Operation manual can be downloaded from the ZOOM official website. (www.zoom.jp/docs/r8) © ZOOM Corporation Reproduction of this manual, in whole or in part, by any means, is prohibited.
Install the batteries with the correct +/– orientation. In this manual, symbols are used to highlight warnings and cautions that you must read to prevent accidents. The meanings of these symbols are as follows: Use a specified battery type. Do not mix new and old batteries or different brands or types at the same time. Something that could cause serious injury or death. When not using the unit for an extended period of time, remove the batteries from the unit.
Please read through this manual carefully in order to understand the functions of the well so that you can use it happily for many years. After reading through this manual, please keep it along with the warranty in a safe place. Please note that some details might be changed without notice in order to improve the product.
Usage and safety precautions Introduction Confirmation of included items Contents Panel layout and functions Switch and key overview Display information Operation overview Connections SD card installation Powering the unit Turning the power on and off Setting the date and time Recording and playback Recorder overview Preparations before recording Creating a new project Changing the time signature . . . . . . . . . . . . 18 Setting the tempo . . . . . . . . . . . . . . . . . . . .
Using the sampler Using the sampler to make songs Using the sampler Assigning loops to tracks Setting loops Setting a track to loop Setting the loop interval Playing the pads Setting the playback method Set global quantization to control sound timing Changing the BPM of a track Changing audio tempo without changing pitch Trimming unnecessary parts of audio files Setting fade-ins and fade-outs Using the track sequencer Track sequencer overview Creating a sequence Creating a sequence in real-time Creating
Here we explain how to use the keys and switches of the Switch and key overview PROJECT PROJECT PROJECT PROJECT 8 .
The display shows, for example, project data, connection and operation status as a recorder or a computer audio-interface, available functions and various menus. Top Screen: Shows the current project Menu screen: Shows an operation menu The functions of the soft keys appear at the bottom of the display. Press the key under the indication to use that function.
Assigning loops to tracks Please see the Audio Interface Manual for information about the audio interface. You can download the Audio Interface Manual from ZOOM's website (www.zoom.co.jp).
Assigning loops to tracks Please see the Audio Interface Manual for information about the audio interface. You can download the Audio Interface Manual from ZOOM's website (www.zoom.co.jp).
Refer to the illustration below to connect instruments, mics, other audio equipment and a computer, for example. Headphones Stereo systems, speakers with built-in amplifiers, etc. Connect cables with XLR or phone plugs (mono/stereo, balanced/ jacks.
The saves recording data and settings on SD cards. To protect your data, turn the power off before inserting or ejecting a card. An SD card is necessary for recording. If you want to change the SD card while the power is ON, you must follow special procedures. (P.110) When inserting or removing an SD card, always turn the power OFF. Doing so when the power is ON could cause recording data to be lost.
Use the included AC Adapter or four AA batteries (sold separately) to power the unit. Powering the unit Always use the included AC adapter (ZOOM AD-17), which is designed for use with the unit. Using any other adapter could damage the unit. Always turn the power OFF when you open or close the battery cover or connect or disconnect the AC adapter. Doing so when the power is ON might cause recording data to be lost. The unit can use alkaline or NiMH batteries.
Follow these precautions for starting-up and shutting down the unit. Follow these instruction to set the date and time for files and data. YEAR MONTH DAY (hours) (minutes) (seconds) Before turning the , turn down the and controls and volume on monitors and other connected devices. If no power is supplied to the for more than a minute, the DATE/TIME setting will be reset to the default value.
The is an 8-track recorder that can record up to 2 tracks at the same time and play back up to 8 tracks at the same time. The following types of tracks are used. Track 1 WAV Audio track WAV Loop track Track mixer MASTER fader Rhythm pattern track Track 8 WAV Audio track WAV Loop track Track mixer Rhythm pattern track Depending on the recording destination track, the creates the following types of audio files. The file format depends on the project and bit length settings.
With the you can manage each song as a "project." Before starting to record a new song, create a project first, and adjust the time signature (default: 4/4) and tempo (default: 120.0) as necessary. You can also set the metronome as you wish to use as a guide during recording. Create a new project. You can choose to use the same settings as the previous project and set the sampling rate. You can continue to use the settings and values of the last project in the new one.
Use the track sequencer to set the time signature. The default is 4/4. Follow these steps to change to a different time signature. Put the cursor at the beginning to change the time signature for the whole song, or at the point where you want to change it in the middle of the song.
