred from one device to another, otherwise, the signal may not be read correctly and audible noise, glitches, or clicks may occur. Synchronization is achieved using what’s called a wordclock, which is a clock signal for synchronizing all the digital audio signals in a system.
Wordclock Connections 123 exactly half that of the sampling rate, and each AES/EBU format digital I/O signal is split in two, requiring two transmission channels. See “Dual AES/EBU Mode” on page 123 for more information. In a system where all devices share a common wordclock, it’s important that all devices be turned on even if they’re not being used. Turn on the wordclock master device first, and then the slave devices. When shutting down the system, turn off the slaves first, and then the master.
124 Chapter 11—Wordclocks Selecting a Wordclock Source The wordclock source is selected using the Wordclock function. The source setting also determines the sampling rate, which is set when a new project is created. Once something has been recorded in a project, the sampling rate cannot be changed, so it’s important that you set the correct rate when creating a new project. See “About Projects” on page 30 for more information. 1 Press the [SETUP] button. The SETUP indicator lights up.
125 Selecting a Wordclock Source When the sampling rate is 88.2 kHz, the 44.1K and 96K indicators both appear, as shown here. FS 44.1K 96K If an acceptable wordclock signal is not found, the D24 will not operate and the LOCK and FS indicators do not appear. In this situation, you must either select another wordclock source, or correct the selected external wordclock source. This condition also occurs when the external wordclock is disconnected or the device supplying it is turned off.
126 Chapter 11—Wordclocks Wordclock System Examples The following system examples show several wordclock configurations. Timecode connections are not shown. Basic Recording System In the following two examples, a single D24 is used in conjunction with a digital mixing console and DAT deck. In the first example, digital audio is transferred between the D24 and digital mixing console, and from the digital mixing console to the DAT deck, providing multitrack recording, mixing, and mixdown recording to DAT.
Wordclock System Examples 127 Two D24s In this example, two D24s are used with a digital mixing console. D24-A is wordclock master, and D24-B and the digital mixing console are wordclock slaves. Since the timecode source on D24-B is set to REMOTE IN, the wordclock signal is transmitted from D24-A to D24-B via the 15-pin sync cable. Alternatively, it could be transmitted via the BNC wordclock connectors and a BNC cable.
128 Chapter 11—Wordclocks Two D24s & Two MDMs In the following example, two D24s are used in conjunction with two MDM (Modular Digital Multitrack) recorders and a digital mixing console. D24-A is the wordclock master, and D24-B, the MDMs, and the digital mixing console are wordclock slaves. Since the timecode source on D24-B is set to REMOTE IN, the wordclock signal is transmitted from D24-A to D24-B via the 15-pin sync cable.
Wordclock System Examples 129 Digital Audio Transfer In the following example, tracks from an MDM are transferred digitally to the D24. The MDM is wordclock master, and the D24 is wordclock slave. D24 (wordclock slave) MDM (wordclock master) TIME DISPLAY CAPTURE ABS/REL REMAIN OVER OVER –dB 0 0 –dB 2 ABS 2 6 M S 12 DIGITAL MULTITRACK RECORDER POWER F YAMAHA D24 6 10 12 14 20 H 00 00 00 00 VARI SPEED UTILITY SETUP V.
130 Chapter 11—Wordclocks In the next example, tracks from two D24s are transferred to a personal computer, running audio editing software, via an ADAT I/O card. D24-A is wordclock master, while D24-B and personal computer are wordclock slaves. Since the timecode source on D24-B is set to REMOTE IN, the wordclock signal is transmitted from D24-A to D24-B via the 15-pin sync cable. Alternatively, it could be transmitted via the BNC wordclock connectors and a BNC cable.
Terminating BNC Wordclock Distribution 131 Terminating BNC Wordclock Distribution When a wordclock signal is distributed via BNC cables, it must be terminated correctly. Termination is typically applied at the last device, although it depends on the distribution method being used. The D24’s WORD CLOCK 75Ω TERM/THRU switch allows the D24 to be connected in a variety of ways. The following examples show three ways in which a wordclock signal can be distributed and how termination should be applied.
Timecode 133 Timecode 12 In this chapter... Timecode & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timecode Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting a Timecode Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Timecode Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting a Timecode Offset . . . . . . . .
