Yamaha AW16G Handleiding

Merk: Yamaha

Model: AW16G

Categorie: Muziekinstrumenten

Type: Handleiding

Deze handleiding is ook geschikt voor

AW 16G

Owner’s ManualOwner’s Manual

Owner’s Manual

Keep This Manual For Future Reference.

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. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with

these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with

other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may

cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all

installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the

problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on

different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in

is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer

authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service

Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

IMPORTANT

THE WIRES IN MAINS LEAD ARE COLOURED IN

ACCORDANCE WITH THE FOLLOWING CODE:

BLUE : NEUTRAL

BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus

may not correspond with the coloured markings identifying the

terminals in your plug proceed as follows:

The wire which is coloured BLUE must be connected to the

terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the

terminal which is marked with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of

the three pin plug.

* This applies only to products distributed by YAMAHA KEMBLE

MUSIC (U.K.) LTD.

WARNING

•Connect this unit’s power cord only to an AC outlet

of the type stated in this Owner’s Manual or as

marked on the unit. Failure to do so is a ﬁre and elec-

trical shock hazard.

•Do not allow water to enter this unit or allow the

unit to become wet. Fire or electrical shock may

result.

•Do not place a container with liquid or small metal

objects on top of this unit. Liquid or metal objects

inside this unit are a ﬁre and electrical shock hazard.

•Do not place heavy objects, including this unit, on

top of the power cord. A damaged power cord is a

ﬁre and electrical shock hazard. In particular, be

careful not to place heavy objects on a power cord

covered by a carpet.

•Do not install a CD-RW drive into this device while

the power cable is plugged into an AC outlet. Doing

so is an electrical shock hazard.

•Use the ground connector on the rear panel to

securely ground the device. If the device is not

grounded, you may suffer a dangerous electrical

shock.

•Do not scratch, bend, twist, pull, or heat the power

cord. A damaged power cord is a ﬁre and electrical

shock hazard.

•Do not modify the unit. Doing so is a ﬁre and electri-

cal shock hazard.

•If lightning begins to occur, turn off the power

switch of the unit as soon as possible, and unplug the

power cable plug from the electrical outlet.

•If there is a possibility of lightning, do not touch the

power cable plug if it is still connected. Doing so may

be an electrical shock hazard.

•Use only the included AC adaptor (PA-300) for this

unit. Using other types may be a ﬁre and electrical

shock hazard.

•If the power cord is damaged (i.e., cut or a bare wire

is exposed), ask your dealer for a replacement. Using

the unit with a damaged power cord is a ﬁre and elec-

trical shock hazard.

• Should this unit and AC adaptor be dropped or the

cabinet be damaged, turn the power switch off,

remove the power plug from the AC outlet, and con-

tact your dealer. If you continue using the unit with-

out heeding this instruction, ﬁre or electrical shock

may result.

•If you notice any abnormality, such as smoke, odor,

or noise, or if a foreign object or liquid gets inside the

unit, turn it off immediately. Remove the power cord

from the AC outlet. Consult your dealer for repair.

Using the unit in this condition is a ﬁre and electrical

shock hazard.

CAUTION

•Hold the power cord plug when disconnecting it

from an AC outlet. Never pull the cord. A damaged

power cord is a potential ﬁre and electrical shock

hazard.

•Do not touch the power plug with wet hands. Doing

so is a potential electrical shock hazard.

•This unit has ventilation holes at the bottom and rear

to prevent the internal temperature rising too high.

Do not block them. Blocked ventilation holes are a

ﬁre hazard.

In particular, do not

- place the unit on its side or upside down,

- place the unit in any poorly-ventilated location

such as a bookcase or closet.

-cover the unit with a table cloth or place it on a

carpet or bed.

•Always touch a well-grounded metal surface or the

like to fully discharge any static electric charge on

your body and clothing before handling a CD-RW

drive.

Neglecting this precaution can cause damage to the

unit from static electricity.

•Be careful not to touch the leads (metal feet) on the

rear side when handling a CD-RW drive. Touching

the leads can cause contact defects.

•Do not cover or wrap the AC adaptor with a cloth or

blanket. Heat may build up under the cloth or blan-

ket, melting the case, or causing ﬁre. Use only in a

well-ventilated environment.

PRECAUTIONS – for safe operation –

Operation

Installation

In case an abnormality occurs during operation

Installation

Operation

PRECAUTIONS

• XLR-type connectors are wired as follows: pin 1:

ground, pin 2: hot (+), and pin 3: cold (–).

•The performance of components with moving con-

tacts, such switches, rotary controls, faders, and con-

nectors, deteriorates over time. The rate of

deterioration depends on the operating environment

and is unavoidable. Consult your dealer about

replacing defective components.

•The digital circuits of this unit may induce a slight

noise into nearby radios and TVs. If noise occurs,

relocate the affected equipment.

•Using a mobile telephone near this unit may induce

noise. If noise occurs, use the telephone away from

the unit.

■

Be sure to turn off the power when you are ﬁnished

When using the AC adaptor, a small amount of electrical current will still be ﬂowing even if the power is turned off

(i.e., the power switch set to “STANDBY”). The standby current consumption is designed to be as small as possible.

If you will not be using this product for an extended period of time, be sure to unplug the AC adaptor from the AC

outlet.

Please observe the following points when handling the disc.

Failure to do so may cause problems such as the recorded data being lost, the drive to malfunction, or the

printed label to become blurred.

•Do not place the disc in locations of direct sunlight, high temperature, or high humidity.

•Do not touch either surface of the disc.

Hold the disc at the edges.

•Gently wipe dust or dirt off of the recording surface of the disc.

Use an air duster or cleaner to remove dust. Vigorously rubbing the surface of the disc with a dry cloth may

scratch the disc.

•Do not write on the disc or afﬁx labels to it.

•Do not wipe the disc with chemicals or detergents.

•Do not bend or drop the disc.

Produced data can be lost due to breakdown or mistaken operation. We strongly recommend that you store all

data on CD-R/CD-RW discs.

Yamaha will accept no responsibility for any damages (including consequential or incidental) incurred by the

customer or any third party as a result of loss or impairment of the data stored on the CD-R media, regardless

of whether such loss could have been or actually was foreseen by Yamaha.

Nor does Yamaha guarantee the media against any defect that may render it unusable.

PRECAUTIONS – for correct operation –

Connector pin assignments

Replacing abrasive parts

Interference with other electrical devices

Influence on cell phone usage

Handling the CD-R/RW media

Storing produced data

Responsibility for loss of data, etc.

•For inquiries concerning CD-RW drive handling, please consult your Yamaha dealer.

•Always switch off the power for the main unit and all peripherals, unplug the AC adaptor for the main unit

and the outlet, then disconnect the cables connecting the main unit with the peripherals before starting

installation work.

•Wear thick gloves when working on this equipment to avoid cutting your hands on metal ﬁttings or the like

on the main unit or CD-RW drive.

•Always touch a well-grounded metal surface or the like to fully discharge any static electric charge on your

body and clothing before starting to work on this equipment.

•Take extreme care to avoid touching any terminals or board surface parts.

•In order to protect the electronic circuits of the CD-RW drive, etc. from damage due to static electricity,

when handling any of this equipment, take the most extreme care to avoid touching IC leads or other elec-

tronic parts.

•Be careful not to drop any screws into the main unit. If you switch the power on with a dropped screw still in

the main unit, the main unit may malfunction or break down. If a dropped screw can not be retrieved, con-

sult your Yamaha dealer.

•If the CD-RW drive breaks down, contact the store where you purchased that equipment.

rials under certain requirements. The observance of applicable laws for use of this product, however, is your

responsibility. Yamaha disclaims any liability for violation of such laws in association with the use of this prod-

uct.

Although this product is designed for original music production, it can be utilized to make reproduction of

copyrighted music and other sound products. While certain reproduction and use of reproduced materials are

permitted under applicable laws, such reproduction and use without license may constitute copyright infringe-

ment and other violation of laws. Since violation of such laws can have serious consequences, you may wish to

consult a legal expert about your planned use of this product.

This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or

with respect to which it has license to use others' copyrights. Such copyrighted materials include, without lim-

itation, all computer software, styles ﬁles, MIDI ﬁles, WAVE data and sound recordings. Any unauthorized use

of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of

Cautions for handling optional equipment

The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and

may appear somewhat different from those on your instrument.

Contents

1 Before you start ...............................9

Introduction...............................................................9

Remember to back up your data ................................9

About the CD-RW drive............................................10

Installing the CD-RW drive .......................................10

Removing the CD-RW drive......................................11

Using the CD-RW drive ............................................11

Connecting the AC adaptor .....................................12

Turning the power on/off.........................................12

2 Introducing the AW16G ................13

Features of the AW16G ............................................13

AW16G terminology ................................................15

Recorder section .................................................15

Mixer section......................................................15

Quick Loop Sampler section ...............................16

Overall................................................................16

Parts of the AW16G and what they do .....................17

Top panel ...........................................................17

Rear panel ..........................................................21

Front panel .........................................................22

Basic operation on the AW16G.................................23

Viewing the display.............................................23

Accessing a screen/page/channel........................23

Switching a button on/off...................................24

Editing a value in the display ..............................24

Inputting text .....................................................24

Using the Selected Channel section ....................25

3 Listening to the demo song...........27

Connect external devices and turn on the

power ....................................................................27

Loading the demo song ...........................................28

Playing the demo song ............................................29

Mixing the demo song.............................................30

4 Recording to a sound clip ..............33

Connecting your instrument or mic .........................33

Adjusting the input level ..........................................34

Recording/playing a sound clip ................................35

5 Track recording .............................39

Creating a new song ................................................39

Direct recording and Bus recording..........................40

Assigning input signals to tracks (Direct

recording)..............................................................42

Assigning input signals to tracks (Bus recording) ......45

Enabling the metronome .........................................47

Recording on a track ................................................48

Pairing input channels/track channels ......................49

Using the input library..............................................50

Using the EQ library .................................................52

Using the dynamics library .......................................53

6 Overdubbing.................................. 55

About overdubbing..................................................55

Assigning the input signal to a track.........................56

Instantly recalling an EQ library ................................56

Instantly recalling a dynamics library ........................57

Setting the mix balance and pan..............................57

Overdubbing ...........................................................58

Punch-in/out............................................................59

Manual punch-in/out .........................................59

Auto punch-in/out..............................................59

Using the Undo List..................................................61

Switching virtual tracks ............................................62

Saving the current song ...........................................63

Loading an existing song .........................................64

7 Various types of playback ............. 65

Using the locator......................................................65

Using markers ..........................................................67

Adjusting the position of a locate point or

marker ...................................................................68

Erasing a locate point or marker ...............................69

Repeatedly playing a specific region (the A-B

Repeat function) ....................................................70

Finding a location while you listen to the

sound (the Nudge function) ..................................71

Finding a location while you view the waveform ......72

8 Using libraries and scene

memories.................................. 73

About the libraries....................................................73

About scene memories.............................................73

Basic operation for libraries and scene memories......74

Storing library or scene data ...............................74

Recalling library or scene data.............................75

Deleting library or scene data .............................75

Naming library or scene data..............................76

Details on libraries and scene memory .....................77

Input library........................................................77

EQ library ...........................................................77

Dynamics library.................................................78

Effect library .......................................................78

Mastering library ................................................78

Sample library ....................................................78

Channel library ...................................................79

Scene memories .................................................79

Using the Recall Safe function ..................................80

9 Mixdown and bounce operations . 81

About mixdown and bouncing ................................81

Preparing for mixdown ............................................83

Using the internal effects via send/return .................84

Recording on the stereo track...................................86

Bounce (ping-pong) recording procedure ................87

Convenient functions during mixdown/bounce

operations..............................................................89

Adding input signals or pad performances

during mixdown .............................................. 89

Using meters to check the level of each

channel............................................................ 90

Viewing all parameters for a certain channel....... 90

Initializing a channel .......................................... 91

Editing the EQ parameters.................................. 92

Editing the dynamics parameters........................ 93

Editing the parameters of an internal effect ........ 94

Inserting an effect into a track channel ............... 96

10 Creating an audio CD .................. 97

Creating an audio CD ..............................................97

Types of media that you can use with the CD-

RW drive................................................................ 97

Methods of writing an audio CD.............................. 98

Basic settings for the CD-RW drive ........................... 99

Writing audio data (Track At Once) ....................... 100

Writing audio data (Disc At Once) ......................... 102

Finalizing CD-R/RW media ..................................... 104

Erasing CD-RW media............................................ 105

Playing an audio CD .............................................. 106

11 Quick loop sampler.................... 107

About the quick loop sampler................................ 107

Using sample libraries ............................................ 109

Recording/playing a pad performance ................... 110

Importing from an audio CD/WAV file to a pad ..... 112

Importing from an audio track/stereo track to a

pad ..................................................................... 114

Sampling an external input signal.......................... 115

Editing the sample name ....................................... 117

Trimming the playback region ...............................118

Switching the playback mode for each pad ........... 119

Using the Slice function ......................................... 120

Deleting an unwanted sample ............................... 122

12 Track editing .............................123

What you can do using editing commands............ 123

Basic procedure for track editing ...................... 124

List of editing commands....................................... 126

ERASE............................................................... 126

DELETE............................................................. 127

INSERT ............................................................. 127

COPY ............................................................... 128

MOVE ..............................................................129

EXCHANGE ...................................................... 130

TIME COMP/EXP (Time Compression/

Expansion) ..................................................... 130

PITCH CHANGE................................................ 131

EXPORT............................................................ 131

Exporting WAV files and importing audio CD or

WAV files ............................................................. 132

Exporting WAV files.......................................... 132

Importing from an audio CD or WAV file.......... 133

13 Song management..................... 137

About songs .......................................................... 137

Editing the song name........................................... 138

Editing various settings for the song ......................139

Copying or deleting a song ................................... 140

Optimizing a song ................................................. 141

Creating a tempo map .......................................... 142

Importing data from an existing song.................... 144

Backing up songs and sample libraries ................... 145

Restoring songs or sample libraries ........................ 147

Exchanging song data with the AW4416/AW2816 148

14 MIDI and utility functions......... 149

What you can do using MIDI ................................. 149

Basic MIDI settings ................................................ 150

Transmitting the AW16G’s settings via MIDI

(Bulk Dump)........................................................ 154

Using the MIDI Remote function............................ 155

About the MIDI Remote function ..................... 155

Using the MIDI Remote function presets .......... 155

Using the user-defined Remote function........... 157

Using the test tone oscillator.................................. 159

Digital input settings/Checking and initializing the

internal hard disk................................................. 160

Overall settings for the AW16G.............................. 162

15 Using the AW16G with

external devices ..................... 163

Using the AW16G with a “workstation synth”........ 163

Synchronizing the AW16G with the

workstation’s sequencer................................. 163

Recording/playing AW16G mix operations on

the workstation’s sequencer........................... 164

Switching AW16G scenes from the

workstation’s sequencer................................. 165

Remotely controlling a tone generator module...... 166

Using external effects............................................. 167

Connecting an MD recorder .................................. 169

Mixing down to an MD recorder...................... 169

Recording audio data from an MD recorder ..... 170

Appendix ........................................ 171

Input library list ..................................................... 171

Mastering library list .............................................. 172

EQ library list ......................................................... 173

Dynamics Parameters ............................................ 174

Dynamics library list............................................... 177

Effects library list.................................................... 178

Effects Parameters.................................................. 180

Sample library list .................................................. 192

Troubleshooting .................................................... 194

Display message list ............................................... 198

About the CD-ROM included with the AW16G ...... 200

Caution............................................................ 200

Contents of the CD-ROM................................. 200

Restoring the internal hard disk to the

factory-set condition ...................................... 200

Installing a remote file...................................... 201

MIDI data format................................................... 204

MIDI Implementation Chart................................... 211

Specifications......................................................... 212

Dimensions............................................................ 214

Index..................................................................... 215

Block diagram........................................................ 218

Contents

Chapter 1

Before you start

This chapter explains what you should know before you begin using

the AW16G.

Introduction

■

Check the included items

The AW16G package contains the following items. If any

are missing, please contact your dealer.

•The AW16G

•AC adaptor (PA-300)

• Owner’s manual (this book)

• CD-ROM

■

This product incorporates and bundles computer pro-

grams and contents in which Yamaha owns copyrights or

with respect to which it has license to use other’s copy-

rights. Such copyrighted materials include, without limi-

tation, all computer software, styles ﬁles, MIDI ﬁles,

WAVE data and sound recordings. Any unauthorized use

of such programs and contents outside of personal use is

not permitted under relevant laws. Any violation of copy-

right has legal consequences. DON’T MAKE, DISTRIB-

UTE OR USE ILLEGAL COPIES.

■

Trademarks

• Macintosh is a registered trademark of Apple Com-

puter, Inc. USA in the United States and other coun-

tries.

•Windows is a registered trademark of Microsoft Cor-

poration USA in the United States and other coun-

tries.

• Cubase VST is a trademark of Steinberg Media Tech-

nologies AG.

• Logic Audio is a trademark of Emagic Soft- and Hard-

ware GmbH.

• Cakewalk is a registered trademark of Twelve Tone

Systems, Inc.

• ProTools is a trademark or registered trademark of

Avid Technology, Inc. and afﬁliated companies.

• Other company names and product names in this

document are the trademarks or registered trade-

marks of their respective owners.

■

Yamaha website

http://www.yamahasynth.com

http://www.yamaha.co.jp/product/proaudio/homeenglish/

Yamaha manual library

http://www2.yamaha.co.jp/manual/english/

Remember to back up your data

■

Storing produced data

Produced data can be lost due to breakdown or mistaken

operation. We recommend that you store all important

data on CD-R or CD-RW discs or other external storage

medium.

Note

A CD-RW drive (the separately sold CDRW16G) is neces-

sary in order to back up data.

■

Responsibility for loss of data, etc.

Yamaha will accept no responsibility for any damages

(including consequential or incidental) incurred by the

customer or any third party as a result of loss or impair-

ment of the data stored on the CD-R media, regardless of

whether such loss could have been or actually was fore-

seen by Yamaha.

Nor does Yamaha guarantee the media against any defect

that may render it unusable.

Before you start

About the CD-RW drive

A CD-RW drive is a device that lets you create or play

audio CDs, backup and restore data from the internal

hard disk, and read data from a CD-ROM. An optional

CDRW16G can be installed in the AW16G. Please be

aware that other CD-RW drives cannot be installed in the

AW16G.

•Even if a CD-RW drive is operating normally, it may fail

a read or write operation approximately once in ﬁve

hundred times.

•Yamaha will take no responsibility for any damages,

direct or consequential, that may result from the use of

the above CD-RW drive.

■

Handling

Do not drop the drive or subject it to strong

physical shock.

Never touch the objective lens.

Be careful that the objective lens does not

become dusty or dirty.

If the objective lens becomes dusty, use a

commercially available blower etc. to blow the

dust off with clean air.

Before installing the drive, touch a grounded

metal object so that the drive is not damaged

by any static electricity that may be in your

body.

Since the inside of the drive contains powerful

magnetic circuitry, do not allow any magnetic

material to come near the drive. (In particular,

any metallic fragments, screws, or pins that

enter the drive mechanism will cause opera-

tion to fail.)

Do not press on the upper cover.

Installing the CD-RW drive

Turn off the power of the AW16G.

As described in “Turning the power off (shut down)”

(

→

p. 12), turn off the power of the AW16G. For

safety’s sake, also unplug the AC adaptor and the

AW16G from the electrical outlet.

Turn the AW16G over on its face.

Be careful not to drop the AW16G on the ﬂoor, or

damage the components of the top panel. Spread

out a soft cloth on a level surface, and stack maga-

zines etc. to support each of the four corners of the

upside-down AW16G.

Insert the CD-RW drive into the slot.

Insert the CD-RW drive into the slot by pressing

slightly right of center on the back edge of the drive.

The slot cover swings open. When the CD-RW drive

reaches the back of the slot, continue applying pres-

sure until you feel the connector click into place.

You will need to apply about as much pressure as

when pressing an elevator button.

Fasten the CD-RW drive with screws.

Use the two included screws to fasten the CD-RW

drive in place (“4” in the diagram at left).

Be sure to follow installation steps 1–4 exactly as

directed. In particular, reading and writing may not occur

correctly if the screws have not been tightened sufﬁ-

ciently.

Push the drive here.

Before you start

Removing the CD-RW drive

Turn off the power of the AW16G.

As described in “Turning the power off (shut down)”

(

→

p. 12), turn off the power of the AW16G. For

safety’s sake, also unplug the AC adaptor and the

AW16G from the electrical outlet.

Turn the AW16G over on its face.

Be careful not to drop the AW16G on the ﬂoor, or

damage the components of the top panel.

Remove the CD-RW drive cover.

Remove the black screw that holds the CD-RW

drive cover in place (“3” in the diagram at left).

Do not lose the screw that you removed.

Pull the CD-RW drive out of the slot.

Remove the two screws that fasten the CD-RW

drive in place, and pull out the CD-RW drive (“4” in

the diagram at left).

• Do not lose the screws that you removed.

• Be careful not to cut yourself on any sharp metal edge.

Attach the CD-RW drive cover.

Using the black screw that you removed in step 3,

attach the CD-RW drive cover.

Using the CD-RW drive

The CD-RW drive installed in the AW16G is shipped

with a protective pad on the disc tray to prevent it from

being damaged during transportation. Before you use the

AW16G, you must remove this protective pad.

To insert a disc into the CD-RW drive, press the eject

switch. The disc tray will open. Place the disc on the tray,

and gently push the disc tray in.

Note

The disc tray is ejected electrically. If the disc tray is not

ejected when you press the eject switch, turn on the

power of the AW16G and press the eject switch once

again.

■

Removing a CD in an emergency

If you are unable to remove the disc by pressing the eject

switch, insert a wire of less than 2 mm diameter (such as

a straightened paper clip) into the eject hole, and push

gently. However, pressing the eject switch will not eject

the disc when the AW16G is in the following states, so

do not use this method in such cases.

• When the AW16G's power is “STANDBY“

• When the disc is being accessed (data is being read,

written, or erased)

• While in CD PLAY mode

This removal method is for use in emergencies such as

when you cannot remove the disc due to a malfunction of

the disc tray or a power failure. Do not use this method

unnecessarily, since doing so will damage the CD-RW

drive.

3,5

CD-RW drive cover

Grasp here with your

thumb and ﬁrst ﬁnger.

< Bottom of the CD-RW drive >

The cover may crack

if you attempt to pull

out the CD-RW drive

by grasping the black

cover.

Eject buttonEject hole

Before you start

Connecting the AC adaptor

When connecting the included AC adaptor (PA-300), you

must ﬁrst connect it to the DC IN jack of the AW16G,

and then to the AC wall outlet. After connecting the AC

adaptor to the AW16G, wrap the cable around the hook

as shown in the diagram. This will prevent the cable from

being accidentally pulled out, causing the AW16G to

unexpectedly lose power.

Turning the power on/off

You must use the following procedure to switch the

power of the AW16G between ON and STANDBY. If you

fail to follow this procedure, the internal hard disk or

your external monitor system may be damaged.

■ Turning the power on

In a system that includes the AW16G, turn the power of

each device on in the following order.

1 External devices such as audio sources and

effect processors connected to the input/out-

put jacks of the AW16G

B The AW16G itself

C The monitor system connected to the

AW16G’s output jacks

Before you turn on the power, make sure that the AC

adaptor is ﬁrmly connected to the AW16G and to the AC

outlet. If the power is disconnected while the AW16G is

being used, the AW16G itself or the hard disk may be

damaged.

When you turn on the power of the AW16G, an opening

screen will appear, and then the following screen will

appear.

■ Turning the power off (shut down)

In a system that includes the AW16G, turn the power of

each device off in the following order.

1 The monitor system connected to the

AW16G’s output jacks

B The AW16G itself

C External devices such as audio sources and

effect processors connected to the input/out-

put jacks of the AW16G

When turning off the power of the AW16G, you must

perform the following “shut-down” procedure.

In the work navigate section located in the

upper left of the top panel, press the [SONG]

key several times to access the following

SHUTDOWN page.

Press the [ENTER] key located in the middle

right of the top panel.

A popup window will ask you whether you want to

save the current song.

Using the CURSOR [ ]/[ ] keys located in

the upper right of the top panel, move the

cursor (the blinking area in the screen) to the

YES button if you want to save the current

song, or to the NO button if you do not want

to save it. Then press the [ENTER] key.

When the “Now safe to turn off...” message

appears, turn off the [POWER] switch located

on the rear panel.

If you turn off the power of the AW16G without perform-

ing the above shutdown procedure, not only will any

unsaved changes be lost, but you also risk damaging the

data on the hard disk, and damaging or drastically short-

ening the lifespan of the hard disk itself and the internal

CD-RW drive. Please use caution.

Tip!

A small amount of electrical current is ﬂowing even when

the power is in STANDBY mode. If you will not be using

the AW16G for an extended period of time, be sure to

disconnect the AC adaptor from your AC outlet.

DC IN

Chapter 2

Introducing the AW16G

This chapter describes the features of the AW16G, the name of each

part and its function, and introduces terminology you need to know

when using the AW16G.

Features of the AW16G

The AW16G is an audio workstation that combines a dig-

ital mixer, multi-effect processor, hard disk recorder,

sampler, and CD-RW drive.

The following diagram shows the signal ﬂow within the

AW16G.

Now let’s take a more detailed look at each section of the

AW16G.

■ Mixer section

● Full-ﬂedged mixer with 36 input channels

The AW16G contains a digital mixer with a total of

36 input channels, including analog inputs x 8, ste-

reo digital input x 1, recorder tracks x 16, and effect

returns x 2. Audio quality is guaranteed by 24-bit AD/

DA and 32-bit internal processing. A Hi-Z input jack

for directly connecting an electric guitar or bass is

also provided.

● Totally redesigned operation

The AW16G is designed to be operated directly by

the musician (guitarist, vocalist, drummer etc.). With

a minimum number of steps, you can assign input

signals to tracks, switch the monitor signal, and

record with effects, EQ, and dynamics processing

applied.

Input channels 1–8

Track channels 1–16

Return channels 1/2

Pad channels 1–4

Buses L/R

AUX buses 1/2

Effect buses 1/2

Stereo buses L/R

Stereo output channel

Mixer

Recorder

Quick loop sampler

CD-RW drive

CD Write

CD Play

DATA

Backup/Restore

Import/Export

INPUT jacks 1–8

DIGITAL

STEREO IN jack

Metronome

Recorder input

patching

Internal effects

Effect 1

Effect 2

1 2 3 4

×2

Sound clip

×2

×8

×2

×2 ×16 ×16

STEREO/AUX OUT jacks

DIGITAL STEREO OUT jack

MONITOR OUT jacks

PHONES jack

Introducing the AW16G

● Four-band EQ and dynamics processors on each

channel

Four-band full-parametric EQ and dynamics process-

ing is provided on virtually every channel. You can

recall the desired preset from the library, and use the

panel knobs and keys to quickly adjust the settings.

● Two high-quality multi-effect units are built-in

The two built-in effect units deliver a wide variety of

effects including spatial-type effects such as reverb

and delay, modulation type effects such as chorus

and ﬂanger, and guitar-type effects such as distortion

and amp simulation. These effects can be used either

via send/return, or inserted into a desired channel.

■ Recorder section

● 8-track simultaneous recording/16-track simulta-

neous playback

You can record multiple tracks of instruments one by

one, or set up multiple mics to record a drum set or a

live performance by an entire band. A stereo track for

direct mixdown of all 16 tracks is also provided, let-

ting you manage the multi-track audio and the two-

track mix as a single package of data.

For the multi-tracks as well as the stereo track, you

can use eight virtual tracks for each track. When

recording parts or during mixdown, you can switch

virtual tracks to record multiple takes, and select the

best take later.

● Versatile editing functionality

Audio data recorded on a track can be copied,

moved, or edited using a variety of commands. You

can make detailed edits, or even make radical

changes to the structure of the song by using the

same riff repeatedly or increasing the number of cho-

ruses.

“Time Compression” lets you compress or expand the

time axis of the audio data in a range of 50%–200%.

“Pitch Change” lets you modify the pitch in a range

of one octave upward or downward. You can use the

Undo function to reverse the results of as many as the

last ﬁfteen editing operations.

● A variety of Locate methods, and auto punch-in/out

Seven locate points (start/end, relative zero, A/B, in/

out) and 99 markers can be assigned at any desired

point in the song, for quick access via Locate opera-

tions. Auto punch-in/out and A-B repeat playback

functions are also provided. The AW16G also has a

metronome that follows the tempo map.

● Sound Clip function

The Sound Clip function lets you record and play

back an input signal without affecting the recorder

tracks. You can use this as a sketch for your ideas for a

song or arrangement.

■ Quick Loop Sampler section

The AW16G has a built-in pad-type sampler. You can

assign sixteen stereo waveforms to the four pads with

sample banks. Sampling uses the same 16-bit 44.1 kHz

high quality as recording. Audio tracks from the hard

disk, external input from the mixer, or WAV ﬁles from a

CD-ROM disc can also be loaded.

The timing at which each pad is pressed can be recorded

on a dedicated pad track, and edited later. Drum phrases

from the sample library can be assigned to pads, and you

can then record pad operations to use this function as a

simple rhythm machine.

The maximum polyphony is four stereo notes, and the

maximum playback time is a total of 44 seconds of stereo

for the entire Quick Loop Sampler.

■ CD-RW drive

A dedicated CD-RW drive (the CDRW16G, option) can

be installed in the AW16G. If this is installed, you can

produce an audio CD from the stereo tracks of the songs

recorded on the hard disk. Markers assigned within a

song can also be used as the track numbers of the CD.

You can even use advanced techniques such as assigning

more than one track number within a single song.

The CD-RW drive can also be used to backup/restore

songs, to play back audio CDs, and to load WAV data

from a CD-ROM.

Introducing the AW16G

AW16G terminology

Recorder section

■ Tracks

A location where data is recorded is called a “track.” The

AW16G’s recorder section uses the following types of

track.

● Audio tracks

The physical tracks used to record and play back

audio data are called “audio tracks,” or simply

“tracks.” The AW16G has sixteen audio tracks. You

can record eight tracks simultaneously, and play back

16 tracks simultaneously.

● Stereo track

Independently from audio tracks 1–16, the AW16G

has a “stereo track” that records and plays a stereo

audio signal.

The stereo track is used mainly as a dedicated mix-

down track for recording the ﬁnal mix.

● Virtual tracks

Each audio track 1–16 and the stereo track consists of

eight tracks. Each of these eight tracks is called a “vir-

tual track.” For the audio tracks and the stereo track,

only one virtual track can be recorded or played at

any time. However, you can switch virtual tracks to

continue recording other takes while preserving the

previously-recorded content.

The diagram below shows the concept of virtual

tracks. The horizontal rows indicate audio tracks 1–

16, and the vertical columns correspond to virtual

tracks 1–8. The shaded areas indicate the virtual track

that is currently selected for recording or playback.

■ Paired tracks

For audio tracks 9/10–15/16, adjacent pairs of tracks are

handled by the mixer as a single unit. These pairs of

tracks are referred to as “paired tracks.” A paired track

can be used to record a stereo source, or a dual-guitar

performance, etc.

■ Locate points/markers

Locations within a song that you speciﬁed in order to

execute a function such as auto punch-in/out or A-B

repeat playback are called “locate points.” Locate points

include the in/out points and the A/B points, and you can

use the keys of the Locate section to move instantly to

these points.

Independently of the locate points, you can assign

“markers” at desired locations within a song so that you

will be able to ﬁnd these locations quickly. The AW16G

lets you set up to ninety-nine markers (1–99). By using

the keys of the Locate section you can move instantly to

the previous or next marker.

Mixer section

■ Channels

A signal route that processes a single signal within the

mixer and sends it to various sections is called a “chan-

nel.” The mixer section of the AW16G lets you use the

following channels.

● Input channels 1–8

These apply EQ and dynamics processing to the sig-

nals that are input from MIC/LINE INPUT jacks 1–8,

and send them to the recorder tracks or to the STE-

REO OUT jacks.

● Track channels 1–16

These channels apply EQ and dynamics processing to

the audio playback signals from audio tracks 1–16 of

the recorder, and send the signals to the stereo track

and the STEREO OUT jacks. You can also perform

“bounce recording” by sending these channels to dif-

ferent tracks.

● Return channels 1/2

These channels send the return signals from the inter-

nal effects to the stereo track and the STEREO OUT

jacks.

● Pad channels 1–4

These channels apply EQ and dynamics processing to

the playback of Quick Loop Sampler pads 1–4, and

send the signals to the stereo track and the STEREO

OUT jacks.

● Stereo output channel

This applies EQ and dynamics processing to the sig-

nal of the stereo bus (which combines the signals of

the various channels), and sends it to the stereo track

or to the STEREO OUT jacks. The same signal is also

output from the MONITOR OUT jacks and from the

PHONES jack.

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

Audio tracks

Stereo track

Virtual tracksVirtual tracks

Introducing the AW16G

■ Paired channels

For track channels 9/10–15/16, pad channels 1–4, and

return channels 1/2, the parameters (except for pan and

phase) are always linked for adjacent pairs of channels.

These are called “paired channels.”

For input channels 1–8 and track channels 1–8, you can

also switch two adjacent odd-numbered/even-num-

bered channels to function as paired channels. The

parameters (except for pan and phase) of paired channels

will be linked, so that adjusting one parameter will cause

the same parameter of the other channel to follow.

■ Buses

A signal route that mixes the signals from multiple chan-

nels and send them to an output jack or recorder track

input is called a “bus.”

Unlike channels, which handle only a single signal, a

bus can combine multiple signals into one or two, and

send them to a destination. (The term “bus” comes from

the vehicle that carries numerous people simulta-

neously.)

The AW16G’s mixer section lets you use the following

buses.

● Stereo bus

This mixes the input signals to stereo, and sends them

via the stereo output channel to the stereo track of

the recorder or to the STEREO OUT jacks.

● AUX buses 1/2

These combine the signals from the various track,

input, return, and pad channels, and output them via

the STEREO/AUX OUT jacks to an external device.

Use these when you will use an external effect pro-

cessor, or to create a mix differing from the stereo

channel for musicians to monitor.

● Effect buses 1/2

These combine the signals from the track, input,

return, and pad channels, and input them to built-in

effects 1 and 2. (However, it is not possible for the

return channel 1/2 signals to be returned to the input

of the same effect.)

● Buses L/R

These combine the signals of track, input channels,

and send them to recorder track inputs.

Quick Loop Sampler section

■ Sample banks and samples

In the Quick Loop Sampler section you can assign stereo

waveforms to the four pads, and strike the pads to play

them back. These stereo waveforms are called “samples.”

The memories to which the samples are assigned are

called “sample banks,” and each pad provides four sam-

ple banks (A–D).

■ Pad track

The AW16G can realtime-record and play back your

strikes on the pads. The memory that records these pad

operations is called the “pad track.” Unlike the tracks

that record audio, the pad track simply records the tim-

ing at which you “pressed a pad” or “released a pad.”

Overall

■ Songs

The smallest unit by which the AW16G manages a com-

position is called a “song.” When you save a song on the

hard disk, all data necessary for reproducing that song

will be saved; i.e., not just the audio data, but also mixer

settings and the samples used by the quick loop sampler.

You can return to the original state at any time by loading

the saved song.

■ Scenes and scene memories

A “scene” is a stored set of settings for the mixer section

and effects. The area of memory that holds the scenes is

called “scene memory,” and 96 scenes can be stored for

each song. Scene memories are saved on the hard disk as

part of the song.

■ Libraries

A “library” is an area of memory that stores individual

settings such as for EQ or dynamics. The AW16G has

separate libraries for EQ, dynamics, effect, channel,

input, and mastering settings. Each library is saved on the

hard disk as part of the song.

■ Tempo map

The “tempo map” records changes in tempo and time

signature that occur during the course of a song. The

tempo map is saved on the hard disk as part of the song.

■ System data

Various global settings that apply to all songs are collec-

tively referred to as “system data.” System data is stored

on the hard disk independently of the individual songs.

Introducing the AW16G

Parts of the AW16G and what they do

This section explains the names and functions of the var-

ious items on the AW16G’s top panel, rear panel, and

front panel.

Top panel

Locate section

(P. 20)

Transport section

(P. 21)

Data entry/control section

(P. 20)

Selected Channel section

(P. 19)

Input/output section

(P. 18)

Work Navigate section

(P. 18)

Quick Navigate section

(P. 18)

Display (P. 18)

Mixer section

(P. 19)

Quick Loop Sampler

section (P. 18)

Introducing the AW16G

■ Input/output section

1 [GAIN] knobs 1–8

These adjust the sensitivity of the signals that are

input from the rear panel MIC/LINE INPUT jacks 1–8.

B [INPUT SEL] keys 1–8

These keys select the mixer input channel that you

will operate.

C [MONITOR/PHONES] knob

This knob adjusts the level of the signal that is out-

put from the MONITOR OUT jacks and the

PHONES jack.

■ Work Navigate section

1 [SONG] key

This key accesses the SONG screen, where you can

save or load songs, and perform the shut-down pro-

cedure.

B [CD] key

This key accesses the CD screen, where you can

write or play an audio CD, and backup or restore

data.

C [TRACK] key

This key accesses the TRACK screen, where you can

check whether each track contains data, and switch

the virtual tracks that will be used for recording and

playback.

D [EDIT] key

This key accesses the EDIT screen, where you can

copy or erase tracks.

E [REMOTE] key

This key accesses the REMOTE screen, where you

can use the front panel faders and [TRACK SEL]

keys to control an external MIDI device or

sequencer software on your computer.

F [UTILITY] key

This key accesses the UTILITY screen, where you

can make MIDI, oscillator, and digital input set-

tings, and format the hard disk.

■ Quick Navigate section

1 [RECORD] key

This key accesses the RECORD screen, where you

can quickly assign the signal to be recorded to the

input of each track, and make settings for recording.

B [MONITOR] key

This key accesses the MONITOR screen, where you

can quickly select the signal to be monitored, or

switch the stereo track playback on/off.

■ Display

This is a backlit liquid crystal display that indicates the

current operating status or the settings of the various

parameters. The screens that are displayed will depend

on the front panel keys and knobs that are operated.

1 Access indicator

This indicator indicates the access status of the

internal hard disk. When the hard disk is being read

or written, this indicator will light.

Never turn off the power of the AW16G when the access

indicator is lit. Doing so will not only damage the data on

the internal hard disk, but may also damage the hard disk

itself. When you want to turn off the power of the AW16G,

you must perform the shutdown procedure (

→

p. 12).

B Contrast

Adjusts the brightness of the display.

■ Quick Loop Sampler section

1 [PAD SEL] key

Hold down this key and press a pad 1–4 to select a

pad for operations.

B Pads 1–4

Each of these pads plays back the sample that has

been assigned to it.

C [SAMPLE EDIT] key

This key accesses the SAMPLE screen, where you

can make settings and perform operations for the

quick loop sampler.

1 32

Introducing the AW16G

■ Mixer section

1 [TRACK SEL] keys 1–8

B [TRACK SEL] keys 9/10–15/16

C [STEREO SEL] key

Use these keys to select the mixer track channels or

recorder tracks that you want to control.

D Faders 1–8

E Faders 9/10–15/16

Normally, these faders adjust the playback level of

each recorder track. By changing the internal set-

tings, you can also use these faders to control the

input levels of input channels 1–8 and pads 1–4.

F [STEREO] fader

This adjusts the output level of the stereo bus.

■ Selected Channel section

1 [EQ] knob

Turning this knob will adjust the EQ (equalizer) gain

for the currently selected channel. You can press

this knob to access the EQ screen, where you can

adjust all of the EQ settings.

B [DYN] knob

Turning this knob will adjust the dynamics depth for

the currently selected channel. You can press this

knob to access the DYN screen, where you can

adjust all of the dynamics settings.

C [EFF 1] knob

D [EFF 2] knob

Turning these knobs will adjust the amount of signal

that is sent from the currently selected channel to

the internal effects 1 and 2 (i.e., effect send levels 1

and 2). You can press these knobs to access the

EFF1 or EFF2 screens, where you can adjust the

parameters of the internal effects.

E [PAN/BAL] knob

Turning this knob will adjust the pan of the cur-

rently selected channel (or the balance of the stereo

output channel). You can press this knob to access

the PAN screen, where you can adjust pan for mul-

tiple channels.

F [HIGH] key

G [HI-MID] key

H [LO-MID] key

I [LOW] key

These keys select one of the four EQ bands (HIGH,

HI-MID, LO-MID, LOW) to be adjusted.

J [VIEW] key

This key accesses the VIEW screen, where you can

check the level of each channel, or perform on-

screen adjustments to the faders and other mix

parameters of each channel.

4 5

2 3

Introducing the AW16G

■ Data entry/control section

1 [UNDO/REDO] key

This key cancels the results of a recording or track

editing operation (Undo), or re-executes a can-

celled operation (Redo).

Tip!

• This key will light if Undo can be performed.

• If you press and hold this key, the UNDO LIST screen

will appear. Here you can turn the [DATA/JOG] dial to

revert as many as the last ﬁfteen operations (

→

p. 61).

B [SCENE] key

This key accesses the SCENE screen, where you can

save or recall scene memories.

C [JOG ON] key

This key is an on/off switch for the Nudge function

(→ p. 71) which uses the [DATA/JOG] dial (

5).

When this function is on, the key will light.

D [CURSOR] keys ([ ]/[ ]/[ ]/[ ] keys)

These keys move the cursor in the screen (the blink-

ing frame) to select a speciﬁc item.

E [DATA/JOG] dial

Use this dial to change the value of a parameter. If

the [JOG ON] key (

3) is on, this dial operates the

Nudge function.

F [ENTER] key

Use this key to operate a button displayed in the

screen, or to execute a speciﬁc function.

■ Locate section

1 [SOUND CLIP] key

This key accesses the CLIP screen, where you can

record or play sound clips.

B [AUTO PUNCH] key

This key switches the audio punch-in/out function

on/off, letting you automate recording.

C [REPEAT] key

This key switches the A-B repeat function on/off, let-

ting you repeatedly play a speciﬁed region.

D MARK SEARCH [ ]/[ ] keys

These keys search for markers placed within the

song.

E [IN]/[OUT] keys

These keys specify the points at which auto punch-

in/out recording will begin (the In point) and end

(the Out point). These keys can also be used as

locate keys to move directly to the In point or Out

point.

F [A]/[B] keys

These keys specify the points at which the Repeat

function will begin (point A) and end (point B).

These keys can also be used as locate keys to move

directly to point A or point B.

G [MARK] key

This key places a mark at the current location of the

song.

H [SET] key

Use this key in conjunction with the [IN]/[OUT]

keys or the [A]/[B] keys to register the current loca-

tion as a locater.

I [CANCEL] key

Use this key in conjunction with the [IN]/[OUT]

keys or the [A]/[B] keys to cancel a locater that you

registered.

Introducing the AW16G

■ Transport section

1 RTZ [ ] key

This key moves directly to the relative zero time

location. Used in conjunction with the [SET] key,

this registers the current location as the relative zero

time.

Tip!

Broadly speaking, the times displayed in the AW16G’s

counter can be either absolute time (ABS) or relative

time (REL). The absolute time zero location is ﬁxed, but

the relative time zero location can be freely speciﬁed.

B REW [ ] key

This key rewinds the current location. Each time

you press this key, you will alternate between 8x

speed and 16x speed.

C FF [ ] key

This key fast-forwards the current location. Each

time you press this key, you will alternate between

8x speed and 16x speed.

D STOP [■] key

This key stops playback, recording, fast-forward, or

rewind.

E PLAY [ ] key

If you press this key while the recorder is stopped,

playback will begin.

If you press this key during fast-forward or rewind,

normal-speed playback will begin.

If you press this key during recording, recording

will stop and playback will resume (“punch-out”).

F REC [●] key

If you hold down this key and press the PLAY [ ]

key while the recorder is stopped, recording will

begin.

If you hold down this key and press the PLAY [ ]

key during playback, you will switch from playback

to recording (“punch-in”).

Rear panel

1 MIC/LINE INPUT (XLR) jacks 1/2

These are XLR-3-31 type balanced input jacks. The

nominal input level is –46 to +4 dB. Mics, direct

boxes, or line level devices with balanced output

jacks can be connected here. The pin conﬁguration

is shown below.

B MIC/LINE INPUT (TRS phone) jacks 3–8

These are TRS phone type 1/4" input jacks (bal-

anced). The nominal input level is –46 to +4 dB.

Devices such as synthesizers or rhythm machines

with unbalanced outputs can also be connected

here. The pin conﬁguration is shown below.

C MIC/LINE INPUT jack 8 (Hi-Z)

This is a high impedance 1/4" phone input jack

(unbalanced). The nominal input level is –46 to +4

dB. An instrument with high output impedance

such as an electric guitar or bass with passive-type

pickups can be connected here.

D STEREO/AUX OUT jacks

These are 1/4" phone output jacks (unbalanced) that

output the signals of the stereo bus or AUX bus 1/2.

E MONITOR OUT jacks

These are 1/4" phone output jacks (unbalanced) for

connection to your monitor setup, such as a stereo

system or powered speakers.

F PHONES jack

This is a 1/4" TRS phone output jack for connecting

your headphones for monitoring.

4 5 6

12 3

8 7M LN J 9K

145 236

Male XLR connector

1 (ground)

3 (cold)

2 (hot)

1/4" TRS phone plug

Ring (cold)

Tip (hot)

Sleeve (ground)

Introducing the AW16G

G PHANTOM +48V switch

This switch supplies phantom power to MIC/LINE

(XLR) jacks 1/2.

Turn this switch on if you connect condenser mics

requiring external +48V power to MIC/LINE INPUT

(XLR) jacks 1/2.

•You must turn this switch off if a device not requiring

an external power supply is connected to the INPUT

(XLR) 1/2 jacks.

• If phantom power is turned on, power will be supplied

to both the INPUT (XLR) 1/2 jacks.

H FOOT SW jack

A separately sold foot switch (Yamaha FC5) can be

connected here to control transport operations such

as start/stop, or to perform punch-in/out.

Note

The appropriate operation may not occur if you use a

foot switch other than the Yamaha FC5 (or equivalent).

I MIDI IN connector

J MIDI OUT/THRU connector

These connectors allow MIDI messages to be

exchanged with external devices.

MIDI IN receives MIDI messages.

MIDI OUT/THRU can be internally switched to

function either as a MIDI OUT jack (which trans-

mits MIDI messages generated within the AW16G)

or MIDI THRU jack (which re-transmits messages

that are received at the MIDI IN jack).

K DIGITAL STEREO IN/OUT jacks

These are optical jacks that allow digital audio sig-

nals to be exchanged with external devices. They

support the IEC958 consumer format.

L Grounding terminal

This is a terminal for electrically grounding the

AW16G. To prevent electrical shock, you must con-

nect this terminal to an electrical ground before you

plug the AC adaptor into an AC outlet. Grounding

will also help prevent hum and noise.

M POWER switch

This switches the power between ON and

STANDBY.

Note

When switching the power of the AW16G between ON

and STANDBY, you must follow the “Turning the power

on/off” (

→

p. 12) procedures described.

N DC IN connector

Connect the included AC adaptor (PA-300) to this

connector.

Use only the included AC adaptor (PA-300) for this unit.

Using other types may be a ﬁre and electrical shock haz-

ard.

Front panel

■ CD-RW drive

1 Eject button

This switch ejects the disc tray.

B Eject hole

This hole allows you to open the disc tray manually.

C Access indicator

This indicator will light while the CD inserted in the

drive is being accessed.

123

Introducing the AW16G

Basic operation on the AW16G

This section explains basic operations on the AW16G.

Viewing the display

The display of the AW16G shows the following informa-

tion.

1 Screen name

This is the name of the currently selected screen.

B Selected channel

This indicates the mixer channel that is selected for

operations. The display has the following signiﬁ-

cance.

TRACK 1–8 ...........................Track channels 1–8

TRACK 9/10–15/16...............Track channels 9/10–15/16

INPUT 1–8............................Input channels 1–8

STEREO.................................Stereo output channel

PAD 1–4................................Pad channels 1–4

Operating the knobs or keys of the Selected Chan-

nel section will edit the parameters of the channel

that is selected here.

C Counter (left side)

This indicates the current location within the song.

When the AW16G is in the default state, this

counter will indicate the absolute time (the time

from where you began recording the song) in units

of hours/minutes/seconds/milliseconds. At the left

of this value is displayed the locate point or marker

that was passed most recently.