The tempo setting is saved for each project.
You can change the volume, tone and stereo position of the metronome and use its pre-count function. You can also set it to only be heard through headphones. Use the switch to change and adjust the metronome output. Be aware that if the metronome volume is set high, the accented beat of some sounds might become difficult to distinguish. If a track with a rhythm pattern assigned to it is selected in the setting, no sound will be output. Metronome settings are saved for each project.
After preparation, ready the recorder and start recording the first track in a project that you have created. Connect an instrument, record it and play back the recording. You can also apply various effects (insert) during recording. Connect a high impedance instrument to , and the set the input switch to . INPUT 1 Connect a low impedance instrument to or and set its switch to . Connect a mic to an that switch to switch to . ( or ), and set .
indicator turns red when the The signal exceeds the maximum detectable level of 0 dB, resulting in input clipping. If clipping happens, the recorded sound will be distorted, so you should reduce the recording level.
When applying an insert effect, adjust the recording level so that the level meters do not touch the 0 dB mark and the input section switch indicators do not blink (see the following page). For more information about algorithms, patches and insert effects, see the "Guide to using effects" on P.80. You can also use insert effects just for monitoring while recording the unaffected signals. (See "Using effects only for monitoring" on P.89.
The relationship between inputs and tracks is as follows.
If you record again on the same track, the previously recorded file will be overwritten. function However, you can also use the to erase the previous recording. Moreover, you can also keep the previous file and record a second take in a separate file. Top screen You can set whether when recording previous recordings are overwritten or saved and a new recording made. (See "Setting the recording mode" on P.97.
“TAKE” shows the file name. File names are assigned automatically in order starting with "MONO-000.WAV" (for a stereo track "STE-000.WAV") followed by "MONO-001. WAV", "MONO-002.WAV" and so on. File names can be changed as necessary. (See "Changing project and audio file names" on P.94.) When the REC MODE is set to Overwrite, the recorded audio file will be overwritten on the track. If you return to the beginning of the song and record, the previous recording will be overwritten, so be careful.
After "Recording the first track," you can record (overdub) other instruments on other tracks while playing back the already recorded audio. After preparing the already recorded track for playback, follow the instructions in "Recording the first track" (P.21) from "Connecting instruments" to "Recording" to record other tracks. If you want to record on a track that has already been recorded on, assign the recorded file to another track to make the target track empty.
Enable stereo links to treat two adjacent tracks (1/2, 3/4, 5/6 and 7/8) as stereo tracks. When stereo link is set to ON, INPUT 1 and 2 can be used together for stereo input and recorded to a stereo track. When recording to a stereo track, a stereo WAV file is created. Stereo link changes the setting from two mono tracks to one stereo track. Whatever track number you choose, an adjacent track will be linked. You cannot change these combinations.
You can assign audio files to tracks freely. By recording multiple takes of vocals, guitar solos and other parts in different files, you can later select and use the best takes (as though using virtual tracks). If you assign a stereo file to a mono track, stereo link is turned on automatically. For example, if mono files are assigned to tracks 1 and 2, the stereo file will be assigned to track 1 and the mono file on track 2 will become unassigned.
Use the swap function to exchange two tracks, including their assigned files, track sequence data and all track parameter information.
Punch-in and punch-out allow you to re-record a single part of a recorded file. The point when the unit switches from playback to recording is the "punch-in" and the point when the unit switches from recording to playback is the "punch-out." allows both manual punch-in/out using keys on the front panel or a ZOOM FS01 The footswitch (sold separately) and automatic punch-in/out in which you designate the punch-in/out points in advance. Punch-in/out overwrites the recording on the track.
Rehearsing When punching in and out manually is difficult, you can set the points in advance to punch-in and punch-out automatically. Once you set automatic punch-in and out points, you cannot change them. Cancel them first if you need to set them again. If the is set to new file will be recorded.
Bounce to mix and record multiple tracks as 1–2 tracks. This is also called “ping-pong recording.” Bouncing creates a new file in the same project. If you set the bounce destination to a mono track, the recorded signals are mixed to mono. If set to a stereo linked pair of tracks, the recorded signals will be mixed to stereo. You can also include signals input through the INPUT jacks when bouncing. For information about adjusting sounds and using effects while bouncing, refer to "Mixing" on P.40.
Adjust the mix balance (audition) This operation can be undone by pressing the UNDO soft key. If you bounce in stereo to two mono tracks, the pan of the odd number track will be set to L100, and the even number track will be set to R100.