134 Chapter 12—Timecode Timecode & the D24 The D24 supports longitudinal timecode (LTC) and the four common SMPTE/EBU frame rates of 24, 25, 30D (drop-frame), and 30 fps. It can generate its own timecode, or synchronize to an external timecode source via one the following inputs: TIME CODE IN or REMOTE IN. In addition, it can synchronize to an external MTC signal received via the MIDI IN port, and can transmit MTC from the MIDI OUT port even when it’s synchronized to an external SMPTE/EBU timecode source.
Selecting a Timecode Source 135 Selecting a Timecode Source The timecode source is selected using the TC Select function. Settings other than MASTER are used when the D24 is synchronized to external timecode. In addition to selecting the source, you must also set the frame rate. See “Setting the Timecode Frame Rate” on page 136 for more information. The TC Select setting is not stored with each project. See “About Projects” on page 30 for more information. 1 Press the [SETUP] button.
136 Chapter 12—Timecode Setting the Timecode Frame Rate The timecode frame rate, which is stored with each project, can be set to one of four frame rates: 24, 25, 30D (drop-frame), or 30 fps. When the D24 is synchronized to external timecode, you must set the frame rate so that it matches that of the external timecode. 1 Press the [SETUP] button. The SETUP indicator lights up. 2 Use the JOG/DATA dial to select “FRAME RATE,” and then press the [ENTER] button.
Setting a Timecode Offset 137 Setting a Timecode Offset A timecode offset relative to the external timecode source can be set using the TC Offset function. Plus values retard the D24, minus ones advance it. With an offset of +00:05:00.00.0 (+ 5 minutes), for example, an external timecode value of 01:00:00.00.0 (1 hour) will correspond to 01:05:00.00.0 (1 hour and 5 minutes) on the D24. 1 Press the [SETUP] button. The SETUP indicator lights up.
138 Chapter 12—Timecode Chasing External Timecode The Timecode Chase function is used to synchronize D24s in a multiple-unit system, or to synchronize a single D24 to an external timecode source. The D24 can chase SMPTE/EBU timecode received via the TIMECODE INPUT or MTC received via the MIDI IN. When the Chase function is turned on, the D24 automatically chases and synchronizes to the selected external timecode source. 1 Set the timecode source to either TIMECODE IN, MIDI IN, or TC IN+VIDEO.
Setting the Chase Speed 139 Setting the Chase Speed When the D24 is synchronized to external timecode in Chase mode, devices that are locked to the D24’s wordclock, such as digital mixers, may become unlocked and produces unpleasant noises. In this case, you should reduce the D24’s Chase Speed. At slower Chase Speeds, however, the D24 takes longer to chase and synchronize to external timecode. 1 Press the [UTILITY] button. The UTILITY indicator lights up.
140 Chapter 12—Timecode Timecode Hookup Examples The following system examples show several timecode configurations. MTC with MIDI Sequencer In the following example, the D24 is the timecode master and the personal computer running MIDI sequencing software is the timecode slave. Since the D24 does not support MMC when it’s configured as a timecode slave, it must be the timecode master (see “Timecode & the D24” on page 134).
Timecode Hookup Examples 141 SMPTE/EBU Chase In the following example, a VTR is the timecode master and the D24 and digital mixing console are timecode slaves. The timecode source on the D24 is set to TIMECODE IN (SMPTE/EBU). The D24’s Timecode Chase function is turned on, so it automatically chases and synchronizes to the VTR’s timecode. With ALL CHASE mode, the D24 is configured as the wordclock master in order to use the Varispeed function.
Multiple D24s & Video Sync 143 Multiple D24s & Video Sync 13 In this chapter... Multiple D24s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Expanding the Number of Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Extending the Recording Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Serial Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
144 Chapter 13—Multiple D24s & Video Sync Multiple D24s Several D24s can be used to expand the number of tracks available for simultaneous recording and playback, or to extend the total continuous recording time. The number of tracks can be expanded in multiples of eight by combining up to eight D24s. See “Expanding the Number of Tracks” on page 145 for more information. The continuous recording time can extended by using two D24s and the Serial Point function.
Expanding the Number of Tracks 145 Expanding the Number of Tracks The number of tracks available for simultaneous recording and playback can be expanded in multiples of eight by combining up to eight D24s. In the following example, four D24s are used in conjunction with a digital mixing console, for a 32-track recording system. D24-A is the wordclock and timecode master, while the other D24s and the digital mixing console are wordclock and timecode slaves.
