ALESIS ADAT XT20 Reference Manual
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Digital Audio Systems
Digital Audio Systems While analog audio produces a constantly varying voltage or current, digital audio produces a non-continuous list of numbers. The maximum size of the numbers will determine the dynamic range of the system, since the smallest signal possible will result from the lowest order bit (LSB or least significant bit) changing from 0 to 1. The D/A converter will decode this change as a small voltage shift, which will be the smallest change the system can produce. The difference between this voltage and the voltage encoded by the largest number possible (all bits 1’s) will become the dynamic range. This leads to one of the major differences between analog and digital audio: as the signal level increases, an analog system tends to produce more distortion as overload is approached. A digital system will introduce no distortion until its dynamic range is exceeded, at which point it produces prodigious distortion. As the signal becomes smaller, an analog system produces less distortion until the noise floor begins to mask the signal, at which point the signal-to-noise ratio is low, but harmonic distortion of the signal does not increase. With low amplitude signals, a digital system produces increasing distortion because there are insufficient bits available to accurately measure the small signal changes. There is a difference in the type of interference at low signal levels between analog and digital audio systems. Analog systems suffer from thermal noise generated by electronic circuitry. This noise is white noise: that is, it has equal power at every frequency. It is the “hiss” like a constant ocean roar with which we are so familiar. -
Datasync2 User Manual
JLCooper Electronics Limited Factory Warranty JLCooper Electronics (“JLCooper”) warrants this product to be free of defects in materials or workmanship for a period of 12 months from the date of purchase. 2 This warranty is non-transferable and the benefits apply to the original owner. Proof of purchase in the form of an itemized sales receipt is required for warranty coverage. To receive service under this warranty, customers in the United States should contact the dataSYNC JLCooper factory at (310) 322-9990 and talk to a service technician. If necessary, a Return Authorization number may be issued. For our customers outside the United States, it is recommended that you first contact your Users Manual Dealer or Distributor, since they may offer their own service or support policy. If local support is not obtainable, please send a FAX to JLCooper’s Service Department at Fifth Edition (310) 335-0110, with a detailed description of the service required. Upon issuance of return authorization, the product should be properly packed and shipped ©1997-2002 JLCooper Electronics to Service Department, JLCooper Electronics, 142 Arena St., El Segundo, CA 90245. Please include the following: copy of the sales receipt, your name and address (no P.O. Boxes, please), a brief description of the problem, and any other related items discussed with the service department and considered necessary to evaluate the product or effect a repair. The return authorization number must be clearly written on the outside of the package. JLCooper will, without charge for parts or labor, either repair or replace the defective part(s). -
Reference Manual
Reference Manual This page intentionally left blank 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Table Of Contents Introduction..........................................................5 Welcome!......................................................................................................5 About the iMultiMix16 USB .............................................6 iMultiMix16 USB Key Features................................................................6 How to Use This Manual ...................................................8 A Few Words for Beginners..............................................9 Chapter 1: Getting Started ................................11 Hooking up the iMultiMix16 USB ...................................11 Using Proper Cables ..........................................................12 Setting Levels ......................................................................12 Chapter Two: A Tour of the MultiMix.............13 Patchbay...............................................................................13 1) MIC INPUTS (Channels 1 – 8) ...........................................................13 2) LINE/GUITAR INPUTS (Channels 1 – 2)......................................13 3) LINE INPUTS (Channels 3 – 8).........................................................14 4) LINE INPUTS (Channels 9 – 16).......................................................14 5) DIGITAL OUT Jack.............................................................................14 6) PHONES Jack........................................................................................14 -
ALESIS Studio 32 Reference Manual
ALESIS Studio 32 Reference Manual Contents CONTENTS Important Safety Instructions...................................................5 Safety symbols used in this product.........................................................................5 Please follow these precautions when using this product:.........................................5 Introduction.................................................................................7 How to use this manual..........................................................................................7 For beginners..............................................................................................7 For the experienced: a quick overview....................................................................9 About the Studio 32................................................................................................10 Basic Principles of Mixing & Multitrack Recording..................................................11 The stages of multitrack recording..............................................................12 The different mixes and what they’re needed for....................................................14 Multitrack Mix..........................................................................................14 Monitor (Control Room) Mix.......................................................................16 Aux Sends and Returns: Effects...................................................................18 Guided Tour.................................................................................19 -
