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244 CASSETTE RECORDERS DIGITAL AUDIO RECORDERS ION AUDIO TAPE2PC USB DUAL-WELL CASSETTE DECK This is a dubbing and playback deck with digital-audio output via plug-and-play USB audio interface which requires no drivers for use with most computers. It comes with EZ Tape Converter software for PC, and EZ Audio converter software for Mac, which allow you to import your music into iTunes. When you're finished archiving your cassettes to your computer, you can connect the unit to your stereo system using standard RCA cables. System require- ments are: a USB port, CD drive, WinXP/Vista, or Mac OS 10.4 or later. ITEM DESCRIPTION PRICE TAPE2PC ...................USB dual-well-cassette deck ...................................................... 119.99 360 SYSTEMS INSTANT REPLAY2 DIGITAL RECORDER This self-contained digital audio hard- disc recorder gives you instant access to 1000 cuts. Now with 100MB Ethernet for file transfer and backup. Hours of stereo, 16/24bit, 44.1/48kHz audio can be recorded, titled and organized into 10 banks and then assigned to any of 50 MAXELL AUDIO CASSETTES Features epitaxial magnetic particles combined hotkeys. Import or export WAV files as well. The automatic head trim feature with Maxell's unique Multi-Orientation Technology, to produce high output with removes dead space before a cut for zero-delay playback and any cut can be low noise. High endurance binder, high resonance damping cassette mechanism looped. Other features include XLR and RCA analog inputs, AES/EBU and digital and fixed low distortion screening shield. Communicator series features normal I/O (XLR & RCA), GPI control, headphone jack and SCSI I/O for connection to bias, packed in jewel case. -
24-Bit Digital Portastudio 788 788 24-Bit Digital Portastudio Portastudio Digital 24-Bit Curr J78 038 Tascam 788 12/9/00 12:44 Pm Page 3
Curr J78_038 Tascam 788 12/9/00 12:43 pm Page 2 DIGITAL 24-bit Digital Portastudio 788 788 24-bit Digital Portastudio Curr J78_038 Tascam 788 12/9/00 12:44 pm Page 3 DIGITAL Download your imagination direct to hard disk with the ultimate digital Portastudio The backlit LCD display provides comprehensive information Portastudios are all about getting an idea out of your uses 24-bit digital converters. This means lower distortion, offers a true parametric midrange EQ. This critical head and on to something permanent - without getting much higher headroom and dynamic range, adding up to frequency range, where most of the tones for your vocals, tangled in technology. The remarkable Tascam 788 allows audio quality beyond that of standard Compact Discs. guitars and keyboards reside, can be minutely adjusted using you to download your imagination like never before: independent gain, frequency and bandwidth (Q) controls. Great Digital Multieffects and Parametric EQ straight on to hard disk with professional-quality You can expect a digital workstation to have great- 6 Versatile Inputs uncompressed 24-bit digital audio resolution! sounding reverb for vocals and instruments. But the 788 Routing Inputs on the 788 are six 0.25" jacks (4 balanced There are 250 virtual tracks for multiple takes that can be also offers killer distortions, lush choruses, delays, pitch for Mic/Line and 2 unbalanced for Line). One of these is designated for direct connection to guitars. Stereo combined into an 8-track multitrack master. Random shifters, flangers, phasers and more. Many of the presets outputs for mixing down, monitor outputs to send audio access operation and non-destructive digital editing tools are designed to let you emulate your favourite guitar to your speakers and aux outputs are all included on allow you to cut, copy and paste your song to your tones with very little tweaking required, although all of individual connectors. -
AW2400 Owner's Manual
Owner’s Manual EN FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS devices. Compliance with FCC regulations does not guar- UNIT! antee that interference will not occur in all installations. If This product, when installed as indicated in the instruc- this product is found to be the source of interference, tions contained in this manual, meets FCC requirements. which can be determined by turning the unit “OFF” and Modifications not expressly approved by Yamaha may “ON”, please try to eliminate the problem by using one of void your authority, granted by the FCC, to use the prod- the following measures: uct. Relocate either this product or the device that is being 2. IMPORTANT: When connecting this product to acces- affected by the interference. sories and/or another product use only high quality Utilize power outlets that are on different branch (circuit shielded cables. Cable/s supplied with this product MUST breaker or fuse) circuits or install AC line filter/s. be used. Follow all installation instructions. Failure to fol- In the case of radio or TV interference, relocate/reorient low instructions could void your FCC authorization to use the antenna. If the antenna lead-in is 300 ohm ribbon this product in the USA. lead, change the lead-in to co-axial type cable. 3. NOTE: This product has been tested and found to com- If these corrective measures do not produce satisfactory ply with the requirements listed in FCC Regulations, Part results, please contact the local retailer authorized to dis- 15 for Class “B” digital devices. -
Be Ready. * Battery Life Subject to Conditions PMD661 | Professional High-Resolution Audio Recorder PMD620 | Professional Handheld Recorder