146 Chapter 13—Multiple D24s & Video Sync Slave D24 Setup 1 Set the timecode source on each slave to REMOTE IN. See “Selecting a Timecode Source” on page 135 for more information. When the timecode source is set to REMOTE IN, the wordclock source is also set to REMOTE IN (the EXT indicator in the WC window lights up) and the D24 is automatically configured as a wordclock slave. When the timecode source is set to a different source, the wordclock source reverts to its previous setting.
Extending the Recording Time 147 Extending the Recording Time The total continuous recording time can be extended by using two D24s and the Serial Point function. The master D24 records the first half of the material, and the slave D24, which kicks in at the specified serial point, records the second half of the material. In the following example, two D24s are used in conjunction with a digital mixing console for extended recording.
148 Chapter 13—Multiple D24s & Video Sync The digital mixing console’s automix function is synchronized to the timecode coming from the master D24, and an automated crossfade between D24-A and D24-B (i.e., tape returns 1–8 and tape returns 9–16) is set to occur in the 30 second overlap. This means that track 1, for example, is processed by tape return 1 for the first half of the material and tape return 9 for the second half, so channel settings will need to be identical on all corresponding tape returns.
Setting the Serial Point 149 Setting the Serial Point The Serial Point function determines the position at which the slave D24 starts recording or playback, when two D24s are used to extend the continuous recording time. The serial point can be entered using the keypad, and finely adjusted using the JOG/DATA dial. 1 Press the [SETUP] button. The SETUP indicator lights up. 2 Use the JOG/DATA dial to select “SERIAL CHASE,” and then press the [ENTER] button. “SERIAL CHASE—OFF” appears on the display.
150 Chapter 13—Multiple D24s & Video Sync Terminating BNC Video Sync Distribution When a video sync signal is distributed via BNC cables, it must be terminated correctly. Normally, termination is applied at the last device connected, although it depends on the distribution method being used. The D24’s VIDEO 75Ω ON/OFF switch allows the D24 to be connected in a variety of ways. The following examples show three ways in which a video sync signal can be distributed and how termination should be applied.
Connecting a Video Editor 151 Connecting a Video Editor In a video editing environment, the D24 can be controlled by connecting a video remote controller or video editor, which supports 9-pin protocols, to the SERIAL I/O port. With the timecode source set to SERIAL, the D24 responds to commands from the video remote controller. For sync play operation, the VTR’s timecode should be fed to the D24 and the Chase function should be turned on.
SCSI & External Disk Drives 153 SCSI & External Disk Drives 14 In this chapter... SCSI & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using External Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Certified Disk Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Available Recording Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 14—SCSI & External Disk Drives SCSI & the D24 Additional recording space can be made available by connecting optional, external SCSI hard disk drives or removable media drives to the D24’s SCSI port. The SCSI interface supports Narrow SCSI-2 (FAST-20). The D24’s filing system supports up to 8.4 GB of disk space per disk drive. Larger capacity disk drives can be used, but only the first 8.4 GB can be accessed by the D24.
Certified Disk Drives 155 Certified Disk Drives The following disk drives have been performance tested by Yamaha and are certified for use with the D24. Other disk drives may work just as well, although performance cannot be guaranteed. The D24’s SCSI interface supports Narrow SCSI-2 (FAST-20). Drive Type Manufacturer IBM DDRS-34560U Quantum Hard disk drive Seagate Removable media drive Model Capacity 4.5 GB XP34300 4.3 GB ST32430N 2.4 GB ST34573N 4.5 GB ST39140N 9.
Chapter 14—SCSI & External Disk Drives Connecting Disk Drives The D24’s SCSI port is a 50-pin, half-pitch SCSI connector, which accepts 50-pin, half-pitch, pin-type SCSI plugs. SCSI For reliable operation, use only good-quality SCSI cables. The total length of the SCSI bus must not exceed six meters (20 feet). Note that this is the total length of the bus from the D24 to the last device, not the length of the cables between individual devices.
Terminating the SCSI Bus 157 Terminating the SCSI Bus Both ends of the SCSI bus must be terminated for correct operation. The D24 takes care of termination at its end, so all you have to do is make sure that termination is applied on the last device on the bus. Some SCSI disk drives feature automatic termination, which automatically terminates the bus as necessary, while others feature termination switches, which you must set manually.