D Counter (right side)

This indicates the current location within the song

in units of measures/beats. The measures/beats are

calculated according to the tempo and time signa-

ture speciﬁed in the tempo map for the song. The

current tempo and time signature are displayed at

the left of this value.

E Main screen

The information displayed in this area will depend

on the key that was last pressed. The following types

of object are displayed in the main screen.

● Cursor

The blinking frame within the display is

called the “cursor.” When an object in the

screen is enclosed by the cursor, that

object is selected for operations.

● Buttons

Buttons in the display are used to

switch a parameter on/off, to select

one of multiple choices, or to exe-

cute a speciﬁc function. A button

that is currently on will be dis-

played in black with white text. A

button that is currently off will be

displayed in white with black text.

● Knob/fader/parameter display area

The knob/fader/parameter display area within the

display is used to edit the value of the correspond-

ing parameter.

● Page display area

Most screens are divided by func-

tion into two or more “pages.” The

page display area lists the pages

that can be selected within that

screen. The name of the currently

selected page is highlighted.

Accessing a screen/page/channel

When you want to edit an internal setting of the AW16G,

or to edit a parameter that cannot be operated by a fader

or knob shown in the display, you will need to access the

desired screen and page.

Press the key or knob for the desired screen.

The keys and knobs of various sections listed below

have their own screens, and the corresponding

screen will be displayed when you press a key or

knob.

• All keys in the Work Navigate section

• All keys in the Quick Navigate section

•The [VIEW] key of the Selected Channel section

• All knobs of the Selected Channel section

•The [SAMPLE EDIT] key of the Quick Loop Sam-

pler section

Tip!

When you switch screens, the page that was last used in

that screen will be displayed.

12 3

Knob fader parameter display

area

Introducing the AW16G

To switch pages within a screen, you can

either repeatedly press the same key as in

step 1, or hold down the same key as in step

1 and use the CURSOR [ ]/[ ] keys.

If there are more pages than can

be shown in one screen, an

arrow like the following will

appear in the page display area.

This arrow means that one or

more additional hidden pages

exist in that direction.

To access a hidden page, hold down the same key

as in step 1, and press the [CURSOR] key of the

same direction as the arrow.

In pages that display a list of parameters for multiple

channels, the screen may be divided into a page for

the input channels/pad channels and a page for the

track channels, since not all of the parameters can

be shown in a single screen. In this case, use the

[INPUT SEL] keys, pads 1–4, or [TRACK SEL] keys

to select the channels that you want to view.

Switching a button on/off

Here’s how to switch a button in the screen on/off.

Use the [CURSOR] keys to

move the cursor to the

desired button in the

screen.

Press the [ENTER] key.

The button will be switched on/

off.

If you move the cursor to a but-

ton that executes a speciﬁc

function and then press the

[ENTER] key, that function will

be executed.

Editing a value in the display

Here’s how to edit the value of a fader, knob, or parame-

ter shown in the display.

Use the [CURSOR]

keys to move the cur-

sor to the desired

fader, knob, or param-

eter value.

Turn the [DATA/JOG]

dial to edit the value.

Inputting text

When you create a new song or save a scene memory or

library setting, a popup window will appear, allowing

you to assign a name for the song or setting.

This popup window contains the following items and

functions.

1 Text input box

This box lets you input characters, numerals, and

symbols. When you save the data for the ﬁrst time,

the box will contain a default name.

You can input a scene/library name or song name of

up to twelve characters.

B Text palette

This displays the characters, numerals, and symbols

that can be input in the text input box.

C CANCEL button

If you move the cursor to this button and press the

[ENTER] key, you will return to the previous screen

without changing the name.

D OK button

If you move the cursor to this button and press the

[ENTER] key, the scene/library will be saved or the

new song will be created.

E button

If you move the cursor to this button and press the

[ENTER] key, the character that is currently selected

in the text input box will be switched between

uppercase and lowercase.

F INS button

When you move the cursor to this button and press

the [ENTER] key, a space will be inserted at the

location of the currently selected character (under-

lined), and subsequent characters will move one

character backward.

G DEL button

When you move the cursor to this button and press

the [ENTER] key, the currently selected character

(underlined) will be deleted, and subsequent char-

acters will move one character forward.

To assign a new name, use the [CURSOR] keys to

move the cursor in the text input box to the charac-

ter that you want to change, and turn the [DATA/

JOG] dial to select a character.

When you have ﬁnished inputting the name, move

the cursor to the OK button and press the [ENTER]

key to apply the new name.

6 7

Introducing the AW16G

Using the Selected Channel sec-

tion

You can use the knobs and keys of the Selected Channel

section to directly operate the mix parameters (EQ,

dynamics, pan, etc.) of the currently selected channel.

Use the [TRACK SEL] keys, [INPUT SEL] keys,

[STEREO SEL] keys, or pads 1–4 to select the

channel that you want to operate.

When using the

Selected Channel

section, you must

ﬁrst select the

channel that you

want to operate. The currently selected channel is

indicated in the upper left of the screen.

The channels correspond to each key or pad as fol-

lows.

[TRACK SEL] keys 1–8 ...........Track channels 1–8

[TRACK SEL] keys

9/10–15/16...........................Track channels 9/10–15/16

[INPUT SEL] keys 1–8 ...........Input channels 1–8

[STEREO SEL] key..................Stereo output channel

Pads 1–4................................Pad channels 1–4

According to the parameter you want to edit,

turn the ﬁve knobs of the Selected Channel

section.

The following items will change when you turn

each knob.

Note

• Simply turning the knobs of the Selected Channel sec-

tion will not cause the screen to change.

• If you turn the [DYN] knob immediately after recalling

a preset library that includes dynamics settings, multi-

ple dynamics parameters will change simultaneously,

affecting the way in which dynamics processing is

applied. The depth of this change will depend on the

library that is recalled.

If you want to access the screen for a param-

eter and edit it in greater detail, press one of

the ﬁve knobs or the [VIEW] button.

Pressing each knob or button will access the follow-

ing screens.

● EQ screen EDIT page

Move the cursor in the screen to the desired

parameter, and use the [DATA/JOG] dial or

the [ENTER] key to operate the parameter.

Note

• If you change individual parameters in the DYN screen,

the parameter that you operate last will be assigned to

the [DYN] knob.

• If you want to return to the state in which turning the

[DYN] knob will adjust multiple parameters simulta-

neously, you must once again recall the library contain-

ing the dynamics settings you recalled prior to editing

in the DYN screen.

Turn the [EQ] knob

This changes the amount of boost/cut for the selected

EQ band. To select the EQ band, use the [HIGH], [HI-

MID], [LO-MID], and [LOW] keys located at the right.

Turn the [DYN] knob

This changes the depth of dynam-

ics processing.

Turn the [EFF 1] knob

This adjusts the level of the signal

that is sent from that channel to

internal effect 1. (If the stereo output

channel is selected, this adjusts the

return level from internal effect 1.)

Turn the [EFF 2] knob

This adjusts the level of the signal

that is sent from that channel to

internal effect 2. (If the stereo output

channel is selected, this adjusts the

return level from internal effect 2.)

Turn the [PAN/BAL] knob

This adjusts the pan of the signal that is sent from that

channel to the stereo bus. (If the stereo output chan-

nel is selected, this adjusts the balance of the left and

right channels.)

Press the [EQ] knob

The EQ screen will appear.

Press the [DYN] knob

The DYN screen will appear.

Press the [EFF 1] knob

The EFF 1 screen will appear.

Press the [EFF 2] knob

The EFF 2 screen will appear.

Press the [PAN/BAL] knob

The PAN screen will appear.

Press the [VIEW] key

The VIEW screen will appear.

Introducing the AW16G

Chapter 3

Listening to the demo song

When the AW16G is shipped from the factory, its hard disk contains

a demo song. This chapter explains how to play back the demo song

while you operate the faders and keys of the front panel.

Connect external devices and turn on the

power

The following diagram shows a typical example of con-

nections to the AW16G. Connect your mics, instruments,

and external devices as shown in this diagram.

When you have ﬁnished making connections, turn on

the power switch of each device in the following order.

1 External devices such as audio sources or

effect processors connected to the input/out-

put jacks of the AW16G

B The AW16G itself

C The monitor system connected to the output

jacks of the AW16G

After the opening screen, the following screen will

appear.

When you turn on the power of the AW16G, the last-

used song will be loaded automatically. When you turn

on the power of the AW16G with the factory settings, a

blank song will be loaded, so you can start recording

immediately.

VOL VOL

MONITOR OUT

INPUT 1 2 3–8

INPUT 8

(HI-Z)

PHONES

DIGITAL

STEREO OUT

DIGITAL

STEREO IN

00.00.00.00

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

Rhythm machine

SynthesizerMics

Headphones

Monitor system

DAT recorder, MD

recorder, etc.

Electric guitar/

Electric bass

Listening to the demo song

Loading the demo song

Here’s how to load the demo song from the hard disk.

In the work navigate sec-

tion, press the [SONG] key.

The SONG screen will appear,

where you can save or load

songs.

Either press the [SONG] key repeatedly or

hold down the [SONG] key and use the CUR-

SOR [ ]/[ ] keys to access the LIST page.

In this page, you can select a song on the hard disk,

and load or delete it.

1 List

This area lists the songs that are saved on the hard

disk. The line enclosed by the dotted frame in the

center of the list indicates the song that is selected

for operations. The highlighted line indicates the

song that is currently loaded into the AW16G. (This

is called the “current song.”)

B SORT ﬁeld

These three buttons let you select how the songs in

the list will be sorted. Choose the NAME button

(sort alphabetically), OLD button (sort by save date),

or SIZE button (sort by size).

Turn the [DATA/JOG] dial to select the song

“Ride with me.”

Move the cursor to the LOAD

button in the screen, and press

the [ENTER] key.

A popup window like the following

will appear. This window asks you

whether you want to save the current

song.

Move the cursor to either YES (save the cur-

rent song) or NO (don’t save the current

song), and press the [ENTER] key.

The song data will be loaded, and “Ride with me”

will become the current song.

Note

If you select NO, any changes that you made to the cur-

rent song since you last saved it will be lost.

Listening to the demo song

Playing the demo song

Here’s how to play back the demo song you loaded, and

adjust the monitor level.

Either press the [VIEW] key repeatedly or hold

down the [VIEW] key and use the CURSOR

[ ]/[ ] keys to access the VIEW screen

METER page.

The VIEW screen METER page contains meters that

show the input level of each channel and the output

level of the stereo output channel. It is convenient

to display this page when you want to check the

level of each track.

Note

Make sure that the selected channel area at the upper left

of the METER page indicates either TRACK 1–8 or TRACK

9/10–15/16. If neither of these are displayed, press either

the [TRACK SEL] key 1–8 or 9/10–15/16.

Lower the AW16G’s [STEREO] fader to the -

inﬁnity position. Also make sure that the

AW16G’s [MONITOR PHONES] knob and the

volume of your monitor system are turned

down.

Press the PLAY [ ] key.

The demo song will begin playing, and the level of

each track channel will be displayed in the METER

page of the VIEW screen.

To adjust the monitor level appropriately, use

the AW16G’s [MONITOR PHONES] knob and

the volume control of your monitor system.

Tip!

The demo song uses the Scene function to switch the set-

tings of the mixer. This means that playback will occur

using the pre-speciﬁed balance — you do not need to

operate the faders.

To stop the song, press the STOP [■] key.

Listening to the demo song

Mixing the demo song

When you play back a song, tracks 1–16 of the recorder

are directly connected to track channels 1–8 and 9/10–

15/16 of the mixer. The signals that pass through track

channels 1–8 and 9/10–15/16 are sent to the stereo bus,

routed through the stereo output channel, and sent from

the STEREO/AUX OUT jacks or the MONITOR OUT

jacks.

● Signal ﬂow during song playback

Track channels 1–8 and 9/10–15/16 are directly con-

trolled by the faders and [TRACK SELECT] keys of the

panel. Here’s how you can adjust the mix level of each

track channel and switch it on/off while the song plays

back.

Recorder section

Mixer section

Stereo bus

Track

channels

Stereo output

channel

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track 9

Track 10

Track 11

Track 12

Track 13

Track 14

Track 15

Track 16

Listening to the demo song

Press the RTZ [ ] key.

The demo song will be rewound to the beginning.

Press the PLAY [ ] button.

The demo song will begin playing.

While listening to the demo song, try operat-

ing faders 1–8 and 9/10–15/16.

Notice that the level of the corresponding track will

change. Operating the [STEREO] fader will change

the overall level of the song.

To mute the playback of a

speciﬁc track, access the

MONITOR screen ON/

OFF page, either by

repeatedly pressing the

[MONITOR] key or by

holding down the [MONITOR] key and using

the CURSOR [ ]/[ ] keys.

The MONITOR screen ON/OFF page lets you

switch each channel on/off. A channel that is

switched off in this page will not be sent to the ste-

reo bus or AUX bus, and will be muted.

Press the [TRACK SEL] key(s) for the track

channel(s) that you want to mute. (You may

select more than one channel.)

For example if you press [TRACK SEL] keys 1 and 3,

the screen will change as follows, and track chan-

nels 1 and 3 will be muted. At this time, [TRACK

SEL] keys 1 and 3 will go dark. The graphic in the

display will also indicate this.

Note

The [TRACK SEL] key you press last will always light

orange regardless of the mute status. This indicates that

this channel is the “selected channel” (

→

p. 25).

Note

In this page, pressing the [STEREO SEL] key will have no

effect.

To cancel the muted state, press the same

[TRACK SEL] key you pressed in step 5, to

make the indicator light green.

If you want to monitor the playback of just a

speciﬁc track, access the MONITOR screen

SOLO page by either repeatedly pressing the

[MONITOR] key or by holding down the

[MONITOR] key and using the CURSOR [ ]/

[] keys.

The SOLO page of the MONITOR screen lets you

mute all other channels while listening to only a

speciﬁc channel. (This is called the “solo” function.)

When you sol a channel in this page, the signals of

the remaining channels will be muted, and will no

longer be sent to the stereo bus or AUX buses.

Press the [TRACK SEL] key of the track chan-

nel that you want to solo.

For example if you press [TRACK SEL] key 3, the

screen will change as follows, and channels other

than track channel 3 will be muted. At this time,

[TRACK SEL] key 3 will light orange, and the other

[TRACK SEL] keys and [INPUT SEL] keys will go

dark.

Note

Only one channel can be soloed at a time.

To cancel soloing, press the currently

selected [TRACK SEL] key (lit orange) once

again.

Note

While playing the demo song, the level or the on/off sta-

tus of a channel you adjusted manually may return to its

previous setting. This is because the Scene function has

switched the state of the mixer settings, and is not a mal-

function (

→

p. 142). You can use the Recall Safe function

to temporarily prevent scenes from being recalled. (

→

p. 80)

Listening to the demo song

Chapter 4

Recording to a sound clip

The AW16G has a Sound Clip function that lets you record and play

back independently of the recorder section. You can use a sound clip

to quickly record and play back your performances on an audio

source connected to the AW16G or on the pads. This is an ideal way

to capture ideas for a song or arrangement, or to record a simple

accompaniment for practicing a part.

This chapter explains how an instrument or mic connected to an

input jack can be recorded as a sound clip.

Connecting your instrument or mic

First, the instrument or mic that you want to record must

be connected to a MIC/LINE INPUT jack. The various

types of jack are compatible with the following sources.

● MIC/LINE INPUT (XLR) jacks 1/2

These are XLR-type balanced input jacks. Use a male

XLR ↔ female XLR cable to connect your mic, direct

box, or a guitar/bass preamp that has a balanced out-

put jack.

● MIC/LINE INPUT (TRS phone) jacks 3–8

These are TRS-type balanced input jacks. Use a 1/4"

TRS phone ↔ female XLR cable to connect your mic,

direct box, or a guitar/bass preamp that has a bal-

anced output jack.

Alternatively, you can use a 1/4" phone ↔ 1/4"

phone cable to connect an instrument with unbal-

anced output, such as a synthesizer or rhythm

machine.

● MIC/LINE INPUT jack 8 (Hi-Z)

Use a 1/4" phone ↔ phone cable to directly connect

an electric guitar/bass that has passive pickups.

MIC/LINE INPUT

(XLR) jacks 1/2

Balanced cable

(male XLR ↔ female XLR)

Mic

Electric

guitar/bass

Preamp or effect proces-

sor with balanced output

Direct box

1/4" TRS phone ↔ female XLR

cable

Mic

Electric

guitar/bass

Preamp or effect proces-

sor with balanced output

Direct box

MIC/LINE INPUT

(TRS phone) jacks

3–8

1/4" phone ↔ phone cable

Synthesizer/

rhythm machine

MIC/LINE INPUT

(TRS phone) jacks

3–8

1/4" phone ↔ phone cable

MIC/LINE INPUT

(HI-Z) jacks 8

Electric guitar/bass

with passive pickups

Recording to a sound clip

Adjusting the input level

The signals that are input from MIC/LINE INPUT jacks 1–

8 are sent to input channels 1–8 respectively. Here's how

to adjust the input level of the input channel, and make

settings so that you can hear the sound from your moni-

tor system via the stereo bus.

Lower the [STEREO] fader to the –∞ position.

Also turn down the [GAIN] knob for the MIC/

LINE INPUT jack to which your instrument/

mic is connected.

Press and hold the [INPUT SEL] key for the

jack to which your instrument/mic is con-

nected.

When you press and hold an [INPUT SEL] key, the

INPUT SETTING popup window will appear, allow-

ing you to make settings for the corresponding input

channel. The following diagram is an example of

the screen that will appear if you press and hold

[INPUT SEL] key 1.

1 INPUT LEVEL knob

Move the cursor to this knob and turn the [DATA/

JOG] dial to adjust the level of the input channel.

Normally you will leave this at the default setting of

0 dB. The current level is shown by the value (dB

units) above the knob.

B Stereo bus assign switch

When you move the cursor to this knob and press

the [ENTER] key, the signal that is sent from the cor-

responding input channel to the stereo bus will be

switched on/off.

C Level meter

This indicates the input level of the input channel.

The symbol in the window indicates the loca-

tion at which the level is detected.

D EXIT button

Move the cursor to this button and press the

[ENTER] key to close the popup window and return

to the previous screen.

While you watch the level meter in the

popup window, produce sound on your

instrument, and turn the [GAIN] knob to

adjust the input level.

As you turn the [GAIN] knob toward the right, the

level meter in the popup window will move more

widely. (However, you will not yet hear anything

from your monitor system.)

For the best audio quality, adjust the level as high as

possible without allowing the meter to clip when

the loudest volume occurs.

While you play your

instrument, raise the

[STEREO] fader to the

0 dB position.

The LR meters at the right

of the screen will now

move. As you turn the

[MONITOR/PHONES] knob toward the right, you

should begin to hear sound from your monitor sys-

tem.

Note

If you still do not hear sound after raising the [STEREO]

fader, check the INPUT SETTING popup window to make

sure that the stereo bus assign switch is turned on, and

that the INPUT LEVEL knob value has not been set below

0.0 dB.

To exit the INPUT SETTING popup window,

move the cursor to the EXIT button and press

the [ENTER] key.

You will return to the previous screen.

Tip!

The level settings described above are the basic settings

for any type of recording --- not just for a sound clip. By

using the [GAIN] knob to raise the level as far as possible

without allowing distortion to occur, you can ensure that

the input signal is converted into digital form with the

highest possible quality before it is input to the mixer sec-

tion. If the [GAIN] knob is not raised sufﬁciently, you

may not be taking full advantage of the available dynamic

range of the mixer section and recorder section. When

the input LEVEL knob and [STEREO] fader are set to the

0 dB position, the input level will be output without

change to the recorder and monitor.

1 3

Recording to a sound clip

Recording/playing a sound clip

Now that preparations are complete, let's record to a

sound clip.

The post-fader signal of the stereo output channel can be

recorded directly on a sound clip. For playback, the sig-

nal will be sent immediately before the stereo output

channel fader. (EQ and dynamics cannot be applied to

the playback of a sound clip.)

● Signal ﬂow when using a sound clip

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

Mixer section

Stereo bus

Input

channels

Stereo output

channel

MIC/LINE

INPUT jacks

Metronome

Sound clip

Recording to a sound clip

■ Recording a sound clip

In the Locate section, press the [SOUND

CLIP] key.

The CLIP screen will appear, where you can record

and play sound clips.

1 Metronome button

Switches the metronome on/off.

B Metronome knob

Adjusts the volume level of the metronome. The

value shown above the knob shows the current set-

ting in dB units.

C START button

Speciﬁes the current location as the start point of

the sound clip (the location at which playback will

begin). The current location is shown in minutes/

seconds/milliseconds at the left.

D END button

Speciﬁes the current location as the end point of the

sound clip (the location at which playback will

end). The current location is shown in minutes/sec-

onds/milliseconds at the left.

E CLIP button

When you turn this button on, the START button

(

3) and END button (4) settings will be enabled.

Note

Recording and playback in the Recorder section cannot

be performed while the CLIP screen is displayed.

If you want to use the metronome, move the

cursor to the metronome button and press

the [ENTER] key.

The time signature and tempo used by the metro-

nome are displayed above the metronome button.

To change the tempo of the metronome,

move the cursor to the tempo value and turn

the [DATA/JOG] dial.

Note

The time signature of the metronome is determined by

the tempo map setting immediately prior to accessing the

CLIP screen. Please be aware that the setting cannot be

edited from this screen. (For details on tempo map set-

tings

→

p. 142)

In the Transport section, hold down the REC

[●] key and press the PLAY [ ] key.

The metronome will begin sounding, and the

counter display will advance. The counter in the

CLIP screen always starts from 0, and indicates the

current time in minutes/seconds/milliseconds. This

counter is separate from the counter of a conven-

tional song.

Play your instrument in time with the metro-

nome.

Tip!

• The metronome sound will not be recorded in the

sound clip. If necessary, you can move the cursor to the

metronome knob and turn the [DATA/JOG] dial to

adjust the volume level of the metronome sound.

• In addition to an instrument connected to the MIC/

LINE INPUT jacks, your performance on the quick loop

sampler pads can also be recorded.

• The knobs/keys of the selected channel are active even

while the CLIP screen is displayed. If necessary, you can

record the signal processed by EQ and dynamics (

→

p. 50).

To stop recording, press the STOP [■] key.

The display will show S and E symbols to indicate

the start point and end point.

Tip!

•With the default settings of the AW16G, a maximum of

30 seconds can be recorded in a sound clip. If you con-

tinue recording for longer than 30 seconds, the last 30

seconds of your playing before you stopped recording

will be recorded. (However, the counter display during

recording will continue to advance.)

• In the UTILITY screen PREFER page, you can specify up

to 180 seconds as the maximum length that can be

recorded in a sound clip. You are free to make this set-

ting before creating a new song, but this cannot be

changed once the song has been created. (

→

p. 162)

1 42 3 5

Recording to a sound clip

■ Playing a sound clip

To hear the content that you recorded in the

sound clip, press the PLAY [ ] key.

The region from where you began recording to

where you stopped recording will play repeatedly.

To stop, press the STOP [■] key. If you record again,

the previous data will be overwritten.

In the CLIP screen, the keys of the Transport section

will have the following functions.

Tip!

You will not hear the metronome and pads 1–4 while a

sound clip is playing. However, you can still monitor the

signals of input channels 1–8.

If you want to change the playback region of

the sound clip, stop at the location that you

want to specify as the Start point, move the

cursor to the START button, and press the

[ENTER] key.

The current location will be registered as the Start

point.

In the same way, stop at the location that

you want to specify as the End point, move

the cursor to the END button, and press the

[ENTER] key.

Stop playback, move the cursor to the CLIP

button, and press the [ENTER] key.

The CLIP button will turn on, and the speciﬁed Start

point and End point will be enabled.

Note

The START button, END button, and CLIP button are dis-

abled while the sound clip is playing.

Tip!

The region of data between the speciﬁed Start point and

End point can be copied to an audio track of the

Recorder section by using the EDIT screen COPY com-

mand (

→

p. 128).

To execute the CLIP screen, press the

[SOUND CLIP] key.

A popup window will ask you for conﬁrmation.

Move the cursor to the OK button to exit the CLIP

screen or to the CANCEL button to cancel, and

press the [ENTER] key.

When you exit the CLIP screen, you will return to

the TRACK screen VIEW page. However you can

press the [SOUND CLIP] key at any time to play

back the previously recorded content or record a

new performance.

Note

When you record a sound clip, the previous recording

will be lost. Please be aware that the Undo function can-

not be used to recover a deleted sound clip.

Tip!

•A popup window will also ask you to conﬁrm that you

want to exit the CLIP screen if you press a key in the

Work Navigate section or Quick Navigate section while

playback is stopped in the CLIP screen.

• The recorded contents of the sound clip are stored for

each song.

Key Function

RTZ [ ] key

Returns to the location at which

you began recording. If the CLIP

button is on, this returns to the

Start point.

REW [ ] key

Rewinds the current location

toward the beginning. You will

stop when you reach the location

at which you began recording or

the Start point.

FF [ ] key

Fast-forwards the current loca-

tion. You will stop when you reach

the location at which you stopped

recording or the End point.

STOP [■] key

Stops playback, recording, rewind,

or fast-forward.

PLAY [ ] key

Starts playback. Pressing this key

during playback does nothing.

REC [●] key

If you hold down this key while

stopped and press the PLAY [ ]

key, recording will begin. Pressing

this key during playback does

nothing.

Recording to a sound clip

Chapter 5

Track recording

This chapter explains how to create a new song, and record the

audio signal from an instrument or mic connected to the AW16G

onto the ﬁrst track of your song.

Creating a new song

In order to begin recording on the AW16G, you must ﬁrst

create a new song.

Tip!

When you start up the AW16G for the ﬁrst time, an

empty song will be loaded automatically. If you use this

automatically-loaded song, the procedure described here

is not necessary.

In the Work Navigate section, either press the

[SONG] key repeatedly or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the LIST page.

Move the cursor to the NEW button and

press the [ENTER] key.

A popup window will ask you whether you want to

save the current song.

Move the cursor to either YES (if you want to

save the current song) or NO (if you do not

want to save the current song), and press the

[ENTER] key.

Next, a popup window will appear, allowing you to

specify the items whose settings will be carried over

from the current song.

You may choose one or more of the following items

if desired.

SCENE button ............ Scene memories

LIBRARY button......... EQ, dynamics, effects, and channel

libraries

TEMPO button ........... Tempo map

For example if you have saved effect settings in a

library for the current song and would like to use

these settings for the new song as well, you would

turn on the LIBRARY button.

Use the buttons to choose the items that will

be carried over from the current song. Then

move the cursor to the OK button and press

the [ENTER] key.

The TITLE EDIT popup window will appear, allow-

ing you to assign a name to the song.

Assign a name to the song (for details on

assigning a name → p. 24).

To create the new song, move the cursor to

the OK button and press the [ENTER] key.

A new song will be created, and you will return to

the SONG screen LIST page.

Tip!

• If you move the cursor to the CANCEL button (instead

of the OK button) and press the [ENTER] key, you will

return to the SONG screen LIST page without creating

a new song.

•You may also edit the song name later (

→

p. 138).

Track recording

Direct recording and Bus recording

Instruments/mics connected to the AW16G can be

assigned to tracks in one of the following two ways.

■ Direct recording

With this method, input channels are assigned to

tracks in a one-to-one correspondence. This method

requires the same number of tracks as the number of

input channels you use. However, this method has

the advantage that you will be free to adjust the vol-

ume, pan (stereo position), and tone of each instru-

ment after it has been recorded.

Synthesizer/

rhythm machine

Mixer section

Input

channels

Stereo output

channel

MIC/LINE

INPUT jacks

Recorder section

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track recording

■ Bus recording

With this method, you can send multiple input chan-

nels to the L/R bus, and assign the mixed signal to

one or two tracks. This method requires fewer tracks.

However, you will need to decide on the ﬁnal vol-

ume, pan, and tone of each instrument at the time of

recording. (You will not be able to adjust these inde-

pendently after recording.)

Note

The way in which you assign the input signals to tracks

will depend on the method you choose.

L/R bus

Synthesizer/

rhythm machine

Mixer section

Input

channels

Stereo output

channel

MIC/LINE

INPUT jacks

Recorder section

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track recording

Assigning input signals to tracks

(Direct recording)

Lower the [STEREO] fader to the –∞ position.

Connect instruments/mics to MIC/LINE

INPUT jacks 1–8.

In the Quick Navigate sec-

tion, either press the

[RECORD] key repeatedly or

hold down the [RECORD]

key and use the CURSOR

[ ]/[ ] keys to access the

DIRECT page of the RECORD screen.

The [INPUT SEL] keys and [TRACK SEL] keys will

blink red.

The screen will indicate how input channels are

connected to tracks.

1 INPUT

Indicates the connection status of input channels 1–

If you move the cursor to numbers 1–8 and press

the [ENTER] key, the INPUT SETTING popup win-

dow will appear, allowing you to make settings for

the corresponding input channel.

If you move the cursor to the symbol and press

the [ENTER] key, the symbol will be highlighted,

and the corresponding input channel will be

selected as a recording source.

B TRACK

Indicates the connection status of tracks 1–16.

If you move the cursor to the symbol and press

the [ENTER] key, the symbol will be highlighted,

and the corresponding track will be selected as a

recording destination.

C 1-8 button

If you move the cursor to this button and press the

[ENTER] key, input channels 1–8 will be connected

to tracks 1–8.

D 9-16 button

If you move the cursor to this button and press the

[ENTER] key, input channels 1–8 will be connected

to tracks 9–16.

E SAFE button

If you move the cursor to this button and press the

[ENTER] key, all connections will be cancelled.

Press the [INPUT SEL] key for the input chan-

nel to which your instrument/mic is con-

nected.

The corresponding [INPUT SEL] key will light red,

and the remaining [INPUT SEL] keys will go dark. If

this input channel is not yet assigned to a track, all

[TRACK SEL] keys will blink red. This blinking indi-

cates that the tracks can be selected as the record-

ing destination.

In the screen, the symbol

for that input channel will be

highlighted.

Tip!

•You can also select an input channel by moving the cur-

sor to the symbol of the desired input channel and

pressing the [ENTER] key.

• If you select an input channel to which a track is

already assigned, only the corresponding [TRACK SEL]

key will blink red.

• If you press and hold the [INPUT SEL] key of an input

channel, the INPUT SETTING popup window will

appear, allowing you to make settings for the corre-

sponding input channel. To exit this window and return

to the previous screen, move the cursor to the EXIT but-

ton and press the [ENTER] key.

543

Track recording

Press the [TRACK SEL] key of the track on

which you want to record.

The selected input channel and track will be con-

nected internally. At this time, only the selected

[INPUT SEL] key and [TRACK SEL] key will be

blinking red. The blinking [TRACK SEL] key indi-

cates that the corresponding track is in record-ready

mode.

In the screen, a line will be

drawn to indicate the connec-

tion.

Tip!

•You can also select a track by moving the cursor to the

symbol of the desired track and pressing the

[ENTER] key.

• The input channel and track will be internally con-

nected even if you ﬁrst press the [TRACK SEL] key and

then press the [INPUT SEL] key afterward.

•When an input channel is selected as a recording

source, its assignment to the stereo bus will automati-

cally be turned off, and it will be connected to allow

monitoring via the track channel.

•EQ and dynamics settings will be ﬂat for a track chan-

nel that is selected as the recording destination.

If you want to record more than one instru-

ment or mic simultaneously, assign other

input channels to tracks in the same way.

Tip!

•To cancel a connection that you made, press the

[INPUT SEL] key to make it light red, and then press the

[TRACK SEL] key of the track that is selected as the

recording destination. To cancel all connections, move

the cursor to the SAFE button and press the [ENTER]

key.

•To change the recording destination, press the [INPUT

SEL] key to make it light red, and then press the [TRACK

SEL] key of a different track.

• If both the recording-source inputs and the recording-

destination tracks are paired, two adjacent odd-num-

bered/even-numbered channels will be simultaneously

assigned to two adjacent odd-numbered/even-num-

bered tracks.

Press and hold the [INPUT SEL] key for the

recording-source input channel, to access the

INPUT SETTING popup window.

Tip!

You can also access the INPUT SETTING popup window

by moving the cursor to an input channel number in the

RECORD screen DIRECT page, and pressing the [ENTER]

key.

Use the [GAIN] knob to adjust the input level

of the signal.

For details on adjusting the input level, refer to

“Recording to a sound clip” (→ p. 33).

If an input channel is connected to a recording-des-

tination, that recording-destination and the METER

button will be added to the display in the INPUT

SETTING popup window.

By moving the cursor to the METER button and

pressing the [ENTER] key, you can switch the loca-

tion at which the level is detected between “pre-

fader” (default setting; immediately after A/D) and

“post-fader” (after the signal has passed through EQ,

dynamics, and the level knob). Check that the

increase in level after passing through EQ and

dynamics does not cause the signal to clip.

Raise the [STEREO] fader to the 0 dB position.

To monitor the signal that you are recording,

raise the fader of the track channel that you

selected as the recording destination.

Normally when recording, you do not monitor the

input channel signal before it is recorded, but rather

the signal after passing through the recorder, via the

track channel. This lets you monitor the signal that

is actually being recorded, and also lets you adjust

the volume and tone of the monitor signal without

affecting the signal that is being recorded.

If the track channel fader for the recording-destina-

tion track is set to the 0 dB position, the monitor

level during recording will be the same as the play-

back level after recording.

Track recording

● Monitor signal ﬂow during recording

To adjust the pan of the

monitor signal, press the

[TRACK SEL] key for the

corresponding track

channel, and turn the

[PAN/BAL] knob of the

Selected Channel section.

Note

The pan setting of an input channel will have no effect if

that input channel is assigned to a track by direct record-

ing.

Mixer section

Track

channels

Stereo out-

put channel

Recorder section

from the input

channels

Stereo bus

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track recording

Assigning input signals to tracks

(Bus recording)

Lower the [STEREO] fader to the –∞ position.

Connect instruments/mics to MIC/LINE

INPUT jacks 1–8.

In the Quick Navigate section, either press

the [RECORD] key repeatedly or hold down

the [RECORD] key and use the CURSOR [ ]/

[] keys to access the MIXED page of the

RECORD screen.

In the MIXED page of the RECORD screen, you can

assign the input channel signals to any one or two

tracks via the L/R bus.

1 INPUT

Selects the record-source input channel.

B L/R bus

The two horizontal lines indicate the bus L/R signal

route. You can check the on/off status of the signal

that is sent from the record-source input channel(s)

to bus L or R, and check the tracks that will be the

record-destination of the L/R bus.

C TRACK

Selects the track(s) that will be the record-destina-

tion of the L/R bus signal.

D SAFE button

To cancel all record-sources and record-destina-

tions, move the cursor to this button and press the

[ENTER] key.

E BUS button

When you move the cursor to this button and press

the [ENTER] key, a dedicated fader and level meter

for the L/R bus will appear in the right of the screen.

You can use this to adjust the master level of the L/R

bus.

Press the [INPUT SEL] key for the input chan-

nel to which you connected your instrument

or mic.

The current setting [INPUT SEL] key will light

orange, and that input channel will be selected for

operations.

In the screen, the symbol

for the corresponding input

channel will be highlighted,

and a line will appear, indicat-

ing that this channel is con-

nected to the bus.

Tip!

•You can also select an input channel by moving the cur-

sor to the symbol for the desired input channel and

pressing the [ENTER] key.

• If you press and hold the [INPUT SEL] key of an input

channel, the INPUT SETTING popup window will

appear, allowing you to make settings for the corre-

sponding input channel. To close this popup window

and return to the previous screen, move the cursor to

the EXIT button and press the [ENTER] key.

Repeatedly press the same

[INPUT SEL] key as in step

4, and the signal sent

from that input channel to

the L/R bus will be

switched on/off.

Each time you press the

[INPUT SEL] key, the screen

will change as follows.

Tip!

For an input channel that is selected as a record-source,

the assignment to the stereo bus will automatically be

turned off, and connections will be made so that the sig-

nal can be monitored via the track channel.

1 2

Track recording

As necessary, use the same procedure to

specify other input channels as recording-

sources.

Press the [TRACK SEL] key(s) for the record-

destination track(s).

You can select up to two tracks as the record-desti-

nation.

If you select track 1, 3, 5, or 7, the signal will be

connected to bus L. If you select track 2, 4, 6, or 8,

the signal will be connected to bus R. If you select

tracks 9/10–15/16, odd-numbered tracks will be

connected to bus L, and even-numbered tracks will

be connected to bus R.

The screen will display lines to indicate how the

signals are connected to the track(s).

Tip!

•EQ and dynamics settings will be ﬂat for a track chan-

nel whose track has been selected as a record-destina-

tion.

• If a single track is selected, the pan of the track channel

will be centered. If a paired track (

→

p. 49) is selected,

the odd-numbered/even-numbered track channels will

be panned to left and right respectively.

• The connection will be cancelled if you once again

press the [TRACK SEL] key of a currently selected track.

For each input channel to which you con-

nected an instrument or mic, press and hold

the [INPUT SEL] key to access the INPUT SET-

TING popup window, and use the [GAIN]

knob to adjust the input level of the signal.

For details on adjusting the input level, refer to

“Recording to a sound clip” (→ p. 33).

Raise the [STEREO] fader to the 0 dB position.

Raise the track channel fader for the record-

destination track, so that the monitor level is

appropriate.

Now you will be able to monitor the signal that is

being sent to the track(s) via the L/R bus.

To set the pan of each input channel, use the

[INPUT SEL] key to select a channel, and turn

the [PAN/BAL] knob of the Selected Channel

section.

When you use bus recording, it will not be possible

to adjust the pan or volume balance for individual

instruments after they have been recorded on the

track(s). This means that you must ﬁnalize the pan

and volume balance when you send the signals

from the input channels to the L/R bus.

To adjust the volume balance of each input

channel, repeatedly press the [VIEW] key in

the Selected Channel section to access the

FADER page.

When you want to set the volume balance of the

input channels, it is convenient to use the FADER

page of the VIEW screen. Here you can adjust the

on/off status and input levels for the input channels,

pad channels, and track channels — all in one

page.

While producing sound on your instruments,

use the [INPUT SEL] keys or CURSOR [ ]/

[] keys to move the cursor to the input

channel that you want to control, and turn

the [DATA/JOG] dial to adjust the volume

balance.

Note

We recommend that you not use the [GAIN] knob to

adjust the volume balance of the input channels. This will

degrade the S/N ratio, and may cause the sound to dis-

tort.

Tip!

•You can also use the INPUT LEVEL knob in the INPUT

SETTING popup window to adjust the volume balance

of the input channels.

• Normally, the panel faders are dedicated to the track

channels. However by changing an internal setting, you

can use the faders to control the input levels of the

input channels. (

→

p. 162)

Track recording

Enabling the metronome

Before you begin recording, set the tempo and volume of

the metronome. If you will not be using the metronome

while recording, you can skip the following procedure.

In the Work Navigate section, repeatedly

press the [TRACK] key or hold down the

[TRACK] key and use the CURSOR [ ]/[ ]

keys to access the VIEW page.

1 Metronome button

Switches the metronome on/off.

B Metronome knob

Adjusts the metronome volume level. The current

value is shown above the knob in dB units.

Move the cursor to the metronome button

and press the [ENTER] key.

The metronome will be turned on.

When you press the [PLAY] key to begin play-

back, the metronome will begin sounding. As

necessary, move the cursor to the metro-

nome knob and turn the [DATA/JOG] dial to

adjust the metronome level.

If you want to change the tempo or time signature,

press the [STOP] key to stop playback, and perform

the following procedure.

In the Work Navigate section, repeatedly

press the [SONG] key or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the TEMPO page.

The TEMPO page lets you create a tempo map that

speciﬁes the tempo and time signature of the song.

The tempo and time signature that you specify here

will be the basis for the measure/beat display

counter, the internal metronome, and the MIDI

clock messages generated by the AW16G.

1 Tempo map events

These are the events recorded in the tempo map.

When you create a new song, a tempo map event of

time signature = 4/4 and tempo = 120 will be cre-

ated at the beginning of the song (measure 1, beat

1).

Move the cursor to the TEMPO ﬁeld of the

event, and turn the [DATA/JOG] dial to set

the tempo value.

You can set a tempo in a range of 30–250 (BPM).

If necessary, move the cursor to the METER

ﬁeld and turn the [DATA/JOG] dial to change

the time signature.

You can set a time signature in a range of 1/4–8/4.

Tip!

• It is also possible to change the tempo or time signature

during a song. For details, refer to “Song management”

(

→

p. 137).

• It is also possible to use the Quick Loop Sampler as a

rhythm machine, instead of the metronome. For details,

refer to “Using sample libraries” (

→

p. 109).

1 2

Track recording

Recording on a track

Now that you have completed your preparations, let’s

record on a track.

In the Work Navigate section, repeatedly

press the [TRACK] key or hold down the

[TRACK] key and use the CURSOR [ ]/[ ]

keys to access the VIEW screen.

1 Track view

Graphically indicates the presence of data and

markers in tracks 1–16, pad tracks 1–4, and the ste-

reo track.

B TRACK ﬁeld

Selects the track that you want to operate in the

screen. You can select 1–16 (audio track 1–16), ST

(stereo track), or PAD 1–4 (pad track 1–4).

Note

Changing the track here will not change the track to be

recorded.

C V.TR ﬁeld

If you selected 1–16 or ST in the TRACK ﬁeld, this

area will indicate the number of the currently

selected virtual track.

D Track name

Displays the name that has been assigned to the vir-

tual track. If nothing has been recorded, a name of

“-NO REC-” will be assigned.

E WAVE button

When you move the cursor to this button and press

the [ENTER] key, the waveform of the currently

selected track will be displayed. This button will

appear only if you have selected 1–16 or ST in the

TRACK ﬁeld.

F NAME button

When you move the cursor to this button and press

the [ENTER] key, the TITLE EDIT popup window

will appear, allowing you to assign a name to the

track.

In the Transport section, hold down the REC

[●] key and press the PLAY [ ] key.

The metronome will begin sounding, and the

counter display will advance.

In the track view within the screen, the vertical line

that indicates the current location will advance

toward the right.

Play your instrument in time with the metro-

nome.

The metronome sound will not be recorded on the

track. If necessary, move the cursor to the metro-

nome knob and turn the [DATA/JOG] dial to adjust

the metronome volume level.

To stop recording, press the STOP [■] key.

I (In point) and O (Out point) symbols will appear in

the track view of the VIEW page, indicating the

location of the most recent recording operation.

The [UNDO/REDO] key of the data entry/control

section will light. This indicates that you can press

the [UNDO/REDO] key to execute the Undo func-

tion.

To hear the recorded content from the

beginning, press the RTZ [ ] key to return

the counter display to zero, and press the

PLAY [ ] key.

If you want to redo the recording, press the

[UNDO/REDO] key.

The [UNDO/REDO] key will go dark, and you will

return to the state prior to recording. Repeat steps

2–5.

When you ﬁnish recording, press the Quick

Navigate Section [RECORD] key once again,

move the cursor to the SAFE button, and

press the [ENTER] key.

A popup window will ask you for conﬁrmation, so

move the cursor to the OK button and press the

[ENTER] key. Assignments of the input signals to

tracks will be cancelled. It will no longer be possi-

ble to press the [REC] key, and this will prevent

recording from occurring accidentally.

If you are satisﬁed with the recorded content,

save the song. (For details on saving → p. 63)

Please be aware that the recorded content will be

lost if you turn off the power of the AW16G before

saving the song.

5 6

2 3

Track recording

Pairing input channels/track channels

Pad tracks 1–4 and track channels 9/10–15/16 are per-

manently paired.

However, you may also specify pairing for adjacent odd-

numbered/even-numbered input channels (1/2, 3/4, 5/6,

7/8) or track channels (1/2, 3/4, 5/6, 7/8). When two

channels are paired, most of their parameters will be

linked, so that operating one of the channels will cause

the same setting to occur on the other channel as well.

This is convenient when you are recording a stereo audio

source, or when you want to play back two bus-recorded

tracks as a single stereo track.

Hold down the [INPUT SEL] key (or [TRACK

SEL] key) of one channel that you want to

pair, and then press the other [INPUT SEL]

key (or [TRACK SEL] key).

A popup window will appear, asking you to conﬁrm

the pairing.

Move the cursor to one of the following but-

tons and press the [ENTER] key.

INPUT (TRACK) x → y (x= odd number,

y= even number)........ Copy the settings of input (track)

channel x to y, and pair them.

INPUT (TRACK) y → x (x= odd number,

y= even number)........ Copy the settings of input (track)

channel y to x, and pair them.

RESET BOTH.............. Initialize both input (track) chan-

nels, and pair them.

CANCEL..................... Cancel pairing.

When input channels are paired, all mix parameters

other than the [GAIN] knob and phase/pan settings

will be linked.

When track channels are paired, all mix parameters

other than the phase/pan settings will be paired.

Operating just the odd-numbered fader will adjust

the level of both odd-numbered/even-numbered

channels. (While channels are paired, the even-

numbered fader has no effect.)

To defeat pairing, hold down the [INPUT SEL]

key (or [TRACK SEL] key) of one of the chan-

nels, and press the other [INPUT SEL] key (or

[TRACK SEL] key).

A popup window will ask you to conﬁrm that you

want to cancel pairing.

To cancel pairing, press the OK button. If you

decide not to cancel pairing, move the cursor

to the CANCEL button and press the [ENTER]

key.

Tip!

In the case of paired channels, setting the pan to far left

or far right will produce nominal level. (The levels before

and after passing through Pan will be the same.) In the

case of paired channels, setting the pan to center will

produce nominal level.

Track recording

Using the input library

The input library is a library of settings used to apply

internal effects, EQ, or dynamics settings to the input sig-

nal when you want to record the processed signal. Here’s

how to apply input library settings to the signal of an

input channel.

Press and hold the [INPUT SEL] key of the

input channel for which you want to use the

input library. The INPUT SETTING popup

window will appear.

Move the cursor to the LIBRARY button, and

press the [ENTER] key.

The following popup window will appear.

In this popup window, you can select whether the

internal effect 1 or 2 will be patched to the input

channel.

Note

When you use the input library, internal effect 1 or 2 will

be disconnected from the send/return of the mixer, and

patched to a speciﬁc input channel. For this reason, you

can use the internal effects on a maximum of two chan-

nels.

Move the cursor to the EFF1 button or EFF2

button, and press the [ENTER] key.

The INPUT LIBRARY popup window will appear,

allowing you to select an input library.

1 List

This is the library list. The line surrounded by a dot-

ted line in the middle of the list is the data that is

selected for loading. When you turn the [DATA/

JOG] dial, the data in the list will scroll upward or

downward.

B RECALL button

Move the cursor to this button and press the

[ENTER] key to load the currently selected data.

C EXIT button

Move the cursor to this button and press the

[ENTER] key to close the popup window.

Turn the [DATA/JOG] dial to select the

desired input library data.

The input library data is organized into the follow-

ing categories.

Note

All input library data is read-only.

Select the desired data, and press the

[ENTER] key.

A popup window will ask you to conﬁrm the recall

operation.

Move the cursor to the OK button and press

the [ENTER] key.

The data of the selected library will be loaded, and

the internal effect, EQ (or speaker simulator), and

dynamics effect will be applied to the input signal.

Number Abbreviation Category

Data for initializing the

input channel

01–25

EG Data suitable for electric

guitar.

26–30

AG Data suitable for acoustic

guitar.

31–35 BA Data suitable for bass.

36–40 VO Data suitable for vocals

Track recording

Note

If the input channel is paired, the same settings will be

applied to both channels.

If you want to adjust the effect, use the

[INPUT SEL] key to select the input channel.

While you produce sound on your instru-

ment, adjust the [EQ] knob, [DYN] knob, or

[EFF 1]/[EFF 2] knobs of the Selected Channel

section.

Immediately after you select an input library, turn-

ing the knobs of the Selected Channel section will

control the following items.

Turning the [EQ] knob ......Adjusts the amount of boost/

cut for each EQ band. To select

the band that will be adjusted,

use the [HIGH] key, [HI-MID]

key, [LO-MID] key, or [LOW]

key located at the right.

Turning the [DYN] knob....Simultaneously adjusts multi-

ple dynamics parameters to

adjust the dynamics effect. The

result will depend on the

library that you selected.

Turning the [EFF 1] knob...Adjusts the balance of direct

sound and processed sound

for internal effect 1.

Turning the [EFF 2] knob...Adjusts the balance of direct

sound and processed sound

for internal effect 2.

Note

Depending on the input library you select, the level of

the input channel may change. Re-adjust the volume bal-

ance using the INPUT LEVEL knob in the INPUT SET-

TING popup window.

Tip!