PORTABLE FLASH RECORDERS The Widest Selection of Portable Recorders is at BSW! This Pro Portable Recorder is BSW Every Reporter’s First Choice! Industry-Favorite Field Recorder CUSTOMER The PMD661 records MP3/WAV to SDHC and The solid-state Marantz PMD620 digital audio FAVORITE features built-in condenser mics, a pair field recorder boasts an easy-to-use interface, of XLR inputs, a stereo line-level minijack two built-in omnidirectional condenser port, and an S/PDIF digital connection. microphones for stereo recording and a speaker • Records direct to MP3 or WAV formats in 16- or 24- • Switchable balanced XLR Mic/Line inputs with bit resolution on SD and SDHC flash memory cards +48V phantom power • 1/8" input for external mics (provides +5v phantom • Large, easy-to-use multi-function interface with power for electret condensers) improved navigation • Non-destructive editing to create customized files • 1/4" headphone jack with independent level control • Runs on 2 AA or NiMH batteries for up to 5 hours of operation • Built-in stereo speakers • Mark Editor software included for quick referencing. • USB 2.0 data port for fast transfer of files to PC/ PMD620 List $429.00 Mac • Advanced editing features, including Timer Re- Contact BSW For Lowest Prices cord/Playback, Copy segment, and File divide Accessories: PRC620 Carry Case For PMD620 $45.00 PMD661 List $649.00 Accessories: Contact BSW For Lowest Prices PRC661 Carry Case For PMD661 $69.00 Rugged, Reliable CompactFlash Recorder The PMD660 handheld digital recorder combines convenient solid-state CompactFlash digital recording with Marantz audio know-how, for rugged and reliable performance in the field. -
MX-2424 Technical Documentation
MX-2424 Technical Documentation PRODUCT OVERVIEW The MX-2424 is an incredibly revolutionary product bringing together 24 tracks of 24 bit audio, a 12 track 96kHz recording mode, full synchronization capabilities, complete editing, a graphical user interface, and advanced SCSI recording and back-up capabilities. Add to that the OpenTL playlist which offers direct read and write compatibility with other DAWs and digital sequencers, a host of affordable archive options, plus the rock solid reliability of TASCAM products and you've got a beastie of a multitrack. Best of all, this recorder is priced within reach of the average musician. • 24 Track, 24 Bit Hard Disk Recorder • 100MBit Ethernet Port For Interconnection with • 12 Track Mode Allows 24 Bit / 96kHz High Resolution Computers for ViewNet GUI and Firmware Updates • Unlimited Virtual Tracks • Standard AES/EBU and SPDIF Ports With • 100 Point Auto-Locator Built-In Sample Rate Conversion • TL-Bus Provides Sample Accurate Lock of 32 MX-2424 • SMPTE Time Code Generating and Chasing With Machines For Up To 768 Sample Accurate Tracks In/Out/Thru Ports • Uses Macintosh™ and Windows™ Formatted Drives • MIDI In/Out/Thru for MMC, MTC, MIDI Clock • Uses Sound Designer II and .WAV Format Audio Files • Word Sync In/Out/Thru • Built-In 9 Gigabyte Drive for Approximately 45 Minutes • Video Sync In/Thru of Solid Record Time • Optional Analog I/O Offers 24 Channels of • Front Panel Drive Bay Accepts Additional SCSI Drives, High Quality 24 Bit / 96kHz A/D and D/A Removable Drive Carriers, or DVD-RAM -
Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L
Hastings Communications and Entertainment Law Journal Volume 16 | Number 2 Article 4 1-1-1993 Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis Joel L. McKuin Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Joel L. McKuin, Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis, 16 Hastings Comm. & Ent. L.J. 311 (1993). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol16/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Home Audio Taping of Copyrighted Works and The Audio Home Recording Act of 1992: A Critical Analysis by JOEL L. McKuIN* Table of Contents I. Home Taping: The Problem and its Legal Status ....... 315 A. Constitutional and Statutory Background ........... 315 B. Home Taping or Home "Taking"?: The History of Home Taping's Legal Status ........................ 318 C. New Technologies Sharpen the Home Taping Problem ............................................ 321 1. The DAT Debacle .............................. 321 2. Other New Technologies ........................ 322 II. The Audio Home Recording Act of 1992 (AHRA) ..... 325 A. Serial Copy Management System (SCMS) .......... 325 B. Royalties on Digital Hardware and Media .......... 326 C. Prohibition of Copyright Infringement Actions ..... 328 III. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
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 -
31295017082362.Pdf (961.5Kb)
D.I.Y. MUSIC PRODUCfiON: YOUR MUSIC, YOUR WAY- THE HISTORY A.~D PROCESS by Travis N. Nichols A SENIOR THESIS Ill GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree in BACHELOR OF GENERAL STUDIES A}}Pfoved DR. ST~VEN1>AA10N Depattment of Music Chairperson of Thesis Committee DR. BRUCE CLARKE Department of English Accepted DR. i1fcHAEL scHOENEC'RE Director of General Studies May2002 ACKNOWLEOOMENTS I would like to thank Dr. Steven Paxton and Dr. Bruce Clarke for their help and consideration in writing this thesis. I would also like to thank Dr. Schoenecke and linda Gregston for their extensive support in my collegiate career. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. .ii CHAPTER I. INTRODUCTION ..................................................................... t II. Why DIY? THE HISTORY ....................................................... 2 III. THE PROCESS: DOING IT YOURSELF ................................. s IV. ACTION: AN EXAMPLE IN COMPLETION .......................... 9 V. AR1WORK FOR THE ALBUM .............................................. 13 VI. CONCLUSION ........................................................................ 15 BIBLIOGRAPHY ................................................................................................ t6 ... lll CHAPTER I INTRODUCTION It is a battle cry against corporate acquisition and -
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 -
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.