Chapter 14—SCSI & External Disk Drives Formatting External Disk Drives New disk drives and drives that have been used to store other kinds of data must be formatted before they can be used with the D24. The formatting process prepares a disk for storing D24 data. Formatting erases all previously stored data, so if you’re reusing a disk, make sure that it contains no important data before formatting.
Formatting External Disk Drives 159 Formatting Hard Disks for Computer Mounting This section explains how to format an external hard disk drive so that it can be mounted by a personal computer. Since the disk drive must first be formatted as a DOS FAT16 volume on a personal computer, the maximum size of the volume is 2 GB, so even if you’re using a 4.5 GB hard disk, you’ll only be able to use 2 GB for recording on the D24.
Chapter 14—SCSI & External Disk Drives Formatting External MO Disks This section explains how to format MO disks in an external MO disk drive. The procedure for formatting MO disks in the internal MO disk drive is provided on page 26. 1 Connect the external MO disk drive to the D24. 2 Select the external MO disk drive using the Drive Select function. See “Selecting the Work Disk” on page 161. 3 Press the [FORMAT] button.
Selecting the Work Disk 161 Selecting the Work Disk The Drive Select function is used to select the internal MO disk drive or an external disk drive as the work disk. 1 Press the [UTILITY] button. The UTILITY indicator lights up. 2 Use the JOG/DATA dial to select “DRIVE SELECT,” and then press the [ENTER] button. The current Drive Select setting appears on the display. 3 Use the JOG/DATA dial to select one of the following: INT MO—internal MO disk drive (i.e., SCSI ID 2).
Chapter 14—SCSI & External Disk Drives Duplicating MO Disks MO disks can be duplicated using two D24s and the Duplicate function. In addition to duplicating disks, this is a convenient way to back up MO disks. The source and destination MO disks must be of the same capacity: 230 MB, 540 MB, or 640 MB. You cannot, for example, duplicate a 230 MB disk to a 640 MB disk. The type of disk, however, is not important, so you can duplicate an Overwrite-type MO disk to a normal MO disk and vice versa.
Duplicating MO Disks 163 Duplication Procedure The source and destination MO disks must be the same capacity, and the destination disk must be formatted beforehand. See “Formatting MO Disks” on page 26 for more information. 1 Turn off both D24s. 2 Turn on D24-B. 3 Insert the destination MO disk into D24-B. 4 Press the D24-B [UTILITY] button. The UTILITY indicator lights up. 5 Use the D24-B JOG/DATA dial to select “DUPLICATE,” and then press the [ENTER] button.
Chapter 14—SCSI & External Disk Drives Copying Projects Between Disk Drives Individual projects can be copied between disk drives using the Backup function. 1 Turn off the D24 and external disk drives. 2 Connect the external disk drive to the D24 using a SCSI cable. See “Connecting Disk Drives” on page 156 for more information. 3 Turn on the external disk drive and then the D24. See “Turning On & Off the D24” on page 24 for more information.
Mounting D24 Disks on a Personal Computer 165 Mounting D24 Disks on a Personal Computer The D24 uses the DOS FAT16 filing system to manage files on disk. This means that an MO disk formatted by the D24 can be mounted on the desktop of a PC running a Windows operating system, or a Macintosh computer that can mount DOS formatted disks. Obviously, the MO disk drive that you use with your computer must support the disk type and capacity.
Chapter 14—SCSI & External Disk Drives Connecting the D24 to a Personal Computer The D24 can be connected to a personal computer via SCSI. The personal computer can then mount the internal MO disk drive and any connected external MO disk drives. Since the D24 uses the DOS FAT16 filing system to manage files on disk, MO disks formatted on the D24 can be mounted by PC computers running a Windows operating system, or Macintosh computers that can mount DOS formatted disks.
Connecting the D24 to a Personal Computer 167 PC Hookup In the following example, the D24 is connected to a SCSI adapter installed in a PC computer. Since the PC’s internal hard disk drive is an ATA type drive, only SCSI ID 7 is used on the PC side, and the D24’s internal MO disk drive is set to SCSI ID 2, the default setting.