If turning the [EQ] knob or [DYN] knob does not produce

the desired result, you can reload new settings from the

EQ library or dynamics library (

→

p. 77, 78).

In the same way, select input library settings

for the other input channels.

However, a maximum of two input channels can

use the internal effects at the same time.

Input library

Internal effect

Dynamics

Speaker

simulator

INPUT LEVEL

to the bus

MIC/LINE

INPUT jack

Input channel

Track recording

Using the EQ library

The EQ library contains EQ settings appropriate for a

variety of instruments. Use these when you want to apply

EQ to an input channel while you record, or when you

want to modify the EQ settings after recalling an input

library.

Press and hold the [INPUT SEL] key of the

input channel for which you want to use the

input library, to access the INPUT SETTING

popup window.

Move the cursor to the EQ button in the

screen, and press the [ENTER] key.

The EQ library will appear.

1 List

This is the library list. The line surrounded by a dot-

ted line in the middle of the list is the data that is

selected for loading. When you turn the [DATA/

JOG] dial, the data in the list will scroll upward or

downward.

B RECALL button

Move the cursor to this button and press the

[ENTER] key to load the currently selected data.

C EXIT button

Move the cursor to this button and press the

[ENTER] key to close the popup window.

Tip!

You can also access the EQ library by pressing the [EQ]

knob of the Selected Channel section. For details, refer to

“Using libraries and scene memories” (

→

p. 73).

Turn the [DATA/JOG] dial to select the library

that you want to use, and press the [ENTER]

key.

A popup window will ask you to conﬁrm the library

recall operation.

Move the cursor to the OK button and press

the [ENTER] key.

The selected library will be loaded.

Move the cursor to the EXIT button and press

the [ENTER] key.

If you want to adjust the EQ settings, press

the [HIGH] key, [HI-MID] key, [LO-MID] key,

or [LOW] key of the Selected Channel section

to select the band, and turn the EQ knob to

adjust the amount of boost/cut.

Note

If turning the EQ knob does not change the tone, check

whether EQ may have been turned off for that channel

(

→

p. 92).

Tip!

If necessary, you can also adjust the frequency and Q

parameters of each band. For details, refer to “Using

libraries and scene memories” (

→

p. 73).

Track recording

Using the dynamics library

The dynamics library contains dynamics settings suitable

for a variety of instruments. As for the EQ library, you can

use this to apply dynamics processing to an input chan-

nel while you record, or when you want to modify the

dynamics settings after recalling an input library.

Press and hold the [INPUT SEL] key of the

input channel for which you want to use the

dynamics library, to access the INPUT SET-

TING popup window.

Move the cursor to the DYN button in the

screen, and press the [ENTER] key.

The dynamics library will appear.

1 List

This is the library list. The line surrounded by a dot-

ted line in the middle of the list is the data that is

selected for loading. When you turn the [DATA/

JOG] dial, the data in the list will scroll upward or

downward.

B RECALL button

Move the cursor to this button and press the

[ENTER] key to load the currently selected data.

C EXIT button

Move the cursor to this button and press the

[ENTER] key to close the popup window.

Tip!

You can also access the dynamics library by pressing the

[DYN] knob of the Selected Channel section. For details,

refer to “Using libraries and scene memories” (

→

p. 73).

Turn the [DATA/JOG] dial to select the library

that you want to use, and press the [ENTER]

key.

A popup window will ask you to conﬁrm the library

recall operation.

Move the cursor to the OK button and press

the [ENTER] key.

The selected dynamics library will be loaded.

Move the cursor to the EXIT button and press

the [ENTER] key.

If you want to adjust the dynamics settings,

turn the [DYN] knob of the Selected Channel

section.

Turning the [DYN] knob immediately after a library

has been recalled will simultaneously adjust multi-

ple dynamics parameters to control the dynamics

effect. (The result will depend on the library that

you select.)

Note

If turning the [DYN] knob does not change the tone,

check whether dynamics may have been turned off for

that channel (

→

p. 93).

Tip!

If necessary, you can also make detailed adjustments to

the individual dynamics parameters. For details, refer to

“Using libraries and scene memories” (

→

p. 73).

Track recording

Chapter 6

Overdubbing

This chapter explains how you can record additional performances

on other tracks while you listen to the previously-recorded tracks.

This chapter also explains how to switch virtual tracks and save

songs.

About overdubbing

“Overdubbing” is the process of recording additional

performances on other tracks while you monitor the

playback of previously-recorded tracks.

The diagram below shows the signal ﬂow when you play

back tracks 1–4 and overdub track 5. In this example, the

signal that is input from MIC/LINE INPUT jack 1 is routed

through recorder track 5 and sent to track channel 5. This

signal is then sent to the stereo bus, mixed with the play-

back sound of track channels 1–4, and output from the

STEREO/AUX OUT jacks and the MONITOR OUT jacks /

PHONES jack.

● Signal ﬂow when overdubbing

Mixer section

Input

channels

Stereo output

channel

MIC/LINE

input jacks

Recorder section

Track

channels

Stereo bus

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Overdubbing

Assigning the input signal to a track

In order to overdub, you must ﬁrst assign the mic or

instrument to a new track. The basic procedure is the

same as when recording the ﬁrst track.

Lower the [STEREO] fader to the –∞ position.

Connect your instrument or mic to a MIC/

LINE INPUT jack.

In the Work Navigate Section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the DIRECT page of the

RECORD screen.

The [INPUT SEL] key and [TRACK SEL] key will

blink red.

Assign the input channel to which your

instrument/mic is connected to a new track,

and adjust the level.

For details on this step, refer to “Track recording” (→

p. 39). The diagram below shows an example of

when input channel 1 is assigned to track 5.

Tip!

In this example we will use “direct recording,” in which

one input channel is assigned to one track. However, you

may also use “bus recording,” in which multiple input

channels are sent to the L/R bus and recorded on one or

two tracks.

Instantly recalling an EQ library

The chapter entitled “Track recording” explained how to

access the LIBRARY page of the EQ screen and load an

EQ library to change the EQ. This section explains how

you can instantly recall an EQ library.

Press the [INPUT SEL] key of the input chan-

nel for which you want to use a library.

The corresponding input channel will be selected

for operations.

In the Selected Channel section, press down

the [EQ] knob and turn it.

When you turn the [EQ] knob to left or right while

pressing it, the LIBRARY page of the EQ screen will

appear.

Turn the [DATA/JOG] dial to select an EQ

library. Then move the cursor to the RECALL

button and press the [ENTER] key.

The selected library will be loaded.

If you want to adjust the EQ settings, use the

[HIGH] key, [HI-MID] key, [LO-MID] key, and

[LOW] key of the Selected Channel section to

select the EQ band, and turn the [EQ] knob

to adjust the amount of boost or cut.

Tip!

If necessary, you can make detailed adjustments to EQ

parameters such as the center frequency and Q (

→

p. 92).

Turn while pressing

Overdubbing

Instantly recalling a dynamics library

A dynamics library can be instantly recalled in the same

way as an EQ library.

In the Selected Channel section, press down

the [DYN] knob and turn it.

When you turn the [DYN] knob to left or right while

pressing it, the LIBRARY page of the DYN screen

will appear.

Turn the [DATA/JOG] dial to select a DYN

library. Then move the cursor to the RECALL

button and press the [ENTER] key.

The selected library will be loaded.

If you want to adjust the dynamics effect,

turn the [DYN] knob in the Selected Channel

section.

Tip!

• In the same way, you can press and turn the [EFF1] knob

or [EFF2] knob in the Selected Channel to recall an

effect library.

• If necessary, you can make detailed adjustments to the

dynamics parameters (

→

p. 93).

Setting the mix balance and pan

Here’s how to set the volume balance and pan for the

previously-recorded tracks and the tracks that you now

will be overdubbing.

While you play back the song, raise the track

channel faders for the previously-recorded

tracks to an appropriate monitoring level.

Press the track channel [TRACK SEL] key for a

previously-recorded track, and use the [PAN/

BAL] knob of the Selected Channel section to

set the pan.

Stop the recorder, and while producing

sound on your instrument, adjust the fader of

the recording-destination track channel so

that the monitoring level is appropriate.

The track channel for the recording-destination

track will send the input signal to the stereo bus

while recording or stopped, and will send the track

playback signal to the stereo bus during playback.

This means that in order to monitor the input signal,

you must stop the recorder.

Tip!

The position of the track channel faders will not affect

the recording level. However if you set the faders to 0 dB,

the playback volume will be the same as when you

recorded the tracks.

Press the [TRACK SEL] key for the recording-

destination track channel, and use the [PAN/

BAL] knob of the Selected Channel section to

set the pan.

In the same way as for the input channel signal, you

can also use EQ and dynamics to process the track

channel. To do this, press the [TRACK SEL] key to

select the track channel, and use the [EQ] knob or

[DYN] knob of the Selected Channel section to

recall a library and adjust the settings. This proce-

dure will not affect the signal that is recorded on the

track.

Turn while pressing

Overdubbing

Now you can overdub onto the track that you selected as

the recording-destination.

In the Work Navigate section, repeatedly

press the [TRACK] key or hold down the

[TRACK] key and use the CURSOR [ ]/[ ]

keys to access the VIEW page.

Move the cursor to the metronome button,

and press the [ENTER] key to switch the set-

ting on or off as desired.

You can perform overdubbing whether the metro-

nome is on or off.

In the transport section, hold down the REC

[●] key and press the PLAY [ ] key.

The metronome will begin sounding, and the

counter display will advance.

While monitoring the previously-recorded

tracks, play the instrument that you want to

overdub.

To stop recording, press the STOP [■] key.

The [UNDO/REDO] key in the data entry / control

section will light.

To listen to the recorded performance from

the beginning, press the RTZ [ ] key to

return the counter display to zero, and press

the PLAY [ ] key.

Tip!

If you recorded from the middle of the song, you can

press the [IN] key to move to the location at which you

began recording.

If you are satisﬁed with the recorded perfor-

mance, save the song. (For details on saving

→ p. 63)

If you decide to re-do the recording, press the

[UNDO/REDO] key to cancel the recording, and

repeat steps 3–7.

Overdubbing

Punch-in/out

If you make a mistake while overdubbing, you can re-

record just the region in which you made the mistake.

This process is called “punch-in/out.”

Punch-in/out can be performed either as “manual punch-

in/out” in which you switch between recording and play-

back manually, or as “auto punch-in/out” in which

recording and playback will switch automatically when

you reach the locations you specify beforehand.

Manual punch-in/out

Here’s how to perform punch-in/out using the keys of the

transport section or a foot switch.

If you want to perform punch-in/out using a

foot switch, connect a separately sold foot

switch (Yamaha FC5 or equivalent) to the

rear panel FOOT SW jack.

Access the DIRECT page of the RECORD

screen, and make sure that your instrument/

mic is assigned to the track on which you

want to punch-in.

At this time, the [INPUT SEL] key of the recording-

source and the [TRACK SEL] key of the recording-

destination will blink red.

Locate to a point earlier than where you want

to punch-in.

You may ﬁnd it convenient to register a marker at a

location one or two measures earlier than the point

at which you want to punch-in, so you can quickly

return to that point. (For details on registering a

marker → p. 67)

In the transport section, press the PLAY [ ]

key. (Alternatively, press the foot switch.)

The song will begin playing. At this time, the track

playback sound of the recording-destination track

channel will be sent to the stereo bus, so you will

not be able to monitor the input signal.

At the point where you want to begin

recording, hold down the PLAY [ ] key and

press the REC [●] key (or press the foot

switch once again), and begin playing your

instrument.

The recording-destination track will switch from

playback to recording (“punch-in”).

The recording-source [INPUT SEL] key and the

recording-destination [TRACK SEL] key will light

red, and the signal of the corresponding track chan-

nel will switch from the track playback to the input

signal.

At the point where you want to stop record-

ing, press the PLAY [ ] key (or press the foot

switch).

The recording-destination track will switch from

recording back to playback (“punch-out”).

To stop playback, press the STOP [■] key (or

press the foot switch).

To listen to the newly-recorded content,

locate to a point just before the punch-in

point, and press the PLAY [ ] key.

If you are satisﬁed with the newly-recorded

content, save the song. (For details on saving

→ p. 63)

If you decide to re-do the recording, press the

[UNDO/REDO] key to cancel the recording, and

repeat steps 4–9.

The following diagram shows the manual punch-in/

out procedure.

Auto punch-in/out

Auto punch-in/out is a function that performs the punch-

in and punch-out operations automatically. In order to

use this function, you must ﬁrst specify the punch-in

location (the In point) and the punch-out location (the

Out point).

Access the DIRECT page of the RECORD

screen, and make sure that your instrument/

mic is assigned to the track on which you

want to punch-in.

The recording-source [INPUT SEL] key and the

recording-destination [TRACK SEL] key will blink

red.

play playrecord

punch-in punch-out

Overdubbing

Locate to the point at which you want to

punch-in.

In the Locate section, hold down the [SET]

key and press the [IN] key.

The current location will be registered as the In

point.

Locate to the point at which you want to

punch-out.

In the Locate section, hold down the [SET]

key and press the [OUT] key.

The current location will be registered as the Out

point.

Tip!

• If you want to set the In and Out points more precisely,

you can use the Nudge function (

→

p. 71) which repeat-

edly plays a short region before or after the current

location, or use the WAVE DISPLAY popup window (

→

p. 72) which lets you view the contents of the track as a

waveform.

• The In point and Out point will be updated each time

you record. The location at which you last started

recording will be registered as the In point, and the

location at which you last stopped recording will be

registered as the Out point.

In the Locate section, press the [AUTO

PUNCH] key.

The [AUTO PUNCH] key will light, and the Auto

Punch-in/out function will be enabled. You will

automatically locate to a point a speciﬁc distance

(the “pre-roll time”) ahead of the In point. This point

is called the “pre-roll point.”

To rehearse the auto punch-in/out, press the

PLAY [ ] key.

1 The PLAY [ ] key will light, and playback will

begin from the pre-roll point.

B When you reach the auto punch-in point, the

REC [●] key will begin blinking, and the signal

that you are monitoring from the recording-

destination track channel will switch from the

track playback to the input signal (recording-

source). (However, recording will not actually

occur.)

C When you reach the auto punch-out point, the

REC [●] key will go dark, and the signal that

you are monitoring from the recording-desti-

nation track channel will return to the track

playback.

D When you reach a point that is a speciﬁc dis-

tance (the “post-roll time”) after the Out point

(this point is called the “post-roll point”), you

will return to the pre-roll point and stop.

Tip!

• If you turn the Locate section [REPEAT] key on before

step 7, operations

–

of step 7 will be repeated up

to ﬁfteen times. (The A-B Repeat function is disabled

during this time.) If you want to stop repeating the

rehearsal, press the [REPEAT] key once again or press

the STOP [

■

] key.

•With the initial settings of the AW16G, the pre-roll and

post-roll times are each set to four seconds. You can

adjust these values in a range of 0–5 seconds (

→

p. 162).

To perform the actual auto punch-in/out,

stop the recorder, then hold down the REC

[●] key and press the PLAY [ ] key.

1 Only the PLAY [ ] key will light, and play-

back will begin from the pre-roll point.

B When you reach the auto punch-in point, the

REC [●] key will light, and recording will begin

(“punch-in”).

C When you reach the auto punch-out point, the

REC [●] key will go dark, recording will stop,

and you will return to playback mode

(“punch-out”).

D When you reach the post-roll point, you will

return to the pre-roll point and stop.

To check the newly-recorded content, press

the [AUTO PUNCH] key to make it go dark,

and then press the PLAY [ ] key.

If you are satisﬁed with the newly-recorded

content, save the song. (For the Save proce-

dure → p. 63)

If you decide to re-do the recording, press the

[UNDO/REDO] key to discard the newly-recorded

content, and repeat steps 6–9.

The following diagram shows the auto punch-in/out

procedure.

play playrehearsal

punch-in punch-out

locate

rehearsal

actual recording

Pre-roll

point

Post-roll

point

Auto

punch-out

point

Auto

punch-in

point

Overdubbing

Using the Undo List

By using the AW16G’s Undo function, you can not only

cancel the most recent recording or editing operation,

but can even backtrack through your work for as many as

ﬁfteen previous steps. This is convenient when, for exam-

ple, after performing several overdubs, you decide that

you would rather go back to the state immediately after

you had recorded the third solo.

Press and hold the [UNDO/REDO] key.

The UNDO LIST popup window will appear.

1 Undo list

This is a list of the previously-performed recording

and editing operations.

From the left, the list shows a step number that indi-

cates the order in which the operations were per-

formed, the content of the operation, and the track/

virtual track that was affected by the recording or

editing operation.

The current song is now in the state of the step that

is highlighted.

The step enclosed by a dotted frame indicates the

step to which the Undo function will return the

song.

Turn the [DATA/JOG] dial to select a step

number.

Move the cursor to the OK button and press

the [ENTER] key.

The current song will revert to the state of the step

you selected.

Move the cursor to the EXIT button and press

the [ENTER] key.

The popup window will close, and you will return

to the previous screen.

Note

Please note that if you perform recording or editing after

“undoing” back to a certain step, the undo/redo data

subsequent to that step will be erased. For example if you

“undo” the previous three steps, and then perform a

recording or editing operation, the undo/redo data for

the previous steps 1 and 2 will be erased.

Overdubbing

Switching virtual tracks

Each audio track 1–16 contains eight virtual tracks. After

overdubbing a solo part, you can switch the virtual track

for that track, and record a different take while preserv-

ing the previously-recorded content. Here’s how to

switch the virtual track that is selected for a track.

In the Work Navigate section, repeatedly

press the [TRACK] key or hold down the

[TRACK] key and use the CURSOR [ ]/[ ]

keys to access the V.TR page.

In the V.TR page you can switch the virtual track (1–

8) that will be used for recording/playback by each

audio track 1–16.

1 TRACK

Indicates the track number 1–16.

B V.TR

Indicates the status of virtual tracks 1–8. The virtual

track that is currently selected for each track is indi-

cated by a “●” symbol. Of the virtual tracks that are

currently not selected, those that have been

recorded are indicated by “❍”, and those that have

not yet been recorded are indicated as “-”.

Use the CURSOR [ ]/[ ]/[ ]/[ ] keys to

select the virtual track number that you want

to assign to the desired track.

Press the [ENTER] key.

The “●” symbol will be displayed at the position of

the newly-selected virtual track. This virtual track

will now be used for recording/playback.

If you want to assign a name to each virtual

track, repeatedly press the Work Navigate

[TRACK] key or hold down the [TRACK] key

and use the CURSOR [ ]/[ ] keys to access

the VIEW page.

Move the cursor to the TRACK ﬁeld, and turn

the [DATA/JOG] dial to select a track number.

Move the cursor to the NAME button and

press the [ENTER] key.

The TITLE EDIT popup window will appear, allow-

ing you to assign a name to the virtual track.

Assign a new name to the virtual track.

For details on how to assign a name, refer to page

24.

Overdubbing

Saving the current song

This section explains how to save the current song to the

hard disk. If you accidentally turn off the power of the

AW16G without saving the song, all recordings or opera-

tions that you performed since last saving the song will

be lost. You should make a habit of saving the song at

appropriate breaks in your work.

In the Work Navigate section, repeatedly

press the [SONG] key or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the LIST page.

In this page you can select a song on the hard disk,

and load or delete it.

1 List

This is a list of the songs saved on the hard disk. The

line enclosed by a dotted frame in the center of the

list is the song to which your operation you perform

will apply. The highlighted line is the song that is

currently loaded into the AW16G. (This is referred

to as the “current song.”)

B SORT ﬁeld

Use these three buttons to select how the songs in

the list will be sorted. You can choose NAME (sort

alphabetically), OLD (sort by date of saving), or

SIZE (sort by size).

C SAVE button

When you move the cursor to this button and press

the [ENTER] key, the current song will be saved.

Move the cursor to the SAVE button and

press the [ENTER] key.

A popup window will ask you to conﬁrm that you

want to save the current song.

To save the song, move the cursor to the OK

button and press the [ENTER] key.

If you move the cursor to the CANCEL button

(instead of the OK button) and press the [ENTER]

key, the Save operation will be cancelled.

Note

• The song save operation always saves the current song,

regardless of the song that is selected in the list.

•You cannot save a song that is protected. If for example

you have edited the mixer settings and need to save the

song, you must disable the protect setting and then save

the song. (Making various settings for a song

→

p. 139)

Tip!

• If necessary, you can change the name of the song

before you save it (

→

p. 138).

• In the following situations, a popup window will ask

whether you want to save the current song; when you

load an existing song from the hard disk, when you cre-

ate a new song, or when you shut-down the AW16G.

• However, we recommend that you frequently save the

song you are working on, as a safeguard against acci-

dents such as the AW16G’s power cable being acciden-

tally disconnected.

Overdubbing

Loading an existing song

Here’s how to load an existing song from the hard disk.

In the Work Navigate section, repeatedly

press the [SONG] key or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the LIST page.

Turn the [DATA/JOG] dial to select a song.

Move the cursor to the LOAD button in the

screen, and press the [ENTER] key.

A popup window will ask you whether you want to

save the current song.

Move the cursor to either YES (if you want to

save the current song) or NO (if you do not

want to save the current song), and press the

[ENTER] key.

The song you selected will be loaded.

Note

If you select NO, all changes you made after last saving

the current song will be lost.

Chapter 7

Various types of playback

This chapter explains how to use the locator and marker functions,

and various other playback methods provided by the AW16G.

Using the locator

“Locate points” are locations you specify within a song

in order to execute functions such as auto punch-in/out

and A-B repeat. You can use this function to “locate”

(move the current location of the song) to one of these

points just by pressing a single key. On the AW16G, you

can use the following locate points.

● In/out points

These locate points are used to specify the region for

auto punch-in/out (→ p. 59). Normally, the beginning

and end of the recording you last performed will be

automatically set as the In point and Out point. How-

ever, you may change these points as desired.

● A/B points

These locate points are used to specify the region for

the A-B Repeat function (→ p. 70). The A point and B

point can be set to any point in a song, either by

pressing a key or by operations in the screen.

● Start/end points

These locate points normally correspond to the

beginning and end of the song. When you create a

new song, the Start point will initially be set to abso-

lute time 00:00:00.000. When you record, the end of

the song will automatically be set as the End point. If

you record past the previously-set End point, the End

point will automatically move back.

If you select SEC or T.C. as the counter display format,

the Start point will be the basis (the zero point) of the

time and time code that are displayed. This means

that if you change the Start point, the display will

change as follows, depending on the counter display

format.

Tip!

When you create an audio CD, the Start and End points

can be used to specify the region of the stereo track that

will be written to the audio CD (

→

p. 98).

Tip!

When the AW16G transmits MTC to an external device,

the Start point will be the basis (the zero point) of the

time code that is generated. The Start point will also be

the basis (measure 1 beat 1) for the measures displayed in

the counter.

● Relative zero point

This locate point stores the relative zero position.

When you press the RTZ [ ] key in the transport

section, you will move to this location. If the song is

in the initial state, the relative zero point will be the

same as absolute time 00:00:00.000, but you can

change this if desired by using key operations or

operations in the screen.

If you select REL as the counter display format, the

current location will be displayed with the Relative

Zero point as 0.

= 00:00:05:00.00

= 00:00:00:00.00

00:00:00:00.00 00:00:05:00.00

00:00:10:00.00

00:00:00:00.00 00:00:05:00.00 00:00:10:00.00

–00:00:05:00.00 00:00:00:00.00 00:00:05:00.00

23:59:55:00.00 00:00:00:00.00 00:00:05:00.00

00:00:00:00.00 00:00:05:00.00 00:00:10:00.00

T.C

ABS

SEC

T.C

ABS

SEC

Counter

display format

Counter

display format

Start point

Various types of playback

The following procedure shows how to register the

current location in one of the locate points, and then

move the song to that locate point.

Move the song to the point that you want to

You can set a locate point whether the song is play-

ing or stopped.

Hold down the [SET] key and press the key

for the desired locate point.

The locate points correspond to the following keys.

[IN] key...................... In point

[OUT] key.................. Out point

[A] key ....................... A point

[B] key........................ B point

RTZ [ ] key......... Relative Zero point

Note

• If you want to change the Start point or End point, use

the SONG screen POINT page. These points cannot be

set by key operations.

• The In point and Out point will be updated automati-

cally when you perform a recording operation.

To move to a locate point you registered,

press the corresponding key while the song is

stopped or playing.

The song will move to that location, and an icon

will appear at the left side of the counter to indicate

the currently selected locate point.

This icon will remain visible until you play or

rewind/fast-forward past the previous or next locate

point or marker location.

Locate points that you register are displayed in the

TRACK screen VIEW page or PAD page as shown

below.

Tip!

•Locate point settings are stored on the hard disk as part

of the song.

•Locate points can be adjusted as desired (

→

p. 68).

Locate points other than the Start point and End point

may also be erased (

→

p. 69).

In point

A point

Relative Zero

point

B point

Out point

Locator icon

Various types of playback

Using markers

“Markers” are symbols that you assign at desired loca-

tions in a song, so that you can move quickly to a desired

point. You can assign up to 99 markers in each song. Use

the [ ]/[ ] keys to ﬁnd and move to markers.

Move to the position in the song at which

you want to assign a marker.

You can assign a marker whether the song is playing

or stopped.

Press the [MARK] key.

The top line of the display will brieﬂy indicate

“MARK POINT SET.” This indicates that a marker

has been set. A new marker will be added each

time you press the [MARK] key.

Markers are automatically numbered 1–99 starting

at the beginning of the song. If you register a new

marker between two existing markers, subsequent

markers will be automatically renumbered upward.

Tip!

•Marker settings are stored on the hard disk as part of

the song.

•Markers can be deleted (

→

p. 69) or moved (

→

p. 68) as

desired.

• If you press the [MARK] key at a location in which a

marker has already been registered, the display will

indicate “CANNOT SET MARK,” and a new marker will

not be created.

Press the [ ] key to locate to the previous

marker, or press the [ ] key to locate to the

next marker.

The song will move to that location, and an icon

will appear at the left of the counter to indicate the

currently selected marker number.

This icon will remain visible until you play or

rewind/fast-forward past the previous or next locate

point or marker location.

Markers that you register are displayed in the

TRACK screen VIEW page or PAD page as shown

below.

Note

Markers other than the marker displayed at the left of the

counter are shown as icons without a number, and indi-

cate their approximate location.

Tip!

When creating an audio CD, you can use markers to

divide the stereo track into the tracks that will be written

to the audio CD (

→

p. 98).

Marker icon

Various types of playback

Adjusting the position of a locate point or

marker

Here’s how you can adjust the position of a previously-

registered locate point or marker.

In the Work Navigate section, repeatedly

press the [SONG] key or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the POINT page.

In the POINT page you can adjust the time location

of each locate point and marker.

1 LOCATOR button

B MARKER button

These buttons select whether the screen will show

locate points or markers. The button that is currently

turned on will be highlighted.

C Locator point/marker display area

This area shows a list of the locate points or mark-

ers, depending on whether you have selected the

LOCATOR button or the MARKER button.

If you want to adjust the position of a locate

point, make sure that the LOCATE button is

turned on (highlighted) in the display.

When the LOCATOR button is on, the POINT page

will display the positions of each locate point.

1 Locate points

Shows the type of locate point and its abbreviation.

B POSITION

Shows the position of each locate point as time

code or the counter display format.

C MEAS

Shows the position of each locate point as mea-

sures/beats. This value is calculated according to

the tempo and time signature of the tempo map (→

p. 142).

The format in which the position is displayed will

depend on the locate point. The following table

shows the display format for each locate point.

Tip!

If a locate point has not been registered, the numerical

ﬁeld will indicate “–”.

Move the cursor to the locate point value

that you want to adjust, and turn the [DATA/

JOG] dial to change the value.

Only in the case of the Start point, a “Change

START Position?” popup window will ask you for

conﬁrmation when you attempt to change the

value. Move the cursor to the OK button and press

the [ENTER] key, and then change the value.

Note

Changing the Start point will mean that locations already

recorded in a track will move relative to the measure

lines deﬁned by the tempo map. Please be aware of this if

you are using measure display for the metronome or for

the quick loop sampler.

To adjust the location of a marker, move the

cursor to the MARKER button in the display

and press the [ENTER] key.

When the MARKER button is on, the POINT page

will list the markers that have been registered.

1 List

Lists the markers that have been registered. The line

that is enclosed by a dotted frame is selected for

operations.

B MARKER

These are the marker numbers 01–99.

C POSITION

Shows the position of each marker, in the counter

display format.

2 31

1 2 3

Locate

point

POSITION ﬁeld MEAS ﬁeld

REL.ZERO Time code

START Time code Measure/beat

END Time code Measure/beat

IN Counter display format Measure/beat

OUT Counter display format Measure/beat

A Counter display format Measure/beat

B Counter display format Measure/beat

2 3 4

Various types of playback

D MEAS

Shows the position of each marker, in measure/beat

units.

E DELETE button

To delete the currently selected marker, move the

cursor to this button and press the [ENTER] key.

Move the cursor to the MARKER area, and

turn the [DATA/JOG] dial to scroll the list so

that the dotted frame encloses the marker

number that you want to edit.

Move the cursor to the value that you want

to edit, and turn the [DATA/JOG] dial to edit

the value.

Note

You cannot change the location beyond the next or previ-

ous marker.

Erasing a locate point or marker

If necessary, you can erase a previously-registered locate

point (except for the Relative Zero, Start, and End points)

or marker.

Note

A locate point that you erase cannot be recovered.

■ Erasing a locate point

To erase a locate point, hold down the [CANCEL] key in

the Locate section, and press the corresponding locate

key ([IN]/[OUT] key, [A]/[B] key). That locate point will

be erased, and a message of “LOCATE POINT ERASED”

will be displayed for a time.

■ Erasing a marker

You can erase a marker in one of two ways; using key

operations, or in the screen.

To erase a marker using key operations, locate to the

marker that you want to erase. Then hold down the

[CANCEL] key of the Locate section and press the

[MARK] key. The corresponding marker will be erased,

and a message of “MARK POINT ERASED” will be dis-

played for a time.

To erase a marker by operations in the screen, access the

list of markers in the POINT page of the SONG screen,

select the marker that you want to erase, move the cursor

to the DELETE button and press the [ENTER] key.

Various types of playback

Repeatedly playing a speciﬁc region

(the A-B Repeat function)

The AW16G provides an “A-B Repeat” function that

repeatedly plays the region between the A point and B

point. This is useful when you want to repeatedly play

back a certain region of the song while you adjust the

mix.

tions at which you want the repeated play-

back to start and end.

For details on how to set the A point and B point,

refer to “Using markers” (→ p. 67).

Tip!

If you set the B point earlier than the A point, the B -> A

region will play repeatedly.

While the transport is stopped, press the

[REPEAT] key.

The [REPEAT] key will light, and the A-B Repeat

function will be on. The song will automatically

locate to the A point.

Note

The A and B points must be at least one second apart. If

they are closer than this, a message of “REPEAT POINTS

TOO CLOSE” will appear when you press the [REPEAT]

key, and repeat playback will not be possible.

To begin repeat playback, press the PLAY

[] key.

Playback will begin from the A point. When you

reach the B point, you will automatically return to

the A point and continue playback.

Tip!

• Playback will stop automatically when the A/B region

has been repeated 99 times.

• If you press the [REPEAT] key while the song is playing,

repeat playback between the A and B points will begin

automatically, regardless of the current position.

To stop playback, press the STOP [■] key.

Playback will stop, but the A-B Repeat function will

remain turned on.

When the A-B Repeat function is on, pressing the

PLAY [ ] key will immediately resume repeat

playback, regardless of the current position.

To cancel repeat playback, press the [REPEAT]

key.

The [REPEAT] key will go dark, and the A-B Repeat

function will be cancelled. If you cancel the A-B

Repeat function during repeat playback, normal

playback will occur from that point.

Tip!

If you perform a recording operation while the A-B

Repeat function is on, the A-B Repeat function will be

temporarily disabled.

Various types of playback

Finding a location while you listen to the

sound (the Nudge function)

“Nudge” is a function that repeatedly plays a short region

before or after the current location. By using the Nudge

function, you can ﬁnd a precise location while listening

to the playback. This is useful when you need to specify a

location precisely, such as when specifying the auto

punch-in/out points, or when editing the contents of a

track.

Locate to the vicinity of the point you want

to ﬁnd.

With the transport stopped, press the [JOG

ON] key.

The [JOG ON] key will light, and the Nudge func-

tion will be turned on. A ﬁxed region (referred to as

the “nudge time”) starting at the current location

will play repeatedly.

To move the current location forward, turn

the [DATA/JOG] dial toward the right. To

move the current location backward, turn

the [DATA/JOG] dial toward the left.

If time display is selected as the counter display for-

mat, you can move the current location forward or

backward in millisecond units. If time code display

is selected, you can move in sub-frame units.

Tip!

Even while using the Nudge function, you can use locate

points or markers to change the location, or register

locate points or markers (

→

p. 65).

To turn off the Nudge function, press the

[JOG ON] key or the transport section STOP

[■] key.

The [JOG ON] key will go dark, and the Nudge

function will be turned off.

If you want to change the playback duration

or the playback mode, repeatedly press the

Work Navigate section [UTILITY] key or hold

down the [UTILITY] key and use the CURSOR

[ ]/[ ] keys to access the PREFER page of

the UTILITY screen.

1 NUDGE MODE

Speciﬁes the region of sound (before or after the

current location) that will be played by the Nudge

function.

B NUDGE TIME

Speciﬁes the duration of the region that will be

played by the Nudge function.

To change the playback duration (nudge

time), move the cursor to the value of the

NUDGE TIME ﬁeld, and use the [DATA/JOG]

dial to set the nudge time.

You can set the nudge time in a range of 25 ms –

800 ms. (Default = 500 ms).

To change the playback position (nudge

mode), move the cursor to the NUDGE

MODE button, and press the [ENTER] key to

switch between the following two nudge

modes.

● AFTER

Repeatedly play for the duration of the nudge time,

starting at the current location (default).

● BEFORE

Repeatedly play for the duration of the nudge time,

ending at the current location.

Note

You cannot change the nudge time or nudge mode while

using the Nudge function. You must turn off the Nudge

function, and change these settings while the [JOG ON]

key is dark.

Current

location

Nudge time

Song

track

NUDGE MODE: BEFORE NUDGE MODE: AFTER

Current location Current location

Various types of playback

Finding a location while you view the

waveform

The AW16G lets you ﬁnd a location while viewing the

waveform of the sound recorded on the track.

Locate to the vicinity of the point you want

to ﬁnd.

Repeatedly press the Work Navigate section

[TRACK] key or hold down the [TRACK] key

and use the CURSOR[ ]/[ ] keys to access

the VIEW page of the TRACK screen.

Move the cursor to the TRACK ﬁeld, and turn

the [DATA/JOG] dial to select the number of

the track whose waveform you want to view.

Move the cursor to the WAVE button and

press the [ENTER] key.

The WAVE DISPLAY popup window will appear.

This popup window displays the waveform of the

audio data recorded in the current track of the track

(1–16) you selected in step 3.

1 TRACK

Indicates the currently selected track number. You

can also move the cursor to this ﬁeld and turn the

[DATA/JOG] dial to switch tracks.

B Counter

Displays the location of the vertical line (pointer)

indicating the current location in the WAVE DIS-

PLAY popup window. You can move the cursor to

this ﬁeld and turn the [DATA/JOG] dial to move the

current location forward or backward.

C TIME

By moving the cursor to this area and turning the

[DATA/JOG] dial, you can expand or shrink the

waveform display in the time axis. The value of this

ﬁeld indicates the length of time displayed in the

WAVE DISPLAY popup window.

If you select 1SEC, the distance from the left edge to

the right edge of the screen will correspond to one

second. Selecting SAMPLE will produce the highest

magniﬁcation, and each horizontal pixel will corre-

spond to one sample (1/44,100 second).

D AMP

By moving the cursor to this area and turning the

[DATA/JOG] dial, you can expand or shrink the

waveform display in the amplitude axis. The value

of this ﬁeld indicates the level range of the wave-

form displayed in the WAVE DISPLAY popup win-

dow. If you select 0 dB, the top and bottom edges of

the screen will correspond to the maximum level.

E LISTEN button

If you move the cursor to this button and press the

[ENTER] key, the waveform in the display area of

the WAVE DISPLAY popup window will be played

once. During playback, the vertical line (pointer)

that indicates the current location will move, and

the counter value will also change.

You cannot perform conventional transport opera-

tions when playing back by pressing the LISTEN

button.

F EXIT button

If you move the cursor to this button and press the

[ENTER] key, you will exit the WAVE DISPLAY

popup window and return to the previous VIEW

page.

Tip!

Even after displaying the WAVE DISPLAY popup window,

you can use the [TRACK SEL] keys to switch the track for

viewing.

As necessary, move the cursor to the TIME/

AMP ﬁelds and turn the [DATA/JOG] dial to

adjust the vertical and horizontal scale of the

waveform display.

To specify a location within the popup win-

dow, move the cursor to the counter and

turn the [DATA/JOG] dial.

Turning the dial toward the right will move the

pointer forward, and turning the dial toward the left

will move it backward. If necessary, you can use the

LISTEN button to play the waveform region shown

in the WAVE DISPLAY popup window, and check

the location by listening.

Tip!

•You can also change the pointer position by using the

locate points or markers that are registered in the song

(

→

p. 65, 67).

• The position displayed in the counter can be registered

as a locate point or marker (

→

p. 65, 67).

When you have ﬁnished specifying the loca-

tion, move the cursor to the EXIT button and

press the [ENTER] key.

You will return to the previous VIEW page, and the

location that you speciﬁed in the popup window

will remain the current location. As desired, register

the location as a locate point or marker.

1 32

645

Chapter 8

Using libraries and scene

memories

This chapter explains how to use libraries and scene memories.

About the libraries

Memory areas that store settings for sections such as EQ,

dynamics, and effects are called “libraries.” By recalling

(loading) data from a library, you can instantly use the

desired set of settings. Most types of library also let you

store the current settings. The AW16G provides the fol-

lowing libraries.

● Input channel library

EQ, dynamics, and internal effect settings can be

loaded from this library into the currently selected

input channel. This library is read-only, and cannot

be used to store your own settings.

● EQ library

EQ settings can be loaded from this library into the

currently selected channel.

● Dynamics library

Dynamics settings can be loaded from this library

into the currently selected channel.

● Effect library

Effect settings can be loaded from this library into

internal effects 1/2.

● Mastering library

EQ and dynamics settings can be loaded from this

library into the stereo channel. This library is read-

only, and cannot be used to store your own settings.

● Sample library

Sets of samples can be loaded from this library into

the Quick Loop Sampler.

● Channel library

Major mix parameters can be loaded from this library

into a channel.

About scene memories

On the AW16G, settings for the mix parameters of all

channels and the effect parameters etc. can be stored in

internal memory as a “scene” with the name you specify.

When you recall one of the various libraries described

above, the library settings you recall will be loaded into

the settings that you are currently using (referred to as the

“current scene”). You can then save the current settings

as a scene memory, which will contain the settings that

you loaded from a library. Libraries and scene memories

are saved on the hard disk as part of the song.

The following diagram shows how libraries, scene, and

the song are related to each other on the AW16G.

Current scene

Input library

EQ/dynamics/effects for an

input channel

EQ library EQ for the selected channel

Dynamics

library

Dynamics for the selected

channel

Effect library

Internal effects 1/2

Mastering

library

EQ/dynamics for the stereo

output

Sample

library

Sample data for the Quick Loop

Sampler

Channel

library

Mix parameters for each

channel

Scene memory

Using libraries and scene memories

Basic operation for libraries and scene

memories

Here are the basic procedures for recalling and storing a

library or scene.

Storing library or scene data

Here’s how to store the current settings in a library or

scene memory.

Note

The input library and mastering library, and the EQ,

dynamics, or effect libraries accessed from the INPUT

SETTING popup window are all read-only, and therefore

have no STORE button.

Access the desired library page or the scene

memory page.

For details on how to access each library or scene

memory page, refer to the explanations on page 77

and following. The illustration below shows an

example of when you have selected the LIBRARY

page of the EQ screen.

1 List

This area lists the data stored in the library or scene

memory. The line enclosed by the dotted frame

indicates the data that is selected for operations.

Read-only data is indicated by a “lock” icon.

B RECALL button

Recalls the library data or scene that is selected in

the list.

C STORE button

Stores the current settings into the location selected

in the list.

D CLEAR button

Deletes the library or scene that is selected in the

list.

E TITLE button

Accesses the TITLE EDIT popup window, where you

can edit the name of the library or scene selected in

the list.

Tip!

For some libraries or scene memories, buttons other than

those listed here may appear, or some of these buttons

may not appear. For details, refer to the explanations on

page 77 and following.

Turn the [DATA/JOG] dial to scroll the list so

that the dotted frame encloses the library or

scene to which you want to store the data.

Regardless of where the cursor is located, turning

the [DATA/JOG] dial will scroll the list.

Move the cursor to the STORE button and

press the [ENTER] key.

The TITLE EDIT popup window will appear, allow-

ing you to assign a name to the data.

Note

• If you selected read-only data (indicated by a “lock”

icon) in step 2, a message of “Read Only” will appear,

and it will not be possible to execute the Store opera-

tion.

• Scene number 00 is read-only data used to initialize the

current scene. Scene numbers 01–96 are writable data.

Assign a name to the data as desired. Then

move the cursor to the OK button and press

the [ENTER] key. (For details on how to

assign a name → p. 24)

The library or scene will be stored.

Tip!

You have the option of making settings so that the TITLE

EDIT popup window does not appear when you perform

the Store operation. For details, refer to “Overall settings

for the AW16G” (

→

p. 162).

5 3 124

Using libraries and scene memories

Recalling library or scene data

Here’s how to recall (load) settings from a library or

scene.

Access the desired library or scene memory

page.

For details on how to access each library or scene

memory page, refer to the explanations on page 77

and following.

The illustration below shows an example of when

you have selected the LIBRARY page of the EQ

screen.

Turn the [DATA/JOG] dial to scroll the list so

that the library data or scene you want to

recall is enclosed by the dotted frame.

Move the cursor to the RECALL button, and

press the [ENTER] key.

A popup window will ask you to conﬁrm the Recall

operation.

To execute the recall, move the cursor to the

OK button and press the [ENTER] key.

The library or scene will be recalled.

Tip!

You have the option of making settings so that the conﬁr-

mation popup window does not appear when you per-

form the Recall operation. For details, refer to “Overall

settings for the AW16G” (

→

p. 162).

Deleting library or scene data

Here’s how you can delete unwanted library or scene

memory data.

Note

The input library and mastering library, and the EQ,

dynamics, and effect libraries accessed from the INPUT

SETTING popup window are all read-only, and do not

have a CLEAR button.

Access the page for the desired library or

scene memory.

The illustration below shows an example of when

you have selected the LIBRARY page of the EQ

screen.

Turn the [DATA/JOG] dial to scroll the list so

that the library data or scene you want to

delete is enclosed by the dotted frame.

Move the cursor to the CLEAR button and

press the [ENTER] key.

A popup window will appear, asking you to conﬁrm

the Delete operation.

Note

If you selected read-only data (indicated by a “lock”

icon) in step 2, a message will indicate “Read Only,” and

the Delete operation will not be executed.

To execute the Delete operation, move the

cursor to the OK button and press the

[ENTER] key.

The library or scene will be deleted.

Using libraries and scene memories

Naming library or scene data

Here’s how you can assign a new name to existing

library or scene data.

Note

The input library and mastering library, and the EQ,

dynamics, or effect libraries accessed from the INPUT

SETTING popup window are all read-only, and therefore

have no TITLE button.

Access the page for the desired library or

scene memory.

The illustration below shows an example of when

you have selected the LIBRARY page of the EQ

screen.

Turn the [DATA/JOG] dial to scroll the list so

that the library data or scene you want to

rename is enclosed by the dotted frame.

Move the cursor to the TITLE button and

press the [ENTER] key.

The TITLE EDIT popup window will appear.

Note

If you selected read-only data (indicated by a “lock”

icon) in step 2, a message of “Read Only” will appear,

and you will be unable to edit the name.

Assign a name to the data. Then move the

cursor to the OK button and press the

[ENTER] key. (For details on assigning a name

→ p. 24)

The edited name will be ﬁnalized.

Using libraries and scene memories

Details on libraries and scene memory

This section explains how to access each type of library

or scene memory, and describes the functions that are

unique to each of these screens.

Input library

From this library you can recall EQ, dynamics, and inter-

nal effect settings to the currently selected input channel.

Use this when you want to apply EQ, dynamics, and

internal effects to the input signal that you are recording.

Library numbers 00–40 are all read-only, and 00 is data

for initializing an input channel.

In order to use the input library, you will need to insert

internal effect 1 or 2 into that input channel.

■ Recalling input library data

Press and hold the [INPUT SEL] key for the

desired input channel.

The INPUT SETTING popup window will appear.

Move the cursor to the LIBRARY button and

press the [ENTER] key.

A popup window will ask you whether you want to

insert internal effect 1 or 2 into that input channel.

This popup window will change as follows,

depending on how internal effects 1/2 are being

used.

● If the song is in the default state

● If effect 1 is already inserted into a speciﬁc input

channel

● If effects 1 and 2 are already inserted into speciﬁc

input channels

Tip!

If an effect has already been inserted into that input

channel, the INPUT LIBRARY popup window will appear

immediately.

Move the cursor to the EFF1 or EFF2 button

and press the [ENTER] key.

The corresponding insert effect will be inserted into

the input channel, and the INPUT LIBRARY popup

window will appear.

1 EXIT button

Closes the popup window and returns to the previ-

ous INPUT SETTING popup window.

EQ library

From this library you can recall EQ settings to the cur-

rently selected channel. Of library numbers 001–128,

numbers 001–040 are read-only, and 041–128 can be

written.

■ Recalling EQ library data

Use the [INPUT SEL] keys, [TRACK SEL] keys,

[STEREO SEL] key, or pads 1–4 to select the

channel into which you want to recall the EQ

settings.

Perform one of the following actions to

access the LIBRARY page of the EQ screen

• Press the [EQ] knob repeatedly

• Hold down the [EQ] knob and press the CUR-

SOR [ ]/[ ] keys

• Hold down the [EQ] knob and turn it to left or

right

You can also recall EQ library data into an input

channel directly from the INPUT SETTING popup

window. To do so, move the cursor to the EQ button

in the window and press the [ENTER] key.

Using libraries and scene memories

Dynamics library

From this library you can recall dynamics settings to the

currently selected channel. Of library numbers 001–128,

numbers 001–040 are read-only, and 041–128 can be

written.

■ Recalling dynamics library data

Use the [INPUT SEL] keys, [TRACK SEL] keys,

[STEREO SEL] key, or pads 1–4 to select the

channel into which you want to recall the

dynamics settings.

Perform one of the following actions to

access the LIBRARY page of the DYN screen

• Press the [DYN] knob repeatedly

• Hold down the [DNY] knob and press the CUR-

SOR [ ]/[ ] keys

• Hold down the [DYN] knob and turn it to left or

right

You can also recall dynamics library data into an

input channel directly from the INPUT SETTING

popup window. To do so, move the cursor to the

DYN button in the window and press the [ENTER]

key.

Effect library

This library is used by internal effects 1/2. Of library

numbers 001–128, numbers 001–041 are read-only, and

042–128 can be written.

■ Recalling effect library data

Perform one of the following actions to

access the LIBRARY page of the EFFECT 1/2

screen

• Press the [EFFECT 1] or [EFFECT 2] knob repeat-

edly

• Hold down the [EFFECT 1] or [EFFECT 2] knob

and press the CURSOR [ ]/[ ] keys

• Hold down the [EFFECT 1] or [EFFECT 2] knob

and turn it to left or right

You can also recall library data for an effect that has

been inserted in the input channel directly from the

INPUT SETTING popup window. To do so, move

the cursor to the EFF1 or EFF2 button in the window

and press the [ENTER] key.

Note

• The [M] symbol indicates monaural input, and [S] indi-

cates that stereo input is supported. If an effect indi-

cated by [M] is inserted into paired channels (such as

the stereo output channel), the sense of stereo will be

lost.

• 019. HQ.Pitch cannot be recalled to effect 1.

Mastering library

This library contains settings used to apply EQ and

dynamics processing to the stereo output channel during

mixdown. It contains EQ and dynamics settings suitable

for processing the ﬁnal mix. All library numbers 00–13

are read-only, and 00 is data for initializing the stereo

output channel.

■ Recalling mastering library data

Repeatedly press the [RECORD] key or hold

down the [RECORD] key and use the CUR-

SOR [ ]/[ ] keys to access the MIXDOWN

page of the RECORD screen.