Studio 12R Reference Manual 1 Table of Contents
ALESIS Studio 12R Reference Manual Table of Contents TABLE OF CONTENTS Table of Contents.................................................................1 Important Safety Instructions................................3 Safety symbols used in this product............................................................3 Please follow these precautions when using this product:....................3 Introduction.............................................................................5 The Alesis Studio 12R Microphone Preamplifier/Mixer......................5 Using this manual..........................................................................................5 Grounding Instructions.................................................................................6 Installation...............................................................................7 Unpacking........................................................................................................7 AC power..........................................................................................................7 Grounding............................................................................................7 Use clean power..................................................................................8 Power switch........................................................................................8 Mounting..........................................................................................................8 Connections.............................................................................9 -
Digital Audio Best Practices.Pdf
CDP Digital Audio Working Group Digital Audio Best Practices Version 2.1 October 2006 TABLE OF CONTENTS 1. Introduction 4 1.1 Purpose and Scope 4 1.2 Recommendations Strategy 5 1.3 Updating the Colorado Digitization Program Digital 5 Audio Best Practices 1.4 Acknowledgements 5 1.5 Supporting Documents and Appendices 6 2. Understanding Audio 6 2.1. A Brief Overview 8 2.2. Additional Considerations 3. Collection Development and Management 9 4. Planning and Implementing an Audio Digitizing Project 10 5. Legal, Copyright and Intellectual Property Issues 10 6. Metadata for Digital Audio 10 6.1 Audio Metadata Standards 11 6.2 Audio Metadata in Dublin Core 11 6.2.1 Format 11 6.2.2 Digitization Specifications 11 6.3 CDP Dublin Core Metadata Best Practices 12 2 7. Guidelines for Creating Digital Audio 12 7.1 History of Audio Recording Devices 12 7.2 Modes of Capture 13 7.3 Sample Rate 16 7.4 Bit Depth 16 7.5 Source Types 19 7.6 File Types 20 7.7 Digital Audio Toolbox 21 7.8 Born Digital Recording 26 8. Outsourcing Audio Reformatting 28 9. Quality Control 29 10. Storage and Preservation of Digital Audio 30 11. Delivery of Digital Audio 33 11.1 On-site Delivery 34 11.2 Online Delivery 34 11.3 Podcasting 35 12. Digital Audio Glossary 36 13. Resources 40 14. Appendices Appendix 1. Questions to Ask Before Beginning an 46 Audio Digitizing Project Appendix 2: Legal, Copyright and Intellectual Property Issues 51 for an Audio Digitizing Project Appendix 3: Guidelines for Outsourcing Audio Reformatting 57 3 1. -
13 02R with Akai DR8 Hard Disk Recorder
Table of Contents Introduction . 1 Equipment in this Guide . 1 Part 1: 02R Applications . 5 System Operating Notes . 5 02R Optional Interface Cards. 7 Wordclock Connection and Termination . 8 Wordclocks . 9 Setting the 02R’s Wordclock . 9 1. 02R with One ADAT (Timecode on Tape Track) . 12 2. 02R with ADAT & JL Cooper Datasync-2 . 14 3. 02R with Two ADATs & JL Cooper Datasync-2. 16 4. 02R with ADAT & BRC. 18 5. 02R with Two ADATs & BRC . 20 6. Two 02Rs with Four ADATs & BRC . 22 7. 02R with Two ADATs (Timecode on Tape Track). 24 8. 02R with ADAT & RD-8 . 26 9. 02R with One DA-88 . 28 10. 02R with Two DA-88s . 30 11. 02R with Four DA-88s . 32 12. Two 02Rs with Four DA-88s . 34 13. 02R with Akai DR8 Hard Disk Recorder . 36 14. 02R with Akai DR16 Hard Disk Recorder . 38 15. 02R with Analog 16-Track Multitrack Recorder . 40 16. 02R with Video Machine, ADAT, & BRC . 42 17. 02R with Video Machine, ADAT, & AI-2 . 44 18. 02R with Video Machine & DA-88 . 46 19. 02R with Two Fostex D-90s . 48 20. 02R with Pro Tools for Music Recording . 50 21. 02R with Pro Tools for Video Post . 52 Yamaha 02R & 03D Applications Guide Trademarks ADAT and Alesis are registered trademarks of Alesis Corporation. ADAT MultiChannel Optical Digital Interface is a trademark of Alesis Corporation. Akai is a trademark of Akai Electric Corporation. Digidesign is a trademark of Digidesign or Avid Technology, Inc. Fostex is a trademark of Fostex Corporation. -
MIDI and Electronic Music Technology
CHAPTER 9 MIDI and Electronic Music Technology Today, professional and nonprofessional musicians are using the language of the Musical Instrument Digital Interface (MIDI) to perform an expanding range of music and automation tasks within audio production, audio for video, film post, stage production, etc. This industry-wide acceptance can, in large part, be attributed to the cost effectiveness, power and general speed of MIDI production. Once a MIDI instrument or device comes into the production picture, there’s often less need (if any at all) to hire outside musicians for a project. This alluring factor allows a musician to compose, edit and arrange a piece in an electronic music environment that’s extremely flexible. By this, I’m not saying that MIDI replaces—or should replace—the need for acoustic instruments, microphones and the traditional performance setting. In fact, it’s a powerful production tool that assists countless musicians in creating music and audio productions in ways that are innovative and highly personal. In short, MIDI is all about control, repeatability, flexibility, cost-effective production power and fun. The affordable potential for future expansion and increased control over an integrated production system has spawned the growth of a production industry that allows an individual to cost effectively realize a full-scale sound production, not only in his or her own lifetime … but in a relatively short time. For example, much of modern-day film music owes its very existence to MIDI. Before this technology, composers were forced to create without the benefits of hearing their composition or by creating a reduction score that could only be played on a piano or small ensemble (due to the cost and politics of hiring an orchestra). -