Chapter 14—SCSI & External Disk Drives Accessing the Internal MO Disk Drive When the D24 is connected to a personal computer, the PC Mode function is used to temporarily disconnect the SCSI bus between the D24 and internal MO disk drive while the drive is being accessed. 1 Press the [UTILITY] button. The UTILITY indicator lights up. 2 Use the JOG/DATA dial to select “PC MODE,” and then press the [ENTER] button.
Other Functions 169 Other Functions 15 In this chapter... Setting the Peak Hold Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Fade In/Out Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Display Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting the Remote ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recovering Disk Space .
Chapter 15—Other Functions Setting the Peak Hold Mode Peak Hold can be set so that the highest lit segment of each meter remains lit for 800 ms (MOMENTARY) or continuously (PERMANENT). See “Using Peak Hold” on page 41 for information on using the Peak Hold function. 1 Press the [SETUP] button. The SETUP indicator lights up. 2 Use the JOG/DATA dial to select “PEAK HOLD,” and then press the [ENTER] button. The current setting appears on the display.
Setting the Display Brightness 171 Setting the Display Brightness The brightness of the display can be adjusted using the VFD (Vacuum Florescent Display) Dimmer function. 1 Press the [SETUP] button. The SETUP indicator lights up. 2 Use the JOG/DATA dial to select “VFD DIMMER,” and then press the [ENTER] button. The currently set brightness value appears on the display. 3 Use the JOG/DATA dial to select a value from 1 through 5. The default setting is 5.
Chapter 15—Other Functions Recovering Disk Space When tracks and parts are erased or deleted, although they can no longer be accessed, the actual sound files remain on disk as unused files, occupying disk space, and reducing the time available for additional recording. Likewise, takes recorded using auto punch in/out recording remain on disk even after a single take has been fixed.
Physical Formatting for MO Disks 173 Physical Formatting for MO Disks The Format function accessed via the front panel [FORMAT] button is all that is required to prepare new MO disks and MO disks that have been used to store other kinds of data for use with the D24. This is a logical, or high-level format, which simply readies the disk for storing D24 data, and takes only a few seconds.
Chapter 15—Other Functions Ejecting Troublesome Disks (emergency use) If the D24 is turned off inadvertently, or the disk loading mechanism fails, you may not be able to eject a disk in the normal way. In this case, the disk can be ejected using the supplied disk eject tool. Note that this technique should only be used as a last resort, as frequent use may lead to malfunction. 1 Turn off the D24.
Initializing the D24 175 Initializing the D24 You can reset the D24 to its initial settings as follows. 1 Turn off the D24. 2 While holding down the [RTN TO ZERO] button, turn on the D24. The D24 is initialized and “INITIALIZED” appears on the display. Checking the Version Number You can check the version number of the D24 system software as follows. 1 Turn off the D24. 2 While holding down the [UTILITY] button, turn on the D24. The version number appears on the display.
MIDI 177 MIDI 16 In this chapter... MIDI & the D24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using MMC (MIDI Machine Control) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Turning On MMC Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Supported MMC Commands . . . . . . . . . . . .
178 Chapter 16—MIDI MIDI & the D24 The D24 supports the following MIDI messages: • MMC (MIDI Machine Control) for remote control with, for example, a MIDI sequencer—See “Using MMC (MIDI Machine Control)” on page 178. • MTC (MIDI Timecode) for synchronization with MTC-compatible equipment—See “Timecode & the D24” on page 134. MIDI Ports The MIDI ports are used to connect the D24 to other MIDI equipment for use with MTC and MMC.
Using MMC (MIDI Machine Control) 179 Supported MMC Commands The D24 supports the following MMC commands. Command MMC # Description Stop 01 The D24 stops recording, rehearsal, playback, rewind, or fast forward. Play 02 The D24 starts playback. This command is ignored during recording or rehearsal. Play 03 The D24 locates to the specified timecode address, and then starts playback. This command is ignored during recording or rehearsal. Fast Forward 04 The D24 fast forwards.
180 Chapter 16—MIDI MMC Hookup Examples In the following example, the D24 receives MMC commands from the personal computer running MIDI sequencing software. The sequencer is synchronized to the D24 using MTC. The D24 is set to MMC device number 1 and the sequencing software is set to transmit MMC commands to MMC device number 1. The D24’s timecode source is set to MASTER. When playback is started on the MIDI sequencer, the D24 also starts playing, and when the MIDI sequencer is stopped, the D24 stops too.