Move the cursor to the LIBRARY button in the

screen, and press the [ENTER] key.

The MASTERING LIBRARY popup window will

appear.

1 EXIT button

Closes the popup window and returns to the previ-

ous MIXDOWN page.

Sample library

This library contains sets of up to sixteen samples for use

with the Quick Loop Sampler. Sets of drum loop or

sound-effect samples are saved on the hard disk as sam-

ple libraries. When you recall one of these, those sam-

ples will be assigned to the pads and sample banks, so

you can immediately play them from the pads.

Note

Unlike the other libraries, the sample library data is

shared by all songs.

Using libraries and scene memories

■ Recalling sample library data

Repeatedly press the Quick Loop Sampler section [SAM-

PLE EDIT] key or hold down the [SAMPLE EDIT] key and

use the CURSOR [ ]/[ ] keys to access the LIBRARY

page of the SAMPLE screen.

1 SORT ﬁeld

Use these three buttons to specify how the library

data in the list will be sorted. You can choose NAME

(sort alphabetically), OLD (sort by save date), or

SIZE (sort by size).

B LISTEN button

If you move the cursor to this button, press the

[ENTER] key, and then press a pad, the sample

assigned to sample bank A of the library will play.

C DELETE button

Deletes the selected library data from the hard disk.

D PROTECT button

When you move the cursor to this button and press

the [ENTER] key, the Protect setting will be

switched on/off for the library data selected in the

list. Library data for which Protect is turned on is

indicated by a “lock” icon, and cannot be edited or

deleted.

E NEW button

Creates new library data on the hard disk.

Channel library

This library contains mix parameter settings that can be

loaded into a channel. It is convenient to use this library

when you want to use the settings of a speciﬁc channel

for another channel. Library numbers 00–01 are read-

only data for initializing a channel, and 02–64 can be

written.

Channel library data contains the following parameters.

• Channel on/off

• Attenuator

• EQ on/off

• EQ parameter settings

• Dynamics processor on/off

• Dynamics processor parameter settings

•Fader position

•Aux buses 1/2 pre-fader/post-fader setting

• Send levels to Aux buses 1/2

• Effect buses 1/2 pre-fader/post-fader setting

• Send levels to effect buses 1/2

■ Recalling channel library data

Repeatedly press the Selected Channel section [VIEW]

key or hold down the [VIEW] key and use the CURSOR

[ ]/[ ] keys to access the CH LIB page of the VIEW

screen.

Tip!

• Data for parameters that do not exist in the recall-desti-

nation channel will be ignored.

• If the recall-destination is the stereo output channel or

a paired channel, the parameters will be the same for

the L and R channels, with the exception of Phase and

Pan (phase and pan settings will not change).

Scene memories

Scene memories recall the effect parameter and mix

parameter settings of all channels.

Scene number 00 is read-only data used to initialize the

current scene. Scene numbers 01–96 are writable data.

■ Recalling a scene memory

In the data entry/control section, repeatedly press the

[SCENE] key or hold down the [SCENE] key and use the

CURSOR [ ]/[ ] keys to access the LIBRARY page of

the SCENE screen.

1 PROTECT button

When you move the cursor to this button and press

the [ENTER] key, the Protect setting will be

switched on/off for the scene selected in the list.

Scene data for which Protect is turned on is indi-

cated by a “lock” icon, and cannot be edited or

deleted.

4 5

Using libraries and scene memories

Using the Recall Safe function

You can specify that speciﬁc faders or speciﬁc channels

will be excluded from Recall operations when the scene

is changed either manually or from an external MIDI

device. This function is called “Recall Safe.”

For example, this is convenient if you are performing a

mixdown while switching scenes, but want to control

speciﬁc channels manually.

In the data entry/control section, repeatedly

press the [SCENE] key or hold down the

[SCENE] key and use the CURSOR [ ]/[ ]

keys to access the RCL SAFE page of the

SCENE screen.

1 FADER RECALL SAFE

Here you can select the fader(s) for which recall

safe will be enabled. The fader(s) you select here

will not change even when another scene is

recalled. These buttons correspond to the faders as

follows.

PAD 1–4..................... Pad channel 1–4 faders

INPUT 1–8................. Input channel 1–8 faders

TRACK 1–8,

9-10–15-16 ................ Track channel 1–8 and 9/10–15/16

faders

B ENABLE/DISABLE button

This button switches Fader Recall Safe between

ENABLE and DISABLE states. Move the cursor to

this button and press the [ENTER] key to switch the

display between ENABLE and DISABLE.

C CH RECALL SAFE

Selects the channel(s) for which Recall Safe will be

enabled. Mix parameters of the selected channel(s)

will not change even when another scene is

recalled. The buttons correspond to the following

channels.

PAD............................ All pad channels

INPUT........................ All input channels

TRACK ....................... All track channels

RTN............................ Return channels 1/2

ST OUT...................... Stereo output channel

Select the fader(s) or channel(s) that you

want to set to Recall Safe, and turn the corre-

sponding button(s) on (highlighted).

If you selected a fader in step 2, move the

cursor to the ENABLE/DISABLE button and

press the [ENTER] key to switch the display to

ENABLE.

Fader or channel Recall Safe has now been

enabled. The selected fader(s) and/or channel(s) will

not be affected by scene recall operations until you

change this setting.

Tip!

The settings of the RCL SAFE page are shared by all

songs.

1 32

Chapter 9

Mixdown and bounce operations

This chapter explains mixdown operations, in which you mix previ-

ously-recorded tracks and record the result on the stereo track. This

chapter also explains how you can use bounce (ping-pong) recording

to combine multiple tracks to one or two tracks.

About mixdown and bouncing

“Mixdown” is the process by which the signals recorded

on the recorder tracks are mixed to stereo, and recorded

on the internal stereo track to complete the song. The

contents of the stereo track can be used without further

processing as material to create an audio CD.

The diagram below shows the signal ﬂow during mix-

down. The playback of each track is sent to the stereo

bus, passes through the stereo output channel, and is

recorded on the stereo track. At this time you also add

the signals from pad channels 1–4 and input channels 1–

● Signal ﬂow during mixdown

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

1 2 3 4

Mixer section

Stereo bus

Track

channels

1–16

Stereo

output

channel

MIC/LINE

INPUT jacks

Sound

clip

Recorder section

Input

channels

1–8

Pad

channels

1–4

Track 1

Track 2

Track 3

Track 4

Mixdown and bounce operations

“Bounce” is the process by which the signals recorded

on multiple tracks are mixed to the stereo bus, and re-

recorded on one or two other tracks. (This process is also

called “ping-pong recording.”)

The diagram below shows the signal ﬂow during bounc-

ing. This process differs from mixdown in several points;

you use the L/R bus instead of the stereo bus, only the

track channels are the recording sources, and that the

recording-destination is one or two vacant tracks. This

diagram shows an example in which the track 1–8 sig-

nals are bounced to tracks 9/10. After bouncing, you can

switch the virtual tracks for tracks 1–8, and use these

tracks to record other instrumental performances.

● Signal ﬂow during bouncing

Recorder section

Mixer section

Stereo bus

Track

channels

Stereo

output

channel

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track 9

Track 10

Mixdown and bounce operations

Preparing for mixdown

To prepare for mixdown, select the track channels that

you will mix down, and adjust the balance and tone of

each track.

Lower the [STEREO] fader to the –∞ position.

In the Quick Navigate section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the MIXDOWN page of the

RECORD screen.

The MIXDOWN page is where you can perform

mixdown operations. In this page you can select the

channels that will be recorded via the stereo bus

onto the stereo track.

1 REC button

Puts the stereo track in record-ready mode.

B SAFE button

Defeats the record-ready state of the stereo track.

C LIBRARY button

Accesses the mastering library.

D Stereo bus

Indicates the on/off status of the channels being sent

to the stereo bus. The numbers within the screen

correspond to the following channels.

INPUT 1–8................. Input channels 1–8

P1–P4......................... Pad channels 1–4

TRACK 1–16 .............. Track channels 1–16

Use the [INPUT SEL] keys,

[TRACK SEL] keys, and pad

keys 1–4 to select the channels

that you want to send to the

stereo bus.

The screen will change as follows

each time you press a key or pad

repeatedly.

Tip!

• All channels will be turned on by default. However in

order to obtain the best S/N ratio, you should turn off

any channels that you are not using.

•You can also add the signals of the input channels or

pad channels to the mixdown (

→

p. 89).

If you want to use the mastering library,

move the cursor to the LIBRARY button and

press the [ENTER] key.

The MASTERING LIBRARY popup window will

appear. Turn the [DATA/JOG] dial to select the

desired library data, then move the cursor to the

RECALL button and press the [ENTER] key.

Tip!

The mastering library contains data for loading EQ/

dynamics settings into the stereo output channel. (For

details, refer to

→

p. 78)

If you want to adjust the pan of each track

channel, repeatedly press the Selected Chan-

nel section [PAN/BAL] knob or hold down the

[PAN/BAL] knob and use the CURSOR [ ]/

[] keys to access the PAN page of the PAN

screen.

In this page you can set pairing, phase, and pan for

each channel.

1 PAIR

Indicates the paired status of adjacent odd-num-

bered/even-numbered channels. A heart symbol

indicates channels that are paired, and a broken

heart symbol indicates channels that are not paired.

You can also set or defeat pairing in this page by

moving the cursor to a heart symbol and pressing

the [ENTER] key.

Note

Track channels 9/10–15/16 and pad channels 1–4 always

function as paired channels. Pairing cannot be defeated

for these channels.

B PHASE

Switches the phase of the signal of each channel

between normal and reversed. Move the cursor to

this location and press the [ENTER] key to switch

between N (Normal) and R (Reverse) phase.

C PAN

Adjusts the pan (the left/right position when the sig-

nal is sent to the stereo bus or L/R bus) of each

channel.

1 3

2 3

Mixdown and bounce operations

Note

• If the page is different than shown above, make sure

that you have selected track channels as the object of

operations. (This is indicated in the upper left of the

screen.) If input channels and pad channels are

selected, press any one of the [TRACK SEL] keys.

•Even if channels are paired, their phase and pan are not

linked. Set these parameters individually for each chan-

nel.

Move the cursor to the PAN knob of each

track channel, and turn the [DATA/JOG] dial

to adjust the pan setting.

Tip!

Another way of adjusting the pan is to press a [TRACK

SEL] key to select a track channel, and then turn the

[PAN/BAL] knob in the Selected Channel section. This

method is convenient when you want to adjust the pan

without displaying a different screen.

If you use the [PAN/BAL] knob to adjust the pan of track

channels 9/10–15/16, moving the knob will initially

cause only the pan value of one side to change. When

that pan value reaches the far right or left, the other pan

value will then begin to change.

Raise the [STEREO] fader to the 0 dB position.

While you play back the song, raise the track

channel faders to an appropriate level. If nec-

essary, adjust the EQ and dynamics of each

track channel.

You can adjust the track channel EQ/dynamics in a

similar way as for the input channels; press a

[TRACK SEL] key to select a track channel, and use

the Selected Channel section [EQ] knob and [DYN]

knob.

Using the internal effects via send/return

You can use the internal effects via send/return to add

effects to the mixdown. As an example, here’s how to use

internal effect 1 in this way.

■ Internally connecting an internal

effect via send/return

The “Track recording” chapter explained how to insert an

internal effect into an input channel by using the input

library. If an insert effect has been inserted in a channel,

you must ﬁrst “un-insert” that effect (cancel the insertion)

before you can use it in a send/return conﬁguration.

Press any [INPUT SEL] key to select an input

channel for operations.

Repeatedly press the [EFF1] knob or hold

down the [EFF1] knob and use the CURSOR

[ ]/[ ] keys to access the SEND page of the

EFF1 screen.

The SEND page of the EFF1 screen will appear.

1 EFF INSERT

Inserts/cancels an insert effect for a speciﬁc chan-

nel. The display will indicate “on” for a channel into

which an effect is currently inserted.

Tip!

If the page you see is different than shown above, make

sure that input channels are selected as the object of your

operations. (This is shown in the upper left of the screen.)

If track channels are selected, press one of the [INPUT

SEL] keys.

Move the cursor to the EFF INSERT ﬁeld of

the channel into which effect 1 is inserted,

and press the [ENTER] key.

A popup window will ask you to conﬁrm that you

want to cancel (release) the effect insertion.

Move the cursor to the OK button and press

the [ENTER] key.

Insertion of insert effect 1 into that channel will be

cancelled, and now you are free to use this effect in

the mixer section via send/return.

Mixdown and bounce operations

■ Adjusting the effect send level

Here’s how to load an effect library into internal effect 1,

and adjust the level (effect send level) of the signal that is

sent from each channel via effect bus 1 to internal effect

Repeatedly press the [EFF1] knob or hold

down the [EFF1] knob and use the CURSOR

[ ]/[ ] keys to access the LIBRARY page of

the EFF1 screen.

Select the effect library that you want to use,

and load it into internal effect 1.

In this example, we will select a reverb-type library.

Press the [EFF1] knob once to access the

SEND page of the EFF1 screen.

If insert effect 1 is connected via the mixer section

send/return, the following items will be added to

the SEND page of the EFF1 screen.

1 EFF

Adjusts the send level of the signal that is sent from

each channel to insert effect 1.

B PRE/POST

Selects the location from which the signal from

each channel will be sent to insert effect 1. Move

the cursor to this area and press the [ENTER] key to

switch between the following two settings.

PRE (pre-fader) .......... The signal from immediately

before the fader will be sent.

POST (post-fader) ...... The signal from immediately after

the fader will be sent.

Note

If the page you see is different than shown above, make

sure that track channels are selected as the object of your

operations. (This is shown in the upper left of the screen.)

If input channels/pad channels are selected, press one of

the [TRACK SEL] keys.

Move the cursor to the PRE/POST ﬁeld in the

screen, and press the [ENTER] key to specify

the location from which the signal will be

sent from each channel to internal effect 1.

Select POST if you want the volume of the effect

sound to be affected by the fader position. Select

PRE if you want to set the volume of the effect

sound independently of the fader position.

While you play back the song, move the cur-

sor to the EFF knobs in the screen, and adjust

the level of the signal that is sent from each

channel to internal effect 1.

Tip!

Another way of adjusting the send level to internal effect

1 is to press a [TRACK SEL] key to select a track channel,

and then turn the [EFF1] knob of the Selected Channel

section. This method is convenient if you want to adjust

the effect level without displaying a different screen.

To adjust the master level of the effect send,

repeatedly press the Selected Channel sec-

tion [VIEW] key or hold down the [VIEW] key

and use the CURSOR [ ]/[ ] keys to access

the BUS page of the VIEW screen.

The BUS page of the VIEW screen lets you use on-

screen faders to adjust the master level of each bus.

1 PEAK button

This is an on/off switch for the peak hold function of

the level meters. If this button is on, a peak indica-

tor will show the level meter peaks, and will

remain displayed. To reset this indicator, you can

temporarily switch the PEAK button off. This setting

is shared with the METER page of the VIEW screen.

B PRE/POST button

This selects whether the level meters of the BUS

page will indicate the pre-fader level (PRE) or the

post-fader level (POST). This setting is independent

from the METER page of the VIEW screen.

C AUX

D EFF

E BUS

Use these faders to adjust the master levels of AUX

buses 1/2, effect buses 1/2, and the L/R bus. The

level of each bus is indicated by the level meters at

the right of each fader.

Move the cursor to the fader for effect bus 1,

and use the [DATA/JOG] dial to raise or lower

it.

Tip!

You can also adjust the level of the return signal that is

returned from the internal effect to the mixer section. For

details, refer to “Editing the parameters of an internal

effect” (

→

p. 94).

32 4 51

Mixdown and bounce operations

Recording on the stereo track

Here’s how to record the ﬁnal mix on the stereo track.

In the Quick Navigate section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the MIXDOWN page of the

RECORD screen.

Move the cursor to the REC button of the

MIXDOWN page, and press the [ENTER] key

to turn the button on.

The panel [STEREO] key will blink red. This blink-

ing indicates that the stereo track is in record-ready

mode.

Press the RTZ [ ] key to rewind the song.

Then hold down the REC [●] key and press

the PLAY [ ] key.

The song will begin playing, and the playback will

be recorded on the stereo track.

Tip!

The data that is recorded here on the stereo track will be

the data that is used to create an audio CD. If you want

to precisely specify the beginning or end of the song, it is

convenient to use Auto Punch-in/out (

→

p. 59).

When you reach the end of the song, move

the cursor to the SAFE button in the screen

and press the [ENTER] key.

A popup window will ask you to conﬁrm that you

want to cancel record-ready mode. Move the cursor

to the OK button and press the [ENTER] key.

To play back the stereo track, repeatedly

press the Quick Navigate section [MONITOR]

key or hold down the [MONITOR] key and

use the CURSOR [ ]/[ ] keys to access the

ST.TRACK page of the MONITOR screen.

1 ST.TRACK ON/OFF button

Switches stereo track playback on/off.

B Virtual track

Selects the virtual track that is assigned to the stereo

track. The currently selected virtual track is indi-

cated by a “●.” Of the other virtual tracks, those

that have already been recorded are indicated by

“O,” and the unrecorded tracks are indicated by “-”.

C Track view

In this area, markers and the presence or absence of

track data are displayed graphically.

D PRE/POST buttons

These buttons select whether the level meter in the

ST.TRACK page will indicate the pre-fader level

(PRE) or the post-fader level (POST). This setting is

shared with the BUS page of the VIEW screen.

E Level meter

This indicates the output level of the stereo track.

Switch the ST.TRACK ON/OFF button ON.

When this button is on, the stereo track output will

be sent to a point directly before the [STEREO]

fader, and can be monitored from the STEREO/AUX

OUT jacks or the MONITOR OUT jacks. At this

time, the record-ready status of all tracks will be

cancelled.

Tip!

Even while the stereo track is playing, you can still moni-

tor the signals from the input channels.

Note

EQ and dynamics processing are applied to the playback

of the stereo track.

Press the RTZ [ ] key to rewind the song,

and press the PLAY [ ] key.

The stereo track will be played back. Use the [STE-

REO] fader to adjust the monitor level.

When playback ends and you want to move to a

different screen, switch the ST.TRACK ON/OFF but-

ton OFF.

Tip!

If desired, you can use the [UNDO/REDO] button to can-

cel the recording that was made on the stereo track (

→

p. 61), or use the ST.TRACK page to switch virtual tracks

and record another take (

→

p. 62).

Mixdown and bounce operations

Bounce (ping-pong) recording procedure

Here’s how to perform the bounce (ping-pong) recording

procedure, which lets you combine multiple tracks onto

one or two tracks.

Lower the [STEREO] fader to the –∞ position.

In the Quick Navigate section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the BOUNCE page of the

RECORD screen.

In the BOUNCE page you can select the bounce-

source tracks, and record them via the L/R bus onto

one or two bounce-destination tracks.

1 TRACK (upper line)

Selects the bounce-source tracks.

B Bus L/R

The two horizontal lines indicate the L/R bus signal

route. This lets you see the on/off status of the sig-

nals that are sent from the bounce-source tracks,

and see the selected bounce-destination track(s).

C TRACK (lower line)

Here you can select the bounce-destination track(s).

D SAFE button

When you move the cursor to this button and press

the [ENTER] key, all bounce-source and bounce-

destination assignments will be cancelled.

E BUS button

When you move the cursor to this button and press

the [ENTER] key, the right side of the screen will

show a fader for adjusting the output level of the L/R

bus, and a dedicated level meter for the L/R bus.

In the upper TRACK area,

select a bounce-source

track, move the cursor to

the symbol for that

track, and press the

[ENTER] key.

Each time you press the

[ENTER] key, the screen will

change as follows.

Tip!

If a track channel is selected as a bounce-source, its

assignment to the stereo bus will automatically be turned

off.

Select other bounce-source tracks in the

same way.

Use the [TRACK SEL] keys to select a bounce-

destination track.

The [TRACK SEL] key will blink red, indicates that

the corresponding track is selected as the bounce-

destination. A line will appear in the screen to indi-

cate the connection to the track. (To cancel your

selection, press the same key once again.)

You can select up to two bounce-destination tracks.

If you select track 1, 3, 5, or 7, bus L will be con-

nected. If you select track 2, 4, 6, or 8, bus R will be

connected. If you select track 9/10–15/16, bus L

will be connected to the odd-numbered track, and

bus R will be connected to the even-numbered

track.

Tip!

• If you move the cursor to the SAFE button and press the

[ENTER] key, all connections will be cancelled.

• EQ and dynamics settings will be “ﬂat” for the track

channels of the tracks you select as the recording-desti-

nation.

• If you select an unpaired track, the pan of the track

channel will be at the center position. If you select

paired tracks, the pan of adjacent odd-numbered/even-

numbered track channels will be spread to left and right

respectively.

Mixdown and bounce operations

Raise the [STEREO] fader and the faders of

the track channel(s) you selected as the

bounce-destination to the 0 dB position.

While you play back the song, raise the fad-

ers of the bounce-source track channels to an

appropriate level. Adjust the pan, EQ, and

dynamics of each track channel as necessary.

Note

The bounce-destination faders will not affect the content

that is recorded. However, the bounce-source faders

specify the volume balance that will be recorded.

Press the RTZ [ ] key to rewind the song.

Then hold down the REC [●] key and press

the PLAY [ ] key.

The song will begin playing back, and will be

recorded on the bounce-destination track(s).

When you reach the end of the song, stop

the song and press the RTZ [ ] key to

rewind.

To check the recorded result, move the cur-

sor to the SAFE button and press the [ENTER]

key to cancel the recording settings.

Access the ON/OFF page of the MONITOR

screen (→ p. 31), turn off all track channels

other than the bounce-destination, and press

the PLAY [ ] key.

Tip!

• If you attempt to change the screen or page without

using the SAFE button, a popup window asking “Clear

Current REC Setting?” will appear, asking you whether

it is ok to clear the current recording settings. Move the

cursor to the OK button and press the [ENTER] key.

• If desired, you can use the [UNDO/REDO] button to

cancel the bounce-recording operation (

→

p. 61), or

switch the virtual track of the bounce-destination and

record another take (

→

p. 62).

Mixdown and bounce operations

Convenient functions during mixdown/

bounce operations

Here are some convenient functions that you can use

during mixdown or bounce operations.

Adding input signals or pad per-

formances during mixdown

During mixdown, you can add signals from the input

channels or pad channels. For example, you could add a

performance from a workstation-type synthesizer (with

built-in sequencer) that is synchronized to the AW16G

song, or add sound effects that have been assigned to the

pads. To do this, perform the following steps after you

have completed “Preparing for mixdown” (→ p. 83).

In the Quick Navigate section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the MIXDOWN page of the

RECORD screen.

Press the [INPUT SEL] key or pad that corre-

sponds to the input channel or pad channel

you want to use, to add that channel as a

mixdown-source.

In the Selected Channel section, repeatedly

press the [PAN/BAL] knob or hold down the

[PAN/BAL] knob and use the CURSOR [ ]/

[] keys to access the PAN page of the PAN

screen.

Note

If the page you see is different than shown above, make

sure that input channels/pad channels are selected as the

object of your operations. (This is shown in the upper left

of the screen.) If track channels are selected, press one of

the [INPUT SEL] keys or pads.

Move the cursor to the PAN knob of the

channel you want to use, and turn the

[DATA/JOG] dial to adjust the pan setting.

In the Selected Channel section, repeatedly

press the [VIEW] key or hold down the [VIEW]

key and use the CURSOR [ ]/[ ] keys to

access the FADER page of the VIEW screen.

In the FADER page of the VIEW screen, you can use

on-screen faders to adjust the faders (input level) of

each channel.

1 ON/OFF buttons

These buttons switch each channel on/off.

B Faders

These faders adjust the input level of each channel.

While you play back the song, move the cur-

sor to the on-screen faders and turn the

[DATA/JOG] dial to adjust the level of the

input channels/pad channels that you want

to use.

If necessary, adjust EQ, dynamics, and the

send level to the internal effects for each

input channel or pad channel.

Now you have completed the preparations for add-

ing input channel or pad channel signals to the mix-

down. Record the mixdown on the stereo channel

as described in “Recording on the stereo track” (→

p. 86).

Mixdown and bounce operations

Using meters to check the level

of each channel

During mixdown or bouncing, you can watch meters

that indicate the input levels in a single screen. To do so,

repeatedly press the Selected Channel section [VIEW]

key or hold down the [VIEW] key and use the CURSOR

[ ]/[ ] keys to access the METER page of the VIEW

screen.

In the METER page, the display will change depending

on the channel that is currently selected (shown in the

upper left of the screen). Press an [INPUT SEL] key to

view the meters for the input channels/pad channels, or

press a [TRACK SEL] key to view the meters for the track

channels.

● If a track channel is selected

● If an input channel/pad channel is selected

1 PEAK button

This button switches the level meter peak hold func-

tion on/off. When this button is on, a indicator

will show the peaks of the level meters, and this

indicator will be held. To reset the indicator, tempo-

rarily turn off the PEAK button. This setting is shared

with the BUS page of the VIEW screen.

B PRE/POST buttons

These buttons select whether the level meters in the

METER page will indicate the pre-fader levels (PRE)

or the post-fader levels (POST). This setting is inde-

pendent from the BUS page of the VIEW screen.

C Level meters

These indicate the input level of each channel.

Viewing all parameters for a cer-

tain channel

Sometimes you will want to see all mix parameters for a

certain channel in a single screen. To do this, repeatedly

press the Selected Channel section [VIEW] key or hold

down the [VIEW] key and use the CURSOR [ ]/[ ]

keys to access the CH VIEW page of the VIEW screen.

(Some items can also be edited from this page.)

The display in the CH VIEW page will change depending

on the currently selected channel (shown in the upper

left of the screen). Use the [INPUT SEL] keys, pads 1–4,

[TRACK SEL] keys, and [STEREO SEL] key to select the

channel that you want to view.

● If an input channel, pad channel, or track channel is

selected

● If the stereo output channel is selected

1 Pairing

Indicates the pairing status of adjacent odd-num-

bered/even-numbered channels. Paired channels

are indicated by a heart-shaped symbol, and

unpaired channels are indicated by a broken heart.

Move the cursor here and press the [ENTER] key to

switch pairing on/off.

Note

Pairing cannot be switched off for track channels 9/10–

15/16, pad channels 1–4, and the stereo channel.

B ATT knob

Move the cursor to this knob and turn the [DATA/

JOG] dial to adjust the attenuation of the signal over

a range of 0 to –96 dB before it enters the EQ. This

is the same function as the ATT. knob in the EDIT

page of the EQ screen.

C Phase (except for the stereo output chan-

nel)

Move the cursor here and press the [ENTER] key to

switch the phase of the signal between N (Normal)

and R (Reverse).

1 32

2 3 4 5 6 M K L7

89J

2 4 5 6 N7 L

Mixdown and bounce operations

D Effect insert

This lets you insert an internal effect into the chan-

nel. When you move the cursor here and press the

[ENTER] key, a popup window will appear, allow-

ing you to select internal effect 1 or 2.

E EQ

Move the cursor here and press the [ENTER] key to

switch EQ on/off.

F DYN

Move the cursor here and press the [ENTER] key to

switch dynamics on/off.

G ON/OFF

Move the cursor here and press the [ENTER] key to

switch the channel on/off.

H EFF1 (except for the stereo output channel)

I EFF2 (except for the stereo output channel)

J AUX1 (except for the stereo output chan-

nel)

K AUX2 (except for the stereo output chan-

nel)

Move the cursor to these knobs and turn the [DATA/

JOG] dial to adjust the send levels to effect buses 1/

2 and AUX buses 1/2.

By moving the cursor to the left of the knob and

pressing the [ENTER] key, you can switch between

pre-fader (send the pre-fader signal to the bus) and

post-fader (send the post-fader signal to the bus).

L PAN/BALANCE knob

Move the cursor to this knob and turn the [DATA/

JOG] dial to adjust the pan (or balance, in the case

of the stereo output channel) of the signal that is

sent from the channel to the stereo bus or L/R bus.

M FADER knob (except for the stereo output

channel)

Move the cursor to this knob and turn the [DATA/

JOG] dial to adjust the level of the signal that is sent

from the channel to the stereo bus or L/R bus. The

range is –∞ to +6 dB.

Note

The FADER knob of a track channel will follow the opera-

tion of the corresponding panel fader 1–8 or 9/10–15/16.

However, please note that if you adjust an on-screen

knob and then operate the panel fader, the value will not

change until the fader passes the current value.

N OUTPUT LEVEL (only for the stereo output

channel)

Move the cursor to this knob and turn the [DATA/

JOG] dial to adjust the output level of the signal that

is sent from the stereo output channel to the STE-

REO/AUX OUT jacks and MONITOR OUT jacks.

The range is –∞ to 0 dB.

Note

The OUTPUT LEVEL knob will follow the operation of

the panel [STEREO FADER]. However, please note that if

you adjust the on-screen knob and then operate the panel

fader, the value will not change until the fader passes the

current value.

Initializing a channel

The mix parameters (EQ, dynamics, pan, etc.) of a chan-

nel can be reset to their default settings in a single opera-

tion. This function lets you start mixdown or bounce

operations with the track channels “zeroed,” and pro-

vides an easy way to reset the levels back to the nominal

setting if you can no longer hear any sound.

In the Quick Navigate section, repeatedly

press the [MONITOR] key or hold down the

[MONITOR] key and use the CURSOR [ ]/

[] keys to access the INIT page.

In this page you can separately initialize the mix

parameters of input channels 1–8, pad channels 1–

4, or track channels 1–16.

Press the [INPUT SEL] key, pad, or [TRACK

SEL] key for the channel that you want to ini-

tialize.

When you press a key or pad, the upper line of the

screen will indicate “CH.PARAMETER INITIAL-

IZED,” and the corresponding channel will be ini-

tialized. (Channel library 00 will be recalled.)

An initialized channel will have the following mix

parameter settings.

Input channel Pad channel Track channel

Phase no change no change no change

Attenuation 0 dB 0 dB 0 dB

EQ ON ON ON

EQ parameters ﬂat ﬂat ﬂat

Dynamics on/off OFF OFF OFF

Dynamics type COMP COMP COMP

Dynamics

parameters

no effect no effect no effect

Pan

If paired: L channel = L16,

R channel = R16

If unpaired: center

L channel = L16

R channel = R16

If paired: L channel = L16,

R channel = R16

If unpaired: center

Fader 0 dB

0 dB no change

* If FADER FLIP is set to TRACK in the UTILITY screen PREFER page.

Mixdown and bounce operations

Editing the EQ parameters

The chapters entitled “Track recording” and “Overdub-

bing” explained how to load an EQ library and use the

Selected Channel section [EQ] knob to make adjust-

ments. Here’s how you can make more detailed adjust-

ments to the EQ parameters.

Press an [INPUT SEL] key, a pad 1–4, a

[TRACK SEL] key, or the [STEREO SEL] key to

select the channel whose EQ you want to

adjust.

If desired, load library data from the EQ

library.

Repeatedly press the Selected Channel sec-

tion [EQ] knob or hold down the [EQ] knob

and use the CURSOR [ ]/[ ] keys to access

the EDIT page of the EQ screen.

The EDIT page of the EQ screen lets you edit all of

the EQ parameters.

1 ON/OFF button

Switches the EQ on/off.

B Response curve

Graphically indicates the approximate response of

the EQ.

C FLAT button

Move the cursor to this button and press the

[ENTER] key to reset the boost/cut amount of all

bands to 0 dB.

D ATT. (Attenuation) knob

Attenuates the signal immediately before it is input

to the EQ, over a range of –96 to 0 dB. This is used

mainly to prevent the signal from clipping when

you use the EQ to boost a speciﬁc frequency region.

E Output meter

Indicates the level of the signal after it has passed

through the EQ.

F Q knobs

Specify the Q (steepness) at which each band

(HIGH, HI-MID, LO-MID, LOW) will be boosted or

cut. The range is 10–0.10, and higher settings will

produce a steeper curve.

G F (Frequency) knobs

Specify the center frequency of the boost/cut, over a

range of 21.2 Hz–20.0 kHz.

H G (Gain) knobs

Specify the amount of boost/cut, over a range of

–18.0 dB to +18.0 dB.

Move the cursor to the parameter that you

want to edit, and use the [DATA/JOG] dial to

adjust the value.

To switch the LOW band type, move the cur-

sor to the LOW band Q knob and turn the

[DATA/JOG] dial toward the left.

With the default EQ settings, the LOW band is a

shelving type. (The value ﬁeld for the Q knob will

indicate “L.SHL”.)

If you turn the Q knob toward the left, the Q knob

value ﬁeld will change to a numerical value, and

will switch to the same boost/cut type as the HI-

MID and LO-MID bands.

If you continue turning the Q knob toward the left,

the Q knob value ﬁeld will indicate “HPF,” and the

LOW band will function as a high-pass ﬁlter. If

“HPF” is selected, you can use the LOW band G

knob to switch the high-pass ﬁlter on/off.

To switch the HIGH band type, turn the

HIGH band Q knob all the way to the left.

With the default EQ settings, the HIGH band is a

shelving type. (The value ﬁeld for the Q knob will

indicate “H.SHL”.)

If you turn the Q knob toward the left, the Q knob

value ﬁeld will change to a numerical value, and

will switch to the same boost/cut type as the HI-

MID and LO-MID bands.

If you continue turning the Q knob toward the left,

the Q knob value ﬁeld will indicate “LPF,” and the

HIGH band will function as a low-pass ﬁlter. If

“LPF” is selected, you can use the HIGH band G

knob to switch the low-pass ﬁlter on/off.

To switch the EQ on/off, press the [ENTER]

key.

In the EDIT page, you can press the [ENTER] key to

switch the EQ on/off (except when the cursor is

located at the FLAT button).

Tip!

• If the meter display clips because you boosted a certain

band, lower the ATT. knob to attenuate the signal.

• The [EQ] knob of the Selected Channel section will still

operate even while the EDIT page of the EQ screen is

displayed.

2 4 536

Mixdown and bounce operations

Editing the dynamics parameters

You can perform detailed editing of the dynamics param-

eters in the same way as for the EQ parameters.

Press an [INPUT SEL] key, a pad 1–4, a

[TRACK SEL] key, or the [STEREO SEL] key to

select the channel whose dynamics parame-

ters you want to edit.

From the dynamics library, recall the settings

that are closest to what you have in mind.

Repeatedly press the Selected Channel sec-

tion [DYN] knob or hold down the [DYN]

knob and use the CURSOR [ ]/[ ] keys to

access the EDIT page of the DYN screen.

1 ON/OFF button

Switches dynamics on/off.

B TYPE

Indicates the currently selected dynamics type. The

displayed indication has the following meaning.

COMP........................ Compressor

EXPAND..................... Expander

GATE.......................... Gate

COMPAND-H ............ Compander (hard)

COMPAND-S ............. Compander (soft)

DUCKING ................. Ducking

Note

You cannot change the dynamics type in this page. If you

want to use a different type, you must recall library set-

tings that use the desired type.

C Response curve

This graph indicates the approximate response of

dynamics settings. The horizontal axis of the graph

is the input level, and the vertical axis is the output

level.

D KEYIN SOURCE

Selects one of the following as the trigger signal

(key-in signal) that will control dynamics process-

ing.

SELF ........................... The post-EQ signal of the currently

selected channel

LEFT ........................... The post-EQ signal of the adjacent

channel to the left

AUX1 ......................... The signal immediately before the

master send level of the AUX 1 bus

AUX2 ......................... The signal immediately before the

master send level of the AUX 2 bus

Note

You will not be able to select LEFT if you have selected

input channel 1, pad channel 1, track channel 1, or the

stereo output channel.

Tip!

Dynamics settings and operation are linked for paired

channels and for the stereo output channel. In this case,

dynamics processing will operate simultaneously for both

channels if either channel exceeds the threshold level.

E GR (Gain Reduction)

Indicates the amount of gain reduction produced by

the dynamics processor, in a range of –18 dB to

0 dB.

F Output meter

Indicates the level of the signal after it has passed

through the dynamics processor.

G Parameters

Here you can edit the parameters of the dynamics

processor. The type of parameters and their ranges

will differ depending on the dynamics processor

type. For details on the types of parameter and their

function, refer to the appendix.

Move the cursor to the parameter that you

want to edit, and use the [DATA/JOG] dial to

edit the value.

To switch dynamics on/off, press the [ENTER]

key.

In the EDIT page, you can press the [ENTER] key to

switch dynamics on/off regardless of the cursor

location.

Please be aware that if you edit even one parameter

in the EDIT page of the DYN screen, the operation

of the Selected Channel section [DYN] knob will

change as follows for that channel.

1 3 7 56

2 4

Mixdown and bounce operations

1 Immediately after recalling a read-only library

that contains dynamics settings, turning the

[DYN] knob will simultaneously adjust multi-

ple parameters to affect the dynamics pro-

cessing. (The amount of change will depend

on the last-recalled library.)

B For a channel for which you edited even one

parameter in the EDIT page of the DYN

screen, turning the [DYN] knob will adjust

only the last-edited parameter. (The last-

edited parameter is remembered for each

channel.)

C If you once again recall a read-only library

that contains dynamics settings, turning the

[DYN] knob will again simultaneously adjust

multiple parameters.

Editing the parameters of an

internal effect

By using the EDIT page of the EFF1 screen or EFF2

screen, you can make detailed edits to the effect parame-

ters of the internal effects 1 and 2.

If an effect is internally connected via send/return in the

mixer section, the parameters (EQ, pan, AUX send, etc.)

of the return channel that processes the return signal can

also be edited in this page.

As an example, here’s how you can edit the settings of

internal effect 1, internally connected via send/return.

For internal effect 1, recall an effect library

that uses the desired effect type.

You cannot change the effect type (e.g., reverb,

delay) in the EDIT page. You must ﬁrst recall library

settings that use the desired type.

In the Selected Channel section, repeatedly

press the [EFF1] knob or hold down the

[EFF1] knob and use the CURSOR [ ]/[ ]

keys to access the EDIT page of the EFF1

screen.

The EDIT page lets you edit all of the effect parame-

ters.

1 BYPASS ON/OFF button

Switches effect bypass on/off. The effect will not be

heard if this button is on.

B TYPE

Indicates the type of the currently selected effect.

Note

You cannot change the effect type in this page. If you

want to use a different type, you must recall library set-

tings that use the desired effect type.

C STEREO/MONO

Indicates whether the effect is stereo or monaural. A

stereo-input effect is indicated by , and a monau-

ral-input effect is indicated by .

D USED AS

Indicates how this effect is being used. If the effect

is internally connected to the mixer section via

send/return, this will indicate “EFF1” or “EFF2.” If

the effect is inserted into a speciﬁc channel, this

will indicate the name of the channel into which

the effect is inserted (e.g., “INPUT 1”).

1 5

3 4

Mixdown and bounce operations

E Parameter page/Return channel page

In this area you can edit the various effect parame-

ters. The content and range of the parameters will

depend on the currently-used effect type.

If the effect is internally connected to the mixer sec-

tion via send/return, this area will show the mix

parameters of the return channel, allowing you to

edit them.

Move the cursor to the effect parameter that

you want to edit, and turn the [DATA/JOG]

dial to edit the value.

Depending on the effect type, this area may be used

to show multiple parameter pages. In this case,

repeatedly press the CURSOR [ ] key to access

the parameter page that contains the parameter you

want to edit.

For example, the illustration below shows the

parameter pages for the STEREO DELAY effect type.

Tip!

The parameter pages show the parameters that are spe-

ciﬁc to that effect type. However for all effect types, the

lower right of the last parameter page will have a MIX

BAL. parameter which sets the mix balance between the

effect sound and the original sound.

To edit the mix parameters of the return

channel, access the last parameter page, and

then press the CURSOR [ ] key once again.

If the effect is internally connected to the mixer sec-

tion via send/return, you can repeatedly press the

CURSOR [ ] key to access the mix parameters of

the return channel. The following pages are the

same for all effect types.

1 EFF2SEND

Adjusts the level at which the signal is sent from the

return channel to the other internal effect.

Note

You cannot send the signal from return channel 1 to

insert effect 1 (since this would mean sending the signal

back to the same effect itself). For this reason, the EDIT

page of the EFF1 screen has no send level to effect 1. For

the same reason, the EDIT page of the EFF2 screen has no

send level to effect 2.

B AUX1SEND

C AUX2SEND

These adjust the send level of the signal that is sent

from the return channel to AUX buses 1/2.

D EFF2 PRE/POST

Switches the signal that is sent from the return chan-

nel to the other effect bus between pre-fader and

post-fader.

E AUX1 PRE/POST

F AUX2 PRE/POST

These switch the signals that are sent from the

return channel to AUX buses 1/2 between pre-fader

and post-fader.

1 EQ HIGH GAIN

B EQ HIGH FREQ

C EQ HIGH Q

D EQ H-MID GAIN

E EQ H-MID FREQ

F EQ H-MID Q

These specify the gain, frequency, and Q for the

HIGH and HI-MID bands of the return channel EQ.

The range of each parameter is the same as in the

EDIT page of the EQ screen.

MIX BAL. parameter

4 5 6

1 3

4 5 6

1 3

Mixdown and bounce operations

1 EQ L-MID GAIN

B EQ L-MID FREQ

C EQ L-MID Q

D EQ LOW GAIN

E EQ LOW FREQ

F EQ LOW Q

These specify the gain, frequency, and Q for the LO-

MID and LOW bands of the return channel EQ. The

range of each parameter is the same as in the EDIT

page of the EQ screen.

1 PAN L

B PAN R

Independently specify the return channel panning

for the L and R channels.

C RETURN

Adjusts the input level for return channel 1.

Access the desired return channel page,

move the cursor to a parameter, and turn the

[DATA/JOG] dial.

To switch effect bypass on/off, press the

[ENTER] key.

In the EDIT page, you can press the [ENTER] key to

switch bypass on/off regardless of the current loca-

tion.

Inserting an effect into a track

channel

The chapter “Track recording” explained how to insert an

internal effect into an input channel. In the same way,

you can also insert an effect into a track channel or pad

channel. As an example, here’s how to insert internal

effect 1 into a track channel for use during mixdown or

bouncing.

In the Selected Channel section, repeatedly

press the [EFF1] knob or hold down the

[EFF1] knob and use the CURSOR [ ]/[ ]

keys to access the SEND page of the EFF1

screen.

Note

If the displayed page is different than shown above, make

sure that a track channel is selected as the object of oper-

ations. (This is indicated in the upper left of the screen.)

If an input channel/pad channel is selected, press any one

of the [TRACK SEL] keys.

Move the cursor to the EFF INSERT ﬁeld of

the track channel into which you want to

insert an effect, and press the [ENTER] key.

A popup window will appear, asking whether it is

ok to release internal effect 1 from the send/return

connection.

Move the cursor to the OK button and press

the [ENTER] key.

Internal effect 1 will be inserted into the

selected track channel.

Press the [EFF1] knob twice to access the

LIBRARY page of the EFF1 screen.

Select the library that you want to use for

that channel.

Note

If you insert an internal effect into a channel, the SEND

page of the EFF1 screen will no longer show return chan-

nel pages 1–4. To adjust the balance between the original

sound and the effect sound, use the MIX BAL. parameter

that is shown in the last parameter page.

Tip!

You can also insert an effect by using the effect insert

ﬁeld in the CH VIEW page of the VIEW screen (

→

p. 91).

4 5 6

1 3

1 2 3

Chapter 10

Creating an audio CD

This chapter explains how you can use the CD-RW drive to create an

audio CD, and how to play back an audio CD.

Creating an audio CD

On the AW16G, you can select one or more songs on the

hard disk, and write the audio data from the stereo track

of each song to a CD-R/RW disc in CD-DA format. The

CD-R/RW media to which you write this data can be

played by the CD-RW drive or a conventional CD player

in the same way as any audio CD.

Note

Some CD players that do not support CD-R/RW media

may not be able to play back a CD you create.

In order to create a CD, you must ﬁrst register one or

more songs in a “track list,” and then write the virtual

track currently selected for the stereo track of each song

(the “current track”) to the CD in the order speciﬁed by

the track list.

A maximum of 99 tracks (areas on CD media to which

audio data can be written individually) can be written to

one volume of CD-R/RW media, and each track must be

at least four seconds long. The maximum length of time

that can be written is approximately 74 minutes for

650 MB media, or approximately 80 minutes for 700 MB

media.

Types of media that you can use with the

CD-RW drive

The CD-RW drive of the AW16G can use two types of

media: “CD-R” which lets you record and add data, and

“CD-RW” which lets you erase previously-recorded data

and rewrite it. Each type of media has the following char-

acteristics.

● CD-R

You can write data to this media, and add additional

data later. You cannot erase and rewrite data that has

already been written. Once you perform a process

known as “ﬁnalizing the disc,” the audio data written

to the CD-R can be played by the CD-RW drive or by

most CD players.

● CD-RW

In addition to writing and adding data, this media lets

you erase all recorded data and rewrite it. Audio data

written to a CD-RW can be played back by the CD-

RW or by CD players that support CD-RW media.

Creating an audio CD

Methods of writing an audio CD

There are two ways in which you can write audio data to

CD-R/RW media.

● Track At Once

This method writes the data in units of CD tracks. The

advantage of this method is that you can add new

data to media that already contains existing data.

With the Track At Once method, the data from the

beginning to the end of the stereo track of a song is

written to the CD as one track. (Even if there is a por-

tion during the song that contains no data, it will be

written as silent audio data.)

Since each track is written individually when you use

this method, an interval of approximately two sec-

onds will be created between each track.

In order for a disc written using Track At Once to be

playable by the CD-RW drive or a CD player, you

must perform a process known as “ﬁnalizing” to

write track information to the disc. Once you have

ﬁnalized a disc, you cannot write any more data to it.

● Disc At Once

This method writes all tracks at once. Similarly to

when using the Track At Once method, the data from

the beginning to the end of the stereo track of each

song is written to the CD as one track.

However since writing does not stop until all data

has been written, there will be no gap between the

tracks.

When using Disc At Once to write a CD, you can use

the start point, end point and markers that were

assigned within the AW16G song to divide a single

continuous song into multiple tracks for writing.

For example, this is convenient when you have

recorded a live performance as a single song, and

want to assign track numbers while leaving the play-

back in continuous form.

Note

•A track shorter than four seconds cannot be written to

an audio CD. If you use start point/end point/markers

to divide a song into multiple tracks, make sure that

each track is at least four seconds long.

• If the length of the stereo track exceeds the writable

length of the media, you can create an audio CD by

adjusting the start point/end point so that the region is

within the allowable length. (

→

p. 102)

Media that you write using Disc At Once will be

ﬁnalized automatically, and can be played back by a

CD-RW drive or CD player that supports that type of

media. However, no further data can be written to a

disc that was written using Disc At Once.

Track 1

Start

Track 2

End

Start End

Song A

interval (2 seconds)

Song B

Audio CD

Track 1

Start

Track 2

End

Start End

Song A

Marker = off

no gap

Audio CD

Song B

Marker = off

Track 1

Start

Track 4

End

Track 2

Track 3

Start End1 2

Song A

Marker = on

udio CD

Song B

Marker = off

Creating an audio CD

Basic settings for the CD-RW drive

Before you actually write data to a CD, you will need to

make basic settings for the CD-RW drive.

In the Work Navigate section, repeatedly

press the [CD] key or hold down the [CD]

key and use the CURSOR [ ]/[ ] keys to

access the SETTING page of the CD screen.

1 CD-RW MEDIA ERASE

Erases the data that was written to CD-RW media.

For details, refer to “Erasing CD-RW media” (→

p. 105).

B AUDIO WRITE SPEED

Selects the speed at which audio data will be writ-

ten to CD-R/RW media.

C TEST button

Speciﬁes whether a writing test will be performed

when you execute writing.

D WRITE button

Speciﬁes whether the actual writing operation will

be performed.

E UNDERRUN PROTECT button

Enables/disables the function that prevents buffer

underrun (an error that can occur when data trans-

fer cannot keep up with writing speed).

F DATA WRITE SPEED

This indicates the speed at which data other than

CD audio (e.g., backup data or WAV ﬁles) is written

to CD-R/RW media. Normally this will indicate x8.

This will indicate x4 if the media supports a maxi-

mum writing speed of x4. This ﬁeld is for display

only, and cannot be edited.

G COMPARE button

If this button is on, the original data will be com-

pared with the backed-up data or the exported

WAV ﬁle after a backup or export operation is per-

formed, to check whether any errors occurred while

writing the data.