The counter on the display can be used to move (locate) to the desired time in hours: minutes: seconds: milliseconds or bars–beats–ticks (1/48 beat). You can also set marks in a project to locate to them easily. To prepare, stop the recorder, select the project and start from the Top Screen. Add a mark using the counter Adding a mark during recording/playback You cannot change the counter this way during recording or playback. After Step 2, you can start playback from the set counter position.
Use keys to move between marks in order A deleted mark cannot be recovered. Use the order to move between marks in at the beginning cannot be deleted. Press the key when the mark icon is highlighted to delete that mark. when the icon is not Press highlighted to create a new mark at that position. When marks are added and deleted between other marks, all the marks are automatically renumbered in order from the beginning.
You can set a beginning (A) point and an ending (B) point in a project and repeat playback between them. When playback reaches point B, it automatically returns to point A and continues playback. While the icon appears, playback repeats continuously These settings can be made both during playback and when stopped. If you set point B at a time before point A, repeat playback will occur from point B to point A.
The has two built-in mixers. Input signals are sent to the input mixer, and track playback signals are sent to the track mixer. Using the built-in mixer, you can adjust the volume and pan for each input signal and track, as well as use a 3-band parametric equalizer on the tracks. This mixer adjusts the input gain of each signal input through an jack, and sends each signal individually or both mixed together to a recorder track.
When the recording destination track has been set, the input signal does not pass through the input mixer. Instead, after passing through the REC LEVEL, the signal passes through the track mixer and is output. Example: track 1 selected Input mixer MASTER fader Track mixer 1 When the recording destination track has not been set, the input signal passes through the input mixer and is output.
Use the input and track mixers to set track parameters that, for example, adjust pan and effect send levels for each track. Here, we explain the adjustment of track parameters. Except for phase settings (INVERT), both left and right channels of stereo tracks share the same parameter values. Settings are stored separately for each project. The only setting for the MASTER track is volume (FADER level). Rhythm pattern tracks do not have EQ HI, EQ MID, EQ LO, ST LINK or INVERT settings.
The parameters that can be set for each type of track are as follows. PAN EQ HI EQ MID EQ LO REV SEND CHO SEND FADER ST LINK INVERT Use the , soft key to turn , , parameters ON/OFF. , and When a stereo link is ON, the parameter is shown as for the odd track, and as for the even track.
Send-return effects, which are routed internally by the mixers, can be applied to signals input to the input and track mixers. You can adjust the send-return effect levels for each input and track using their send levels, which set the amount of signal sent to the effect. Here we explain how to select the send-return effect patch and adjust the amount applied to each track.
You can use an insert effect on already recorded tracks.
Use a mastering effect as an insert effect to process the final stereo signal when mixing down to the master track. Select a MASTERING algorithm to apply the effect to the signal before the MASTER fader. When the insert effect is applied before the MASTER fader in advance, the insert effect cannot also be applied to other tracks, either during recording or playback.
Record the "final" stereo mix on the MASTER track, which is specifically for mixing down. Signals are sent to the master track after passing through the MASTER fader. Each project can only have one active MASTER track at a time. You can assign an already recorded file to the MASTER track. Even if you mix down from the middle of a song, a new file will always be recorded. The signals that have passed through the MASTER fader are the same as those sent from the OUTPUT jacks.
With the , you can perform rhythm parts using the built-in drum sounds. Rhythm patterns can be assigned to tracks, and you can repeat simple patterns in place of a metronome, or perform rhythm parts for an entire song using the track sequencer function (see P.72), for example. The has 10 types of drum kits – sets of 16 types of percussion instruments, including kicks, snares and hi-hats. Use the pads to play each different sound and create rhythm parts from them.
Select a rhythm pattern and play it. Change the drum sounds. The drum kit setting is saved with each project.
You can play the velocity-sensitive pads beneath each of the track faders, adding accents in real time. If you release before the pad, that sound continues rolling after the pad is released. Press the pad again to stop it. You can change the sounds of the pads. You can set a pad sound to play repeatedly at a set interval. This is convenient when entering hi-hat 16th notes, for example. 50 Set the pad sensitivity.
To use a rhythm pattern in a song, you must assign it to a track. A track that a rhythm pattern is assigned to is called a rhythm pattern track. Rhythm pattern tracks can be played using the pads and controlled with the track sequencer. If rhythm patterns are assigned to multiple tracks and played back simultaneously, or patterns with numerous note-on events are played, they might not all play as expected due to the maximum polyphony limitation of the unit.