Digital Audio I/O 181 Digital Audio I/O 17 In this chapter... About mini YGDAI Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Card Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing Digital I/O Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing D24 Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
182 Chapter 17—Digital Audio I/O About mini YGDAI Cards For analog and digital audio inputs and outputs, the D24 uses optional mini YGDAI (Yamaha General Digital Audio Interface) cards, which offer several analog I/O options and digital I/O support for all the popular digital audio interconnect formats: AES/EBU, ADAT, and Tascam TDIF-1. The same mini YGDAI cards are also used by the Yamaha 01V Digital Mixing Console.
Card Specifications 183 Card Specifications The following table lists the specifications of the various mini YGDAI cards.
184 Chapter 17—Digital Audio I/O Choosing D24 Slots The D24 has four slots for installing mini YGDAI cards. Slots 1 and 2 are intended for use with analog input cards or digital I/O cards. Since slot 1 or 2 can be selected as the wordclock source, it’s best to use these slots when installing digital I/O cards. Slots 3 and 4 are intended for use with analog output cards. Use the following table as a guide when choosing slots.
Installing Cards 185 Installing Cards This section explains how to install mini YGDAI cards in the D24. 1 Turn off the D24. 2 Undo the two fixing screws and remove the slot cover, as shown below.
186 Chapter 17—Digital Audio I/O Using Dual AES/EBU Mode When using the higher sampling rates of 88.2 kHz and 96 kHz, the number of tracks is reduced from eight to four and the available tracks are 1, 3, 5, and 7. Project, track, and part editing functions are not available in this mode. For digital I/O, the D24 uses what’s known as Dual AES/EBU mode, in which the wordclock frequency is exactly half that of the sampling rate. With a sampling rate of 96 kHz, for example, the wordclock frequency is 48 kHz.
Using the Coaxial Digital Input & Output 187 Using the Coaxial Digital Input & Output The COAXIAL INPUT and OUTPUT phono jacks offer S/PDIF format, 2-channel digital input and output. They can be assigned to individual track pairs, all tracks, or turned off, using the Coaxial I/O function. See “Assigning the Coaxial Input & Output” on page 188 for more information. COAXIAL OUTPUT INPUT STEREO DIGITAL The COAXIAL INPUT supports 16-, 20-, and 24-bit wordlengths.
188 Chapter 17—Digital Audio I/O Assigning the Coaxial Input & Output The COAXIAL INPUT and OUTPUT can be assigned to track pairs, all tracks, or turned off, using the Coaxial I/O function. The COAXIAL INPUT assignment has priority over the slot inputs. When, for example, the COAXIAL INPUT is assigned to tracks 1 and 2, signals arriving at slot inputs 1 and 2 are ignored. 1 Press the [SETUP] button. The SETUP indicator lights up.
Digital I/O & Wordlength 189 Digital I/O & Wordlength When a high-resolution digital audio signal is transferred to a lower-resolution system, care must be taken to ensure that the digital audio samples are truncated correctly. When a 24-bit signal is transferred directly to a 16-bit DAT recorder, for example, low-level detail is lost when the eight least-significant bits (LSB) of each audio sample are discarded, resulting in distortion and a grainy sound.
190 Chapter 17—Digital Audio I/O Care must be taken when transferring high-resolution digital audio directly from the D24’s COAXIAL OUTPUT to a low-resolution device. In the following example, the 20-bit digital audio from the D24 will be truncated by the 16-bit DAT deck, resulting in distortion and graininess.
Troubleshooting 191 Troubleshooting Symptom Advice Make sure that the power cord is connected to a suitable AC wall outlet. See “Connecting the Power Cord” on page 24 for more information. Cannot turn on the D24. Make sure that the D24 POWER switch is set to the ON position. See “Turning On & Off the D24” on page 24 for more information. If you still cannot turn on the D24, contact your Yamaha dealer. Cannot access the UTILITY, SETUP, V. TRACK SELECT, or EDIT functions.
192 Troubleshooting Symptom Advice Processed a part using the Time Compression or Pitch Change function, but cannot play the result. Since the output of the Time Compression and Pitch Change function is recorded to the specified virtual track, you must assign the virtual track to a main track in order to play the result. See “Using Virtual Tracks” on page 51 for more information. The D24 doesn’t respond to MMC commands.