H MOTOR ON ACCESS/DISC IN button

Selects one of the following two choices to specify

how the drive will operate when CD-R/RW media is

inserted.

ACCESS...................... The drive will spin only when

access is required.

DISC IN ..................... The drive will spin whenever

media is inserted.

Move the cursor to the AUDIO WRITE SPEED

ﬁeld, and turn the [DATA/JOG] dial to select

the writing speed.

You can select either x8 (eight times as fast as audio

playback) or x4 (four times as fast as audio play-

back). Normally you should use x8, and drop down

to x4 if errors occur during writing.

Use the TEST button and WRITE button to

select the writing operation(s).

The TEST button and WRITE button specify whether

a writing test and/or the actual writing operation

will be performed. The combination of buttons that

are on will determine the operation(s) that will

occur, as follows.

Only the TEST button on .........Only a writing test will be

performed.

Only the WRITE button on ......Writing will occur imme-

diately.

Both the WRITE button and

TEST button on...........First a writing test will be per-

formed, and then the actual writing

will be performed.

Depending on the media and the state of the hard

disk, it is possible that an error may occur while the

data is being written. (If you are using a CD-R, this

will make the media unusable.) Thus, you can turn

on the TEST button to check whether an error will

occur before you actually write the disc. If an error

occurs during the test, halt the procedure, and

either lower the writing speed or set the UNDER-

RUN PROTECT button to ENABLE.

If desired, set the UNDERRUN PROTECT but-

ton to ENABLE.

The CD-RW drive of the AW16G has a function to

prevent “buffer underrun” errors which can occur if

data transfer cannot keep up with the writing speed.

If you switch the UNDERRUN PROTECT button to

the “ENABLE” setting, this function will be enabled,

and buffer underruns will be prevented.

Note

If this button is set to ENABLE, the TEST button will auto-

matically be turned off. Also, if the TEST button is turned

on, this button will automatically be set to DISABLE.

5 8 734

621

Creating an audio CD

100

Writing audio data (Track At Once)

Here’s how to use the Track At Once method to write ste-

reo tracks from songs saved on the hard disk to CD-R/RW

media. Use this method if you expect to be adding tracks

to the disc later, or if you want a two-second gap

between tracks.

Make sure that the appropriate virtual track is

selected for the stereo track of the song(s)

you want to write.

Only the virtual track that can be played by the ste-

reo track (i.e., the “current track”) will be written to

disc. If the correct virtual track is not selected, load

that song, use the ST.TRACK page of the MONITOR

screen to switch to the correct virtual track, and

then save the song.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the CD WRITE page of the CD

screen.

Immediately after you access this page, the

following two buttons will appear in the dis-

play.

1 TRACK AT ONCE button

Creates an audio CD using the Track At Once

method.

B DISC AT ONCE button

Creates an audio CD using the Disc At Once

method.

Insert CD-R/RW media in the drive, move the

cursor to the TRACK AT ONCE button, and

press the [ENTER] key.

A display like the following will appear.

1 Song list

This is a list of the songs containing stereo tracks

that will be written to the CD-R/RW media. The line

enclosed by a dotted frame is currently selected for

operations. If no songs have been registered, this

will indicate “-NO TRACK-”.

If audio data has already been written to the

inserted CD-R/RW media but the media has not yet

been ﬁnalized, a title of “--EXIST--” will be dis-

played for the already-written data.

B FINALIZE button

Finalizes the inserted media by writing track infor-

mation to it.

C INS button

Inserts a new song in front of the song currently

selected in the list.

D NEW button

Adds a song at the end of the song list.

E DEL button

Deletes the selected song from the list.

F EXECUTE button

Executes writing to the CD media.

Tip!

If you have inserted CD-RW media that contains data

written using other than the Track At Once method, a

popup window will appear immediately after step 3, ask-

ing whether you want to erase the data. If you want to

erase the entire media, move the cursor to the OK but-

ton. If you want to cancel creation of an audio CD, move

the cursor to the CANCEL button. Then press the

[ENTER] key.

Move the cursor to the NEW button, and

press the [ENTER] key.

The song list will show information (track number/

song name/size of the stereo track) for the song that

will be written to track 1 of the CD.

1 2

6 5 42

3 1

101

Creating an audio CD

Move the cursor to the dotted frame in the

song list, and turn the [DATA/JOG] dial to

select the song that will be written to track 1.

Note

•When you turn the [DATA/JOG] dial, you will see only

songs for which the current stereo track contains data.

• Songs with a stereo track shorter than four seconds will

not be displayed.

• Songs with a stereo track longer than 324 minutes will

not be displayed.

Repeat steps 4 and 5 to select the songs that

will be written to track 2 and following.

Tip!

•When you move the cursor to the NEW button and

press the [ENTER] key, a new song will be added at the

end of the existing songs.

• By using the INS button instead of the NEW button, you

can insert a new song immediately before the song that

is selected in the list.

•You can use the DEL button to delete the currently

selected song from the song list.

Note

When you add a song to the song list, the same song will

always be initially selected. Change this as desired.

Move the cursor to the EXECUTE button and

press the [ENTER] key.

A popup window will ask you to conﬁrm.

To begin writing, move the cursor to the OK

button and press the [ENTER] key.

While data is being written to the media, a popup

window will indicate “CD Writing...” When writing

is completed, a popup window will ask you

whether you want to ﬁnalize.

Note

• If an error message of “ATAPI Error!” appears while

writing, it is possible that a buffer underrun has

occurred. In this case, either decrease the writing speed

to 4x or set the UNDERRUN PROTECT button to the

ENABLE position. (

→

p. 99)

• If you enabled the writing test in “Basic settings for the

CD-RW drive” (

→

p. 99), a writing test will be per-

formed before the data is actually written. If a problem

occurs during the writing test, an error message will

appear.

•Copy-prohibit data will automatically be written into

the CD that is created.

To ﬁnalize the disc, move the cursor to the

OK button and press the [ENTER] key.

If you do not want to ﬁnalize the disc, move the

cursor to the CANCEL button and press the [ENTER]

key.

This completes the writing process.

Creating an audio CD

102

Writing audio data (Disc At Once)

Here’s how to use the Disc At Once method to write ste-

reo tracks from songs saved on the hard disk to CD-R/RW

media. Use this method if you do not want to create

silence between each track of the CD, or if you want to

write a single song divided into multiple tracks on the

CD.

Make sure that the appropriate virtual track is

selected for the stereo track of the song(s)

you want to write.

If you want to divide the song into CD tracks

at the marker locations speciﬁed within the

song, check that markers have been set at

the appropriate locations.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the CD WRITE page of the CD

screen.

Move the cursor to DISC AT ONCE and press

the [ENTER] key.

The following screen will appear.

1 Song list

This is a list of the songs containing stereo tracks

that will be written to the CD-R/RW media. The line

enclosed by a dotted frame is currently selected for

operations. If no songs have been registered, this

will indicate “-NO TRACK-”.

B MARKER button

For each stereo track, this enables or disables the

markers that have been set within that song.

When you move the cursor to this button and press

the [ENTER] key, the start pint, end point and mark-

ers within the currently selected stereo track will be

enabled. (A “ﬂag” icon will appear at the left of the

list.) If markers are enabled for a stereo track, a track

number will be written to the CD at the location of

each marker. Regardless of any areas of silence, the

entire region from the Start point to the End point

will be written.

C INS button

Inserts a new song in front of the song currently

selected in the list.

D NEW button

Adds a song at the end of the song list.

E DEL button

Deletes the selected song from the list.

F EXECUTE button

Executes writing to the CD media.

Tip!

If data has already been written on the CD-RW media

that you insert, a popup window will appear immediately

after step 3, asking whether you want to erase the data.

Move the cursor to the OK button if you want to erase

the entire media, or to the CANCEL button if you want to

cancel execution. Then press the [ENTER] key.

Move the cursor to the NEW button, and

press the [ENTER] key.

The song list will show information (track number/

song name/size of the stereo track) for the song that

will be written to track 1 of the CD.

Move the cursor to the dotted frame in the

song list, and turn the [DATA/JOG] dial to

select the song that will be written to track 1.

Note

•When you turn the [DATA/JOG] dial, you will see only

songs for which the current stereo track contains data.

• Songs with a stereo track shorter than four seconds will

not be displayed.

• Songs with a stereo track longer than 324 minutes will

not be displayed.

If you want the stereo track of the selected

song to be divided into CD tracks at the loca-

tion of each marker, move the cursor to the

MARKER button and press the [ENTER] key.

Markers will be enabled for that song, and a “ﬂag”

icon will appear at the right of the list.

Tip!

•Markers can be enabled/disabled independently for

each song.

•When you use markers to divide a stereo track, the

location of the divisions will be speciﬁed in units of 1/

75 second.

Note

• Note that if markers are enabled, the track numbers

shown in the list will not match the number of tracks

written to the CD.

•A maximum of 99 tracks can be written to an audio CD.

If, for example, markers are enabled for the song you

write to CD track 1, and this song contains 98 markers,

it will not be possible to write any more songs to that

CD-R/RW media.

6 5 42

3 1

103

Creating an audio CD

Repeat steps 5–7 to select the songs that will

be written to track 2 and following.

Tip!

•When you move the cursor to the NEW button and

press the [ENTER] key, a new song will be added at the

end of the existing songs.

• By using the INS button instead of the NEW button, you

can insert a new song immediately before the song that

is selected in the list.

•You can use the DEL button to delete the currently

selected song from the song list.

Note

When you add a song to the song list, the same song will

always be initially selected. Change this as desired.

Move the cursor to the EXECUTE button and

press the [ENTER] key.

A popup window will ask you to conﬁrm.

To begin writing, move the cursor to the OK

button and press the [ENTER] key.

While data is being written to the media, a popup

window will indicate “CD Writing...” When writing

is completed, the CD-R/RW media will be ejected,

and the following popup window will appear.

Note

• If you enabled the writing test in “Basic settings for the

CD-RW drive” (

→

p. 99), a writing test will be per-

formed before the data is actually written. If a problem

occurs during the writing test, an error message will

appear.

•Copy-prohibit data will automatically be written into

the CD that is created.

If you want to create another CD with the

identical contents, insert a new volume of

media, and move the cursor to the OK but-

ton and press the [ENTER] key.

Writing will begin again.

Alternatively, you can move the cursor to the CAN-

CEL button and press the [ENTER] key to exit the

writing process.

Creating an audio CD

104

Finalizing CD-R/RW media

Here’s how to ﬁnalize CD-R/RW media that you wrote

using Track At Once, so that the disc can be played by a

CD-RW drive or a CD player.

Tip!

CD-R/RW media written by the AW16G using Track At

Once (and not yet ﬁnalized) cannot be played by another

CD-RW drive or a CD player, but it can be played by the

AW16G’s CD Play function. (

→

p. 106)

Insert the CD-R/RW media that you want to

ﬁnalize into the CD-RW drive.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the CD WRITE page of the CD

screen.

Move the cursor to the TRACK AT ONCE but-

ton, and press the [ENTER] key.

The following screen will appear, and the track list

will show the content that has been written to that

CD-R/RW media. Already-recorded tracks will be

displayed as “--EXIST--”.

Move the cursor to the FINALIZE button, and

press the [ENTER] key.

A popup window will ask you to conﬁrm the ﬁnal-

ize operation.

To ﬁnalize the disc, move the cursor to the

OK button and press the [ENTER] key.

If you decide not to ﬁnalize the disc, move the cur-

sor to the CANCEL button and press the [ENTER]

key.

Note

The ﬁnalize operation cannot be halted once it has been

started. Perform this operation with care.

105

Creating an audio CD

Erasing CD-RW media

Here’s how to erase all data that has been written to CD-

RW media, so that the CD-RW disc can be used as a

blank disc. You will need to perform this operation on a

disc that has been used to store computer data etc. if you

want to use that disc on the AW16G.

Tip!

Since data is erased as necessary when you back up

AW16G data to CD-RW media or when you write audio

data to CD-RW media, you do not need to perform the

following procedure each time you re-use the disc.

Note

The erased data cannot be recovered. Perform this opera-

tion with care.

In the Work Navigate section, repeatedly

press the [CD] key or hold down the [CD]

key and use the CURSOR [ ]/[ ] keys to

access the SETTING page of the CD screen.

Move the cursor to the CD-RW MEDIA ERASE

ﬁeld, and press the [ENTER] key to select the

desired erasure method.

Each button selects the following erasure method.

SIMPLY button ........... Only the TOC (Table Of Contents)

data written to the CD-RW media

will be erased. If you select this

method, it will take only a short

time to erase the CD-RW media.

PERFECTLY button ..... All data written to the CD-RW

media will be erased completely.

Since this method erases all data

from the media, it will take a

longer time than SIMPLY.

Move the cursor to the desired button, and press the

[ENTER] key. A popup window will ask you to con-

ﬁrm the erasure.

● If you turn on the SIMPLY button

● If you turn on the PERFECTLY button

To execute the erasure, move the cursor to

the OK button. If you decide not to erase the

disc, move the cursor to the CANCEL button.

Then press the [ENTER] key.

If you selected the OK button, erasure will begin.

(This operation cannot be halted.)

Creating an audio CD

106

Playing an audio CD

You can use the CD-RW drive to play back a conven-

tional audio CD or CD-R/RW media to which audio data

has been written. This is referred to as the CD Play func-

tion.

Tip!

The CD Play function can also play audio data from a

mixed-mode CD-ROM (only track 2 and following) or CD

Extra (only the ﬁrst session).

In the Work Navigate section, repeatedly

press the [CD] key or hold down the [CD]

key and use the CURSOR [ ]/[ ] keys to

access the CD PLAY page of the CD screen.

In this page you can play back an audio CD

inserted in the CD-RW drive.

1 CD PLAY button

Switches the CD Play function on/off.

B INPUT CH MUTE/MIX button

Use this button to specify whether the signals of

input channels 1–8 will be output together with the

CD playback (MIX button), or whether only the CD

signal will be output (MUTE button).

C List

Displays the tracks of the audio CD that is inserted

in the CD-RW drive.

Insert the audio CD that you want to play

into the CD-RW drive.

Move the cursor to the CD PLAY button and

press the [ENTER] key.

The CD Play function will be turned on, and the CD

track data will be read.

To play the CD tracks, press the PLAY [ ]

key. To stop, press the STOP [■] key.

During playback, the audio output of the CD-RW

drive will be sent directly to the stereo output chan-

nel. Use the STEREO fader to adjust the volume.

When the CD Play function is on, the keys of the

transport section will have the following functions.

Tip!

•When the cursor is located in the list, you can turn the

[DATA/JOG] dial to select tracks.

•While an audio CD is playing, the access indicator in

the display section will blink.

To exit the CD Play function, move the cursor

to the CD PLAY button and press the [ENTER]

key.

Note

• The CD PLAY button can be switched on/off only while

the CD is stopped.

•While the CD PLAY button is on, the CD-RW drive will

be locked, and it will not be possible to eject the disc.

2 31

Key Operation

PLAY [ ] key Play

STOP [■] key Stop

REW [ ] key/FF [ ] key Rewind/Fast-forward

[DATA/JOG] dial Select tracks

[] key/[ ] key Select tracks

107

Chapter 11

Quick loop sampler

This chapter explains how to use the Quick Loop Sampler section.

About the quick loop sampler

The AW16G contains a quick loop sampler that lets you

play stereo waveforms (samples) by striking the four

pads.

Each pad 1–4 has four sample banks (A–D) to which you

can assign samples. By switching the sample bank for

each pad, you can use up to sixteen different samples.

When you strike a pad 1–4, the assigned sample will be

sent via pad channel 1–4 to the stereo bus. For each pad

channel, you can adjust the EQ, dynamics, and effects 1/

2 send levels just as you can for the track channels or

input channels.

● Signal ﬂow when using the Quick Loop Sampler

You can load samples into the pads from the sample

library (a library for the Quick Loop Sampler), load a por-

tion of an audio track or audio CD, or load a WAV ﬁle.

You can also directly sample a signal from an instrument

or mic connected to the AW16G’s input jacks, and assign

the sample to a pad.

Sample banks

Pad 1 Pad 2 Pad 3 Pad 4

1 2 3 4

Mixer section

Pads

Pad

channels

Stereo output

channel

Stereo bus

Quick loop sampler

108

A sample can be played back in one of two ways. “One

shot mode” plays the sample once from start to end.

“Loop mode” plays the sample repeatedly from start to

end.

In addition, you can choose either “Gate mode” which

plays the sample only while you continue holding down

the pad, or “Trigger mode” which plays the sample all

the way to the end when you press the pad once.

Your pad operations can be recorded in an area of mem-

ory called the Pad Tracks. The pad tracks always operates

in synchronization with the recorder. By recording your

pad operations in the pad tracks while you listen to the

song play back, you can use the pad tracks as supple-

mentary audio track.

Note

Be aware that the pad tracks do not record the sample or

audio data itself, but merely the pad on/off data. (Each

such piece of data is called a “pad event.”) The playback

produced by a pad track will change if you switch to

other samples after recording pad events, or if you

change the playback mode.

The AW16G also provides a “Slice function” that divides

a sample into eight to sixteen segments, and adjusts the

playback timing of each segment according to the tempo

of the song.

By using the Slice function you can change only the

tempo of a phrase without affecting its pitch.

For example, a sampled drum pattern can be played

back at the tempo speciﬁed by the song’s tempo map.

(For details on using the Slice function → p. 120)

Tip!

The settings of the Quick Loop Sampler and the sample

data assigned to each pad are saved as part of the song.

Pad = lit Pad = dark Pad = lit

Pad = dark

Pad = lit Pad = dark Pad = lit Pad = dark

● Original sample ● ONE SHOT/GATE ● ONE SHOT/TRIGGER

● Original

sample

● LOOP/GATE ● LOOP/TRIGGER

Start playback Stop Start playback Stop

Start playback Stop

Pad events

Pad track 1

Pad track 2

Pad track 3

Pad track 4

Attack (pad = on) Release (pad = off)

109

Quick loop sampler

Using sample libraries

Sample libraries contain sets of up to sixteen different

samples that can be used by the Quick Loop Sampler.

When the AW16G is shipped from the factory, sets of

samples such as drum loops and sounds effects are

stored on the hard disk as sample libraries. When you

load one of these libraries, samples will be assigned to

each pad/sample bank, and you can use the pads to play

the samples immediately. Here’s how to load a sample

library and try it out.

In the Quick Loop Sampler section, either

repeatedly press the [SAMPLE EDIT] key or

hold down the [SAMPLE EDIT] key and use

the CURSOR [ ]/[ ] keys to access the

LIBRARY page of the SAMPLE screen.

1 List

This area displays a list of the sample libraries saved

on the hard disk.

B NAME/OLD/SIZE buttons

These buttons sort the sample libraries shown in the

list, either alphabetically (NAME), by when they

were saved (OLD), or by their size (SIZE).

C LISTEN button

When you move the cursor to this button and press

the [ENTER] key, the button will be highlighted. If

you now press a pad 1–4, the sample assigned to

sample bank A of the currently selected sample

library will play repeatedly. Playback will stop

when you press the pad once again.

D RECALL button

This button recalls the library that is selected in the

list, and assigns the samples to each pad/sample

bank.

E DELETE button

This button deletes the library selected in the list

from the hard disk.

F STORE button

This button stores a library that you edited.

G PROTECT button

Move the cursor to this button and press the

[ENTER] key to switch the Protect setting on/off for

the library selected in the list. A lock icon will be

displayed to indicate a library that is protected, and

it will not be possible to edit or delete this library.

H NEW button

This button creates a new library on the hard disk.

Move the cursor into the list, and turn the

[DATA/JOG] dial to select the library that you

want to load.

By turning on the LISTEN button and pressing a pad

1–4, you can audition the samples that are assigned

to sample bank A for each pad in that library. For

details on the library contents, refer to “Appendix.”

Move the cursor to the RECALL button and

press the [ENTER] key. A popup window will

open. Move the cursor to the ALL button,

and press the [ENTER] key.

When the library has been loaded, the popup win-

dow will automatically close.

Tip!

When the popup window is open, you can move the cur-

sor to the 1SAMPLE button and press the [ENTER] key to

select and load just a single sample from the library.

Raise the [STEREO] fader to the 0 dB position.

Strike pads 1–4.

You can play the samples that are assigned to sam-

ple bank A of each pad.

Tip!

Of the sample libraries saved on the hard disk when the

AW16G is shipped, most drum pattern libraries that are

set to Loop mode have the Slice function turned on. If

you load this type of library, you only need to press the

pad, and the tempo of the drum pattern will match the

tempo of the song. This lets you use the Quick Loop Sam-

pler similarly to a drum machine.

Note

• If a sample is assigned to a pad, that pad will light while

the sample plays when you press it. However if no sam-

ple is assigned, nothing will play and the pad will not

light. You can either assign a sample to the pad, or

switch the sample bank.

• If the pad lights when you strike a pad but you hear no

sound, access the METER page of the VIEW screen, and

check whether the meter of the corresponding pad

channel (P1–P4) is moving (

→

p. 90).

• If the meter moves when you strike a pad, make sure

that the [STEREO] fader has not been lowered, and that

your monitor system is connected correctly and that its

volume is set appropriately.

• If you hear no sound even after raising the [STEREO]

fader, access the INIT page of the MONITOR screen

and press that pad. This will initialize the pad channel

so that it will produce sound. (

→

p. 91)

7 8 65

43 12

Quick loop sampler

110

To switch the sample bank for each pad,

repeatedly press the [SAMPLE EDIT] key to

access the SETUP page of the SAMPLE screen.

1 One shot/loop mode

An icon indicates whether the sample assigned to

the pad is set to One Shot mode ( ) or Loop mode

().

B Pad number

This indicates the pad number 1–4.

C Bank

This selects the sample bank (A–D) used by each

pad. The name of the sample assigned to that bank

is displayed at the right.

Tip!

If no sample is assigned to the selected bank, the sample

name area will indicate [-NO REC-].

Move the cursor to the bank area for the

desired pad, and turn the [DATA/JOG] dial.

The sample bank will change, and the sample name

will change accordingly.

As desired, use the knobs and keys of the

Selected Channel section to process the

sound of pads 1–4.

EQ, dynamics, and effect send 1/2 levels can be

adjusted for the pad channels in the same way as

for the track channels or input channels. Press a pad

1–4 to select the pad channel that you want to con-

trol, and use the knobs and keys of the Selected

Channel section.

Tip!

•When you press a pad 1–4, the assigned sample will

always sound. If you want to select a pad for operations

without making it sound, hold down the [PAD SEL] key

and press a pad 1–4.

• The playback sounds of pads 1–4 are sent via pad chan-

nels 1–4 to the stereo bus. By using the MIXDOWN

page of the RECORD screen, you can record your pad

performance on the stereo track (

→

p. 89). A recording

on the stereo track can also be moved to an audio track

(

→

p. 128).

Recording/playing a pad performance

Here’s how you can record your pad performance (pad

events) onto the pad tracks.

In the Quick Navigation section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the PAD page of the RECORD

screen.

In the PAD page you can record pad events on the

pad tracks.

1 One Shot/Loop mode

An icon indicates whether the sample assigned to

the pad is set to One Shot mode ( ) or Loop mode

().

B Pad track number

This shows the pad track number 1–4. At the right is

shown the name of the sample for the sample bank

selected for that pad.

C Track status button

This indicates the operating state of the track. If you

move the cursor to this button and press the

[ENTER] key, the following two displays will alter-

nate.

..............................The pad track can be recorded.

..............................The pad track can be played.

Note

Depending on the settings in the PAD page of the TRACK

screen, this may also indicate (muted).

D Pad track view

In this area, the pad events recorded in the pad

track are shown as a bar graph. Locator positions

are shown as icons in the lower part of the screen.

Move the cursor to the track status button,

and press the [ENTER] key several times to

switch the button display to (ready to

record). (You may select more than one pad

track.)

Tip!

The track status button can be switched only when the

recorder is stopped.

Use the track channel faders and the [STE-

REO] fader to set the audio tracks to an

appropriate level for monitoring.

Locate the song to the point at which you

want to begin recording.

31 2

1 2 3 4

111

Quick loop sampler

To begin recording on the pad track, press

the PLAY [ ] key.

The recording will begin running, and pad event

recording will begin.

Play the pads while you listen to the audio

tracks play back.

Pad events will be recorded on the pad tracks. The

pad events that are recorded will appear in the pad

track view in realtime.

Tip!

Pad tracks record only the pad on/off status.

To stop recording, press the STOP [■] key.

The recorder will stop.

To play back the events that were recorded

on the pad tracks, move the cursor to the

track status button and press the [ENTER] key

several times to switch the display to .

Locate to the point from which you want to

start playing back, and press the PLAY [ ]

key.

The pad track(s) will play back in synchronization

with the recorder. If you want to re-do the record-

ing, repeat steps 6–9.

It is also possible to re-record just a speciﬁc region

of a pad track. In this case, the newly recorded pad

events will overwrite the previously-recorded

events. However, you need to be careful, since this

will also affect any overlapping pad events before

or after the re-recorded region.

Tip!

The contents of a recorded pad track can be edited in a

variety of ways using editing commands. For details, refer

to “What you can do using editing commands” (

→

p. 123).

If you want to mute a speciﬁc pad track,

press the Work Navigate section [TRACK] key

repeatedly or hold down the [TRACK] key

and use the CURSOR [ ]/[ ] keys to access

the PAD page of the TRACK screen.

In the PAD page of the TRACK screen you can

switch muting on/off for each pad track.

1 One Shot/Loop mode

An icon indicates whether the sample assigned to

the pad is set to One Shot mode ( ) or Loop mode

().

B Pad track number

This indicates the pad track number 1–4. At the

right is displayed the name of the sample assigned

to the sample bank selected for that pad.

C Track mute button

This button switches muting on/off for each track.

Move the cursor to this button and press the

[ENTER] key to switch between the following two

settings.

..............................The pad track can be played.

..............................The pad track is muted.

Move the cursor to the track mute button for

the track that you want to mute, and press

the [ENTER] key to switch the button to

(muted).

To cancel muting, move the cursor to the track mute

button and press the [ENTER] key once again.

Tip!

If a pad track is muted and the pad is set to LOOP/TRIG-

GER, the pad will play if you simply press the [PLAY] key

to play back the recorder. This means that you can use

this feature as a rhythm machine even without recording

on a pad track.

1 2 3

Quick loop sampler

112

Importing from an audio CD/WAV ﬁle to a

pad

Here’s how you can import CD audio data (CD-DA) or a

WAV ﬁle from a CD-ROM/CD-R into a sample bank for

pads 1–4.

Switch the internal settings of the AW16G to

enable digital recording.

For details on digital recording settings, refer to

page 160.

Insert a CD into the CD-RW drive.

You can load audio data (CD-DA) or WAV ﬁles from

the following types of media.

● Audio data (CD-DA)

•Audio CD

• CD-Extra (only the ﬁrst session of CD-DA)

• Mixed Mode CD (only CD-DA data of the sec-

ond and later tracks)

● WAV ﬁles

• ISO9660 Level 1 format CD-ROM, CD-R, CD-

RW*

• Mixed Mode CD

* The directory name and file name cannot use

characters other than uppercase alphanumeric

characters and the “_” (underscore) character. If

you use the AW16G to export WAV files onto CD-

R/RW media, the data will be in ISO9660 Level 1

format, but please be aware of this restriction if

you use a computer to create WAV files.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use the

CURSOR [ ]/[ ] keys to access the CD

IMPORT page of the SAMPLE screen.

Make sure that the cursor is located at the

READ CD INFO button, and press the

[ENTER] key.

The display will indicate “Read CD info...”, and the

AW16G will begin reading the CD that is inserted

in the CD-RW drive.

Depending on the source from which data is read,

the screen will change as follows.

● When importing from an audio CD/CD-Extra

1 From CD TRACK

Speciﬁes the number (01–99) of the audio track that

will be imported from the source CD.

B From Start

Speciﬁes the starting location of the data that will

be imported, in units of minutes/seconds/frames (1/

75th of a second).

C From End

Speciﬁes the ending location of the data that will be

imported, in units of minutes/seconds/frames (1/

75th of a second).

Tip!

The “frames” here are the smallest unit of time used by a

CD track. Do not confuse them with the frames used in

MTC or SMPTE.

D LISTEN button

If you move the cursor to this button and press the

[ENTER] key, the speciﬁed region of the currently

selected CD track will be played back repeatedly.

E To PAD

Selects the pad number (1–4) to which the audio

material will be imported.

F To BANK

Selects the sample bank (A–D) to which the audio

material will be imported.

G To NAME

Indicates the name of the sample that is currently

assigned to the import-destination sample bank. If

nothing is assigned, this will indicate [-NO REC-].

This ﬁeld is only for display, and cannot be edited.

765 4

31 2

113

Quick loop sampler

● When importing from a WAV ﬁle

1 From WAV File

Speciﬁes the WAV ﬁle that will be imported. If the

media contains folders (directories), move to the

folder that contains the WAV ﬁle you want to

import, and then specify the desired WAV ﬁle.

The following icons will be displayed.

............................. Indicates that a WAV ﬁle is

selected.

............................. Indicates that a folder in the same

level is selected.

............................. Indicates that the folder for the

next higher level is selected.

B Mono/Stereo

Indicates whether the WAV ﬁle selected for import-

ing is monaural (M) or stereo (S). This ﬁeld is only

for display, and cannot be edited.

C Size

Indicates the size (length in msec units) of the WAV

ﬁle selected for importing. This ﬁeld is only for dis-

play, and cannot be edited.

D LISTEN/ENTER/UP buttons

The name and function of the button displayed here

will depend on the item that you select for the From

WAV File parameter.

● If WAV ﬁle ( ) is selected

The LISTEN button will be displayed, allowing you to

hear the WAV ﬁle repeatedly.

● If a folder in the same level is selected

The ENTER button will be displayed, allowing you to

move into that folder.

● If the next higher folder ( ) is selected

The UP button will be displayed, allowing you to

move to the folder above.

E To PAD

F To BANK

G To NAME

These have the same function as when importing

from an audio CD/CD-Extra.

Tip!

• If a mixed mode format CD-ROM is inserted in the CD-

RW drive, a popup window will appear, allowing you to

select AUDIO (CD-DA) or WAVE (WAV ﬁles) for

importing. Move the cursor to the button for the type of

data that you want to import, and press the [ENTER]

key.

• The only type of WAV ﬁles that can be imported are 16

bit/44.1 kHz monaural or stereo ﬁles.

• If you import a monaural WAV ﬁle, the same sample

will be assigned to the L and R channels.

•When you move the cursor to the LISTEN button and

press the [ENTER] key, there will be a slight interval of

time before you hear the sound, since the data is being

read from CD.

If you are importing a WAV ﬁle, move the

cursor to the From WAVE ﬁle ﬁeld, and turn

the [DATA/JOG] dial to select the WAV ﬁle

that you want to import.

To move to a lower-level folder, display the ( )

icon in this area, move the cursor to the ENTER but-

ton in the screen, and press the [ENTER] key.

To move to the folder above, display the ( ) in this

area, move the cursor to the UP button in the

screen, and press the [ENTER] key.

If you are importing from an audio CD or

CD-Extra, use the From Start/From End ﬁelds

to specify the region that you want to

import.

Use the To PAD and To BANK ﬁelds to specify

the pad/sample bank into which the data will

be imported.

Note

If the import destination already contains data, the exist-

ing sample will be overwritten by the newly imported

sample. Be careful that you do not accidentally erase a

sample that you want to keep.

When you have ﬁnished specifying the data

to be imported, move the cursor to the EXEC

button and press the [ENTER] key.

A popup window will appear, asking you to conﬁrm

the operation.

To execute the import, move the cursor to

the OK button and press the [ENTER] key.

Importing will begin. If you decide to cancel the

import, move the cursor to the CANCEL button and

press the [ENTER] key.

Tip!

•When you import from CD-DA, a name of “PAD_x_y”

(x= pad number, y= sample bank) will automatically be

assigned to the sample. You are free to change this

name later (

→

p. 117).

•When you import a WAV ﬁle, the ﬁrst eight characters

(not including the extension) of that ﬁlename will be

assigned as the name of the sample.

• The imported sample will be saved together with the

current song.

Note

It is not possible to import samples while the AW16G is

running.

765 4

Quick loop sampler

114

Importing from an audio track/stereo track

to a pad

Here’s how a region of an already-recorded track of the

current song can be imported into a sample bank for

pads 1–4.

Play back the song, and ﬁnd the track and

region that you want to import.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use the

CURSOR [ ]/[ ] keys to access the TR

IMPORT page of the SAMPLE screen.

This page contains the following items.

1 From TRACK

Speciﬁes the track from which the data will be

imported.

B From V.TR

Speciﬁes the virtual track from which the data will

be imported.

C From Start

Speciﬁes the beginning of the region that will be

imported.

D From End

Speciﬁes the end of the region that will be

imported.

E To PAD

Selects the pad (1–4) to which the data will be

imported.

F To BANK

Selects the sample bank (A–D) to which the data

will be imported.

G NAME

Indicates the name of the sample that is currently

assigned to the sample bank you speciﬁed as the

import destination. If no sample is currently

assigned, this will indicate [-NO REC-]. This item is

for display only, and cannot be edited.

Move the cursor to the From TRACK ﬁeld,

and turn the [DATA/JOG] dial to select one of

the following as the import source track.

1–16........................... Import monaural audio from a

track 1–16.

1/2–15/16.................. Import stereo audio from tracks 1/

2–15/16.

STEREO ......................Import stereo audio from the stereo

track.

Tip!

If you import monaural audio from a track 1–16, the

same sample will be assigned to the left and right chan-

nels.

Move the cursor to the V.TR ﬁeld, and turn

the [DATA/JOG] dial to select a virtual track

1–8 as the import destination.

Move the cursor to the From Start and From

End ﬁelds, and turn the [DATA/JOG] dial to

specify the start and end of the region that

will be imported.

The units by which you specify the location will

depend on the current counter display method. For

details on the counter display, refer to page 139.

Move the cursor to the To PAD and To BANK

ﬁelds, and turn the [DATA/JOG] dial to spec-

ify the pad number and sample bank into

which the data will be imported.

When you have ﬁnished making the settings,

move the cursor to the EXEC button and

press the [ENTER] key.

A popup window will ask you to conﬁrm the opera-

tion.

To execute the import, move the cursor to

the OK button and press the [ENTER] key.

The data will begin being read from the track. If you

decide to cancel the import operation, move the

cursor to the CANCEL button and press the [ENTER]

key.

Tip!

• The imported sample will be assigned the same name as

the track from which the data was imported. You are

free to edit this name later (

→

p. 117).

• The imported sample is saved together with the current

song.

Note

•A total of up to 44 seconds (stereo) of samples can be

imported into the Quick Loop Sampler. If you specify a

region that exceeds this amount, an error message will

be displayed, and the import operation cannot be exe-

cuted.

• If you import once again into the same pad and sample

bank, that sample will be overwritten by the newly

imported data. If you want to keep the previously-

imported sample, you must import the new data into a

different pad or sample bank.

• It is not possible to import samples while the AW16G is

running.

765

41 32

115

Quick loop sampler

Sampling an external input signal

You can directly sample (record) an input signal from the

MIC/LINE INPUT jacks and assign it to a pad. There are

two ways to do this; “manual record” in which you start

and stop recording manually, and “auto record” in which

recording will begin automatically when the signal

reaches a speciﬁed level.

■ Prepare for sampling

Connect the instrument/mic that you want

to sample to a MIC/LINE INPUT jack.

In the Quick Navigate section, repeatedly

press the [RECORD] key or hold down the

[RECORD] key and use the CURSOR [ ]/[ ]

keys to access the SAMPLE page of the

RECORD screen.

This page contains the following items.

1 INPUT

Indicates the connection status of input channels 1–

B SAFE button

When you move the cursor to this button and press

the [ENTER] key, all connections will be cancelled.

C P1–P4

Indicates the connection status of pads 1–4.

D PAD

Indicates the record-destination pad (1–4).

E BANK

Indicates the record-destination sample bank (A–D).

F Sample name

Indicates the sample that is currently assigned to the

sample bank selected in the PAD/BANK ﬁelds.

G MANU REC/AUTO REC button

This buttons selects either MANU REC (manual

record) or AUTO REC (auto record) as the recording

method.

H TRIG knob

Adjusts the trigger level when using auto record.

I START/STANDBY/STOP button

This button starts or stops sampling.

J Meter

Indicates the input level of the signal that will be

recorded.

Press the [INPUT SEL] key of the input chan-

nel to which you connected the instrument

or mic, and then press the pad that you want

to specify as the record-destination.

The input channel will be connected directly to the

pad you specify. The PAD and NAME ﬁelds will

change accordingly.

Normally, one input channel will be connected to

channels L and R of the pad, as shown in the above

diagram. However if the input channels are paired,

the odd-numbered channel will be connected to

channel L of the pad, and the even-numbered chan-

nel will be connected to channel R of the pad.

Note

When you connect an input channel and a pad, the

counter display will change. In this state it will no longer

be possible to sound the pad, nor to operate the keys of

the transport section or the locate section.

When you move the cursor to the SAFE button and press

the [ENTER] key to cancel the connection, operation will

return to the normal state.

Adjust the input level of the instrument or

mic.

For details on how to adjust the level, refer to page

34.

As necessary, load an input library to create

the desired sound.

For details on using an input library to modify the

sound, refer to page 50.

Note

The sample bank will be the one that is selected in the

SETUP page of the SAMPLE screen. If you record into a

sample bank to which samples have already been

assigned, the previous samples will be overwritten by the

new samples.

The procedure from this point will depend on

whether you are using Manual Record or Auto

Record.

3 9 J82 7

64 51

Quick loop sampler

116

■ Manual record

Make sure that the MANU REC/AUTO REC

button indicates MANU REC.

If the button indicates AUTO REC, move the cursor

to the button and press the [ENTER] key. When

MANU REC is selected, the START/STANDBY but-

ton will function as the START button to start or stop

sampling.

To begin sampling, move the cursor to the

START button in the screen, and press the

[ENTER] key. Then play your instrument.

During sampling, the button will be displayed as

STOP, and will function as the sampling stop but-

ton.

To stop sampling, move the cursor to the

STOP button in the screen, and press the

[ENTER] key.

Sampling will also end automatically when the

available memory is used up.

■ Auto record

Move the cursor to the MANU REC/AUTO

REC button and press the [ENTER] key to

switch the button to AUTO REC.

The START/STANDBY button will function as the

STANDBY button to standby or stop sampling.

Move the cursor to the TRIG button and turn

the [DATA/JOG] dial to adjust the level at

which sampling will begin. The setting is

indicated by the symbol in the meter.

Sampling will begin automatically when the input

signal exceeds the level you specify.

Move the cursor to the STANDBY button and

press the [ENTER] key.

The STANDBY button display will change to START,

and you will be in record-standby mode.

Tip!

If you move the cursor to the START button and press the

[ENTER] key, sampling will begin immediately even if the

input signal has not reached the level speciﬁed by the

TRIG knob.

Play your instrument.

Sampling will begin when the input signal reaches

the level you speciﬁed in step 2.

During sampling, the STANDBY button will be dis-

played as STOP, and will function as the sampling

stop button.

To stop sampling, move the cursor to the

STOP button in the screen, and press the

[ENTER] key.

Sampling will also end automatically when the

available memory is used up.

Tip!

• Immediately after sampling ends, a name of “PAD_x_y”

(x= pad number/y= sample bank) will be automatically

assigned to the sample. You are free to edit this name

later (

→

p. 117).

•You can adjust the region of a sample after recording it

(

→

p. 118). It is a good idea to leave some extra time

before and after the sound you actually want, and

adjust the playback region afterward.

117

Quick loop sampler

Editing the sample name

Here’s how you can edit the sample name that is

assigned when you import from an audio CD or WAV

ﬁle, or when you sample an external signal.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use CUR-

SOR [ ]/[ ] keys to access the SETUP page

of the SAMPLE screen.

1 Bank

Selects the sample bank that will be used for each

pad.

B Sample name

Indicates the name of the sample that is assigned to

the currently selected sample bank.

C NAME button

Opens the TITLE EDIT popup window, where you

can edit the name of the sample.

Move the cursor to the Bank ﬁeld, and turn

the [DATA/JOG] dial to select the sample

bank whose name you want to edit.

The sample name is displayed at the right.

Move the cursor to the NAME button and

press the [ENTER] key.

The TITLE EDIT popup window will appear.

You may use only capital letters, numerals, and the

underscore “_” character.

When you have ﬁnished editing the name,

move the cursor to the OK button and press

the [ENTER] key.

The popup window will close, and the new name

will be applied.

1 2 3

Quick loop sampler

118

Trimming the playback region

Here’s how you can view the waveform of the sample

assigned to a sample bank, and adjust the playback start

and end points.

In the Quick Sampler Section, repeatedly

press the [SAMPLE EDIT] key or hold down

the [SAMPLE EDIT] key and use the CURSOR

[ ]/[ ] keys to access the SETUP page of

the SAMPLE screen.

1 Bank

Selects the sample bank used for each pad.

B TRIM button

Accesses a popup window that displays the wave-

form of the sample.

Move the cursor to the bank ﬁeld for the pad

whose playback region you want to adjust,

and select the sample bank.

Move the cursor to the TRIM button for the

pad whose playback region you want to

adjust, and press the [ENTER] key.

The WAVE DISPLAY popup window will appear. In

this popup window you can view the waveform of

the selected sample, and specify the start point

(playback start location) and end point (playback

end location).

1 PAD

Indicates the currently selected pad and sample

bank. Use the [DATA/JOG] dial to specify whether

the L or the R channel will be displayed.

B Start point

Speciﬁes the start point of the sample.

C End point

Speciﬁes the end point of the sample.

Tip!

In the WAVE DISPLAY popup window, the start point and

end point are indicated by vertical dotted lines.

D Waveform display

Displays the waveform of the selected sample.

E TIME

Speciﬁes the range of time that will be displayed for

the waveform. If you select 1SEC, the distance from

the left edge of the screen to the right edge will cor-

respond to one second. If you select SAMPLE, the

display will be at maximum magniﬁcation, and

each pixel in the horizontal direction will corre-

spond to one sample (1/44,100 second).

F AMP

Speciﬁes the range of levels that will be displayed

for the waveform. If you select 0 dB, the top and

bottom edges of the screen will be the maximum

level.

G ← button

Displays the area near the Start point of the wave-

form.

H → button

Displays the area near the End point of the wave-

form.

I EXIT button

Applies the settings and closes the popup window.

Move the cursor to the Start point, and turn

the [DATA/JOG] dial to adjust the playback

start point of the sample.

If you expand or shrink the time axis of the wave-

form display, the movement that occurs when you

turn the [DATA/JOG] dial will change accordingly.

It is a good idea to start with a lower magniﬁcation,

set the location approximately, and then zoom in to

a higher magniﬁcation and make detailed adjust-

ments.

In the same way, move the cursor to the end

point and adjust the playback end point of

the sample.

Tip!

The unused region before the Start point and after the

End point can be deleted later if you wish. For details,

refer to “Deleting an unwanted sample” (

→

p. 122).

When you have ﬁnished making settings,

move the cursor to the EXIT button and press

the [ENTER] key.

The popup window will close.

1 2

94 87

1 2 3 5 6

119

Quick loop sampler

Switching the playback mode for each pad

Here’s how you can switch the playback mode for each

pad between One Shot or Loop modes, and between

Trigger and Gate modes.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use the

CURSOR [ ]/[ ] keys to access the SETUP

page of the SAMPLE screen.

Repeatedly press the CURSOR [ ] key to

access the second page of the SETUP page.

Since the SETUP page contains numerous settings,

it is divided into two pages. (To return to the ﬁrst

page, press the CURSOR [ ] key repeatedly.) The

second page contains the following items.

1 One Shot/Loop mode

Selects one of the following two modes to specify

how the sample assigned to the pad will play back.

ONE SHOT ................ The playback region of the sample

will be played only once.

LOOP......................... The playback region will be played

repeatedly.

Note

If you select LOOP, the playback will automatically fol-

low the time signature and tempo that are speciﬁed in

the TEMPO MAP page of the SONG screen. In this case,

the way in which the sample plays back will depend on

the SLICE setting.

B Trigger/Gate

Selects one of the following two types of operation

for when the pad is pressed.

GATE.......................... The sample will play only while

you hold down the pad.

TRIGGER ................... The sample will play to the end

when you press the pad once.

C Normal/Reverse

Select one of the following two types of playback.

NORMAL ................... The sample will play forward (start

point → end point).

REVERSE .................... The sample will play in reverse

(end point → start point).

Move the cursor to the item that you want to

set, and turn the [DATA/JOG] dial to select

the setting.

Note

Playback mode settings are made for each pad. The play-

back mode of a pad will not change when you switch the

sample bank of that pad.

1 2 3

Quick loop sampler

120

Using the Slice function

Slice is a function that divides a sample (whose playback

mode is set to Loop) into eight to sixteen segments, and

adjusts the timing of each segment so that it can be

played at a different tempo without affecting the pitch.

Here’s how you can use the Slice function to play a sam-

pled phrase at the tempo of the current song.

Tip!

The Slice function always handles the playback region of

the sample as one measure. Before using the Slice func-

tion, you must trim the playback region of the sample so

that it is one measure long.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use the

CURSOR [ ]/[ ] keys to access the SETUP

page of the SAMPLE screen.

1 SLICE

Turns the Slice function on/off. If this is on, you can

specify the number of segments into which the sam-

ple will be divided. If the playback mode is not set

to Loop mode, this will be displayed as “–” and

cannot be changed.

B BPM

Indicates the tempo calculated by considering the

playback region of the sample as one measure. This

ﬁeld is for display only, and cannot be edited.

C MONITOR TEMPO

Selects the basic tempo that will be used for playing

the phrase sample when the recorder is stopped.

This item only affects a sample whose playback

mode is set to LOOP. While the recorder is running,

the tempo of the song will be used.

Move the cursor to the bank ﬁeld of the pad

for which you want to use the Slice function,

and select the sample bank.

Move the cursor to the SLICE ﬁeld of the pad

for which you want to use the Slice function,

and select one of the following as the slice

setting.

OFF ............................The Slice function will not be used.

8 .................................The playback region of the sample

will be divided into eight equal

segments.

12 ...............................The playback region of the sample

will be divided into twelve equal

segments.

16 ...............................The playback region of the sample

will be divided into sixteen equal

segments.

Tip!

• Normally when you use the Slice function, you will

select the number of segments based on the shortest

note value in the original phrase. For example you

would use a setting of 16 if the shortest note value in

the original phrase is a sixteenth note, a setting of 12

for eighth note triplets, or a setting of 8 for eighth

notes.

• If the Slice function is OFF, the waveform will play from

the beginning of the measure without being divided. If

the waveform is longer than one measure, it may not

play completely.

Move the cursor to the MONITOR TEMPO

ﬁeld, and turn the [DATA/JOG] dial to select

SONG.

The MONITOR TEMPO ﬁeld selects one of the fol-

lowing as the basic tempo at which the phrase will

be played if you play the sample while the recorder

is stopped.

ORIGINAL..................The original tempo of the sample,

shown in the BPM ﬁeld

SONG.........................The tempo speciﬁed by the tempo

map

30–250 .......................The numerically speciﬁed tempo

If you select SONG, the playback timing of each

segment will be adjusted according to the tempo

that is speciﬁed by the tempo map for the current

location.

1 2

121

Quick loop sampler

The following diagram shows how, for a sample

with an original tempo of 100 BPM, the playback

timing of each segment will change at a song tempo

of 120 BPM or 80 BPM.

Strike the pad to hear the result.

If the playback of the sample is broken in an unnat-

ural way, go back to step 3 and try changing the

number of segments into which the sample is

divided. However, this may not improve the result if

there is too great a difference between the tempo of

the sample and the tempo of the current song.

Repeatedly press the [TRACK] key or hold

down the [TRACK] key and use the CURSOR

[ ]/[ ] keys to access the VIEW page of the

TRACK screen.

Play back the song, and press the pad for

which you turned the Slice function on.

The phrase of the sample assigned to the pad will

play in synchronization with the tempo of the cur-

rent song. If you have input data in the tempo map

to change the tempo during the song, the sample

phrase will follow the change. (For details on tempo

map settings → p. 142.)

● When song tempo = 120

● When song tempo = 80

● Original sample (tempo = 100)

segment

Quick loop sampler

122

Deleting an unwanted sample

Here’s how you can delete unused data (before the start

point and after the end point) from a speciﬁc sample, or

completely erase an individual sample.

In the Quick Loop Sampler section, repeat-

edly press the [SAMPLE EDIT] key or hold

down the [SAMPLE EDIT] key and use the

CURSOR [ ]/[ ] keys to access the MEM-

ORY page of the SAMPLE screen.