Reference Manual
Reference Manual 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Table Of Contents Introduction..........................................................3 Welcome!......................................................................................................3 About the FirePort 1394 and FST/Connect software ................................................................................4 Important features of FirePort 1394 and FST/Connect .....................4 Key Features of the FirePort 1394 and FST/Connect software........................................................................................................6 How to Use This Manual ...................................................7 Important Safety Instructions..........................9 Important Safety Instructions (English).......................9 Safety symbols used in this product.........................................................9 Please follow these precautions when using this product: ...................9 Instructions de Sécurité Importantes (French) ................................................................................11 Symboles utilisés dans ce produit.............................................................11 Veuillez suivre ces précautions lors de l’utilisation de l’appareil: ......................................................................................................11 Lesen Sie bitte die folgende Sicherheitshinweise (German)........................................13 Sicherheit Symbole verwendet in diesem Produkt.................................13 -
The Dawn of Commercial Digital Recording
ORIGINAL ARTICLE ( THOMAS FINE The Dawn of Commercial Digital Recording Although wide-spread digital commercial recording is only about 30 years old, much mythology and many claims of 'prsts" have sprung from the mists of time. This article seeks to set the record straight, relying on first-person accounts whenever possible, and provides detailed discographical information for the ground-breaking examples of early commercial digital recording. igital pulse-code modulation (PCM) for sound transmission and recording devel- oped in the world of telephony, dating from the 1930s. The first music-recording Dcompany to commercially release digital recordings was Denon (Nippon Columbia), in Japan. At a May 1989 Audio Engineering Society (AES) conference, Denon engineers recounted their early digital experiences, and made the claim that Denon's parent company, Nippon Columbia, using Denon equipment, made the first U.S. commer- cial digital recording, in late 1977. Others have claimed various "digital firsts" in the U.S. A system from Soundstream was in use at U.S. recording sessions as early as 1976. But it was 2 years later when Soundstream's second-generation system was used as the primary recording device for a commercial release, widely regarded as the first digital recording of symphonic music in the U.S. Around the same time, a prototype of 3M's digital system, set up to make test recordings in a Minnesota studio, made a recording that was judged sonically superior to what the studio's direct-to-disc system produced and the resulting chamber-music album was the first digital recording to win a Grammy. -
ALESIS ADAT "BLACK FACE" Reference Manual
ALESIS ADAT "BLACK FACE" Reference Manual TABLE OF CONTENTS CHAPTER 1: INTRODUCTION 1.0 ABOUT ADAT ....................................................................................5 1.2 IMPORTANT NOTE ABOUT THIS MANUAL ..................................9 1.3 OVERVIEW OF MAIN FUNCTIONS ...............................................10 1.3A Transport ..............................................................................10 1.3B Record/Monitor functions ....................................................10 1.3C Punching..............................................................................10 1.3D Autolocation..........................................................................11 1.3E LED Indicators ....................................................................11 1.4 “ENGAGED” VS. “DISENGAGED” TAPES .................................11 1.5 A WORD ON ADAT's S-VHS CASSETTE TAPE..........................12 1.6 OPERATING ENVIRONMENT ........................................................13 1.6A Thermal Considerations in Rack Mounting ..........................13 1.6B Mounting on a Shelf or Non-Rack Enclosure......................13 1.6C Avoiding Electromagnetic Interference ...............................13 CHAPTER 2: HOOKUP 2.0 POWER .............................................................................................15 2.0A The AC Cord........................................................................15 2.0B Avoiding Ground Loops .......................................................16 2.1 AUDIO CABLE -
ADAT Bridge I/O Guide
Digidesign ADAT Bridge I/O Guide Digidesign Inc. 3401-A Hillview Avenue Palo Alto, CA 94304 USA tel: 650·842·7900 fax: 650·842·7999 Technical Support (USA) 650·842·6699 650·856·4275 Product Information (USA) 650·842·6602 800·333·2137 Fax on Demand (USA) 1-888-USE-DIGI (873-3444) World Wide Web www.digidesign.com Digidesign FTP Site ftp.digidesign.com Copyright Communications & Safety Regulation Information This User’s Guide is copyrighted ©2000 by Digidesign, a Compliance Statement division of Avid Technology, Inc. (hereafter “Digidesign”), with The model ADAT Bridge I/O complies with the following all rights reserved. Under copyright laws, this manual may not standards regulating interference and EMC: be duplicated in whole or in part without the written consent of • FCC Part 15 Class A Digidesign. • EN55103 – 1, environment E4 DIGIDESIGN, AVID and PRO TOOLS are trademarks or • EN55103 – 2, environment E4 registered trademarks of Digidesign and/or Avid Technology, • AS/NZS 3548 Class A Inc. All other trademarks are the property of their respective • CISPR 22 Class A owners. Radio and Television Interference All features and specifications subject to change without This equipment has been tested and found to comply with the notice. limits for a Class A digital device, pursuant to Part 15 of the PN 932707969-00 REV A 08/00 FCC Rules. Communications Statement This equipment has been tested to comply with the limits for a Class A digital device. Changes or modifications to this product not authorized by Digidesign, Inc., could void the Certification and negate your authority to operate the product.