You can create your own original rhythm patterns. After preparing, you can create a rhythm pattern using real-time or step input. Select an empty rhythm pattern and set the number of bars, time signature and quantization. You can also check the memory remaining for rhythm patterns.
After preparing, play the pads along with the rhythm (metronome) to create a rhythm pattern with real-time input. If your timing playing the pads is slightly off, it will be corrected to the rhythm in accordance with the quantize setting. Depending on the pad sensitivity setting, the force used to play the pads is also recorded. You can also set a metronome pre-count (see P.20).
After preparing, you can input notes one at a time (step input) to create a rhythm pattern. Notes that are at locations that cannot be moved to with the current quantize setting cannot be deleted. A note at such a position appears as an "X". The horizontal axis shows the bars and the vertical axis shows the pads by number. One step (one box) is the length of the quantize setting. 54 In Step 4, you can also use the dial to input and delete notes.
You can copy a rhythm pattern to create a new one based on it, for example. In step 5, you can change the order of the pattern list. Press the A-Z soft key to list the patterns in alphabetical order. Press the No. soft key to list the patterns in numerical order.
Rhythm patterns can be deleted.
You can change the names of rhythm patterns.
You can import rhythm patterns from other projects. You can import all the rhythm patterns (All) at once or one at a time (Each). Destination rhythm patterns will be overwritten. When set to All, all the original rhythm patterns in the project will be deleted. When set to Each, the rhythm pattern selected as the destination will be deleted. In step 8 or 9, you can change the order of the pattern list. Press the A-Z soft key to list the patterns in alphabetical order. 58 Press the No.
You can change the volume of a rhythm pattern and the stereo placement of the drum kit. POSITION settings are saved for each project.
You can use the sampler functions to easily create backing tracks, rhythm parts and other foundation tracks that have high sound quality. These features can be used to make a wide variety of music, from demo songs to produced recordings. Assign the loops to tracks (pads) and set them to loop. For example, you can develop a vision for an entire song by selecting drum loops and other materials that inspire you.
The has a sampler function that allows audio files to be played with the pads. You can use commercially-available loops to easily create high-quality rhythm tracks. To use the sampler function, you must first set audio tracks to loop. When set to loop, we call these tracks “loop tracks.” You can do the following with loop tracks. • Play them with pads, and set how the loops playback when played (see “Playing the pads” on P.66) • Conduct loop playback of a designated interval (see “Setting loops” on P.
When using the pads for playback, press the pad for a loop track or rhythm pattern track to start playback of that track. In the illustration below, after a pad for tracks 5/6 (loop track) is pushed to start playback, a pad for tracks 7/8 (loop track) is pushed to start playback of that loop. In addition, how each loop track pad is played can be set individually (PAD parameter). In this example, they are set to “Gate”, which causes playback to stop when the pad is released (see “Playing the pads” on P.66).
Assigning loops to tracks To use the sampler function, first assign audio files and rhythm patterns to tracks. In this example, we explain how to assign loops that are on the SD card. Please see page 103 about adding loops to the SD card. In a new project, the BPM (tempo) of the first audio file assigned to a track will set the BPM of the project. From the LOOP menu, you can select loop files in the LOOP folder on the SD card. You can also play audio files and rhythm patterns as you select them.
To use the sampler function, you must set a track to loop, making it a loop track. Here we explain how to make this setting. Tracks can be individually set to loop. The status key indicator of a track set to loop lights orange instead of green when enabled for playback. A track set to loop cannot be used to record (indicator will not light red). In addition, the following functions can be used when a track is set to loop. - The pad can be used to trigger the loop. starts loop playback.
The loop interval (starting point and length) can be set for loop tracks. and soft keys You can use the to switch between setting the loop starting point and length. You can also play the audio file that you are setting. When setting the loop starting point and length, you can zoom in on the waveform that is displayed. Zooming up to 32x is possible. Press beneath to zoom.
For loop tracks and rhythm pattern tracks, press the pad beneath a fader to play the audio file or rhythm pattern assigned to that track. The unit can be set to correct timing errors when playing the pads or inputting sequence data in real time so that sounds are aligned with bars and beats. Set how the pads function when played. When you press a pad, the sound will be delayed until it is in time with the set quantization (bar, note).