In this page you can delete the unused portion of a

sample, or erase an unwanted sample.

1 One Shot/Loop mode

This icon indicates whether One Shot mode ( ) or

Loop Mode ( ) is selected for the sample assigned

to the pad.

B Pad number

Indicates the pad number 1–4.

C Size

This area graphically indicates the memory size of

each sample. The horizontal line indicates the

amount of memory used by each pad.

D PAD

E BANK

These select the pad (1–4) and sample bank (A–D)

to which the operation will apply.

F Sample name

Indicates the name of the sample for the pad and

sample selected in

4 and 5.

G ERASE button

Erases the speciﬁed sample.

H EXTRACT button

Discards the unused portions (before the start point

and after the end point) of the speciﬁed sample.

Tip!

For details on how to adjust the start point and end point

of a sample, refer to page 118.

Move the cursor to the PAD/BANK ﬁelds, and

turn the [DATA/JOG] dial to select the pad

and sample bank.

The procedure after this point will depend on the func-

tion that you want to execute.

■ To erase the entire sample

To erase the entire selected sample, move the

cursor to the ERASE button and press the

[ENTER] key.

A popup window will ask you to conﬁrm that you

want to erase the sample.

To execute the erasure, move the cursor to

the OK button and press the [ENTER] key.

If you decide to cancel, move the cursor to the

CANCEL button and press the [ENTER] key.

■ To delete the unused portions of the

selected sample

Move the cursor to the EXTRACT button and

press the [ENTER] key.

A popup window will ask you to conﬁrm that you

want to delete the data.

To execute the deletion, move the cursor to

the OK button and press the [ENTER] key.

If you decide to cancel, move the cursor to the

CANCEL button and press the [ENTER] key.

7 8

612 3 4 5

123

Chapter 12

Track editing

This chapter explains how you can edit the audio data recorded in an

audio track, and how to edit the pad events recorded in a pad track.

What you can do using editing commands

The AW16G provides various editing commands for edit-

ing the recorded audio tracks and pad tracks. Editing

commands are functions that let you specify a track or

region, and delete or move the data of that track or

region. The AW16G provides the following editing com-

mands.

● ERASE

Erases the data of the speciﬁed region.

● DELETE

Deletes the data of the speciﬁed region. Any data that

follows the deleted region will be moved forward by

the corresponding distance.

● INSERT

Inserts blank space into the speciﬁed region.

● COPY

Copies the data from the speciﬁed region to the

desired location of the desired track.

● MOVE

Moves the data from the speciﬁed region to the

desired location of the desired track. The move-

source data will be erased.

● EXCHANGE

Exchanges data between the speciﬁed tracks.

● TIME COMP/EXP (Time Compression/Expansion)

Adjusts the length of the speciﬁed region of an audio

track without affecting its pitch.

● PITCH CHANGE

Adjusts the pitch of the speciﬁed region of an audio

track without affecting its length.

● EXPORT

Writes the speciﬁed region of an audio track (or a

sample assigned to a pad) to a WAV ﬁle.

Tip!

The EXCHANGE, TIME COMP/EXP, PITCH CHANGE,

and EXPORT commands can only be used on audio

tracks. The remaining commands can be used on either

audio tracks or pad tracks.

Here are some ways in which you can use these editing

commands.

1 Erase unwanted regions

You can use the ERASE command to erase just a

speciﬁc region of a speciﬁc track. For example, this

provides a convenient way to erase a few wrong

notes from a performance, or to eliminate noise that

occurred while an instrument was not playing.

B Change the structure of the tracks

You can use the EXCHANGE command to

exchange an entire track with another track. By

using this command you can bring tracks of widely

separated track numbers closer to each other for

easier operation during mixdown.

You can use the COPY or MOVE commands to

copy/move the speciﬁed region of a track to a differ-

ent track. This is convenient when you have

recorded a solo part among two or more virtual

tracks, and want to assemble the best parts into a

single track.

C Change the structure of the song

You can use the DELETE or COPY commands to

delete/copy entire tracks, changing the structure of

the song itself. Even after all parts of the song have

been recorded, you can use this method to adjust

the length of the song, for example by shortening

the number of measures or increasing the number

of choruses.

D Create special effects

You can also use editing commands to create spe-

cial effects. For example, you can copy a guitar or

vocal solo part to another track and use the PITCH

CHANGE command to slightly detune one of these

tracks, creating a chorus effect without using the

internal effect processor. By applying the PITCH

CHANGE command to a drum track to lower the

pitch, you can create a unique lo-ﬁ effect.

Track editing

124

Basic procedure for track editing

Here is the basic procedure for using a track editing

command. The procedure is essentially the same for all

track editing commands.

■ Select the editing command

In the Work Navigate section, repeatedly

press the [EDIT] key.

The EDIT screen will appear. This screen displays

the following information.

1 Editing command

Indicates the currently selected editing command.

B Locator/marker

Indicates the approximate location of the currently

set locate points and markers.

If the current track is selected as the virtual track to

be edited, the approximate range(s) of recorded

data will also be displayed.

C Parameters

Sets various parameters (track/virtual track number,

editing region, etc.) required in order to execute the

command. The type of parameters and the ranges of

the settings will depend on the command that is

selected.

D EXEC button

Move the cursor to this button and press the

[ENTER] key to execute the editing command.

Repeatedly press the [EDIT] key or hold down

the [EDIT] key and use the CURSOR [ ]/[ ]

keys to select the desired editing command.

The EDIT screen is divided into pages for each edit-

ing command. For example, a screen like the one

shown below will appear if you choose the ERASE

command.

■ Select the track(s) to edit

After you choose an editing command, the next step is to

specify the track(s) that will be edited.

To select the track for editing, move the cur-

sor to the TR (Track) ﬁeld in the lower left of

the EDIT screen, and turn the [DATA/JOG]

dial.

For any command, the TR (Track) ﬁeld will appear

in the lower left of the screen, allowing you to

select the track(s).

In the TR ﬁeld you can select the following types of

data.

CLIP............................Sound clip

1–16 ...........................An audio track

1/2–15/16 ..................A pair of adjacent odd-numbered/

even-numbered audio tracks

STEREO ......................The stereo track

PAD ............................A pad track

ALL .............................Audio tracks 1–16 and pad tracks

1–4

SMPL ..........................All samples of the quick loop sam-

pler

Note

The data that can actually be selected will depend on the

command.

Select the virtual track or pad that you want

to edit.

If you selected an audio track (1–16,1/2–15/16,

STEREO) in step 3, the V (V.TRACK) ﬁeld will

appear at the right, allowing you to select the virtual

track number. Move the cursor to this ﬁeld and

select a virtual track number 1–8.

If you selected PAD in step 3, a ﬁeld allowing you

to select pad number will appear at the right. Move

the cursor to this ﬁeld and select a number 1–4.

Note

For some commands, you will need to specify both

source and destination tracks.

4 3

1 2

Track number

Virtual track number

Pad number

125

Track editing

■ Specify the editing region

For most commands, you will need to set the Start (the

beginning of the edited region) and End (the end of the

edited region) parameters to specify the region that will

be affected by the command.

To specify the beginning of the region to be

edited, move the cursor to the desired digit

of the Start ﬁeld, and turn the [DATA/JOG]

dial.

The Start/End parameters are displayed at the right

of the TR ﬁeld.

You can set the Start/End parameters in terms of the

counter display format (the value at the left) or in

units of measures/beats (the value at the right).

Move the cursor to the digit that you want to

change, and turn the [DATA/JOG] dial to set the

value.

To specify the end of the region to be edited,

move the cursor to the desired digit of the

End ﬁeld, and turn the [DATA/JOG] dial.

Tip!

If you move the cursor to the Start or End parameter and

press the [ENTER] key, the current counter location will

be input. Alternatively, you can recall a locate point or

marker to move to that location in the song, and then

press the [ENTER] key to input that location as the value

of the Start or End parameter.

Note

For some commands, you will also need to specify a loca-

tion in the editing-destination track. In the same way as

described above, move the cursor to the counter display

format ﬁeld or the measure/beat ﬁeld, and specify the

location.

■ Execute the command

When you have ﬁnished setting parameters, execute the

command.

Move the cursor to the EXEC button, and

press the [ENTER] key.

A popup window will ask you to conﬁrm the opera-

tion.

Move the cursor to the OK button to execute

the command, or move the cursor to the

CANCEL button to cancel without executing.

Then press the [ENTER] key.

Tip!

Even after you press the [ENTER] key to execute the com-

mand, you can press the [UNDO/REDO] key to return to

the state prior to executing the command. You can use

this function to compare the original data with the results

produced by executing the command.

Note

If as a result of executing a command, a track no longer

contains any recorded data, the name of that track will

change to “-NO REC-”.

Start parameter

(beginning of the region to be edited)

End parameter

(end of the region to be edited)

Track editing

126

List of editing commands

This section lists all the commands that are provided in

the EDIT screen, and explains their parameters.

ERASE

Erases the data in the speciﬁed region (between Start and

End) of the speciﬁed track(s).

● For an audio track

● For a pad track (loop)

● For a pad track (one shot)

Note

If you select the pad track of a pad that is set to one-shot

mode, all pad events whose attack falls within the Start/

End region will be erased.

■ Parameter list

41 23

ERASE

Start End

1 2 3 4 5 6 7 8

ERASE

Start End

ERASE

Start End

Parameter Range Explanation

1 TRACK

1–16 A single audio track

7/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

PADA single pad track

ALL Tracks 1–16 + Pad tracks 1–4

2 V.TR

*1. 2 V.TR can be selected only if TRACK=1–16, 1/2–15/16,

or STEREO.

1–8 Virtual track number

3 PAD

*2. 3 PAD can be selected only if TRACK=PAD.

1–4 Pad number

4 Start

Specify a

point

Beginning of the edited

region

5 End

Specify a

point

End of the edited region

127

Track editing

DELETE

Deletes the data from the speciﬁed region of the speci-

ﬁed track(s).

This command is similar to ERASE, but differs in that the

data that follows the speciﬁed region will move forward

to ﬁll the gap.

● For an audio track

● For a pad track (loop)

● For a pad track (one shot)

Note

If you select the pad track of a pad that is set to one-shot

mode, all pad events whose attack falls within the Start/

End region will be erased.

■ Parameter list

The parameters are the same as for the ERASE command.

INSERT

Inserts blank space into the speciﬁed region. Data fol-

lowing the location of the Start parameter will be moved

backward to make room.

● For an audio track

● For a pad track (loop)

● For a pad track (one shot)

■ Parameter list

The parameters are the same as for the ERASE command.

However instead of

5 End, use 5 Size to specify the

region that will be inserted.

41 23

DELETE

Start End

1 2 3 4 5 6 7 8

1 2 3 7 8

DELETE

EndStart

DELETE

Start End

41 23

INSERT

Start

Size

1 2 3 4 5

1 2 3 4 5 6 4 5

INSERT

Start

Size

INSERT

Start

Size

Track editing

128

COPY

Copies the speciﬁed region of data to the speciﬁed loca-

tion of the speciﬁed track.

● For an audio track

● For a pad track (loop)

If you set

From TRACK to other than ALL (INS), the

copy-destination track will be overwritten, and the data

that follows the copied region will not be moved back-

ward.

If you set

From TRACK to ALL (INS), the copy-destina-

tion track will be moved backward by the size of the cop-

ied region. Note that this may cause the bar lines

speciﬁed by the tempo map to change their location rela-

tive to the audio data.

● For a pad track (one shot)

■ Parameter list

61 23

8 9J K L

COPY

Start

To Start

From

Track

From

Track

End

1 2 3 4 5 6 7 8

A B C D E F G H

1 2 3 4 5 6 7 8

A B 4 5 6 F G H

COPY

From Start

To Start

From

PAD

From

PAD

From End

Parameter Range Explanation

From

TRACK

CLIP Content recorded in a sound

clip (the region speciﬁed by

CLIP)

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

PADA single pad track

ALL (OVER) Tracks 1–16 + Pad tracks 1–4

(overwrite onto the copy-des-

tination)

ALL (INS) Tracks 1–16 + Pad tracks 1–4

(insert into the copy-destina-

tion)

2 From

V.TR

1–8 Copy-source virtual track

number

From PAD

1–4 Copy-source pad number

From Start

Specify a

point

Copy-source starting location

From End

Specify a

point

Copy-source ending location

Start Mea-

sure Lock

End Mea-

sure Lock

On/off (indi-

cated by

“lock” icon)

Switch the measure lock func-

tion for From Start/From End

To TRACK

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

PADA single pad track

9 To V.TR

1–8 Copy-destination virtual track

number

J To PAD

1–4 Copy-destination pad number

K To Start

Specify a

point

Copy-destination starting

location

L To Times 1–99 Number of copies

M GRID

ON/OFF

(indicated by

highlighted

GRID text

when on)

Switch the grid function

COPY

From Start

To Start

From

PAD

From

PAD

From End

129

Track editing

MOVE

Moves the speciﬁed region of data to the speciﬁed loca-

tion of the speciﬁed track. This is similar to COPY, but

differs in that the move-source data will be deleted.

● For an audio track

● For a pad track (loop)

● For a pad track (one shot)

■ Parameter list

The parameters are the same as for the COPY command.

However, you cannot select CLIP for

1 From TRACK.

Also, there is no

L To Times setting.

*1. 2 From V.TR and 9 To V.TR can be selected only if

From TRACK=1–16, 1/2–15/16, or STEREO.

*2. 3 From PAD and J To PAD can be selected only if

TRACK=PAD.

*3. Measure lock function (6 Start Measure Lock, 7 End

Measure Lock)

“Measure lock” is a function that matches the beginning

of the measure or beat included in the copy-source

region with the desired location of the copy-destination.

To use the measure lock func-

tion, move the cursor to the

measure display field of From

Start or From End, specify the

measure/beat location that

will be the reference point for the matching, and press

the [ENTER] key. A “lock” icon will appear beside the

value that you specified, and the measure lock function

will be turned on for From Start or From End. (This can

be turned on for either Start or End, not both.)

While the measure lock function is on, the value of that

measure display format setting will be fixed, and cannot

be modified. In this state if you use the counter display

format field to specify the From Start and From End loca-

tions, and execute the copy, the location you specified in

the measure display format field will be aligned with the

copy-destination To Start setting.

● When measure lock = on

*4. The possible choices for 8 To TRACK (copy-destination

track) will depend on your selection for 1 From TRACK

(copy-source track).

If 1 From TRACK is a single audio track 1–16, you will be

able to select only a single audio track 1–16.

If 1 From TRACK is CLIP, STEREO, 1/2–15/16 (a pair of

adjacent audio tracks), you will be able to select only STE-

REO or 1/2–15/16 (a pair of adjacent audio tracks).

If 1 From TRACK is PAD, you will be able to select only

PAD.

If 1 From TRACK is ALL (OVER) or ALL (INS), you cannot

select TO TRACK.

*5. Grid function (M GRID)

When this function is on, the To Start location cannot be

specified in counter-display format; it can be specified

only in measure/beat units.

By using the Grid function in conjunction with the Mea-

sure Lock function, you can easily copy measure/beat-

length segments of data whose divisions do not fall pre-

cisely on the measure or beat.

A 4 5 6 E F G H

COPY

Start

To Start

From

Track

From

Track

End

Measure

1 2 3 4 5 6 7 8

A B C D E F G H

To Start

61 23

8 9J K

MOVE

Start

To Start

From

Track

From

Track

End

1 2 3 4 5 6 7 8

A B C D E F G H

1 2 3 4 5 6 7 8

A B 4 5 6 F G H

MOVE

From Start

To Start

From

PAD

From

PAD

From End

MOVE

From Start

To Start

From

PAD

From

PAD

From End

Track editing

130

EXCHANGE

Exchanges data between the speciﬁed tracks.

● For an audio track

■ Parameter list

Note

The track names will not be exchanged.

TIME COMP/EXP (Time Com-

pression/Expansion)

Adjusts the length of the speciﬁed region of an audio

track, without changing the pitch.

● If you set Ratio = 50%

● If you set Ratio = 200%

■ Parameter list

Note

•To End and To Ratio are linked, so that editing one ﬁeld

will cause the other ﬁeld to change.

•You cannot set To End or To Ratio to a value that would

cause the ratio to exceed 50–200 percent.

•From Start value and From End value must be at least

45 msec apart. These cannot be set to a shorter interval.

Parameter Range Explanation

From

TRACK

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

From V.TR

1–8 Exchange-source virtual track

number

3 Name

Up to eight

alphanu-

meric charac-

ters

Exchange-source virtual track

name (display only)

To TRACK

*1. The items that you can select in 4 To TRACK (copy-des-

tination track) will depend on the 1 From TRACK (copy-

source track) setting.

If 1 From TRACK is a single audio track 1–16, you can

select only a single audio track 1–16.

If 1 From TRACK is STEREO or 1/2–15/16 (a pair of adja-

cent audio tracks), you can select only 1/2–15/16 (a pair

of adjacent audio tracks).

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

5 To V.TR

1–8 Exchange-destination virtual

track number

6 Name

Up to eight

alphanu-

meric charac-

ters

Exchange-destination virtual

track name (display only)

4 65

1 2 3

EXCHANGE

From

Track

From

Track

1 2 3 4 5 6

A B C D E F

1 2 3 4 5 6

A B C D E F

Parameter Range Explanation

From

TRACK

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

From V.TR

1–8 Virtual track number

From Start

Specify a

point

Beginning of the edited

region

From End

Specify a

point

End of the edited region

5 To End

Specify a

point

Specify the length to which

the selected region will be

compressed or expanded

6 To Ratio

50–200% Specify the percentage by

which the selected region will

be compressed or expanded

5 6

1 2 3 4

TIME

COMP/EXP

From End

1 2 3 4 A B C D

12 3 4

A B C D

From Start

To END

TIME

COMP/EXP

From End

1 2 3 4 A B C D

C D

From Start

To END

2 3 4

131

Track editing

PITCH CHANGE

Adjusts the pitch of the speciﬁed region of an audio

track, without changing the length.

■ Parameter list

EXPORT

Writes the speciﬁed region of an audio track or all sam-

ples assigned to a pad to a WAV ﬁle.

Use this when you want to transfer audio data to your

computer so that you can edit the data using a waveform

editing program.

For details on the parameters and procedure for the

Export command, refer to “Exporting WAV ﬁles” (→

p. 132).

Parameter Range Explanation

From

TRACK

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

From V.TR

1–8 Virtual track number

From Start

Specify a

point

Beginning of the edited

region

From End

Specify a

point

End of the edited region

5 Pitch

–12 to +12

semitones

Specify the amount of pitch

change in semitone units

6 Fine

–50 to +50

cents

Specify the amount of pitch

change in one-cent units (1/

100th of a semitone)

5 6

1 2 3 4

From Start From End

PITCH

CHANGE

From Start From End

PITCH

CHANGE

Track editing

132

Exporting WAV ﬁles and importing audio CD

or WAV ﬁles

This section explains how data from an AW16G audio

track or from a sample assigned to a pad can be written

(exported) to external media as a WAV ﬁle, and how a

WAV ﬁle or CD audio data from external media can be

loaded (imported) into an AW16G audio track.

Exporting WAV ﬁles

Any audio track of the AW16G or all sample data from

memory can be written as one or more WAV ﬁles onto

CD-R/RW media inserted in the CD-RW drive. This is

convenient when you want to send audio data to your

computer, or use waveform editing software to edit it.

Note

• In order to write WAV ﬁles, you must use CD-R/RW

media to which no data has been written.

•You cannot add data to CD-RW media that already con-

tains data. You must ﬁrst erase the CD-RW media.

•You cannot write a single WAV ﬁle that is larger than

the capacity of the media.

Insert CD-R/RW media into the CD-RW drive.

In the Work Navigate section, press the

[EDIT] key.

The EDIT screen will appear.

Repeatedly press the [EDIT] key or hold down

the [EDIT] key and use the CURSOR [ ]/[ ]

keys to access the EXPORT page.

This page shows the following information.

Move the cursor to the From TRACK ﬁeld,

and select the source data (audio track or

sample) that you want to write.

If you select “Tr1-16,” the current tracks of tracks 1–

16 will be written as separate monaural WAV ﬁles.

If you select “1–16,” the single speciﬁed track will

be written as a monaural WAV ﬁle.

If you select “1/2–15/16” or STEREO, the speciﬁed

pair of tracks (or the STEREO track) will be written

as a stereo WAV ﬁle.

If you select “SMPL,” all samples in memory will be

written as individual stereo WAV ﬁles.

If you selected 1–16, 1/2–15/16, or STEREO

as the source for exporting, move the cursor

to the From V.TR, From Start, and From End

ﬁelds, and specify the virtual track number

and region that will be exported.

Note

If you selected Tr1-16 as the export-source, the current

tracks for all sixteen tracks will be written automatically.

It is not possible to specify the virtual track number for

each.

1 2 3 4

Parameter Range Explanation

From

TRACK

1–16 A single audio track

1/2–15/16 A pair of adjacent odd-num-

bered/even-numbered audio

tracks

STEREO The stereo track

Tr1-16 The current track of tracks 1–

SMPL All samples in memory

From V.TR

1–8 Virtual track number

From Start

Specify a

point

Beginning of the audio track

region that will be written

From End

Specify a

point

End of the audio track region

that will be written

File Name

Up to eight

alphanu-

meric charac-

ters

Displays the name of the ﬁle

to which the data will be writ-

ten

*1. The name of the individual source track (or odd-num-

bered track in the case of a pair) will be assigned by

default.

133

Track editing

If necessary, move the cursor to the NAME

ﬁeld, press the [ENTER] key, and input a ﬁle

name in the TITLE EDIT popup window.

For details on how to input a name, refer to page

24.

Note

• If you selected Tr1-16 as the export-source, the ﬁrst six

characters of the song name + track number + “.WAV”

will automatically become the ﬁle name. This name

cannot be changed.

• In the ﬁle name you can use only uppercase alphabeti-

cal characters, numerals, and “_” (underscore). Lower-

case alphabetical characters used in a song name will

be converted to uppercase characters, and all symbols

other than alphabetical characters and numerals will be

converted to “_”.

• If you selected SMPL as the export-source, the ﬁlename

will automatically be “SMPL” + pad number + “_” +

bank number + “.WAV.” This name cannot be changed.

When you have ﬁnished setting the parame-

ters, move the cursor to the EXEC button and

press the [ENTER] key.

A popup window with “Execute EXPORT?” will

appear, asking you to conﬁrm the operation.

To execute the export, move the cursor to

the OK button and press the [ENTER] key.

Exporting will begin. If you move the cursor to the

CANCEL button (instead of the OK button) and

press the [ENTER] key, the export operation will be

cancelled. (However, it is not possible to abort the

export process once it has been started.)

Only if you selected “Tr1-16” as the export-source,

the maximum of sixteen WAV ﬁles can be distrib-

uted between multiple volumes of media as they

are exported. (Even in this case, it is not possible to

write a single WAV ﬁle that is larger than the capac-

ity of the media.) When the “Exchange Next Media”

popup window appears, exchange the media and

press the [ENTER] key.

Tip!

• All WAV ﬁles will be written to the root directory.

• Since the AW16G does not have a concept of the real-

world date and time, dummy values will be written as

the ﬁle creation date and time of the WAV ﬁles.

Note

• If CD-R/RW media that contains no data is inserted,

WAV ﬁle export will begin.

• If CD-RW media that contains data is inserted, a mes-

sage of “Erase CD-RW media?” will appear, suggesting

that you erase the media. Move the cursor to the OK

button and press the [ENTER] key to erase the media, or

exchange the media.

• If media other than the above is inserted, it will auto-

matically be ejected, and a message of “Change Media,

Please.” will appear. If this message appears, exchange

the media.

•Tracks that do not contain data in the speciﬁed region

will not be exported.

Importing from an audio CD or

WAV ﬁle

CD audio data (CD-DA) or a WAV ﬁle from a CD-ROM

or CD-R can be imported (loaded) into an AW16G audio

track. After being imported, this data can be handled in

the same way as any recorded audio track.

If you want to import from an audio CD,

repeatedly press the Work Navigate section

[UTILITY] key or hold down the [UTILITY] key

and use the CURSOR [ ]/[ ] keys to access

the D.IN • HDD page of the UTILITY screen.

Immediately after the AW16G is powered-on, it will

be set to prohibit digital recording from an external

source or importing from a CD. Before you can

import, you will need to disable this prohibition in

the D.IN - HDD page of the UTILITY screen.

Move the cursor to the DIGITAL REC button,

and press the [ENTER] key.

A message will ask you to conﬁrm that you will

observe the applicable copyright laws.

Carefully read “Copyright Notice” (→ p. 5),

and if you accept these terms, move the cur-

sor to the OK button and press the [ENTER]

key.

The button display will change from OFF to ON,

and digital recording and importing from a CD will

be enabled.

Note

The DIGITAL REC button will return to the OFF setting

each time you turn on the power.

Track editing

134

Insert a CD into the CD-RW drive.

You can import data from the following types of

media.

● Audio data (CD-DA)

•Audio CD

• CD-Extra (only the ﬁrst session of CD-DA)

• Mixed Mode CD (only CD-DA data of the sec-

ond and later tracks)

● WAV ﬁles

• ISO9660 Level 1 format CD-ROM, CD-R, CD-

RW*

• Mixed Mode CD

*The directory name and file name cannot use char-

acters other than uppercase alphanumeric charac-

ters and the “_” (underscore) character. If you use

the AW16G to export WAV files onto CD-R/RW

media, the data will be in ISO9660 Level 1 format,

but please be aware of this restriction if you use a

computer to create WAV files.

In the Work Navigate section, repeatedly

press the [TRACK] key or hold down the

[TRACK] key and use the CURSOR [ ]/[ ]

keys to access the CD IMPORT page.

The READ CD INFO button will appear in the cen-

ter of the display.

Press the [ENTER] key.

The display will indicate “Read CD Info...,” and

information will be read from the CD inserted in the

CD-RW drive.

Depending on the import-source data, the screen

will change as follows.

● When importing from audio CD/CD-Extra

1 From CD TRACK

Speciﬁes the audio track number (01–99) of the

import-source CD.

B From Start

Speciﬁes the beginning of the data that will be

imported, in minutes/seconds/frames (1/75 second).

C From End

Speciﬁes the end of the data that will be imported,

in minutes/seconds/frames (1/75 second).

Tip!

The “frames” referred to here are the minimum time-axis

units used in CD-DA. Do not confuse them with the

frames used in MTC or SMPTE.

D LISTEN button

You can move the cursor to this button and press

the [ENTER] key to repeatedly hear the currently

selected region of the CD-DA.

E To TRACK

Selects the track number into which the data will be

imported. If the import-source is an audio CD or a

stereo WAV ﬁle, you will only be able to select a

pair of tracks 1/2–15/16.

F To V.TR

Selects the virtual track number (1–8) into which

the data will be imported.

G To Start

Speciﬁes the starting location (in counter-display

format) of the import-destination to which the data

will be imported.

5 6 7

1 42 3

135

Track editing

● When importing a WAV ﬁle

1 From WAVE ﬁle

Selects the WAV ﬁle that will be imported.

If the media contains folders (directories), move to

the folder that contains the WAV ﬁle you want to

import, and then specify the desired WAV ﬁle.

The icons shown here have the following meaning.

............................. Indicates that a WAV ﬁle is

selected.

............................. Indicates that a folder in the same

level is selected.

............................. Indicates that the folder in the next

higher level is selected.

B Mono/stereo

Indicates whether the WAV ﬁle selected for import-

ing is monaural (M) or stereo (S). This ﬁeld is for dis-

play only, and cannot be changed.

C Size

Indicates the playback length (in msec) of the WAV

ﬁle selected for importing. This ﬁeld is for display

only, and cannot be changed.

D LISTEN/ENTER/UP button

The name and function of the button displayed here

will change depending on the item that is selected

by the From WAVE ﬁle parameter.

● If a WAV ﬁle ( ) is selected

The LISTEN button will be displayed, allowing you

to hear the WAV ﬁle repeatedly.

● If a folder in the same level ( ) is selected

The ENTER button will be displayed, allowing you

to move into that folder.

● If the next higher folder ( ) is selected

The UP button will be displayed, allowing you to

move to the next higher folder.

E To TRACK

F To V.TR

G To Start

These ﬁelds are the same as when you are import-

ing from audio CD or CD-Extra.

Note

• If a Mixed Mode CD is inserted in the CD-RW drive, a

popup window will appear, allowing you to select

AUDIO (CD-DA) or WAVE (WAV ﬁles) to import. Move

the cursor to the button for the data that you want to

import, and press the [ENTER] key.

•You can import only monaural or stereo WAV ﬁles that

are in 16-bit/44.1 kHz format.

•When you move the cursor to the LISTEN button and

press the [ENTER] key, there will be a slight time lag

while the data is read from the CD before you hear it.

If you are importing a WAV ﬁle, move the

cursor to the From WAVE ﬁle ﬁeld, and turn

the [DATA/JOG] dial to select the WAV ﬁle

that you want to import.

To move to a lower level, display the icon in this

ﬁeld, then move the cursor to the ENTER button in

the screen and press the [ENTER] key.

To move to the next higher level, display the

icon in this area, then move the cursor to the UP

button and press the [ENTER] key.

If you are importing from audio CD or CD-

Extra, use the From Start and From End ﬁelds

to specify the region that will be imported.

Use the To TRACK, To V.TR, and To Start

ﬁelds to specify the track number, virtual

track number, and starting location into

which the data will be imported.

Note

If the import-destination already contains data, it will be

overwritten. Be careful not to accidentally overwrite

important data.

When you have ﬁnished making settings,

move the cursor to the EXEC button and

press the [ENTER] key.

A popup window will ask you to conﬁrm the opera-

tion.

To execute the import operation, move the

cursor to the OK button and press the

[ENTER] key.

Importing will begin. If you move the cursor to the

CANCEL button and press the [ENTER] key, import-

ing will be cancelled.

Tip!

Even after you press the [ENTER] key, you can press the

[UNDO/REDO] key to return to the state prior to

importing, as long as you have not executed any editing

or recording operation since the import.

Note

You cannot execute the Import operation while the

AW16G is running.

5 6 7

41 32

Track editing

136

137

Chapter 13

Song management

This chapter explains how to perform song management operations

such as copying, deleting, backing up, and restoring songs.

About songs

On the AW16G, your recorded compositions are man-

aged in units called “songs.” When you save a song on

the hard disk, the audio data, the sample data used by

the quick loop sampler, scene memories, and the data for

each library are all stored together. By loading a saved

song, you can return it to the original condition at any

time.

You can store as many songs on the internal hard disk as

its capacity allows. Each song can occupy a maximum of

6.4 GB. The songs stored on the hard disk consist of a

setup area that stores various settings (ﬁxed at approxi-

mately 4.3 MB) and a data area that stores the audio data

(the size of this will depend on the amount of data that

you recorded.

Note

• The data area of a song also includes undo/redo data

that is not used for normal playback. You can use the

Optimize operation to delete this undo/redo data. (

→

p. 141).

• The sound clip audio data area is allocated when you

create a new song. This area is allocated according to

the SOUND CLIP TIME setting in the PREFER page of

the UTILITY screen (

→

p. 162), and cannot be changed

later.

Internal hard disk

(approximately 20 GB maximum)

● Song

(maximum 6.4 GB for one

song)

● Setup area (ﬁxed at approximately 4.3 MB)

- Recorder section settings (SONG screen, TRACK screen)

- Mixer section settings (each channel and effect)

- Quick Loop Sampler section settings

- Libraries (except for the sample library)

- REMOTE screen settings

● Data area

(increases or decreases according to the recorded amount)

- Audio data for 16 x 8 virtual tracks

- Audio data for the stereo track audio data

- Pad track event data

- Undo/redo data

- Sample data for the Quick Loop Sampler

- Sound clip audio data.

● System area

- UTILITY screen settings

- Sample library

- Data management area

Song management

138

Editing the song name

Here’s how to edit the song name that is assigned when

you create a new song.

Note

• This setting applies only to the current song. Before you

perform this procedure, load the song whose name you

want to edit.

• The edited name will be saved with the song data when

you save the song.

In the Work Navigate section, press the

[SONG] key.

The SONG screen will appear.

Repeatedly press the [SONG] key or hold

down the [SONG] key and use the CURSOR

[ ]/[ ] keys to access the SETUP page.

To edit the song name, move the cursor to

the NAME button and press the [ENTER] key.

The TITLE EDIT popup window will appear, allow-

ing you to edit the song name.

Input the new name. Then move the cursor

to the OK button and press the [ENTER] key.

The new name will be applied, and the popup win-

dow will close. (For details on inputting a name →

p. 24)

139

Song management

Editing various settings for the song

Here’s how to make various settings for a song, such as

switching protect on/off and selecting the counter display

format and time code format.

Note

• These settings apply only to the current song. Before

you perform this procedure, load the song whose set-

tings you want to edit.

• The edited settings will be saved with the song data

when you save the song.

In the Work Navigate section, press the

[SONG] key.

The SONG screen will appear.

Repeatedly press the [SONG] key or hold

down the [SONG] key and use the CURSOR

[ ]/[ ] keys to access the SETUP page.

This page contains the following items.

1 PROTECT button

Switches protect on/off.

B COUNTER DISPLAY

Selects the display format for the counter that

appears in the center of the top line in the display.

C TIME CODE BASE

Selects the format (the number of frames per sec-

ond) for the time code used by the AW16G.

To switch the protect setting on/off, move

the cursor to the PROTECT button and press

the [ENTER] key.

Protect is a setting that prohibits any change to the

song data. If protect is turned on, the PROTECT but-

ton will be highlighted, and it will not be possible

to perform additional recording or editing, or to

erase the song.

Tip!

•We recommend that you turn protect on for important

songs.

•Even if protect is on, you can still copy the song (

→

p. 140) and adjust the mixer settings.

To change the counter display format, move

the cursor to one of the buttons in the

COUNTER DISPLAY area and press the

[ENTER] key.

In the COUNTER DISPLAY area, use the following

buttons to select the display format for the counter

that is shown in the center of the top line in the dis-

play.

ABS (absolute time)....Display the current location in

hours/minutes/seconds/millisec-

onds, with the absolute time zero

location as 0.

REL (relative time) ......Display the current location in

hours/minutes/seconds/millisec-

onds, with the relative time zero

location as 0.

SEC.............................Display the current location in

hours/minutes/seconds/millisec-

onds, with the Start point as 0.

T.C ..............................Display the current location in

time code (hours/minutes/seconds/

frames), with the Start point as 0.

REMAIN .....................When this button is on, the

remaining recordable time with

the selected number of recording

tracks will be displayed instead of

the current location.

Note

• The counter in the upper right of the display always

shows the current location in measure/beat units, rela-

tive to the Start point.

• The measure/beat display will depend on the settings in

the TEMPO page of the SONG screen. For details, refer

to “Creating a tempo map” (

→

p. 142).

To change the time code frame rate, move

the cursor to one of the buttons in the TIME

CODE BASE area, and press the [ENTER] key.

In the TIME CODE BASE area you can choose one

of the following frame rates to specify the minimum

unit of time code.

24...............................24 frames/second

25...............................25 frames/second

30...............................30 frames/second (30 non-drop

frame)

30D ............................29.97 frames/second (30 drop-

frame)

Tip!

This setting affects both the counter time code display

and the MTC that the AW16G transmits and receives. If

the AW16G is sending or receiving MTC to or from an

external device, you must set both devices to the same

frame rate.

Note

With the exception of COUNTER DISPLAY, the settings in

the SETUP page of the SONG screen cannot be changed

while the AW16G is running.

3 2

Song management

140

Copying or deleting a song

Here’s how to copy or delete a song in the hard disk.

Note

•You cannot copy or delete a song while the AW16G is

running.

•A deleted song will be lost forever. Use great caution

when deleting a song.

•You cannot delete a song for which protect is on, or

delete the current song (the highlighted song). If you

want to delete such a song, you must ﬁrst turn off the

protect setting or switch the current song.

In the Work Navigate section, press the

[SONG] key

The SONG screen will appear.

Repeatedly press the [SONG] key or hold

down the [SONG] key and use the CURSOR

[ ]/[ ] keys to access the LIST page.

This page contains the following items.

1 DELETE button

Displays a popup window that allows you to delete

a song.

B COPY button

Displays a popup window that allows you to copy a

song.

Turn the [DATA/JOG] dial to select the song

that you want to copy or delete.

The line that is enclosed by a dotted frame indicates

the selected song.

■ To copy a song

Move the cursor to the COPY button and

press the [ENTER] key.

A popup window will ask you to conﬁrm the copy

operation.

Tip!

If you have selected the current song as the song to be

copied, a popup window will ask you whether you want

to save the current song. Move the cursor to either the

YES button (if you want to save) or the NO button (if you

don’t want to save), and then press the [ENTER] key.

To execute the copy, move the cursor to the

OK button and press the [ENTER] key.

The song you selected in step 3 will be copied, and

you will return to step 2. If you move the cursor to

the CANCEL button and press the [ENTER] key, the

copy operation will be cancelled.

Note

When you copy a song, the hard disk will contain two

songs with the identical song name and size. To avoid

confusion, we recommend that you rename the song

after copying it.

■ To delete a song

Following step 3, move the cursor to the

DELETE button and press the [ENTER] key.

A popup window will ask you to conﬁrm the delete

operation.

To delete the song, move the cursor to the

OK button and press the [ENTER] key.

The song you selected in step 3 will be deleted, and

you will return to step 2. If you move the cursor to

the CANCEL button and press the [ENTER] key, the

delete operation will be cancelled.

Note

If you have selected the current song as the song to be

deleted, a popup window will warn you that it is not pos-

sible to delete the current song.

141

Song management

Optimizing a song

“Optimize” is an operation that deletes the undo/redo

audio data maintained within the song. When you have

ﬁnished recording and editing a song, you can execute

the Optimize operation on that song to increase the

amount of free space on the hard disk.

Note

The deleted undo/redo audio data will be lost forever.

Use this operation with caution.

In the Work Navigate section, repeatedly

press the [SONG] key or hold down the

[SONG] key and use the CURSOR [ ]/[ ]

keys to access the LIST page of the SONG

screen.

Turn the [DATA/JOG] dial to select the song

that you want to optimize.

The line enclosed by the dotted frame indicates the

selected song.

Move the cursor to the OPTIMZ button, and

press the [ENTER] key.

A popup window will ask you to conﬁrm the opti-

mize operation.

Tip!

You may select the current song to be optimized. In this

case, a popup window will ask you whether you want to

save the current song. Move the cursor to the YES button

(if you want to save) or the NO button (if you don’t want

to save), and press the [ENTER] key.

To execute the optimize operation, move the

cursor to the OK button and press the

[ENTER] key.

The undo/redo audio data of the song you selected

in step 2 will be deleted, and you will return to step

1. If you decide not to execute the optimize opera-

tion, move the cursor to the CANCEL button and

press the [ENTER] key.

Song management

142

Creating a tempo map

The “tempo map” contains data to change the tempo or

time signature at the beginning of the song or at any

measure or beat within the song. The measure/beat dis-

play counter, the Quick Loop Sampler, the internal met-

ronome, and the MIDI clock data generated within the

AW16G are all based on this tempo map.

The AW16G’s tempo map can also record data to switch

scenes (→ p. 73) or Pad sample banks (→ p. 107). You

can use this to switch scenes as the song progresses, or to

switch the sounds that are played by the Quick Loop

Sampler.

Tip!

• The Start point of the song corresponds to the starting

location of the tempo map.

• The data (“tempo map events”) recorded in the tempo

map will continue to apply until the location at which

the next event of the same type has been input.

Note

If you modify the tempo map after recording on an audio

track, the measure/beat counter display values will be

affected. For this reason if you want to use MIDI clock to

synchronize with an external MIDI device, or if you want

to control the song in measure units, you should create

the tempo map before you record. If you modify the

tempo map after a track has already been recorded, a

popup window will ask you for conﬁrmation.

■ Editing a tempo map event

When you create a new song, the following tempo map

event will be input at the beginning of the tempo map

(the ﬁrst beat of the ﬁrst measure).

•Time signature: 4/4

•Tempo: 120.0

•Pad sample bank: Pad 1=A, Pad 2=A,

Pad 3=A, Pad 4=A

• Scene number: not assigned

Here’s how to edit the values of this tempo map event.

In the Work Navigate section, press the

[SONG] key.

The SONG screen will appear.

Repeatedly press the [SONG] key or hold

down the [SONG] key and use the CURSOR

[ ]/[ ] keys to access the TEMPO page.

In this page you can input or edit tempo map events

for the current song.

This page contains the following items.

1 List

This area lists the tempo map events that have been

input for the current song. The line enclosed by a

dotted frame is the currently selected tempo map

event.

B LOCATE button

By moving the cursor to this button and pressing the

[ENTER] key, you can move the song to the location

of the tempo map event currently selected in the

list.

C DELETE button

To delete the tempo map event currently selected in

the list, move the cursor to this button and press the

[ENTER] key.

D INSERT button

To insert a blank event at the step preceding the

tempo map event currently selected in the list,

move the cursor to this button and press the

[ENTER] key.

E NEW button

To create an event at the beginning of the measure

following the last step, move the cursor to this but-

ton and press the [ENTER] key.

F STEP

Indicates the step number of the tempo map event.

G MEAS

Indicates the location (measure/beat) at which the

tempo map event is input.

H METER

I TEMPO

J PAD BANK 1–4

K SCENE

These ﬁelds show the time signature, tempo, pad

sample bank, and scene number of each tempo

map event.

5 1

2 6 7 8 9 K

143

Song management

Move the cursor to the item that you want to

edit, and turn the [DATA/JOG] dial to edit the

value.

If the METER, TEMPO, PAD BANK 1–4, or SCENE

value is “–”, move the cursor to the item and press

the [ENTER] key before you edit the value.

Note

• The METER, TEMPO, and PAD BANK 1–4 at the begin-

ning of the song cannot be set to “–”.

•You cannot change the METER value to other than “–”

for a step that is not located at beat 1.

The range for each item is as follows.

Tip!

•You cannot delete the tempo map event located at the

beginning of the song, or change its location. If you

want to change the tempo or time signature during the

song, you can insert a new event.

• If you set METER, TEMPO, PAD BANK 1–4, or SCENE

to a value of “–”, that event will be disabled. For exam-

ple if you want to specify only the time signature and

tempo, you should set the pad bank and scene to “–”.

■ Adding a tempo map event

Access the TEMPO page, move the cursor to

the NEW button, and press the [ENTER] key.

A blank tempo map event will be created after the

last step that is currently input.

Tip!

If you use the INSERT button instead of the NEW button,

a blank tempo map event will be inserted before the cur-

rently selected step. However, you cannot insert an event

before the tempo map event at the beginning of the song

(i.e., the tempo map event that is input when you create

the song).

Make sure that the cursor is outside the list,

and turn the [DATA/JOG] dial to select a

tempo map event that you created.

When the cursor is located outside the list, you can

turn the [DATA/JOG] dial to scroll the contents of

the list.

Move the cursor to the MEAS ﬁeld of the

event that is selected in the list, and turn the

[DATA/JOG] dial to specify the location of the

event.

You can adjust the location of a tempo map event in

units of measures or beats. However, you cannot

move an event past the preceding or following

event.

Move the cursor to the item that you want to

edit, and turn the [DATA/JOG] dial to adjust

the value.

If necessary, you can play back the song to check

that the tempo map event works as you expect.

In the same way, use the NEW or INSERT but-

ton to add new events, and set their parame-

ters.

■ Deleting a tempo map event

Here’s how to delete an unwanted event from the tempo

map. (However, you cannot delete the event that is

located at the beginning of the song.)

Access the TEMPO page, and scroll the list to

select the tempo map event that you want to

delete.

Move the cursor to the DELETE button and

press the [ENTER] key.

The selected event will be deleted.

Event Range Content

METER

1/4 to 8/4, – Speciﬁes the time signature of

the song.

TEMPO

30.0 to

250.0, –

Speciﬁes the tempo of the

song. You can set the tempo

in units of 0.1 over a range of

30.0–250.0 BPM.

PAD BANK

1–4

A to D, – Selects the sample bank that

will be used for each pad 1–4.

SCENE

00 to 96, – Switches the scene number

used by the song.

Song management

144

Importing data from an existing song

Here’s how selected items of data such as scenes, librar-

ies, or individual tracks of audio data from a song saved

on the hard disk can be imported into the current song.

Note

When you execute this import operation, the previous

data (for that item) in the current song will be lost. Use

this procedure with caution.

■ Selecting the song from which you

will import data

In the Work Navigate section, press the

[SONG] key.

The SONG screen will appear.

Repeatedly press the [SONG] key or hold

down the [SONG] key and use the CURSOR

[ ]/[ ] keys to access the IMPORT page.

This page contains the following items.

1 LIBRARY button

Imports all libraries into the current song.

B SCENE button

Imports all scenes into the current song.

C TRACK button

Imports the audio data of a single track into the cur-

rent song.

D TEMPO MAP button

Imports the tempo map into the current song.

Turn the [DATA/JOG] dial to select the song

from which you want to import data.

The line enclosed by the dotted frame is the song

you have selected as the import-source.

■ Importing library/scene/tempo map

data

Move the cursor to either the LIBRARY,

SCENE, or TEMPO MAP button, and press

the [ENTER] key.

A popup window will ask you to conﬁrm the import

operation.

To execute the import, move the cursor to

the OK button and press the [ENTER] key.

Importing will begin. When the data has been

imported, you will return to the screen of step 2.

■ Importing a speciﬁc track

Move the cursor to the TRACK button and

press the [ENTER] key.

A popup window will ask you to select the track to

be imported.

1 TRACK

Specify the import-source track number.

B V.TR

Specify the import-source virtual track number.

C NAME

Displays the name of the currently selected virtual

track.

Move the cursor to the TRACK ﬁeld and V.TR

ﬁeld, and turn the [DATA/JOG] dial to specify

the track number and virtual track number.

The name of the selected import-source track will

be displayed in the NAME ﬁeld.

Note

You can import only one track at a time.

145

Song management

Move the cursor to the OK button and press

the [ENTER] key.

A popup window will ask you to select the import-

destination track.

1 TRACK

Specify the import-destination track number.

B V.TR

Specify the import-destination virtual track number.

C NAME

Displays the name of the virtual track that you

selected as the import-destination.

Move the cursor to the TRACK ﬁeld and V.TR

ﬁeld, and turn the [DATA/JOG] dial to specify

the track number and virtual track number

for the import-destination.

To execute the import, move the cursor to

the OK button and press the [ENTER] key.

Importing will begin. When the track has been

imported, you will return to the state of step 2.

Backing up songs and sample libraries

Here’s how you can back up songs or sample libraries

from the internal hard disk to CD-R/RW media.

Insert CD-R/RW media into the CD-RW drive.

In the Work Navigate section, press the [CD]

key.

The CD screen will appear.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the BACKUP page.

In this page you can back up songs or sample librar-

ies from the internal hard disk to CD-R/RW media.

This page contains the following items.

1 List

This area lists the songs or sample libraries that are

saved on the hard disk. The symbols at the right of

the list indicate whether an item of data has been

selected (●) or disabled (O) for backup.

B PAD button

When this button is off, the list will show the songs

that are saved on the hard disk. When this button is

on, the list will show the sample libraries that are

saved on the hard disk.

C ALL button

If you turn this button on and then turn the ENABLE/

DISABLE button on, all data displayed in the list

will be selected for backup.

D ENABLE/DISABLE button

Selects whether an item of data will be selected for

backup (ENABLE) or not selected (DISABLE).

E AS AW2816 button

Backs up the audio tracks within a song in the for-

mat of an AW2816 backup ﬁle.

If you turn this button on, you will be able to back

up only one song at a time. The data selection sym-

bol (●) will apply only to the selected song, and the

ALL button and ENABLE/DISABLE button will be

unavailable.

F EXECUTE button

Executes the backup operation for the selected

song(s) or sample library(ies).

65 4

123

Song management

146

Turn the [DATA/JOG] dial to select the song

or sample library data that you want to back

up. Then move the cursor to the ENABLE/

DISABLE button and press the [ENTER] key.

The symbol for the selected data will change to the

● symbol, indicating that this data has been

selected for backup. You can repeat this step to

select multiple items of data for backup.

If you turn on the ALL button and then move the

cursor to the ENABLE/DISABLE button and press the

[ENTER] key, you can select all data in the list in

one step.

Tip!

If you turn on the NAME or OLD button, the data in the

list will be sorted alphabetically or by the order in which

it was saved.