Setting the SCSI ID of the Internal MO Drive 193 Appendix Setting the SCSI ID of the Internal MO Drive Setting the SCSI ID of the internal MO disk drive involves removing the D24’s top cover and setting the DIP switch located on the MO drive’s circuit board. This procedure should be carried out by a qualified engineer. If in doubt, contact your Yamaha dealer. 2 Remove the top cover.
194 Appendix Error Messages If the D24 displays an error message, follow the instructions below. Message Meaning Remedy Sync no comm The slave machine is not connected properly. Check the connections to the slave machine. TC not read The timecode source cannot be read properly. Check the timecode settings. WC not read The wordclock source cannot be read properly. Check the wordclock settings. FILE ERROR The MO disk data is not correct. Follow the instructions on the display.
Error Messages Message 195 Meaning Remedy FS DIFFER Recording is not possible because the sampling rate of the selected project is not the same as the current D24 setting. Set the sampling rate on the D24 to match that of the project. See “Selecting a Wordclock Source” on page 124 for more information. RECCH NOTSEL No tracks are selected for recording. Select a track for recording. See “Recording” on page 33 for more information. MO PROTECT The disk is write protected.
196 Appendix Specifications Recording medium 3.5" MO disk (ISO/ECMA) (Overwrite and normal type) Sound file format Yamaha proprietary format Main tracks 8 Virtual tracks 64 (8 per main track) Simultaneous recording 8 tracks (44.1, 48 kHz), 4 tracks (88.2, 96 kHz) Simultaneous playback 8 Tracks Sampling rate 44.1, 48 , 88.2 (Dual AES/EBU), 96 kHz (Dual AES/EBU) Recording resolution 16, 20, 24-bit Maximum recording time (44.
Specifications 197 Parallel unit chase (up to 8 units) Serial unit chase (2 units) External SMPTE/EBU timecode chase (24, 25, 30D, 30 fps) Synchronization External MTC chase External MMC control 9-pin protocol control Solo Select Other functions Monitor Select Auto Input/All input Peak Hold On/Off Power requirements U.S.A. & Canada 120 V AC, 60 Hz Europe 230 V AC, 50 Hz Power consumption 100 W Dimensions (W × H × D) 480 × 144 × 383.9 mm (18.9 x 5.7 x 15.1 inches) Weight 13 kg (28.
198 Appendix Digital Audio Output Connection Format Wordlength Level Connector COAXIAL STEREO DIGITAL OUTPUT IEC-609581 Consumer Use 16, 20, 24 bit 0.5 V pp (75 Ω) Phono 1.
Connector Pin Assignments 199 Connector Pin Assignments REMOTE IN/SYNC IN Port Pin Signal Pin Signal 1 LINK TC 9 LINK FS 2 LINK DT 10 485BUS B 3 CONNECT ASS 11 N.C. 4 485BUS A 12 N.C. 5 N.C. 13 N.C. 6 GND 14 +12 V 7 +12 V 15 GND 8 GND SYNC OUT Port Pin Signal Pin Signal 1 LINK TC 9 LINK FS 2 LINK DT 10 485BUS B 3 LINK MF 11 N.C. 4 485BUS A 12 N.C. 5 N.C. 13 N.C. 6 CONNECT SIG 14 N.C. 7 N.C.
200 Appendix 4.1 12.9 355.1 D: 383.9 11.8 D24 Dimensions W: 480 12 Specifications and external appearance subject to change without notice. For European Model Purchaser/User Information specified in EN55103-1 and EN55103-2.
Glossary 201 Glossary A/D converter—An electronic device for converting signals from analog to digital. Contrast with D/A converter. ABS—An abbreviation for Absolute. Contrast with REL. ADAT interconnect format—The digital audio interconnect format typically found on ADAT-compatible digital audio equipment. Eight channels of digital audio are carried per fiber-optic connection, using Toslink connectors.
202 Glossary Initial settings—The settings used when a device is first turned on after leaving the factory. Also known as the default, or factory settings. Line-Level Signal—A high-level signal in the range from –20 dB to +20 dB. Most audio equipment outputs signals at line level. Contrast with Low-Level Signal. Logical formatting—Also known as “high-level formatting,” disk formatting that simply initializes a disk’s filing system. Contrast with physical formatting.