The BPM of each track is automatically calculated when an audio file is assigned to it. Depending on the file, however, the calculated result might differ from the actual BPM. If this occurs, use the following procedures to adjust the BPM. The set BPM is used as the standard tempo when changing the tempo of the audio without changing its pitch. BPM is calculated for an audio file assuming 4/4 time. When a track is recorded, the current BPM value is used.
When an audio file is assigned to a track, you can change its tempo without changing its pitch (time-stretching). You can change all tracks at once or individual tracks. Be aware that this operation will overwrite the original audio file.
STRETCH operations cannot be undone (UNDO). STRETCH operations overwrite the original audio files. If you want to save the original files, make a copy of the project and files in advance (see P.93). The BPM of each track is automatically calculated when an audio file is assigned. Depending on the file material, however, the calculated result might differ from the actual BPM. Set the BPM of each track (TRACK > BPM) if this occurs (see P.67).
You can designate the necessary audio data by setting the starting and ending points of a file, and delete the audio data that is outside these points. Be aware that this operation overwrites the original audio file. The TRIM operation cannot be undone (UNDO). The TRIM operation overwrites the original file. If you want to save the original files, make a copy of the project and files in advance (see P.93). If a rhythm pattern has been assigned to a track, the rhythm pattern screen opens after Step 3.
When playing normal audio files, there are short fade-ins and fade-outs at their beginnings and ends. You can turn these off, however, for rhythm tracks and other sounds where the attack is important.
Using the track sequencer, you can arrange rhythm pattern tracks and loop tracks into performance order to play an entire song. Each project can have only one set of track sequencer data. Track 1 Time Rhythm pattern (verse A) Rhythm pattern (verse B) Track 2 Rhythm (Fill) Track 3 Rhythm pattern (Chorus) Track 4 Track 5 Track 6 Loop track Loop track Loop track Track 7 Track 8 While playing back the track sequencer, you can bounce or record to the master track.
Combine rhythm pattern tracks and loop tracks to create sequence data, including backing parts and rhythms, for an entire track. You can create a sequence with real-time or step input. You can create a sequence by playing the pads along with a rhythm (metronome) in real-time. Data that has already been input for a track will be deleted while its pad is being pressed.
You can create a sequence one step at a time.
When using step input, you can delete the data before or after the cursor at once.
When using step input for a sequence, you can insert and delete beats. You can even insert and delete a number of beats that differ from the project time signature, changing the time signature for only that part.
When you insert beats, the sounds of loops and files playing back will be cut at that point. One beat inserted here 1 3 5 1 3 5 If you insert or delete beats that differ from the set time signature, the time signature for that part might change depending on the setting as follows. Note-on Loop or file length 4/4 1 When you delete beats, the sounds of loops and files playing back at that time will become shorter by the same amount.
Use the following procedures to play back the sequence that you made.
The has two types of built-in effects: insert effects and send-return effects. These can be used at the same time. Effects can only be used when the project sampling rate is 44.1 kHz. The has a variety of insert effects that are useful when recording, including for guitar, bass and mastering. Insert effects are applied to specific signal paths. Insert effects can be placed in the following places according to the application. 1. Input (enabled inputs) Insert Effect Recording data 2.
Bass Stereo 81
Send-return effects are connected internally to the track mixer send/return bus. The depth of the send-return effects can be adjusted with the track send levels (amounts of signal sent to the effect). When you raise a track's send level from 0, its signal is sent (input) to the send-return effect. The signal passes through the effect and is returned (routed) to before the MASTER fader, and mixed with the original sound of that track.
Select the effect patch that you want to use. For the insert effect, choose an algorithm that is suitable for the instrument or application. Press beneath select an insert effect. to Press beneath to select a reverb send-return effect. Press beneath to select a chorus/delay send-return effect.