To execute the backup, move the cursor to

the EXECUTE button and press the [ENTER]

key.

A popup window will ask you to conﬁrm the opera-

tion.

Note

• If previously-recorded CD-RW media is inserted in the

CD-RW drive, a popup window will ask you if it is OK

to erase the media ﬁrst. Move the cursor to the OK but-

ton and press the [ENTER] key, and the media will be

erased.

• If a CD-ROM or previously-recorded CD-R media is

inserted in the CD-RW drive, a popup window with a

message of “Change Media, Please” will appear, and

the media will be ejected. Remove the media, and

replace it with writable media.

Move the cursor to the OK button and press

the [ENTER] key.

Writing to the CD-R/RW media will begin. If you

decide to cancel the backup operation, move the

cursor to the CANCEL button and press the [ENTER]

key.

While the backup operation is being executed, a

popup window will indicate the progress. When the

backup has been completed, you will return to step

If the backup data does not ﬁt on a single volume of

media, a message of “Note Label, Exchange Next”

will appear, and the media will be ejected. Insert a

new volume of media. Then move the cursor to the

OK button and press the [ENTER] key.

Note

•You cannot execute the backup operation without

selecting data.

• If you execute the backup operation with the AS

AW2816 button turned off, system data (the settings

you make in the UTILITY screen) will be backed up on

the media together with the selected data.

• If you execute the backup operation with the AS

AW2816 button turned on, data other than audio tracks

will not be backed up. All virtual tracks for tracks 1–16

will be backed up. For the stereo track, only the current

track will be backed up.

•When you restore data that was backed up to more

than one volume of media, you must insert the media in

the order in which it was backed up. Be sure to make a

note of the backup sequence on the label surface of

each CD-R/RW media.

147

Song management

Restoring songs or sample libraries

Here’s how data that you backed up to CD-R/RW media

can be restored to the hard disk of the AW16G.

Insert the CD-R/RW media containing the

backup data into the CD-RW drive.

If the backup data occupies more than one volume

of media, insert the ﬁrst volume.

In the Work Navigate section, press the [CD]

key.

The CD screen will appear.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the RESTORE page.

In this page, data that you backed up to CD-R/RW

media can be restored to the internal hard disk.

Make sure that the cursor is located at the

READ CD INFO button, and press the

[ENTER] key.

Information will be read from the inserted CD-R/

RW media. When the information has been read, a

display like the following will appear.

1 List

This area lists the data that has been backed up on

the CD-R/RW media. The symbols at the right of the

list indicate whether an item of data has been

selected (●) or disabled (O) for restore.

B PAD button

When this button is off, the list will show the songs

that were backed up on the CD-R/RW media. When

this button is on, the list will show the sample

libraries that were backed up on the CD-R/RW

media.

C ALL button

You can use this button to select all the data that

appears in the list. If you turn this button on and

then turn the ENABLE/DISABLE button on, all data

displayed in the list will be selected for restore.

D ENABLE/DISABLE button

Selects whether an item of data will be selected for

restore (ENABLE) or not selected (DISABLE).

E SYSTEM button

Selects the system data (AW16G settings you make

in the UTILITY screen) for restoring.

F EXECUTE button

Executes the restore operation

Note

You cannot operate the items in the RESTORE page until

the inserted CD-R/RW media has been read.

Turn the [DATA/JOG] dial to select the data

that you want to restore. Then move the cur-

sor to the ENABLE/DISABLE button and press

the [ENTER] key.

The symbol at the right will change to the ● sym-

bol, indicating that this data has been selected for

restoring.

If you turn on the ALL button and then move the

cursor to the ENABLE/DISABLE button and press the

[ENTER] key, all data shown in the list will be

selected in one step.

If you want to restore the system data, move

the cursor to the SYSTEM button and press

the [ENTER] key.

The button will be turned on, and the system data

will be selected for restoring.

To execute the restore operation, move the

cursor to the EXECUTE button and press the

[ENTER] key.

A popup window will ask you to conﬁrm the opera-

tion.

Move the cursor to the OK button if you

want to execute the restore operation (or to

the CANCEL button if you decide not to

restore), and press the [ENTER] key.

The current song will be saved automatically, and

the restore operation will begin.

A popup window will indicate the progress of the

restore operation. When the operation is ﬁnished,

you will return to step 3.

If the backup occupied more than one volume of

CD-R/RW media, a message of “Exchange Next

Media #XXX” (where XXX is a number) will be dis-

played during the restore process. Exchange the

CD-R/RW media for the media of the corresponding

number. Then move the cursor to the OK button and

press the [ENTER] key.

6 54

123

Song management

148

Exchanging song data with the

AW4416/AW2816

You can back up an AW16G song in a format that is

compatible with the AW4416/AW2816. Conversely, a

song that was backed up by the AW4416/2816 can be

restored into the AW16G.

Note

Only the audio data recorded in a song can be exchanged

with the AW4416/2816. Mix parameters, libraries, and

system data cannot be backed-up/restored in this way.

■ Backing up an AW16G song in a for-

mat compatible with the AW4416/

AW2816

If you turn on the AS AW2816 button in the BACKUP

page of the CD screen, the data will be saved in the

AW2816 backup ﬁle format.

An AW2816 backup ﬁle can be restored into an AW2816

or an AW4416 (version 2.0 or later).

For the procedure, refer to “Backing up songs or sample

libraries,” earlier in this manual.

Note

• Backup in the AW2816 backup ﬁle format is limited to

one song at a time.

•When you perform a backup in the AW2816 backup ﬁle

format, data other than the audio tracks will not be

backed up. All virtual tracks of tracks 1–16 will be

backed up. For the stereo track, only the current track

will be backed up.

■ Restoring AW4416/AW2816 songs

Insert CD-R/RW media containing the

AW4416/AW2816 song backup into the

AW16G.

In the Work Navigate section, press the [CD]

key.

The CD screen will appear.

Repeatedly press the [CD] key or hold down

the [CD] key and use the CURSOR [ ]/[ ]

keys to access the RESTORE page.

Make sure that the cursor is located at the

READ CD INFO button, and press the

[ENTER] key.

Data will be read from the inserted CD-R/RW

media. When the data has been read, a screen like

the following will appear.

Turn the [DATA/JOG] dial to select a song

that you want to restore.

Move the cursor to the ENABLE/DISABLE but-

ton and press the [ENTER] key.

The symbol at the right of the data will change to ●,

and the data will be selected for restoring.

Note

The list will show all the songs that were backed up to

CD-R/RW media, but you can execute the restore opera-

tion only for 44.1 kHz/16-bit songs.

Repeat steps 5 and 6 to select all of the

AW4416/AW2816 songs that you want to

restore.

To execute the restore operation, move the

cursor to the EXECUTE button and press the

[ENTER] key.

The restore operation will begin. While the song

data is being loaded, a popup window will indicate

the progress.

149

Chapter 14

MIDI and utility functions

This chapter explains basic MIDI-related settings, functions that use

MIDI, and various utility functions.

What you can do using MIDI

On the AW16G, you can use MIDI to do the following

things.

● Synchronize operation with an external device

You can synchronize an AW16G song with the play-

back of an external device (such as a MIDI

sequencer) by exchanging synchronization messages

such as MTC (MIDI Time Code) or MIDI Clock with

the external device.

● Remote control of the transport

You can transmit MMC (MIDI Machine Control) mes-

sages from a MIDI sequencer or other external MIDI

device to the AW16G to remotely control the

AW16G’s transport. Conversely, you can also trans-

mit MMC from the AW16G to an external device to

control its transport.

Example of using MTC/MMC to synchronize the

operation of the AW16G and a MIDI sequencer

(computer)

● Automate scene changes and mix parameter opera-

tions

When you recall a scene on the AW16G or operate

its mix parameters, the corresponding messages (pro-

gram changes or control changes) can be transmitted

from the MIDI OUT/THRU connector to an external

device.

If you record these messages on a MIDI sequencer

that is synchronized to the AW16G song, these scene

recall operations or realtime mix parameter opera-

tions can be reproduced whenever you want.

Example of recording/playing scene selections and

mix parameter operations on a MIDI sequencer

(computer)

● Bulk dump

The AW16G’s internal settings such as library data

and scene memories can be transmitted as “bulk

data” and recorded on a MIDI sequencer or other

external MIDI device. The recorded bulk data can

then be transmitted to the AW16G to restore its inter-

nal settings to their previous state. This can also be

used to copy settings between two AW16G units.

Example of recording/playing bulk data on a MIDI

sequencer (computer)

● MIDI Remote

“MIDI Remote” is a function that lets you use the

AW16G as a physical controller for an external

device. You can assign the desired MIDI messages to

the faders and [TRACK SEL] keys of the top panel,

and use them to remotely control a MIDI device or

computer program.

Example of using the AW16G as a physical control-

ler for a MIDI sound module

AW16G

External MIDI device

(e.g., computer)

MIDI OUT/THRU

connector

MIDI IN connector

MIDI IN

MIDI OUT

MTC

MMC

AW16G

Control changes

Program changes

MIDI IN

MIDI OUT

Control changes

Program changes

External MIDI device

(e.g., computer)

MIDI IN connector

MIDI OUT/THRU

connector

AW16G

Bulk data

MIDI IN

MIDI OUT

Bulk data

External MIDI device

(e.g., computer)

MIDI IN connector

MIDI OUT/THRU

connector

AW16G

Control changes

System exclusive

messages, etc.

MIDI IN

External MIDI device

(e.g., computer)

MIDI OUT/THRU

connector

MIDI and utility functions

150

Basic MIDI settings

In the MIDI page of the UTILITY screen, you can make

various MIDI-related settings such as selecting the MIDI

messages that will be output from the MIDI OUT/THRU

connector, and specifying MTC/MMC transmission and

reception.

To access this page, repeatedly press the Work Naviga-

tion section [UTILITY] key or hold down the [UTILITY]

key and use the CURSOR [ ]/[ ] keys.

This page contains the following items.

1 MIDI OUT

Selects the type of MIDI messages that will be out-

put from the MIDI OUT/THRU connector.

MIDI button............... If this button is on, various MIDI

messages generated within the

AW16G (except for MIDI Clock

and MTC) will be transmitted. If

you turn this button on, the THRU

button will be defeated.

CLK button................. If this button is on, MIDI Clock

(and Start, Stop, Continue, and

Song Position Pointer) messages

will be transmitted while the

recorder is running. If you turn this

button on, the MTC button will be

defeated.

MTC........................... If this button is on, MTC (MIDI

Time Code) will be transmit while

the recorder is running. If you turn

this button on, the CLK button will

be defeated.

THRU button ............. If this button is on, MIDI messages

received at the MIDI IN connector

will be re-transmitted without

change from the MIDI OUT/THRU

connector, and none of the MIDI

messages generated within the

AW16G itself will be transmitted. If

you turn this button on, the MIDI/

CLK/MTC buttons will be defeated.

B MMC MODE

Speciﬁes how MMC will be transmitted/received.

MASTER button.......... If this button is on, the AW16G

will be the MMC master. When

you operate the transport, the cor-

responding MMC command will

be transmitted from the MIDI

OUT/THRU connector. Use this

setting when you want to remotely

control an external MIDI device

from the AW16G.

SLAVE button..............If this button is on, the AW16G

will be the MTC slave, and will fol-

low MMC commands that it

receives at the MIDI IN connector.

Use this setting when you want to

remotely control the transport of

the AW16G from an external MIDI

device.

Tip!

If you want to use the AW16G as the MMC master, make

sure that the MIDI button is turned on in the MIDI OUT

area.

C DEV (device number)

Speciﬁes the MMC device number (1–127) that the

AW16G will receive.

Note

• The MMC device number is an identifying number used

to distinguish devices that transmit and receive MMC

commands. When using MMC, the AW16G and the

external MIDI device must be set to the same MMC

device number.

• The MMC device number is displayed as a decimal

number starting from one. Some devices display the

MMC device number as a hexadecimal number starting

from zero. In this case, the numbers will correspond as

follows.

• The AW16G always transmits MMC commands using

the “All” device number (7Fh in hexadecimal).

D MTC MODE

Speciﬁes how the AW16G operate when synchro-

nized with an external MIDI device using MTC

(MIDI Time Code).

MASTER button ..........If this button is on, the AW16G

will be the MTC master. When you

operate the transport of the

AW16G, MTC will be transmitted

from the MIDI OUT/THRU con-

nector. Use this setting if you want

to the external MIDI device to fol-

low the AW16G, or if you are

using the AW16G by itself.

SLAVE button..............If this button is on, the AW16G

will be an MTC slave, and will fol-

low MTC data it receives at the

MIDI IN connector. Use this setting

if you want to synchronize with a

second AW16G unit, or if you

want to synchronize the AW16G

with an external MIDI device that

can function only as the MTC mas-

ter.

Tip!

When using the AW16G as the MTC master, make sure

that the MIDI button and MTC button in the MIDI OUT

area are both turned on.

E AVRG (Average)

Select one of the following to specify how closely

the AW16G will follow the incoming MTC data

when functioning as an MTC slave.

6 9

1 2 4 7

358

AW16W display

→

hexadecimal display

→

00h

127

→

7Eh

151

MIDI and utility functions

0 ............. The AW16G will synchronize to the incoming

MTC data at the highest precision. However if

the incoming MTC has signiﬁcant instability,

synchronization may be interrupted or become

unreliable.

1 ............. This setting allows more tolerance of MTC

instability than the “0” setting.

2 ............. This setting allows the maximum tolerance.

Use this setting if the MTC master is an external

MIDI device that has signiﬁcant instability.

Tip!

When the AW16G is functioning as an MTC slave and is

operating in synchronization to an external MIDI device,

and the accuracy of the incoming MTC becomes unsta-

ble, the AW16G will make slight adjustments in its play-

back pitch in an attempt to follow. The AVRG parameter

speciﬁes the range of MTC variance that will be toler-

ated.

F OFST (Offset)

When using the AW16G as an MTC slave, this

parameter shifts the absolute time within the

AW16G forward or backward relative to the incom-

ing MTC. The range is -24:00:00:00.00 to

+24:00:00:00.00.

Tip!

The OFST setting has no effect on the MTC that is trans-

mitted from the AW16G’s MIDI OUT/THRU connector.

G MIDI CH

Selects the MIDI channel that will be used to trans-

mit and receive MIDI messages such as program

changes and control changes. This area contains the

following two items.

TX ........... Selects the transmit MIDI channel, in a range of

1–16. While MIDI messages are being

transmitted, the characters “TX” will be

highlighted.

RX ........... Selects the receive MIDI channel, in a range of

1–16 or ALL. If you select ALL, MIDI messages

of all MIDI channels will be received (Omni

mode). While MIDI messages are being

received, the characters “RX” will be high-

lighted.

H PGM CHG MODE

Switches program change transmission and recep-

tion on/off.

If program change reception is on, the AW16G will

recall the corresponding scene when it receives a

program change at the MIDI IN connector. If pro-

gram change transmission is on, the AW16G will

transmit the corresponding program change from

the MIDI OUT/THRU connector when a scene is

recalled on the AW16G.

You can select the following choices.

OFF .........Program changes will not be transmitted or

received.

TX............Program changes will only be transmitted.

RX ...........Program change will only be received.

TX-RX ......Program changes will be transmitted and

received.

Tip!

In the SCENE screen PC TABLE page you can specify the

scene number that will correspond to each program

change number (

→

p. 165).

Note

In order to actually transmit program changes, the MIDI

button of the MIDI OUT area must be turned on.

I CTRL CHG MODE

Speciﬁes how control changes will be transmitted

and received.

If control change transmission and reception are

enabled, the corresponding control change will be

transmitted when you operate a mix parameter

(fader, pan, effect send, etc.) for track channel 1–16

on the AW16G.

When a control change is received, the correspond-

ing mix parameter will change.

You can select one of the following choices.

OFF .........Control changes will not be transmitted or

received.

1..............Control changes will be transmitted and

received on MIDI channels 1–16. (MIDI chan-

nels 1–16 will correspond to AW16G track

channels 1–16.)

2..............Control changes will be transmitted and

received only on the MIDI channel that is

selected in the MIDI CH ﬁeld. (This mapping is

compatible with the AW4416/AW2816.)

3..............This is the same as 2 in that control changes of

only one MIDI channel are received and trans-

mitted, but the parameter mapping differs from

2. (A single MIDI channel will correspond to

AW16G track channels 1–16.)

Tip!

•For details on the mix parameters that correspond to

each control change, refer to the tables that follow.

•When you operate a mix parameter of track channel 9/

10–15/16 on the AW16G, two types of control changes

will be transmitted.

Note

In order to actually transmit control changes, the MIDI

button of the MIDI OUT area must be turned on.

00:00:10:00.00 00:00:15:00.00

00:00:20:00.00

OFST = 00:00:00:00.00

00:00:10:00.00 00:00:15:00.00

00:00:15:00.00 00:00:20:00.00

00:00:20:00.00

00:00:25:00.00

OFST = +00:00:05:00.00

00:00:10:00.00 00:00:15:00.00

00:00:05:00.00 00:00:10:00.00

00:00:20:00.00

00:00:15:00.00

OFST = 00:00:05:00.00

Incoming

time code

Time code

display (ABS)

Song

Incoming

time code

Time code

display (ABS)

Song

Incoming

time code

Time code

display (ABS)

Song

MIDI and utility functions

152

● When CTRL CHG MODE = 1

● When CTRL CHG MODE = 2

MIDI CH CC# PARAMETER

TRACK CHANNEL 1

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 2

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 3

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 4

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 5

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 6

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 7

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 8

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 9

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 10

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 11

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 12

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 13

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 14

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 15

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

TRACK CHANNEL 16

FADER

10 PAN

91 EFF1 SEND

93 EFF2 SEND

CC# PARAMETER

0 NO ASSIGN

1FADER CHANNEL INPUT 1

2FADER CHANNEL INPUT 2

3FADER CHANNEL INPUT 3

4FADER CHANNEL INPUT 4

5FADER CHANNEL INPUT 5

6FADER CHANNEL INPUT 6

7FADER CHANNEL INPUT 7

8FADER CHANNEL INPUT 8

9FADER CHANNEL PAD 1

10 NO ASSIGN

11 FADER CHANNEL PAD 2

12 NO ASSIGN

13 FADER CHANNEL PAD 3

14 NO ASSIGN

15 FADER CHANNEL PAD 4

16 NO ASSIGN

17 NO ASSIGN

18 NO ASSIGN

19 NO ASSIGN

20 NO ASSIGN

21 FADER CHANNEL RETURN 1

22 FADER CHANNEL RETURN 2

23 FADER MASTER STEREO OUT

24 FADER MASTER AUX 1

25 FADER MASTER AUX 2

26 FADER MASTER EFF 1

27 FADER MASTER EFF 2

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 FADER MASTER BUS 1

34 FADER MASTER BUS 2

35 NO ASSIGN

36 NO ASSIGN

37 NO ASSIGN

38 NO ASSIGN

39 NO ASSIGN

40 NO ASSIGN

41 ON CHANNEL INPUT 1

42 ON CHANNEL INPUT 2

43 ON CHANNEL INPUT 3

44 ON CHANNEL INPUT 4

45 ON CHANNEL INPUT 5

46 ON CHANNEL INPUT 6

47 ON CHANNEL INPUT 7

48 ON CHANNEL INPUT 8

49 ON CHANNEL PAD 1

50 NO ASSIGN

51 ON CHANNEL PAD 2

52 NO ASSIGN

53 ON CHANNEL PAD 3

54 NO ASSIGN

55 ON CHANNEL PAD 4

56 NO ASSIGN

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 ON MASTER STEREO OUT

64 PAN CHANNEL INPUT 1

65 PAN CHANNEL INPUT 2

66 PAN CHANNEL INPUT 3

67 PAN CHANNEL INPUT 4

68 PAN CHANNEL INPUT 5

69 PAN CHANNEL INPUT 6

70 PAN CHANNEL INPUT 7

71 PAN CHANNEL INPUT 8

72 PAN CHANNEL PAD 1 L

73 PAN CHANNEL PAD 1 R

74 PAN CHANNEL PAD 2 L

75 PAN CHANNEL PAD 2 R

76 PAN CHANNEL PAD 3 L

77 PAN CHANNEL PAD 3 R

78 PAN CHANNEL PAD 4 L

79 PAN CHANNEL PAD 4 R

80 NO ASSIGN

81 NO ASSIGN

82 NO ASSIGN

83 NO ASSIGN

84 NO ASSIGN

85 NO ASSIGN

86 NO ASSIGN

87 NO ASSIGN

88 NO ASSIGN

89 NO ASSIGN

90 NO ASSIGN

91 NO ASSIGN

92 PAN BALANCE STEREO OUT

93 NO ASSIGN

94 NO ASSIGN

CC# PARAMETER

153

MIDI and utility functions

● When CTRL CHG MODE = 3

95 NO ASSIGN

96 NO ASSIGN

97 NO ASSIGN

98 NO ASSIGN

99 NO ASSIGN

100 NO ASSIGN

101 NO ASSIGN

102 FADER EFF1 SEND INPUT 1

103 FADER EFF1 SEND INPUT 2

104 FADER EFF1 SEND INPUT 3

105 FADER EFF1 SEND INPUT 4

106 FADER EFF1 SEND INPUT 5

107 FADER EFF1 SEND INPUT 6

108 FADER EFF1 SEND INPUT 7

109 FADER EFF1 SEND INPUT 8

110 FADER EFF1 SEND PAD 1

111 NO ASSIGN

112 FADER EFF1 SEND PAD 2

113 NO ASSIGN

114 FADER EFF1 SEND PAD 3

115 NO ASSIGN

116 FADER EFF1 SEND PAD 4

117 NO ASSIGN

118 NO ASSIGN

119 NO ASSIGN

120 NO ASSIGN

121 NO ASSIGN

122 NO ASSIGN

123 NO ASSIGN

124 NO ASSIGN

125 NO ASSIGN

126 NO ASSIGN

127 NO ASSIGN

CC# PARAMETER

0 NO ASSIGN

1FADER CHANNEL TRACK 1

2FADER CHANNEL TRACK 2

3FADER CHANNEL TRACK 3

4FADER CHANNEL TRACK 4

5FADER CHANNEL TRACK 5

6FADER CHANNEL TRACK 6

7FADER CHANNEL TRACK 7

8FADER CHANNEL TRACK 8

9FADER CHANNEL TRACK 9

10 FADER CHANNEL TRACK 10

11 FADER CHANNEL TRACK 11

12 FADER CHANNEL TRACK 12

13 FADER CHANNEL TRACK 13

14 FADER CHANNEL TRACK 14

15 FADER CHANNEL TRACK 15

16 FADER CHANNEL TRACK 16

17 NO ASSIGN

18 NO ASSIGN

19 NO ASSIGN

20 NO ASSIGN

21 FADER CHANNEL RETURN 1

22 FADER CHANNEL RETURN 2

23 FADER MASTER STEREO OUT

24 FADER MASTER AUX 1

25 FADER MASTER AUX 2

26 FADER MASTER EFF 1

27 FADER MASTER EFF 2

28 NO ASSIGN

29 NO ASSIGN

30 NO ASSIGN

31 NO ASSIGN

32 NO ASSIGN

33 FADER MASTER BUS 1

34 FADER MASTER BUS 2

35 NO ASSIGN

36 NO ASSIGN

37 NO ASSIGN

38 NO ASSIGN

39 NO ASSIGN

40 NO ASSIGN

41 ON CHANNEL TRACK 1

42 ON CHANNEL TRACK 2

43 ON CHANNEL TRACK 3

44 ON CHANNEL TRACK 4

45 ON CHANNEL TRACK 5

CC# PARAMETER

46 ON CHANNEL TRACK 6

47 ON CHANNEL TRACK 7

48 ON CHANNEL TRACK 8

49 ON CHANNEL TRACK 9

50 ON CHANNEL TRACK 10

51 ON CHANNEL TRACK 11

52 ON CHANNEL TRACK 12

53 ON CHANNEL TRACK 13

54 ON CHANNEL TRACK 14

55 ON CHANNEL TRACK 15

56 ON CHANNEL TRACK 16

57 NO ASSIGN

58 NO ASSIGN

59 NO ASSIGN

60 NO ASSIGN

61 NO ASSIGN

62 NO ASSIGN

63 ON MASTER STEREO OUT

64 PAN CHANNEL TRACK 1

65 PAN CHANNEL TRACK 2

66 PAN CHANNEL TRACK 3

67 PAN CHANNEL TRACK 4

68 PAN CHANNEL TRACK 5

69 PAN CHANNEL TRACK 6

70 PAN CHANNEL TRACK 7

71 PAN CHANNEL TRACK 8

72 PAN CHANNEL TRACK 9

73 PAN CHANNEL TRACK 10

74 PAN CHANNEL TRACK 11

75 PAN CHANNEL TRACK 12

76 PAN CHANNEL TRACK 13

77 PAN CHANNEL TRACK 14

78 PAN CHANNEL TRACK 15

79 PAN CHANNEL TRACK 16

80 NO ASSIGN

81 NO ASSIGN

82 NO ASSIGN

83 NO ASSIGN

84 NO ASSIGN

85 NO ASSIGN

86 NO ASSIGN

87 NO ASSIGN

88 NO ASSIGN

89 NO ASSIGN

90 NO ASSIGN

91 NO ASSIGN

92 PAN BALANCE STEREO OUT

93 NO ASSIGN

94 NO ASSIGN

95 NO ASSIGN

96 NO ASSIGN

97 NO ASSIGN

98 NO ASSIGN

99 NO ASSIGN

100 NO ASSIGN

101 NO ASSIGN

102 FADER EFF1 SEND TRACK 1

103 FADER EFF1 SEND TRACK 2

104 FADER EFF1 SEND TRACK 3

105 FADER EFF1 SEND TRACK 4

106 FADER EFF1 SEND TRACK 5

107 FADER EFF1 SEND TRACK 6

108 FADER EFF1 SEND TRACK 7

109 FADER EFF1 SEND TRACK 8

110 FADER EFF1 SEND TRACK 9

111 FADER EFF1 SEND TRACK 10

112 FADER EFF1 SEND TRACK 11

113 FADER EFF1 SEND TRACK 12

114 FADER EFF1 SEND TRACK 13

115 FADER EFF1 SEND TRACK 14

116 FADER EFF1 SEND TRACK 15

117 FADER EFF1 SEND TRACK 16

118 NO ASSIGN

119 NO ASSIGN

120 NO ASSIGN

121 NO ASSIGN

122 NO ASSIGN

123 NO ASSIGN

124 NO ASSIGN

125 NO ASSIGN

126 NO ASSIGN

127 NO ASSIGN

CC# PARAMETER

MIDI and utility functions

154

Transmitting the AW16G’s settings via MIDI

(Bulk Dump)

In the BULK page of the UTILITY screen, you can trans-

mit various internal settings of the AW16G (scene memo-

ries, libraries, settings of the UTILITY screen, etc.) as bulk

data from the MIDI OUT/THRU connector. If you record

this bulk data on a MIDI sequencer or similar device,

you will then be able to restore these settings whenever

desired.

To access this page, repeatedly press the [UTILITY] key

or hold down the [UTILITY] key and use the CURSOR

[ ]/[ ] keys.

This page contains the following items.

1 SCENE button

Selects scene memories for bulk dumping. Use the

scene number ﬁeld located at the right of the button

to specify the scene(s) that will actually be transmit-

ted.

B Scene number ﬁeld

Here you can select the scene number(s) that will

be transmitted. You can select from the following

choices.

CURRENT .................. The current mixing settings (the

current scene)

01–96......................... A scene number 01–96

ALL ............................ Scene numbers 01–96 + current

scene

C LIBRARY button

Selects libraries for bulk dumping.

D SYSTEM button

Selects the settings in each page of the UTILITY

screen for bulk dumping.

E REMOTE button

Selects the settings of the REMOTE screen (→

p. 155) for bulk dumping.

F PC TABLE button

Selects the settings of the SCENE screen PC TABLE

page (→ p. 165) for bulk dumping.

G ALL button

Selects (in one step) all items that can be bulk

dumped.

H INT

Speciﬁes the interval at which bulk data will be

transmitted, in a range of 0–300 ms (10 ms steps).

I RX DISABLE button

Selects whether bulk data sent from an external

device will be received (button = on) or ignored

(button = off).

J REQUEST button

When you move the cursor to this button and press

the [ENTER] key, a bulk dump request message will

be transmitted from the MIDI OUT/THRU connec-

tor.

A bulk dump request message is a MIDI message

that requests an AW16G to transmit the settings you

selected in items

1–7.

When two AW16G units are connected, you can

use this to copy data such as scene memories or

libraries from the other AW16G.

● Bulk dump request message transmission

K TRANSMIT button

Move the cursor to this button and press the

[ENTER] key to execute the bulk dump.

Tip!

• The time required for bulk data to be transmitted will

depend on the type of data.

• An error may occur on the receiving device while bulk

data is being transmitted. In this case, try increasing the

INT setting. When transmitting and receiving bulk data

between two AW16G units, leave the INT value at zero.

Note

In order to actually perform a bulk dump, you must turn

on the MIDI button located in the MIDI OUT area of the

MIDI page in the UTILITY screen, so that MIDI messages

can be transmitted from the MIDI OUT/THRU connector

(

→

p. 150).

7 K5 6 8

1 2 9

43J

AW16G

MIDI OUT/THRU MIDI IN

MIDI IN MIDI OUT/THRU

Bulk data Request message

155

MIDI and utility functions

Using the MIDI Remote function

About the MIDI Remote function

The AW16G provides a MIDI Remote function that lets

you use the controls of the top panel to transmit the

desired MIDI messages.

By using the MIDI Remote function, you can use the

AW16G as a physical controller for a computer program

or MIDI tone generator.

MIDI messages can be assigned to the following con-

trols.

● Mixer section

•Faders 1–8, 9/10–15/16

• [TRACK SEL] keys 1–8, 9/10–15/16

● Transport section

•RTZ [ ] key • REW [ ] key

• FF [ ] key • STOP [■] key

• PLAY [ ] key • REC [●] key

Of these, the MIDI messages assigned to the faders

and [TRACK SEL] keys can be freely reassigned. You

can assign the following types of message.

■ Messages that can be assigned to

faders

A MIDI message whose value

changes in a range of 0–127 can

be assigned to each fader. For

example if you assign control

change #7 (volume) to a fader, you

can move the fader to control the

volume of a MIDI tone generator.

■ Messages that can be assigned to

the [TRACK SEL] keys

A MIDI message whose value changes between the two

states of 0 or 127 can be assigned to each [TRACK SEL]

key. For example if you assign control change #64 (hold)

to a [TRACK SEL] key and specify that the control change

value alternates between 0 and 127, pressing the

[TRACK SEL] key to turn it on (lit) will transmit control

change #64 with a value of 127 (Hold on), and turning it

off (dark) will transmit control change #64 with a value

of 0 (Hold off).

Alternatively, you can specify that a MIDI message with a

ﬁxed value is transmitted only when you press the

[TRACK SEL] key to turn it on (lit). For example if you

assign program change #1, the program change of that

number will be transmitted each time you turn on the

[TRACK SEL] key.

Using the MIDI Remote function

presets

The PRESET page of the REMOTE screen provides ten dif-

ferent MIDI Remote presets. These presets have been cre-

ated with speciﬁc devices and computer sequencer

programs in mind, and assign the necessary messages to

the AW16G’s faders and [TRACK SEL] keys. You can use

the MIDI Remote function immediately, just by selecting

a preset in this page and connecting the appropriate

external MIDI device.

Sequencer programs that are supported

● Windows

• Logic5 5.0.1

• Logic Audio Platinum 4.6

• Cubase VST/32 5.1r1

• Cakewalk ProAudio 9.02

• SONAR 1.01

● Macintosh

• Logic5 5.0.1

• Logic Audio Platinum 4.6

• Cubase VST/32 5.1r1

• Cubase VST/32 5.0

• ProTools LE 5.11

*1. Use the setting file from the included CD-ROM to map

the AW16G’s faders/[TRACK SEL] keys/transport keys to

the Logic key commands. Track assignments must be

made within Logic as appropriate for your system.

*2. The [RTZ] key will not function.

To access the PRESET page of the REMOTE screen,

repeatedly press the Work Navigate section [REMOTE]

key or hold down the [REMOTE] key and use the CUR-

SOR [ ]/[ ] keys.

Tip!

The MIDI Remote function will automatically be on

while this page is displayed. The track channel faders and

[TRACK SEL] keys will not perform their usual functions,

but will work as speciﬁed by the preset you have selected

in the PRESET page.

ontro

ange

number 7

Value =

127

Value =0

transmit

transmit transmit

Control change

number 64 (value= 127)

Control change

number 64 (value= 0)

Program change

number 1

Program change

number 1

transmit transmit

MIDI and utility functions

156

This page contains the following items.

1 List

Select one of the ten presets shown in this list. The

line enclosed in the dotted frame is the currently

selected preset. When you turn the [DATA/JOG]

dial to select another preset, the MIDI message

assignments will be switched immediately.

The AW16G provides the following presets.

● 00 Volume/RecTr

Use this preset to control the volume of an external

tone generator or the recording tracks of an external

recorder.

• [TRACK SEL] key operations will transmit MMC

commands to select recording tracks.

•Fader operations will transmit Volume control

changes (CC#=07).

● 01 Volume

Use this preset to control the volume of an external

tone generator.

• [TRACK SEL] key operations will transmit Vol-

ume control change messages (CC#=07).

• When you turn a [TRACK SEL] key off (dark),

volume = 0 will be transmitted.

• When you turn a [TRACK SEL] key on (lit green),

the volume value corresponding to the fader

position will be transmitted.

• When a [TRACK SEL] key is on operating the

fader will transmit Volume control change mes-

sages (CC#=07).

● 02 Logic

● 03 Cubase

● 04 Sonar

● 05 ProTools

These presets let you use the AW16G as a physical

controller for various software sequencers.

• [TRACK SEL] key operations will control mute

on/off operations on the sequencer software.

•Fader operations will control the volume of the

sequencer software tracks.

You will need to install the appropriate setting ﬁle

into your sequencer software, and make the neces-

sary settings. For details, refer to the “Appendix” sec-

tion “About the CD-ROM included with the AW16G”

(→ p. 200).

● 06 XG 1-16

● 07 XG 17-32

● 08 XG 33-48

● 09 XG 49-64

These presets let you use the AW16G as a volume

controller for an XG tone generator. Each preset will

control the XG-compatible tone generator’s parts 1–

16, 17–32, 33–48, and 49–64 respectively.

• [TRACK SEL] key operations will switch the part

on/off.

•Fader operations will control the volume of the

part.

If you select preset 07–09, the button indications will

change as follows.

● Preset 07

1-16 button → 17-32 button

1-12 button → 17-28 button

9-16 button → 25-32 button

● Preset 08

1-16 button → 33-48 button

1-12 button → 33-44 button

9-16 button → 41-48 button

● Preset 09

1-16 button → 49-64 button

1-12 button → 49-60 button

9-16 button → 57-64 button

B CH

Choose one of these buttons to select the MIDI

channels that will be assigned to the faders and the

[TRACK SEL] keys, as shown in the following tables.

32 1

157

MIDI and utility functions

● When the 1-16 button is selected

● When the 1-12 button is selected

● When the 9-16 button is selected

Tip!

When the 1-16 button is on, operating a fader 9/10–15/

16 or a [TRACK SEL] key 9/10–15/16 will transmit two

channels of MIDI messages.

C TRANSPORT

Select one of the following to specify what will hap-

pen when you operate the keys of the transport sec-

tion while using the MIDI Remote function.

NORMAL button........ The transport keys will perform the

same operations as normally; play,

stop, or locate etc. the current

song. MTC/MMC/MIDI Clock mes-

sages will be transmitted and

received as speciﬁed in the MIDI

page of the UTILITY screen.

LOCAL button............ The transport keys will play, stop,

or locate the current song. How-

ever, MTC/MMC/MIDI Clock mes-

sages will not be transmitted or

received.

REMOTE button ......... The transport keys will not operate

the recorder, but will only transmit

the MIDI messages that have been

preset for each key.

Tip!

These settings will also apply if you use a foot switch to

operate the song transport.

Using the user-deﬁned Remote

function

The USER page of the REMOTE screen lets you assign

your own MIDI messages to each fader and [TRACK SEL]

key.

To access this page, repeatedly press the Work Navigate

section [REMOTE] key or hold down the [REMOTE] key

and use the CURSOR [ ]/[ ] keys.

Tip!

The MIDI Remote function will automatically be on

while this page is displayed. The track channel faders and

[TRACK SEL] keys will not perform their usual functions,

but will work as speciﬁed by the settings you have made

in the USER page.

This page contains the following items.

1 TRANSPORT

Selects what will happen when you operate the

keys of the transport section while using the MIDI

Remote function.

B Selected channel

Indicates the name of the channel that is currently

selected for operations.

Tip!

When you operate a fader 1–8 or 9/10–15/16 or a

[TRACK SEL] key 1–8 or 9/10–15/16, the displayed con-

tents of the page will change to the corresponding chan-

nel.

C Fader/[TRACK SEL] key function name

Displays the name that is assigned to the currently

displayed fader or [TRACK SEL] key.

D NAME button

Edits the name that is assigned to the fader/[TRACK

SEL] key. Move the cursor to the button and press

the [ENTER] key, and the TITLE EDIT popup win-

dow will appear.

Faders/[TRACK SEL] keys 123456789/10 11/12 13/14 15/16

MIDI channel 123456789/10 11/12 13/14 15/16

Faders/[TRACK SEL] keys 123456789/10 11/12 13/14 15/16

MIDI channel 12345678 9101112

Faders/[TRACK SEL] keys 123456789/10 11/12 13/14 15/16

MIDI channel 910111213141516 ————

1 32 4 5

7 8 96J

MIDI and utility functions

158

E ALL INIT button

Resets all MIDI messages assigned to the faders/

[TRACK SEL] keys to the initial settings. To initialize,

move the cursor to this button and press the

[ENTER] key.

F FADER button

If you turn this button on, the MIDI message

assigned to the fader of the currently selected chan-

nel will be displayed.

This button will automatically be turned on when

you operate the fader of a track channel.

G SEL SW button

If you turn this button on, the MIDI message

assigned to the [TRACK SEL] key of the currently

selected channel will be displayed.

This button will automatically be turned on when

you operate the [TRACK SEL] key of a track chan-

nel.

H LATCH/UNLATCH button

Selects how the [TRACK SEL] key of a track channel

will operate when pressed.

LATCH ....................... The setting will alternate on/off

each time you press the [TRACK

SEL] key.

UNLATCH.................. The setting will be on while you

hold down the [TRACK SEL] key,

and will turn off when you release

the key.

I LEARN button

When this button is on, the MIDI message received

from the MIDI IN connector will be assigned to the

currently selected fader or [TRACK SEL] key. This is

a convenient way to assign MIDI messages quickly.

Tip!

• If two or more MIDI messages are received while the

LEARN button is on, the last-received MIDI message

will be input in the MIDI message ﬁeld.

• If a system exclusive message longer than sixteen bytes

is received, the ﬁrst sixteen bytes will be displayed.

J MIDI message

This area displays (in hexadecimal form) the MIDI

message that is assigned to the currently selected

fader or [TRACK SEL] key.

You can move the cursor to each numeric box and

turn the [DATA/JOG] dial to edit the value of each

byte (two-digital hexadecimal number). You can

select the following values.

00–FF (hexadecimal) ..Corresponds to the actual value of

the MIDI message that is transmit-

ted.

END............................Indicates the end of the MIDI mes-

sage. When you operate a fader or

[TRACK SEL] key, the MIDI mes-

sage starting with the ﬁrst byte and

ending with the byte that precedes

END will be transmitted.

SW ([TRACK SEL] key

only) ...........................Indicates the on/off status of the

[TRACK SEL] key. The byte you

specify as SW will be transmitted

as 7F (hexadecimal) when the key

is turned on, or 00 (hexadecimal)

when the key is turned off.

FAD ............................Indicates the current position of

the fader. If the message is assigned

to a fader, the byte you specify as

FAD will be transmitted as a value

of 00–7F (hexadecimal) corre-

sponding to the fader position

when you operate the fader.

If the message is assigned to a

[TRACK SEL] key, this byte will be

transmitted as a value correspond-

ing to the current position of the

fader when the [TRACK SEL] key is

turned on, and will be transmitted

as a value of 00 (hexadecimal)

when the [TRACK SEL] key is

turned off.

Tip!

• The MIDI message assigned to a single fader or key can-

not be longer than sixteen bytes.

• If a SW byte is not assigned to a [TRACK SEL] key, the

MIDI message you input will be transmitted only when

you turn the key on. (In this case you will normally use

the UNLATCH setting.)

•When you use the LEARN button to assign a control

change to a fader, the END byte will automatically be

input at the end of the MIDI message.

•When you use the LEARN button to assign a control

change to a fader, the FAD byte will be automatically

input as the variable value.

Note

• If you assign a MIDI message manually, be sure to input

END at the end of the MIDI message.

•When you assign a MIDI message to a fader, FAD must

be input for one of the bytes. If FAD is not input, oper-

ating the fader will not do anything.

• If you input the values manually, it is possible that an

invalid MIDI message will be input. For this reason, you

should use the

LEARN button to assign MIDI mes-

sages whenever possible.

MIDI data transmitted

(SW=7F)

MIDI data transmitted

(SW=00)

off offon

MIDI data transmitted

(SW=7F)

MIDI data transmitted

(SW=00)

159

MIDI and utility functions

Using the test tone oscillator

The OSC page of the UTILITY screen lets you send the

signal of the AW16G’s built-in test oscillator (the test

tone oscillator) to the desired bus.

To access this page, repeatedly press the Work Navigate

section [UTILITY] key or hold down the [UTILITY] key

and use the CURSOR [ ]/[ ] keys.

This page contains the following items.

1 WAVEFORM

Selects one of the following signals for output from

the oscillator.

OFF button ................ Oscillator is off

100Hz button ............ 100 Hz sine wave

440Hz button ............ 440 Hz sine wave

1kHz button............... 1 kHz sine wave

10 kHz button............ 10 kHz sine wave

NOISE button ............ White noise

When you turn on a button, the oscillator output

will immediately be sent to the speciﬁed bus. Use

the

3–6 buttons to specify the bus to which the

signal will be sent.

Tip!

If the LEVEL knob is raised when you output the oscilla-

tor signal, a high volume level may be produced sud-

denly. Be sure to lower the LEVEL knob before you switch

on the oscillator.

B LEVEL knob

Adjusts the output level of the oscillator.

C AUX 1/2 buttons

Send the oscillator output to AUX buses 1/2.

D EFF 1/2 buttons

Send the oscillator output to effect buses 1/2.

E BUS L R button

Sends the oscillator output to the L/R bus.

F STEREO L R button

Sends the oscillator output to the stereo bus.

G Level meter

Indicates the output level of AUX 1/2, effect bus 1/

2, and the L/R bus.

Note

Sine waves and white noise have a higher sound pressure

than they perceptually appear. These signals may damage

your speakers if played at a high volume, so please use

caution.

1 2 34

76 5

MIDI and utility functions

160

Digital input settings/Checking and

initializing the internal hard disk

In the D.IN HDD page of the UTILITY screen you can

make settings for digital input, and check and initialize

the internal hard disk.

To access this page, repeatedly press the Work Naviga-

tion section [UTILITY] key or hold down the [UTILITY]

key and use the CURSOR [ ]/[ ] keys.

This page contains the following items.

1 DIGITAL IN PATCH

Selects one of the following as the destination to

which the signal from the DIGITAL IN jack will be

sent.

DISABLE .................... The DIGITAL STEREO IN jack will

be disabled.

INPUT 1/2–7/8 .......... The signal will be sent to input

channels 1/2–7/8. If you select this

setting, the MIC/LINE input jacks

for the corresponding input chan-

nels will be disabled.

STEREO BUS .............. The signal will be sent to the stereo

bus.

Tip!

If you select DISABLE, the AW16G will operate using its

own internal clock. If you select any other setting, the

AW16G will synchronize to the clock contained in the

input signal from the DIGITAL STEREO IN jack. However

when playing an audio CD, the AW16G always operates

using its own clock.

Note

•You cannot switch this setting while the recorder is run-

ning.

• If you select a setting other than DISABLE, a message of

“((((WRONG WORD CLOCK!!))))” will be displayed if

appropriate clock data is not being sent to the DIGITAL

STEREO IN jack. While this message is displayed, all

channels will be muted and the recorder section will

not operate. To make the AW16G operate, you must

either input the correct clock signal or switch the DIGI-

TAL IN PATCH setting to DISABLE.

B ATT knob

Adjusts the level of the signal that is sent from the

DIGITAL STEREO IN jack to the stereo bus.

Tip!

The ATT knob is meaningful only if DIGITAL IN PATCH is

set to STEREO BUS.

C DIGITAL REC ON/OFF button

Enables (ON) or disables (OFF) digital recording

from the DIGITAL IN jack, and importing of digital

audio data from an audio CD or WAV ﬁle inserted

in the CD-RW drive.

When you switch this setting ON, the following

message will be displayed.

OBSERVE Copyright Notice

Written in Owner’s Manual?

[Cancel] [OK]

If you agree to the conditions described in “Copy-

right Notice” (→ p. 5), select [OK]. When you select

[OK], recording and importing of digital audio data

will be enabled.

Tip!

The DIGITAL REC ON/OFF button is always set to OFF

when you turn on the power.

D VARI PITCH ON/OFF button

Selects whether the sampling frequency will be

adjustable (Vari-pitch function) when DIGITAL IN

PATCH is set to DISABLE. If you turn this button on,

vari-pitch will be enabled, and you can use the

VARI PITCH knob to adjust the sampling frequency.

E VARI PITCH knob

Adjusts the sampling frequency of the current song

in a range of –5.97 to +6.00%.

Note

Vari-pitch is not available if DIGITAL IN PATCH is set to

other than DISABLE, or if you have selected MTC Slave in

the MIDI page of the UTILITY screen.

F CHECK button

Checks the state of the internal hard disk. When you

move the cursor to this button and press the

[ENTER] key, a popup window will ask you for con-

ﬁrmation. If you move the cursor to the OK button

and press the [ENTER] key, the current song will be

saved automatically, and the check will be exe-

cuted. A popup window will appear while checking

is in progress, but you can abort the check by press-

ing the [ENTER] key.

If no problems are found, a popup window indicat-

ing “No Error” will appear.

If a problem is found, one of the following messages

will appear.

Read Error ..................The display will indicate the num-

ber of locations for which data

could not be read from the hard

disk. It is possible that the hard

disk has been physically damaged.

1 4 6

7532

161

MIDI and utility functions

Data Error.................. The display will indicate the num-

ber of locations for which there is

an inconsistency in the data that

was read from the hard disk. It is

possible that song operations can-

not be performed correctly.

Link Error................... The display will indicate the num-

ber of locations for which the data

recorded on the hard disk is not

connected correctly. It is possible

that noise may be present in the

song playback, or that song opera-

tions cannot be performed cor-

rectly.

Tip!

This operation does not ﬁx errors on the hard disk.

We recommend that you make backups of important

song data.

If an error message is displayed when you execute this

operation, please format the hard disk.

If the AW16G still does not function correctly after you

have formatted the hard disk, please contact your dealer.

G FORMAT button

Formats the internal hard disk. When you move the

cursor to this button and press the [ENTER] key, the

hard disk will be formatted. During execution, a

popup window will indicate the progress. When

formatting has been completed, the popup window

will close automatically.

Note

•Executing the Format operation will erase all data from

the internal hard disk, and the data cannot be recov-

ered. Use this operation with caution.

•You cannot abort the Format operation once it has been

started.

•Never turn off or disconnect the power during format-

ting, since this may damage the hard disk and cause

malfunctions.

MIDI and utility functions

162

Overall settings for the AW16G

In the PREFER page of the UTILITY screen, you can make

settings that affect the overall operation of the AW16G,

such as specifying whether or not popup windows will

appear, and switching copy protect on/off.

To access this page, repeatedly press the Work Navigate

section [UTILITY] key or hold down the [UTILITY] key

and use the CURSOR [ ]/[ ] keys.

This page contains the following items.

1 STORE CONFIRM ON/OFF button

Speciﬁes whether the TITLE EDIT popup window

(allowing you to assign a name) will appear when

you store a scene/library.

B RECALL CONFIRM ON/OFF button

Speciﬁes whether a popup window will ask you to

conﬁrm the operation when you recall a scene or

library.

C D.OUT COPYRIGHT ON/OFF button

Speciﬁes whether SCMS (Serial Copy Management

System) copy protect ﬂags will be written into the

digital signal that is output from the DIGITAL STE-

REO OUT jack. Protect is enabled if the button is

on, and disabled if the button is off.