Glossary 203 Physical formatting—Also known as “low-level formatting,” disk formatting that, in addition to initializing the disk’s filing system, divides tracks into sectors. Contrast with logical formatting. REL—An abbreviation for Relative. Contrast with ABS. Rew—An abbreviation for rewind. RTZ—An abbreviation for Return To Zero. A recorder function providing a quick way to locate the zero position.
204 Glossary WC—An abbreviation for wordclock. Wordclock—A clock signal used to synchronize the data processing circuits of all devices in a digital audio system. YGDAI (Yamaha General Digital Audio Interface)—The digital audio interface system that offers a range of analog and digital input and output options for Yamaha digital audio equipment.
Index Index A A & B points buttons 12 indicators 12 locating 61 repeat playback 47 setting 61 A/D converter definition 201 mini YGDAI cards 182 ABS/REL button 16 function 49 indicators 10 using 49 Absolute zero 49 AC IN connector 21 ADAT format definition 201 interface card 182 AES/EBU format definition 201 Dual mode 123 interface card 182 Aliasing, definition 201 All chase mode 138 All input button 17 function 42 indicator 17 using 42 Analog I/O cards 182 Anti-aliasing, definition 201 Assigning SCSI IDs 1
206 Index D D/A converter definition 201 mini YGDAI cards 182 phones 197 D24 dimensions 200 features 4 front panel 10 initializing 175 MO disks 6 multiple 144 rear panel 20 turning on and off 24 updating 175 version number 175 Default settings, initialize 175 Deleting parts 102 projects 80 Device number, MMC 179 Digital dither definition 201 using 189 Digital I/O cards 182 coaxial I/O assign 188 coaxial input & output 187 digital dither 189 wordlength 189 Dimensions 200 Disk drive slot 13 Disk drives cert
Index Part Erase 104 Part Insert Copy 108 Part Insert Space 106 Part Move 99 Peak Hold 41, 170 Physical Format 173 Pitch Change 116 Playback 46 Pre Roll 76 Project Copy 78 Project Delete 80 Project Erase 79 Project Protect 82 Project Select 59 Project Title 81 Rec Bit 32 Record 33 Record, Auto Punch 73 Record, Manual Punch 70 Redo 35 Rehearsal 36 Rehearsal, Auto Punch 72 Rehearsal, Manual Punch 69 Remain 38 Remote ID 171 Return to Zero 60 Rewind 46 Roll Back 50 Serial Point 149 Shuttle 52 Solo Out 48 TC Mo
208 Index Mains lead 24 Manual eject hole 13 Manual punch in/out about 68 recording 70 rehearsal 69 Master multiple D24s 144 timecode 135 wordclock 124 MDM, definition 202 Message area 11 Metering about 10 normal & fine 40 peak hold 41 using 39 MIDI about 178 definition 202 Implementation chart 211 MMC 178 ports 20 selecting MTC 135 transmitting MTC 139 mini YGDAI card specifications 183 cards 182 choosing digital I/O cards 183 choosing slots 184 definition 202 installing cards 185 selecting slot inputs 1
Index search confirmation 58 searching 58 selecting 59 stored settings 30 titling 81 Protecting projects 82 Punch in/out recording about 68 auto 73 fade in/out 68 manual 70 monitoring 68 Purchasing MO disks 6 Q Quick locate 57 R Re chase mode 138 READY indicators 11 Rear panel 20 Rec Bit function 32 REC button 14 Recalling locate memories 66 RECORD READY buttons 19 Recording auto punch in/out 73 available time 6 conserving disk space 35 extending the top of a project 37 manual punch in/out 70 monitoring
210 Index control I/O 198 digital audio input 197 digital audio output 198 general 196 mini YGDAI cards 183 Squeezing parts 111 STOP button 14 Storing locate memories 64 Stretching parts 111 Swapping tracks 91 Switching on the D24 24 SYNC OUT about 21 pin assignments 199 using 144 System software updating 175 version number 175 T Takes auditioning 74 fixing 75 Tascam TDIF-1 format definition 203 interface card 182 TC Offset function 137 TC Select function 135 TC window 11 Terminating SCSI bus 157 video e
YAMAHA [Digital Multitrack Recorder] Date: MIDI Implementation Chart Model: D24 Function...
YAMAHA CORPORATION Pro Audio Division, #18/3 P.O.