,KP[PUN WH[JOLZ You can change effect types and adjust effect parameters to create your own patches. ,KP[PUN LMMLJ[ TVK\SLZ 7YLZZ (JJLZZPUN [OL LMMLJ[ ZL[[PUNZ Press beneath select an insert effect. to Press beneath to select a reverb send-return effect. ,MMLJ[ TVK\SL ;@7, VU Press beneath to select a chorus/delay send-return effect. :LSLJ[ H WHYHTL[LY HUK ZL[ P[ 7YLZZ ,5;,9 VY [OL 10 1(( ZVM[ RL` [V [\YU [OL TVK\SL VU VY VMM :LSLJ[ WHYHTL[LY *OHUNL ]HS\L ,MMLJ[ [`WL ,! ,KP[ TH
,KP[PUN WH[JOLZ You can change effect types and adjust effect parameters to create your own patches. ,KP[PUN LMMLJ[ TVK\SLZ 7YLZZ (JJLZZPUN [OL LMMLJ[ ZL[[PUNZ Press beneath select an insert effect. to Press beneath to select a reverb send-return effect. ,MMLJ[ TVK\SL ;@7, VU Press beneath to select a chorus/delay send-return effect. :LSLJ[ H WHYHTL[LY HUK ZL[ P[ 7YLZZ ,5;,9 VY [OL 10 1(( ZVM[ RL` [V [\YU [OL TVK\SL VU VY VMM :LSLJ[ WHYHTL[LY *OHUNL ]HS\L ,MMLJ[ [`WL ,! ,KP[ TH
0TWVY[PUN WH[JOLZ MYVT V[OLY WYVQLJ[Z You can save a patch at any patch number within the same algorithm. You can also copy an existing patch to a different location. You can import one or all patches that have been created in another project for use in the current project. :LL UL_[ WHNL [V PTWVY[ H WH[JO 7YLZZ :LSLJ[ +/2146 0TWVY[ VUL WH[JO +/2146 > 'CEJ *OHUNL TLU\ (JJLZZPUN [OL LMMLJ[ ZL[[PUNZ Press beneath select an insert effect. :LSLJ[ ':'%76' *OHUNL TLU\ Press beneath to sel
0TWVY[PUN WH[JOLZ MYVT V[OLY WYVQLJ[Z You can save a patch at any patch number within the same algorithm. You can also copy an existing patch to a different location. You can import one or all patches that have been created in another project for use in the current project. :LL UL_[ WHNL [V PTWVY[ H WH[JO 7YLZZ :LSLJ[ +/2146 0TWVY[ VUL WH[JO +/2146 > 'CEJ *OHUNL TLU\ (JJLZZPUN [OL LMMLJ[ ZL[[PUNZ Press beneath select an insert effect. :LSLJ[ ':'%76' *OHUNL TLU\ Press beneath to sel
You can change the name of the patch that is currently selected. Change the name of the current patch. Press beneath select an insert effect. to Press beneath to select a reverb send-return effect. Press beneath to select a chorus/delay send-return effect.
When an insert effect is applied to an input, usually the sound with the effect applied is recorded to the track. By applying an insert effect only to monitoring, input signals can be recorded without effects to tracks. For example, you can record vocals without an effect, but use a mic insert effect on the monitoring signal to make it easier for the vocalist to sing. Press beneath select an insert effect. to Wet Dry The settings made here are stored for each project separately.
The manages the data and settings that are necessary to play back songs that you have created in units called “projects.” Track audio recordings are saved as WAV files. • Audio data for every track including the master • Mixer settings • Effect settings • Mark information • Metronome settings • Tuner settings • Sampler settings • Rhythm settings • Track sequencer settings • Recorder settings When a project is created, a folder with the same name is created inside the PROJECT folder on the SD card.
> You can protect the currently loaded project to prevent it from being saved or deleted so that its contents cannot be changed. When a project is protected, you cannot record in it or edit it, and any changes will not be saved to the SD card. Set to if you want to record in it or edit it again. Projects that are not protected will be automatically saved to the SD card when you turn the switch or load another project.
You can display information about the currently loaded project and audio files, including their names, creation dates, sizes and recording times. > Follow these procedures after opening the project with the information you want to see. Project and file information can only be viewed on the PROJECT INFO screen. It cannot be edited.
You can copy a saved project as a new project. An audio file can be copied within a project after changing the file name. > > > Follow these procedures after opening the project that you want to copy. You cannot make a copy without changing the name to something different from the original.
You can change the names of the currently loaded project and audio files. > Open the project that you want to change the name of and follow these procedures. You cannot change the name to the same name as that of another project. The project name is also given to the corresponding project folder in the ZOOM_ R8/PROJECT folder on the SD card. Project names Max. number of characters: 8 Alphabet: A-Z (uppercase) Symbols: _ (underscore) Numerals: 0-9 File names Max. number of characters: 219 (not incl.
You can delete a selected project or file. > > > Once a project or file is deleted, it cannot be recovered. Please delete with care. If is for a project, that project and its files cannot be deleted.
You can divide an audio file at any point to make two files. Do this to delete unnecessary portions of recordings or to divide long recordings. You can use the following keys to listen to a file and to set the division point. When a file is divided, files with new names will be created automatically in the same folder. “A” is added to the end of the name of the file of the part before the dividing point. “B” is added to the end of the name of the file of the part after the dividing point.
> > > You can record at 16-bit, which is ordinary CD quality, or higher-quality 24-bit format. > When recording, you can either overwrite the previous recording or keep it and create a new recording. This is convenient for recording band performances and drums, for example, when you want to record multiple takes. When overwriting, recording will be at the bit rate of the original file. For example, you cannot overwrite a file recorded at 16-bit with a 24-bit file.
The playback order of multiple projects can be registered and managed in playlists. Use these to play songs consecutively, for live performance accompaniment and when outputting to an external recorder, for example. > > Playback stops at the end of the last project.
> > If the master track or the file assigned to the master track is deleted, the playlist will become empty. Assign the recordings that you want to hear to the master tracks of the projects that you register in a playlist. To change the file of a registered project, set its master track and edit the playlist. The maximum number of playlists is 10. Each playlist can have a maximum of 99 projects. A project cannot be registered if its master track is not set or its file is less than 4 seconds long.
You can copy audio files from other projects saved on the SD card and import them into the current project. Projects with sampling rates that differ from the current project will not be shown. If there are no projects with the same sampling rate, “No Project” will be shown.
The has a USB jack (mini-B type) on its right side. , you In addition to connecting the included USB adapter to an electrical outlet to power the can also connect it with a computer and use the it as a card reader, audio interface and control surface. You can access the SD card in the using a computer to backup and restore projects. can be saved In addition, audio data on the on a computer, and WAV files on a computer can .
You can access the SD card using a computer to backup and restore projects and audio files and import audio data created in DAW software, for example. project data is saved in project folders on the SD card. To backup a project, copy its project folder to the computer hard disk. The folders on the SD card are organized as follows: “ZOOM_R8” folder > “PROJECT” folder > (Project) folder* *Project folders have the same names as their projects.
> , its To import an audio file into the format must be WAV with a sampling rate of 44.1 or 48 kHz and a bit rate of 16 or 24. For details about use with a computer, refer to the Audio Interface Manual To use a WAV file in a project, it must use the sampling rate that was set for the project when it was created (RATE). File names can have up to 219 characters (not including the extension). The following characters are allowed.
Connect the software. to a computer to use it to input and output sound and as a controller for DAW The can be used as an interface between a computer and instruments and other audio equipment, allowing audio to be recorded in DAW software, for example. You can even connect high-impedance instruments and microphones that require phantom power. You can use the faders and keys on the to control transport and mixer operations in computer DAW software. (No driver is necessary for use with a Macintosh.
Follow these procedures after the first time For details about use with a computer, refer to the Audio Interface Manual A USB icon appears when connection completes. The audio interface and control surface functions can be used while powered through the USB cable. We recommend always using the latest system software. If you use an running an older system, a computer might not recognize it properly.
The has a multifunction tuner that includes chromatic tuning, which detects notes by semitones, standard guitar/bass tuning and half-step-down tuning. Press the ON/OFF key Lit red: ready for input The pitch indicator responds to an when its indicator lights red. The standard pitch can be set between 435–445 Hz in 1 Hz units. The default setting is 440 Hz. With the tuner types other than chromatic, the calibration can be used to lower the pitch by 1–3 semitones ( – ).
You can adjust the backlight and contrast of the display. > > > > Turn the backlight off to conserve batteries.
-VYTH[[PUN :+ JHYKZ *OLJRPUN JHYK JHWHJP[PLZ *OHUNPUN [OL :+ JHYK ^OPSL [OL WV^LY PZ VU 7YLZZ :LSLJ[ 5& %#4& 3VHK KH[H MYVT HUV[OLY :+ JHYK *OHUNL TLU\ *OLJRPUN YLTHPUPUN JHYK JHWHJP[` 611. > 5& %#4& > 4'/#+0 :LSLJ[ .1#& You should follow these steps to format SD cards for use with the . All card contents will be erased during formatting. *OHUNL TLU\ 7YLZZ 7YLZZ -VYTH[[PUN HU :+ JHYK 611.
-VYTH[[PUN :+ JHYKZ *OLJRPUN JHYK JHWHJP[PLZ *OHUNPUN [OL :+ JHYK ^OPSL [OL WV^LY PZ VU 7YLZZ :LSLJ[ 5& %#4& 3VHK KH[H MYVT HUV[OLY :+ JHYK *OHUNL TLU\ *OLJRPUN YLTHPUPUN JHYK JHWHJP[` 611. > 5& %#4& > 4'/#+0 :LSLJ[ .1#& You should follow these steps to format SD cards for use with the . All card contents will be erased during formatting. *OHUNL TLU\ 7YLZZ 7YLZZ -VYTH[[PUN HU :+ JHYK 611.
> > Set the battery type that you are currently using to make display of the remaining battery charge more accurate. Use only alkaline or nickel-metal hydride batteries. 112 > > Set the switch to to supply and . phantom power to To conserve batteries, you can reduce the voltage to 24 V.
Connect a ZOOM FS01 footswitch (sold separately) to the jack to start and stop playback, punch-in and out manually and change effect patches with your foot.
> > You can check the current firmware versions. You can upgrade the firmware when necessary. You must connect the AC adapter before upgrading. The upgrade starts. For the latest upgrade files, check the ZOOM website. http://www.zoom.co.
Patterns 35 ~ 234 are typical patterns and fills for various genres.
INSERT effects Clean/Crunch, Distortion, Aco/Bass SIM algorithms • COMP/LIMITER module Parameter Explanations 118
EFX module Parameter Explanations 119
• PREAMP module Parameter Explanations • 6BAND EQ module Parameter Explanations 120
• MOD/DELAY module Parameter Explanations 121
• REVERB module Parameter Explanations • ZNR module Bass algorithm • COMP/LIMITER module • EFX module Parameter Explanations • PREAMP module 122
Parameter Explanations • 6BAND EQ module Parameter Explanations • MOD/DELAY module • ZNR module Mic algorithm • COMP/LIMITER module • EFX module • MIC PRE module Parameter Explanations 123
• 3BAND EQ module Parameter Explanations • MOD/DELAY module • ZNR module Dual Mic algorithm • COMP/LIMITER L module Parameter Explanations • MIC PRE L module • 3BAND EQ L module • DELAY L module Parameter Explanations 124
• COMP/LIMITER R module • MIC PRE R module • 3BAND EQ R module • DELAY R module • ZNR module Stereo algorithm • COMP/LIMITER module Parameter Explanations • ISO/MIC MODEL module Parameter Explanations 125
• 3BAND EQ module • MOD/DELAY module Parameter Explanations • ZNR module 126
Table 1 NOTE Table 2 Table 3 Table 4 Table 5 Mastering algorithm • COMP/Lo-Fi module Parameter Explanations 127
• NORMALIZER module Parameter Explanations • 3BAND EQ module • DIMENSION/RESO module • ZNR module Send-return effect • CHORUS/DELAY module Parameter Explanations • REVERB module Parameter Explanations 128
Insert effect Clean/Crunch algorithm Distotion algorithm 129
Aco/Bass SIM algorithm Bass algorithm Mic algorithm 130
Dual Mic algorithm 131
Stereo algorithm 132
Mastering algorithm 133
Send-return effects REVERB CHORUS/DELAY 134
If you see a message like “---Error” push the EXIT key. When other errors and messages occur, they will automatically disappear in three seconds.
If you think there is a problem with the operation of the , check the following tips first.
A-B REPEAT key . . . . . . . . . . . . . . .7, 8, 38 A-B repeat function . . . . . . . . . . . . . . . 38 Algorithms . . . . . . . . . . 80, 118-128, 129-134 Audio Changing tempo without changing pitch. . . . 68 Trimming unnecessary parts . . . . . . . . . . 70 Audio interface . . . . . . . . . . . . . . . 102, 105 AUTO PUNCH I/O key . . . . . . . . . . . .7, 8, 33 Automatic punch-in/out . . . . . . . . . . . . . 33 Bit rate . . Bounce . BPM . . . Built-in mic . . . . . . . . . . . . . . . . . . . . .
Mixer . . . . . . . . . . . . . . . . . . . . . . . 40 Mixing . . . . . . . . . . . . . . . . . . . . . . 40 Linking two tracks . . . . . . . . . . . . . . . 29 Overdubbing . . . . . . . . . . . . . . . . . . . 28 Pads . . . . . . . . . . . Panning. . . . . . . . . . PAN/EQ key . . . . . . . Patches . . . . . . . . . Phantom power . . . . . PLAY key . . . . . . . . Playlists . . . . . . . . . Power . . . . . . . . . . Changing batteries . . . ON/OFF . . . . . . . . Setting battery type . . PROJECT key . . .
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.