If copy protect is enabled, you will be able to copy

the signal from the DIGITAL STEREO OUT jack on

an MD or DAT recorder, but it will not be possible

to make a second-generation digital copy from that

data.

● When copy protect is enabled

D PARAM DISP TIME

Adjusts the duration for which the value will be dis-

played in the upper right of the screen when you

use the knobs of the Selected Channel section to

edit a parameter. This setting has a range of 0–9

(seconds).

E FADER FLIP

Speciﬁes whether faders 1–8 and 9/10–15/16 will

adjust the track channel levels (TRACK) or the input

channel/pad levels (INPUT). When the power is

turned on, this setting will always return to TRACK.

Note

Even if you select INPUT, the function of the [TRACK

SEL] keys will not be affected.

F NUDGE MODE

Selects the playback method that will be used by

the Nudge function (a function that lets you use the

[JOG ON] key and [JOG/DATA] dial to search for a

location).

AFTER.........................Play back repeatedly, starting at the

current location, for the duration

speciﬁed by the NUDGE TIME.

BEFORE ......................Play back repeatedly, ending at the

current location, for the duration

speciﬁed by the NUDGE TIME.

G NUDGE TIME

Speciﬁes the duration (Nudge Time) that will be

played repeatedly by the Nudge function. The

nudge time can be set in a range of 25–800 ms in 1

ms (millisecond) steps.

H SOUND CLIP TIME

Selects the recording time for the Sound Clip func-

tion.

This can be set in a range of 30 sec–180 sec, in 30

sec (second) steps.

Note

The SOUND CLIP TIME setting is used when you create a

new song. You cannot change the recording time for the

sound clip function after the song has been created.

I PREROLL TIME

Speciﬁes the duration (preroll time) that will be

played back before the punch-in point when you

use Auto Punch-in. This can be set in a range of 0–5

seconds.

J POSTROLL TIME

Speciﬁes the duration (postroll time) that will be

played back after the punch-out point when you use

Auto Punch-in. This can be set in a range of 0–5

seconds.

1 6

5 J3 94

2 78

D.OUT COPYRIGHT= ON

AW16G

DIGITAL STEREO OUT jack

DAT or MD, etc.

Digital recording

possible

Digital recording

not possible

NUDGE MODE: BEFORE NUDGE MODE: AFTER

Current location Current location

163

Chapter 15

Using the AW16G with

external devices

This chapter describes various examples of how you can use the

AW16G in conjunction with external devices.

Using the AW16G with a “workstation synth”

There are numerous ways in which you can use the

AW16G together with a workstation synthesizer (a syn-

thesizer that has a built-in sequencer).

Synchronizing the AW16G with

the workstation’s sequencer

Here’s how you can use MTC to synchronize the AW16G

song with the sequencer built into your workstation

synth. In this example we will also use MMC to remotely

control the transport of the AW16G from your worksta-

tion synth.

Refer to the following diagram, and connect

the AW16G to your workstation synthesizer.

In the Work Navigate section, use the [UTIL-

ITY] key to access the MIDI page of the UTIL-

ITY screen. Turn on the SLAVE button in the

MMC MODE ﬁeld, and turn on the MASTER

button in the MTC MODE ﬁeld.

The AW16G will be set to function as MMC slave

and MTC master.

Move the cursor to the DEV ﬁeld, and set the

value to match the device number of your

workstation synthesizer.

When using MMC, you must set the AW16G and

the external MIDI device to the same MMC device

number. For details on the device numbers that your

workstation synth can use, refer to its owner’s man-

ual.

In the MIDI OUT ﬁeld, turn on the MIDI but-

ton and MTC button.

Now when the AW16G runs, MTC will be transmit-

ted from the MIDI OUT/THRU connector.

● Example settings for synchronization using MTC

and MMC

In the Work Navigate section, use the

[SONG] key to access the SETUP page of the

SONG screen, and select a frame rate in the

TIME CODE BASE area.

Tip!

The frame rate you specify here will affect not only syn-

chronization with the external device, but also the time

code that is displayed in the counter, etc.

Set your workstation synth to function as

MMC master and MTC slave, and set its

MMC device number and MTC frame rate to

the same settings as the AW16G.

For details on how to make these settings, refer to

the manual for your workstation synth.

Play back the sequencer (of your workstation

synth).

When you play back the sequencer of your worksta-

tion synth, the corresponding MMC commands will

be sent to the AW16G, and the AW16G will begin

running.

At the same time, the AW16G will transmit MTC to

your workstation synth, and the sequencer will run

in synchronization with it.

Tip!

You can synchronize using MIDI Clock and Start/Stop/

Continue messages instead of using MTC and MMC. For

details on the settings in this case, refer to the section

that follows, “Recording/playing AW16G mix operations

on your sequencer.”

MIDI OUT MIDI IN

MIDI IN MIDI OUT

AW16G

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MTC

MMC

Synthesizer with

built-in sequencer

Using the AW16G with external devices

164

Recording/playing AW16G mix

operations on the workstation’s

sequencer

Here’s how you can synchronize the AW16G and the

built-in sequencer of your workstation synth, and use the

sequencer to record/play the fader and pan operations

you perform on the AW16G.

Since operating the AW16G’s mix parameters will cause

a large number of control change messages to be trans-

mitted, we will use MIDI Clock (which uses less data) as

the synchronization signal rather than MTC.

Connect the AW16G and your workstation as

shown in the following diagram.

In the Work Navigate section, use the [UTIL-

ITY] key to access the MIDI page of the UTIL-

ITY screen. Turn on the MASTER button in

the MTC MODE area, and turn on the MIDI

button and CLK button in the MIDI OUT

area.

With these settings, the AW16G will transmit MIDI

Clock, Start/Stop/Continue, and Song Position

Pointer messages from its MIDI OUT/THRU con-

nector when it is running.

● Example settings for synchronization using

MIDI Clock and Start/Stop/Continue

Move the cursor to the CTRL CHG MODE

area, and turn the [DATA/JOG] dial to select 1

out of the possible range of 1–3.

The CTRL CHG MODE lets you choose one of three

combinations (1–3) that specify how control

changes will correspond to the mix parameters of

the AW16G. (For details on the contents of each

choice, refer to page 152.)

If you want to divide your operations into a separate

MIDI channel for each of the AW16G’s track chan-

nels, choose 1. If you want all track channels to be

controlled on a single MIDI channel, choose 2 or 3.

If you chose 2 or 3, you will also need to set the

MIDI CH ﬁeld to specify the MIDI channel that will

be used to transmit and receive the control changes.

Make settings on your workstation synth so

that its built-in sequencer will follow external

MIDI Clock messages. Also set the sequencer

to record-ready mode.

For details on how to make these settings, refer to

the manual for your workstation synth.

Note

If your workstation synth has a function by which MIDI

messages received at its MIDI IN connector are retrans-

mitted from its MIDI OUT connector (a function called

“MIDI Echo” or “MIDI Thru”), you must turn it off. If this

function is turned on while you are recording, the control

change messages transmitted when you operate the

AW16G will be immediately returned to the AW16G,

causing malfunctions.

Play back the AW16G song from the begin-

ning.

When the AW16G begins playing, it will transmit a

Start message and MIDI Clock messages to the

sequencer, and the sequencer will begin running in

synchronization with the AW16G.

Operate the AW16G’s mix parameters such

as fader and pan.

The control changes assigned to each parameter

will be recorded on the sequencer.

The type of mix parameters that can be recorded

will depend on the setting of the CTRL CHG MODE

ﬁeld (→ p. 151).

When you are ﬁnished recording, stop the

AW16G song.

Switch the workstation’s sequencer to play-

back-ready mode, and play back the AW16G

song from the beginning.

The recorded control changes will be transmitted to

the AW16G, and the corresponding mix parameters

will change.

If necessary, you can use the editing functionality of

your sequencer to edit the values and timing of the

control changes that were recorded.

Note

If you set CTRL CHG MODE to 1, operating track chan-

nels 1–16 will transmit control changes on the corre-

sponding MIDI channel 1–16. For this reason, you should

normally record operations only for a single channel at a

time, unless your sequencer is able to record multiple

MIDI channels simultaneously.

MIDI OUT MIDI IN

MIDI IN MIDI OUT

AW16G

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MIDI Clock

Control change

Control

change

Synthesizer with

built-in sequencer

165

Using the AW16G with external devices

Switching AW16G scenes from

the workstation’s sequencer

Here’s how you can transmit program changes from the

built-in sequencer of your workstation to switch scenes

on the AW16G.

■ Assign scenes to program changes

In the Control section, use the [SCENE] key

to access the PC TABLE page of the SCENE

screen.

This page lets you assign a scene number to each

program change.

1 List

This lists the scenes of the current song. The line

enclosed by a dotted frame is the scene currently

selected for operations.

B Program change number

This indicates the program change number 001–

128. Move the cursor to this number and turn the

[DATA/JOG] dial to scroll the list upward or down-

ward.

C Scene

Move the cursor to this area and turn the [DATA/

JOG] dial to select the scene that you want to assign

to the corresponding program number.

D INITIALIZE button

Returns the program change assignments to the ini-

tial state.

Tip!

With the initial settings, program changes 1–96 corre-

spond to scenes 1–96, and program changes 97–128 are

set to NO ASSIGN (no assignment).

Move the cursor to the program change

number, and turn the [DATA/JOG] dial to

select the program change number whose

assignment you want to change.

Move the cursor to the scene in the list, and

turn the [DATA/JOG] dial to select the scene

that you want to assign to the corresponding

program change number.

Repeat steps 3–4 to assign the desired scenes

to other program change numbers.

Tip!

If you want to reset the scene assignments to the initial

setting, move the cursor to the INITIALIZE button and

press the [ENTER] key.

■ Transmit program changes to switch

scenes

Connect the AW16G and your workstation

synth as shown in the diagram below.

In the Work Navigate section, use the [UTIL-

ITY] key to access the MIDI page of the UTIL-

ITY screen.

Set the PGM CHG MODE ﬁeld to RX.

With this setting, the AW16G will receive program

changes.

Move the cursor to RX in the MIDI CH area,

and select the MIDI channel on which MIDI

messages will be received.

Transmit a program change message from

your workstation synth to the AW16G on the

MIDI channel that you selected.

The scene assigned to that program change number

will be recalled.

Tip!

If you insert program changes into the appropriate loca-

tions of your sequencer track, scenes will be recalled

automatically as the AW16G and your sequencer run in

synchronization.

4 2 3

MIDI IN MIDI OUT

AW16G

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

Program

change

Synthesizer with

built-in sequencer

Using the AW16G with external devices

166

Remotely controlling a tone generator module

Here’s how you can use the AW16G’s MIDI Remote

function to remotely control a tone generator module.

Connect the AW16G to your tone generator

module as shown in the following diagram.

Use the Work Navigate section [REMOTE] key

to access the PRESET page of the REMOTE

screen.

The Remote function will be enabled.

Tip!

•While the REMOTE screen is displayed, the functions of

the faders and [TRACK SEL] keys will be disabled; the

faders and keys will function as controllers that trans-

mit MIDI messages.

• The MIDI Remote function is enabled whenever the

REMOTE screen is displayed. However, MIDI messages

will not be output if the MIDI button is turned off in the

MIDI page (

→

p. 150).

Turn the [DATA/JOG] dial to select the preset

that you want to use.

For example if you select preset 06 (XG 1-16), the

AW16G’s faders will control the volume of parts 1–

16 of your XG tone generator, and [TRACK SEL]

keys 1–16 will control the on/off status of parts 1–

16.

If necessary, use the buttons in the CH area

to select the MIDI channels to which the fad-

ers and [TRACK SEL] keys will correspond.

The buttons in the CH area select the combination

of MIDI channels that are assigned to the faders and

[TRACK SEL] keys. For the combination of MIDI

channels used when each button is on, refer to

“MIDI and utility functions” (→ p. 149).

Operate the faders and [TRACK SEL] keys of

the AW16G.

The messages assigned to the faders and [TRACK

SEL] keys will be transmitted from the MIDI OUT/

THRU connector, and the parameters of your tone

generator module will change accordingly.

Tip!

It is also possible to assign your own MIDI messages to

the AW16G’s faders and [TRACK SEL] keys. For details,

refer to “MIDI and utility functions” (

→

p. 149).

MIDI OUT MIDI IN

AW16G

Control changes

Tone genera-

tor module

167

Using the AW16G with external devices

Using external effects

As an alternative to using the internal effects, you can use

an external effect processor connected to the STEREO/

AUX OUT jacks. As an example, here’s how you can use

AUX bus 1 to apply a mono-in stereo-out reverb to the

track channels during mixdown.

Lower the [STEREO] fader to the –∞ position.

In the Selected Channel section, repeatedly

press the [PAN/BAL] knob or hold down the

[PAN/BAL] knob and use the CURSOR [ ]/

[] keys to access the AUX OUT page of the

PAN screen.

In this page you can select one of the following as

the signal that will be output from the STEREO/AUX

OUT jacks.

STEREO...................... Stereo bus (default)

AUX 1/2..................... AUX bus 1/2

Move the cursor to the AUX 1/2 button and

press the [ENTER] key.

The AUX bus 1 signal will be output from the L

channel of the STEREO/AUX OUT jacks, and the

AUX bus 2 signal will be output from the R channel

of the STEREO/AUX OUT jacks.

As shown in the following diagram, connect

your external effect processor to the AW16G.

Note

If you make the above connection with the [STEREO]

fader raised before performing steps 2 and 3, oscillation

may occur. Please use caution.

Press the [PAN/BAL] knob twice to access the

AUX page of the PAN screen.

1 AUX 1 knobs

Adjust the send level of the signals that are sent

from each channel to AUX bus 1.

B PRE/POST (upper line)

Select the location from which the signal is sent

from each channel to AUX bus 1. Move the cursor

to the desired channel and press the [ENTER] key to

switch between the following two settings.

PRE (pre-fader) ...........The signal immediately before the

fader will be sent.

POST (post-fader).......The signal immediately after the

fader will be sent.

C AUX2 knobs

Adjust the send level of the signals that are sent

from each channel to AUX bus 2.

D PRE/POST (lower line)

Select the location from which the signal is sent

from each channel to AUX bus 2. Move the cursor

and press the [ENTER] key to switch between PRE

and POST.

Raise the AUX knob 1 of each channel to an

appropriate level, and switch the PRE/POST

setting in the upper line as desired.

With the settings so far, the signal from the track

channel will be sent from AUX bus 1 via the STE-

REO/AUX OUT jack to the internal effect.

Use the Quick Navigate section [RECORD]

key to access the MIXDOWN page of the

RECORD screen, and make the settings

shown below.

With these settings, the unprocessed sound of track

channels 1–16 and the effect sound returned to

input channels 3/4 will be sent to the stereo bus and

mixed. You can monitor these signals via the MON-

ITOR OUT jacks.

AW16G

MIC/LINE

INPUT 3/4

STEREO/

AUX OUT (L)

MONITOR

OUT

Effect processor

Using the AW16G with external devices

168

● Signal ﬂow when using an external effect processor

In the Selected Channel section, repeatedly

press the [PAN/BAL] knob to access the PAN

page of the PAN screen, and spread apart the

pan settings of input channels 3/4.

The effect sound will be heard in stereo. If desired,

you can specify input channels 3/4 as a pair.

Note

If you use these settings, leave the AUX 1 knob and AUX

2 knob of input channels 3/4 set all the way to the left

(–∞ dB). If you raise these levels, the signal will loop, cre-

ating oscillation.

Raise the [STEREO] fader to the 0 dB position,

and while playing back the song, adjust the

input level of your external effect processor

and use the [GAIN] knobs to adjust the input

level of input channels 3/4.

If desired, return to step 5 and readjust the send

level to AUX bus 1 for each track channel. If you

want to adjust the AUX bus 1 master level, use the

BUS page of the VIEW screen (or the AUX OUT

page of the PAN screen).

In the MIXDOWN page of the RECORD

screen, switch the REC button on, and per-

form the mixdown.

Note

When you are ﬁnished with the mixdown, turn the PAN

screen AUX OUT page setting back to its original setting

of STEREO.

Mixer section

Stereo bus

Input

channels

Stereo

output

channel

Recorder section

AUX bus

Track

channels

AUX bus 1

master

Effect processor

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

169

Using the AW16G with external devices

Connecting an MD recorder

By connecting an MD recorder to the AW16G’s DIGITAL

STEREO IN or DIGITAL STEREO OUT jack, you can mix-

down to the MD recorder while keeping the signal in the

digital domain, or record an audio signal from the MD

recorder into the AW16G.

Mixing down to an MD recorder

Here’s how you can connect an MD recorder to the

AW16G’s DIGITAL STEREO OUT jack and mix down.

The DIGITAL STEREO OUT jack always outputs the same

signal as is recorded on the stereo track. This means that

the procedure is essentially the same as for normal mix-

down.

Lower the [STEREO] fader to the –∞ position.

As shown in the diagram below, use an opti-

cal cable to connect the AW16G to your MD

recorder.

Use the Quick Navigation section [RECORD]

key to access the MIXDOWN page of the

RECORD screen, and select the channels that

you want to send to the stereo bus.

Raise the [STEREO] fader to the 0 dB position,

and while you play back the song, adjust the

level, pan, EQ, and dynamics for each track

channel.

If desired, you can also use the mastering library.

When you have ﬁnished adjusting the sound

and the levels, put your MD recorder in

record mode, then play the AW16G from the

beginning and perform the mixdown.

You do not need to turn on the REC button in the

MIXDOWN page at this time.

When you have ﬁnished the mixdown, stop

the AW16G and your MD recorder.

● Signal ﬂow when mixing down to an MD recorder

AW16G

DIGITAL

STEREO IN

DIGITAL

STEREO OUT

DIGITAL

STEREO OUT

DIGITAL

STEREO IN

MONITOR

OUT

MD recorder

Mixer section

Stereo bus

Stereo output

channel

Recorder section

Track

channels

MD recorder

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Using the AW16G with external devices

170

To play back your MD recorder and listen to the

recorded result, connect the DIGITAL STEREO OUT

jack of your MD recorder to the AW16G’s DIGITAL

STEREO IN jack, and perform the following steps.

If you want to hear the result that was

recorded on the MD recorder, lower the

[STEREO] fader to the –∞ position, and use

the [UTILITY] key to access the D.IN - HDD

page of the UTILITY screen.

Move the cursor to the DIGITAL REC ON/OFF

button, and press the [ENTER] key.

A message will ask you to conﬁrm your observance

of copyright laws. If you accept the conditions

described in “Copyright Notice” (→ p. 5), move the

cursor to the OK button and press the [ENTER] key.

The DIGITAL REC ON/OFF button will be switched

ON, and digital audio data input will be enabled.

Move the cursor to the DIGITAL PATCH IN

ﬁeld, and turn the [DATA/JOG] dial to select

“STEREO BUS” as the destination for the

input signal from the DIGITAL STEREO IN

jack.

With this setting, the input signal from the DIGITAL

STEREO IN jack will be connected directly to the

stereo bus.

Note

Please note that the EQ and dynamics settings you made

for the stereo output channel during mixdown are still

valid at this point. If necessary, turn off EQ and dynam-

ics.

Raise the [STEREO] fader to the 0 dB position,

and play back your MD recorder.

Recording audio data from an

MD recorder

Here’s how the signal from an MD recorder connected to

the DIGITAL STEREO IN jack can be recorded on an

AW16G track while still in the digital domain.

Lower the [STEREO] fader to the –∞ position.

As shown in the diagram below, connect

your MD recorder to the AW16G.

Use the [UTILITY] key to access the D.IN •

HDD page of the UTILITY screen.

Move the cursor to the DIGITAL REC ON/OFF

button, and press the [ENTER] key.

A message will ask you to conﬁrm your observance

of copyright laws. If you accept the conditions

described in “Copyright Notice” (→ p. 5), move the

cursor to the OK button and press the [ENTER] key.

The DIGITAL REC ON/OFF button will be switched

ON, and digital audio data input will be enabled.

Move the cursor to the DIGITAL PATCH IN

ﬁeld, and turn the [DATA/JOG] dial to select

“1/2” (input channels 1/2) as the destination

for the input signal from the DIGITAL STEREO

IN jack.

Note

If necessary, use the INIT page of the MONITOR screen

to initialize the input channels.

Use the Quick Navigation section [RECORD]

key to access the DIRECT page of the

RECORD screen, and connect input channels

1/2 directly to tracks 1/2.

Raise the [STEREO] fader, play back your MD

recorder, and check the recording level and

monitor level.

Note

If you want to lower the recording level, access the

FADER page of the VIEW screen and lower the on-screen

faders for input channels 1/2. (The [GAIN] knobs have no

effect on input signals from the DIGITAL STEREO INPUT

jack.)

When you are ﬁnished setting the levels, put

the AW16G in record mode, and play back

your MD recorder.

AW16G

DIGITAL

STEREO IN

DIGITAL

STEREO OUT

MONITOR

OUT

MD recorder

171

Appendix

Input library list

No. Name Effect Type Description

00 Initial Data Initialize to a default state in which EQ, DYN, and EFFECT are not applied

EG: Electric guitar

01 Multi Drive AmpSimulate Drive sound usable in a wide range of situations from backing to lead

02 Light Crunch AmpSimulate Light crunch sound suitable for chords (that are allowed to ring)

03 Studio Lead Dist->Delay Lead with delay sound, with an amp-like character

04 Clean Lead Rev->Sympho Clean and transparent sound

05 Hard Blues AmpSimulate Hard blues sound with rich distortion

06 Melody Drive Dist->Delay Long sustaining sound suitable for melodies or ballades

07 Pop Ryhthm Mono Delay Clean backing sound with doubling

08 Heavy Rock AmpSimulate Heavy rock sound with all frequency ranges distorted

09 Stack Lead AmpSimulate Sound that simulates an old amp stack

10 Funk Cut Dyna.Phaser Phase sound that adds an effect to the picking attack

11 Trad Blues AmpSimulate Simulation of a traditional blues guitar sound

12 NeoRockabily Dist->Delay Rockabilly sound using a short delay, warped by adding distortion

13 Air Clean Delay+Rev Clean sound with a sense of air

14 City Lead Mod.Delay Combination sound with lightly applied modulation and delay

15 Pop Chorus Chorus Chorus sound suitable for a wide range of uses, from chording to arpeggios

16 Fuzzy Drive AmpSimulate A useful and original fuzz sound

17 Jazzy Night Reverb Room Comp sound that lets you express nuances by your picking dynamics

18 Retro Phase Phaser Simulation of a classic compact phaser

19 Mistic Chord Dual Pitch SFX sound that produces a mystical effect from chords or harmonics

20 Drive Amp AmpSimulate Natural-sounding overdrive that simulates overdriving a combo amp

21 Smooth Lead AmpSimulate Smooth distortion lead with a smooth playing feel

22 Crunch Box AmpSimulate

Crunch sound with a nice amount of distortion, usable for anything from backing

to lead

23 Double Drive Dist->Delay Heavy distortion with doubling

24 Comp Driver AmpSimulate Overdrive with compressor to bring out the nuances of your picking

25 Rotary Rotary The familiar rotary speaker sound, optimized for guitar

AG: Acoustic guitar

26 Arppegio Rev+Sympho Graceful arpeggio sound with good deﬁnition

27 Chorus Chorus Deep chorus sound usable in any situation

28 Lead Mod.Delay Light modulation sound, suitable for lead guitar

29 Finger Cut ReverbRoom Suitable for ﬁnger strumming or walking-bass phrases

30 Stroke Symphonic Symphonic sound effective on single-note melodic playing

BA: Bass

31 Pick Drive AmpSimulate A sound ideal for root-note picking

32 Finger Pick AmpSimulate Sound suitable for ﬁnger-picking, with emphasis on response

33 Rock Boost AmpSimulate Heavy and solid distortion sound

34 Best Slap AmpSimulate Slap bass sound for everyone (reminiscent of when slap became fashionable)

35 Melody Rev->Chorus Sweet-toned sound for lead melodies

VO: Vocal

36 Pop Vocal ReverbPlate Clear and transparent effect for vocal, that cuts the low range

37 Rock Vocal MonoDelay Effect for rock vocal that uses doubling to create depth

38 Delay Vocal MonoDelay Vocal effect that uses a basic delay

39 Ballad Vocal Symphonic Vocal effect with symphonic, effective on ballades etc.

40 ROBOT RingMod SFX sound for vocal and speech, also usable as a sound-effect

Speaker simulation

01 SMALL TYPE — Small cabinet simulation

02 REAL FEEL — Creates realism (picking produces grit)

03 HIGH RANGE — Cabinet with boosted highs

04 STACK TYPE — Large cabinet simulation

05 MID RANGE — Simulation of a cabinet with distinctive mid-range

Appendix

172

Mastering library list

No. Name Description

00 Initial Data Initialize to a state in which EQ and DYN are not applied

01 VITAL MIX

Standard mastering effect that enhances the overall loudness, creating a mix with

extended low and high ranges. Use on the two-track mix for any type of song.

02 SOFT COMP

Soft compressor that enhances the overall loudness without greatly changing the original

nuances (dynamics). Ideal for songs in which the mid and low ranges are important.

03 HARD ATTACKY

Limiter that emphasizes the attacks and produces an overall “ﬂattened” feel. Ideal for

songs that emphasize the rhythm.

04 SOFT ATTACKY

Soft compressor that enhances the overall loudness and emphasizes the attacks without

greatly changing the original nuances (dynamics). Ideal for songs in which the low and

mid ranges are important, and that emphasize the rhythm.

05 LO-FI Limiter that produces a “lo-ﬁ” character.

06 DARK/SOFT

Soft limiter that produces the slightly ﬂattened feel characteristic of the 60’s and 70’s.

(Ideal for Beatles-type rock of the 60’s and 70’s, or more recently for a Vincent Gallo feel.)

07 DARK/HARD

Hard limiter that produces a strongly ﬂattened feel characteristic of the 60’s and 70’s.

(Ideal when you want to make the song sound like 60’s or 70’s rock such as the Beatles.)

08 BRIGHT Compressor that produces a boosted high range.

09 LO BOOST Compressor that produces a boosted low range.

10 HARD LIMIT Limiter that produces an extremely ﬂattened feel. Ideal for hard-edged songs.

11 LIMITER Limiter without EQ. Ideal when you need only limiting.

12 NARROW Limiter that produces a sound like that of a small AM radio.

13 DIST Limiter that distorts the sound within the effect.

173

Appendix

EQ library list

These are the preset equalizer settings provided by the library.

Tip!

The EQ programs were programmed for recording acous-

tic musical instruments. If you are using them for a sam-

pler, synthesizer, or rhythm machine, adjust the

parameters accordingly.

No Name Description

001 Bass Drum 1

Emphasizes the low range of the

bass drum and the attack created

by the beater.

002 Bass Drum 2

Creates a peak around 80Hz, pro-

ducing a tight, stiff sound.

003 Snare Drum 1

Emphasizes snapping and rimshot

sounds.

004 Snare Drum 2

Emphasizes the ranges of that clas-

sic rock snare drum sound.

005 Tom-tom 1

Emphasizes the attack of tom-

toms, and creates a long, “leath-

ery” decay.

006 Cymbal

Emphasizes the attack of crash

cymbals, extending the “spar-

kling” decay.

007 High Hat

Use on a tight high-hat, emphasiz-

ing the mid to high range.

008 Percussion

Emphasizes the attack and clariﬁes

the high-range of instruments,

such as shakers, cabasas, and con-

gas.

009 E.Bass 1

Makes a tight electric bass sound

by cutting very low frequencies.

010 E.Bass 2

Unlike program 009, this empha-

sizes the low range of the electric

bass.

011 Syn.Bass 1

Use on a synth bass with empha-

sized low range.

012 Syn.Bass 2

Emphasizes the attack that is pecu-

liar to a synth bass.

013 Piano 1

This is used to make a piano sound

brighter.

014 Piano 2

Emphasize the attack and low

range of the piano sound by using

a compressor.

015 E.G.Clean

Use for line-recording an electric

guitar or semi-acoustic guitar to

get a slightly hard sound.

016 E.G.Crunch 1

Adjusts the tonal quality of a

slightly distorted guitar sound.

017 E.G.Crunch 2 This is a variation on program 016.

018 E.G.Dist 1

Makes a heavily distorted guitar

sound clearer.

019 E.G.Dist 2 This is a variation on program 018.

020 A.G.Stroke 1

Emphasizes the bright tones of an

acoustic guitar.

021 A.G.Stroke 2

This is a variation on program 020.

You can also use it for the electric

gut guitar.

022 A.G.Arpeg. 1

Corrects arpeggio technique of an

acoustic guitar.

023 A.G.Arpeg. 2 This is a variation on program 022.

024 BrassSection

Use with trumpets, trombones, or

sax. With one instrument, adjust

the HIGH or H-MID frequency.

025 Male Vocal 1

Use as a template for male vocal.

Adjust the HIGH or H-MID setting

according to the voice quality.

026 Male Vocal 2 This is a variation on program 025.

027 Female Vo. 1

Use as a template for female vocal.

Adjust the HIGH or H-MID setting

according to the voice quality.

028 Female Vo. 2 This is a variation on program 027.

029

Chorus&

Harmo

Use as a template for a chorus. It

makes the entire chorus much

brighter.

030 Total EQ 1

Use on the STEREO bus during

mixdown. For more effect, try it

with a compressor.

031 Total EQ 2 This is a variation on program 030.

032 Total EQ 3

This is a variation on program 030.

Also use these programs for stereo

inputs or external effect returns.

033 Bass Drum 3

This is a variation on program 001.

The low and mid range is

removed.

034 Snare Drum 3

This is a variation on program 003.

It creates rather thick sound.

035 Tom-tom 2

This is a variation on program 005.

Emphasizes the mid and high

range.

036 Piano 3 This is a variation on program 013.

037 Piano Low

Use for the low range of the piano

sound when it is recorded in ste-

reo. Use with program 038.

038 Piano High

Use for the high range of the piano

sound when it is recorded in ste-

reo. Use with program 037.

039 Fine-EQ Cass

Use for recording to or from cas-

sette tape to make the sound

clearer.

040 Narrator

Use for recording a voice reading a

text.

–128 [ No Data! ] 041–128 are the user area.

No Name Description

Appendix

174

Dynamics Parameters

Dynamics processors are generally used to correct or control signal

levels. However, you can also use them creatively to shape the vol-

ume envelope of a sound. The AW16G features comprehensive

dynamics processors for all the input channels, tape returns, and the

bus and stereo outputs. These processors allow you to compress,

expand, compress-expand (compand), gate, or duck the signals pass-

ing through the mixer, giving you unparalleled sonic quality and ﬂex-

ibility.

■ Compressor

A compressor provides a form of automatic level control.

By attenuating high levels, thus effectively reducing the

dynamic range, the compressor makes it much easier to

control signals and set appropriate fader levels. Reducing

the dynamic range also means that recording levels can

be set higher, therefore improving the signal-to-noise

performance.

Compressor (CMP) parameters:

Threshold determines the level of input signal required to

trigger the compressor. Signals at a level below the

threshold pass through unaffected. Signals at and above

the threshold level are compressed by the amount speci-

ﬁed using the Ratio parameter. The trigger signal is deter-

mined using the KEY IN parameter.

Ratio controls the amount of compression-the change in

output signal level relative to change in input signal

level. With a 2:1 ratio, for example, a 10 dB change in

input level (above the threshold) results in a 5 dB change

in output level. For a 5:1 ratio, a 10 dB change in input

level (above the threshold) results in a 2 dB change in

output level.

Attack controls how soon the signal is compressed once

the compressor has been triggered. With a fast attack

time, the signal is compressed almost immediately. With

a slow attack time, the initial transient of a sound passes

through unaffected.

Out Gain sets the compressor's output signal level. Com-

pression tends to reduce the average signal level. Out

Gain can be used to counter this level reduction and set

an appropriate level for the next stage in the audio path.

Knee sets the transition of the signal at the threshold.

With a hard knee, the transition between uncompressed

and compressed signal is immediate. With the softest

knee, knee5, the transition starts before the signal

reaches the threshold and gradually ends above the

threshold.

Release determines how soon the compressor returns to

its normal gain once the trigger signal level drops below

the threshold. If the release time is too short, the gain will

recover too quickly causing level pumping-noticeable

gain ﬂuctuations. If it is set too long, the compressor may

not have time to recover before the next high level signal

appears, and it will be compressed incorrectly.

Parameter Value

Threshold (dB)

–54 to 0 (55 points)

Ratio

1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5,

4.0, 5.0, 6.0, 8.0, 10, 20, ∞ (16 points)

Attack (ms) 0 to 120 (121 points)

Outgain (dB) 0 to +18 (36 points)

Knee hard,1,2,3,4,5 (6 points)

Release (ms) 6 ms to 46.1 sec (160 points)

–70

–60

–50

–40

–30

–20

–10

+10

+20

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Threshold = –20dB

Output Level

Input Level

Compression ratio = 2:1

Knee = hard

175

Appendix

■ Expander

An expander is another form of automatic level control.

By attenuating the signal below the threshold, the

expander reduces low-level noise and effectively

increases the dynamic range of the recorded material.

Expander (EXP) parameters:

Threshold determines the level of input signal required to

trigger the expander. Signals above the threshold pass

through unaffected. Signals at and below the threshold

level are attenuated by the amount speciﬁed using the

Ratio parameter. The trigger signal is determined using

the KEY IN parameter.

Ratio controls the amount of expansion-the change in

output signal level relative to change in input signal

level. With a 1:2 ratio, for example, a 5 dB change in

input level (below the threshold) results in a 10 dB

change in output level. For a 1:5 ratio, a 2 dB change in

input level (below the threshold) results in a 10 dB

change in output level.

Attack controls how soon the signal is expanded once

the expander has been triggered. With a fast attack time,

the signal is expanded almost immediately. With a slow

attack time, the initial transient of a sound passes through

unaffected.

Out Gain sets the expander's output signal level.

Knee sets the transition of the signal at the threshold.

With a hard knee, the transition between unexpanded

and expanded signal is immediate. With the softest knee,

knee5, the transition starts before the signal reaches the

threshold and gradually ends above the threshold.

Release determines how soon the expander returns to its

normal gain once the trigger signal level drops below the

threshold.

■ Compander

A compander is a compressor-expander-a combination

of signal compression and expansion. The compander

attenuates the input signal above the threshold as well as

the level below the width. For very dynamic material,

this program allows you to retain the dynamic range

without having to be concerned with excessive output

signal levels and clipping.

CompanderH (CPH) and CompanderS (CPS) parameters:

Threshold determines the level of input signal required to

trigger the compander. Signals above the threshold pass

through unaffected. Signals at and below the threshold

level are attenuated by the amount speciﬁed using the

Ratio parameter. The trigger signal is determined using

the KEY IN parameter.

Ratio controls the amount of companding-the change in

output signal level relative to change in input signal

level. With a 2:1 ratio, for example, a 10 dB change in

input level (above the threshold) results in a 5 dB change

in output level. The hard compander (CPH) has a ﬁxed

ratio of 5:1 for expansion and the soft compander (CPS)

has a ﬁxed ratio of 1.5:1 for expansion.

Attack controls how soon the signal is companded once

the compander has been triggered. With a fast attack

time, the signal is companded almost immediately. With

a slow attack time, the initial transient of a sound passes

through unaffected.

Out Gain sets the compander's output signal level.

Width is used to determine the distance, in decibels,

between the expander and the compressor. With a width

of 90 dB, the expander is effectively switched off and the

compander is simply a compressor-limiter. With a

smaller width (30dB) and a high threshold (0dB), the

compander is an expander-compressor-limiter.

Release determines how soon the compander returns to

its normal gain once the trigger signal level drops below

the threshold.

Parameter Value

Threshold (dB)

–54 to 0 (55 points)

Ratio

1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5,

4.0, 5.0, 6.0, 8.0, 10, 20, ∞ (16 points)

Attack (ms) 0 to 120 (121 points)

Outgain (dB) 0 to +18 (36 points)

Knee hard,1,2,3,4,5 (6 points)

Release (ms) 6 ms to 46.1 sec (160 points)

Threshold = –10dB

Knee = knee5

–70

–60

–50

–40

–30

–20

–10

+10

+20

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Output Level

Input Level

Expansion ratio = 2:1

Parameter Value

Threshold (dB)

–54 to 0 (55 points)

Ratio

1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5,

4.0, 5.0, 6.0, 8.0, 10, 20 (15 points)

Attack (ms) 0 to 120 (121 points)

Outgain (dB) –18 to 0 (36 points)

Width (dB) 1 to 90 (90 points)

Release (ms) 6 ms to 46.1 sec (160 points)

Threshold

Width

–70

–60

–50

–40

–30

–20

–10

+10

+20

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Output Level

Input Level

Appendix

176

■ Gate and Ducking

A gate, or noise gate is an audio switch used to mute sig-

nals below a set threshold level. It can be used to sup-

press background noise and hiss from valve (tube) amps,

effects pedals, and microphones.

Ducking is used to automatically reduce the levels of one

signal when the level of a source signal exceeds a speci-

ﬁed threshold. It is used for voice-over applications

where, for example, level of background music is auto-

matically reduced, allowing an announcer to be heard

clearly.

Gate (GAT) and Ducking (DUK) parameters:

Threshold sets the level at which the gate closes, cutting

off the signal. Signals above the threshold level pass

through unaffected. Signals at or below the threshold

cause the gate to close.

For ducking, trigger signal levels at and above the thresh-

old level activate ducking, and the signal level is reduced

to a level set by the Range parameter.

The trigger signal is determined using the KEY IN param-

eter.

Range controls the level to which the gate closes. It can

be used to reduce the signal level rather than cut it com-

pletely. At a setting of –70 dB, the gate closes completely

when the input signal falls below the threshold. At a set-

ting of –30 dB, the gate only closes so far allowing an

attenuated signal through. At a setting of 0 dB, the gate

has no effect. When signals are gated abruptly, the sud-

den cutoff can sound odd.

For ducking, a setting of –70 dB causes the signal to be

virtually cutoff. At a setting of –30 dB the signal is

ducked by 30 dB. At a setting of 0 dB, the duck has no

effect.

Attack determines how fast the gate opens when the sig-

nal exceeds the threshold level. Slow attack times can be

used to remove the initial transient edge of percussive

sounds. Too slow an attack time makes some signals

sound backwards.

For ducking, this controls how soon the signal is ducked

once the duck has been triggered. With a fast attack time,

the signal is ducked almost immediately. With a slow

attack time, ducking fades the signal. Too fast an attack

time may sound abrupt.

Hold sets how long the gate stays open or the ducking

remains active once the trigger signal has fallen below

the threshold level.

Decay controls how fast the gate closes once the hold

time has expired. A longer decay time produces a more

natural gating effect, allowing the natural decay of an

instrument to pass through.

For ducking, this determines how soon the ducker

returns to its normal gain after the hold time has expired.

Threshold = –10dB

Range = –30dB

Range = –70dB

–70

–60

–50

–40

–30

–20

–10

+10

+20

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Range = –30dB

Threshold = –20dB

–70

–60

–50

–40

–30

–20

–10

+10

+20

–70 –60 –50 –40 –30 –20 –10 0 +10 +20

Output Level

Input Level

Output Level

Input Level

Parameter Value

Threshold (dB)

–54 to 0 (55 points)

Range (dB) –70 to 0 (71 points)

Attack (ms) 0 to 120 (121 points)

Hold (ms) 0.02 ms to 2.14 sec (216 points)

Decay (ms) 6 ms to 46.1 sec (160 points)

177

Appendix

Dynamics library list

These are the preset dynamics settings provided by the AW16G. For

details on the function of each parameter, refer to page 174.

001 A.Dr.BD "CMP

002 A.Dr.BD "EXP

003 A.Dr.BD "GAT

004 A.Dr.BD "CPH

Use these presets to apply CMP, EXP, GAT, or CPH

respectively to the bass drum of an acoustic drum kit.

005 A.Dr.SN "CMP

006 A.Dr.SN "EXP

007 A.Dr.SN "GAT

008 A.Dr.SN "CPS

These presets modify preset programs 1—4 for use with a

snare drum.

009 A.Dr.Tom "EXP

Expander for acoustic toms automatically reduces the

volume when the toms are not played, helping to differ-

entiate the bass and snare drums clearly.

010 A.Dr.OverTop "CPS

Soft compander to emphasize the attack and ambience

of cymbals using overhead microphones. It automatically

reduces the volume when the cymbals are not played,

helping differentiate the bass and snare drums clearly.

011 E.B.ﬁnger "CMP

Compressor to equalize the attack and volume level of a

ﬁnger-picked electric bass guitar.

012 E.B.slap "CMP

Compressor to equalize the attack and volume level of a

slap electric bass guitar.

013 Syn.Bass "CMP

Compressor to adjust and/or emphasize the level of a

synth bass.

014 Piano1 "CMP

015 Piano2 "CMP

Piano1 brightens the sound to make it stand out slightly.

Piano2 uses a deeper threshold setting, producing a

more consistent overall level and sense of attack.

016 E.Guitar "CMP

Suitable for electric guitar chording or arpeggios. Try var-

ious adjustments depending on your tone or playing

style.

017 A.Guitar "CMP

Compressor intended for acoustic guitar playing rhythm

chords or arpeggios.

018 Strings1 "CMP

019 Strings2 "CMP

020 Strings3 "CMP

Compressor suitable for strings. Numbers 19 and 20 can

also be used on low-range instruments (cello, contra-

bass).

021 BrassSection "CMP

Compressor intended for brass sounds with fast and

strong attack.

022 Syn.Pad "CMP

This has a restraining effect on sounds that tend to

become diffuse. For example, this is ideal for some rich-

sounding synth pads that conversely lack deﬁnition.

023 SamplingPerc "CPS

024 Sampling BD "CMP

025 Sampling SN "CMP

026 Hip Comp "CPS

It is effective to apply these programs to sampled sounds

(such as from a CD-ROM) that are used among acoustic

instruments, so that they will not seem to lack power and

clarity. Four variations are provided; for Perc, BD, SN,

and for looped materials (Hip Comp).

027 Solo Vocal1 "CMP

028 Solo Vocal2 "CMP

These are variations that are suitable for solo vocal

sources.

029 Chorus "CMP

This variation of Vocal is suitable for choruses.

030 Compander(H) "CPH

031 Compander(S) "CPS

A template for the compander program.

032 Click Erase "EXP

Expander to remove click track sounds that may bleed

out of the monitor headphones the musicians are using.

033 Announcer "CPH

Hard compander reduces the level during the interval

between the words, making the voice sound even.

034 Easy Gate "GAT

A template for the gate program.

035 BGM Ducking "DUK

Ducking background music for voiceovers, typically

keyed from the announcer’s channel.

036 Limiter1 "CMP

037 Limiter2 "CMP

A limiter template. 1 has a slow release, and 2 is a peak

stopping type.

038 Total Comp1 "CMP

039 Total Comp2 "CMP

040 Total Comp3 "CMP

Since these presets are effective in restraining the overall

level or improving the overall deﬁnition, it is useful to

apply them to the stereo output during mixdown. You

can apply theses presets to a stereo source, and adjust

them to create interesting effects.

Appendix

178

Effects library list

The following table lists the preset effects programs. See “Effects

Parameters” (→ p. 180) for detailed parameter information. Effects

programs that use the HQ. PITCH effect can be used only with Effect

■ Reverb-type Effects

■ Delays

■ Modulation-type Effects

■ Distortion-type Effects

#Title Type Description

01 Reverb Hall REVERB HALL Reverb simulating a large space such as a concert hall.

02 Reverb Room REVERB ROOM Reverb simulating the acoustics of a smaller space (room) than REVERB HALL.

03 Reverb Stage REVERB STAGE Reverb designed with vocals in mind.

04 Reverb Plate REVERB PLATE

Simulation of a metal-plate reverb unit, producing a feeling of hard-edged rever-

beration.

05 Early Ref. EARLY REF.

An effect which isolates only the early reﬂection (ER) component from reverbera-

tion. A ﬂashier effect than reverb is produced.

06 Gate Reverb GATE REVERB A type of ER designed for use as gated reverb.

07 Reverse Gate REVERSE GATE A reverse-playback type ER.

#Title Type Description

08 Mono Delay MONO DELAY

Mono delay with simple operation. Use when you don't need to use complex

parameter settings.

09 Stereo Delay STEREO DELAY Stereo delay with independent left and right.

10 Mod.delay MOD.DELAY Mono delay with modulation.

11 Delay LCR DELAY LCR Three-tap delay (L, C, R).

12 Echo ECHO

Stereo delay with additional parameters for more detailed control. The signal can

be fed back from left to right, and right to left.

#Title Type Description

13 Chorus CHORUS Three-phase stereo chorus.

14 Flange FLANGE The well-known ﬂanging effect.

15 Symphonic SYMPHONIC

A Yamaha proprietary effect that produces a richer and more complex modulation

than chorus.

16 Phaser PHASER Stereo phaser with 2–16 stages of phase shift.

17 Auto Pan AUTO PAN An effect which cyclically moves the sound between left and right.

18 Tremolo TREMOLO Tremolo

19 HQ.Pitch

HQ.PITCH

(Effect 2 only)

Only one note is pitch-shifted, but a stable effect is produced.

20 Dual Pitch DUAL PITCH Stereo pitch shift with left and right pitches set independently.

21 Rotary ROTARY Simulation of a rotary speaker.

22 Ring Mod. RING MOD.

An effect that modiﬁes the pitch by applying amplitude modulation to the fre-

quency of the input. On the AW16G, even the modulation frequency can be con-

trolled by modulation.

23 Mod.Filter MOD.FILTER An effect which uses an LFO to modulate the frequency of the ﬁlter.

#Title Type Description

24 Distortion DISTORTION Distortion

25 Amp Simulate AMP SIMULATE Guitar Amp Simulator

179

Appendix

■ Dynamic Effects

■ Combined Effects

■ Other Effects

#Title Type Description

26 Dyna.Filter DYNA.FILTER

Dynamically controlled ﬁlter. Responds to MIDI Note On velocity when SOURCE

set to MIDI.

27 Dyna.Flange DYNA.FLANGE

Dynamically controlled ﬂanger. Responds to MIDI Note On velocity when SOURCE

set to MIDI.

28 Dyna.Phaser DYNA.PHASER

Dynamically controlled phase shifter. Responds to MIDI Note On velocity when

SOURCE set to MIDI.

#Title Type Description

29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel

30 Rev->Chorus REV->CHORUS Reverb and chorus in series

31 Rev+Flange REV+FLANGE Reverb and ﬂanger in parallel

32 Rev->Flange REV->FLANGE Reverb and ﬂanger in series

33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel

34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series

35 Rev->Pan REV->PAN Reverb and auto-pan in parallel

36 Delay+ER. DELAY+ER. Delay and early reﬂections in parallel

37 Delay->ER. DELAY->ER. Delay and early reﬂections in series

38 Delay+Rev DELAY+REV Delay and reverb in parallel

39 Delay->Rev DELAY->REV Delay and reverb in series

40 Dist->Delay DIST->DELAY Distortion and delay in series

#Title Type Description

41 Multi.Filter MULTI.FILTER Three-band parallel ﬁlter (24 dB/octave).

Appendix

180

Effects Parameters

■ REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE

Hall, room, stage, and plate simulations, all with gates.

■ EARLY REF.

Early reﬂections.

■ GATE REVERB, REVERSE GATE

Early reﬂections with gate, and early reﬂections with reverse gate.

Parameter Range Description

REV TIME 0.3–99.0 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

LO.RATIO 0.1–2.4 Low-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

E/R DLY 0.0–100.0 ms Delay between early reﬂections and reverb

E/R BAL. 0–100% Balance of early reﬂections and reverb (0% = ER, 100% = reverb)

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

GATE LVL OFF, –60 to 0 dB Level at which gate kicks in

ATTACK 0–120 ms Gate opening speed

HOLD

0.02 ms–2.13 s

Gate open time

DECAY

6.0 ms–46.0 s

Gate closing speed

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

TYPE S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

LIVENESS 0–10 Early reﬂections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

FB.GAIN –99 to +99% Feedback gain

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

TYPE Type-A, Type-B Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

LIVENESS 0–10 Early reﬂections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left–right reverb spread)

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

FB.GAIN –99 to +99% Feedback gain

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

181

Appendix

■ MONO DELAY

Basic repeat delay.

■ STEREO DELAY

Basic stereo delay.

■ MOD.DELAY

Basic repeat delay with modulation.

■ DELAY LCR

Three-tap delay (left, center, right).

Parameter Range Description

DELAY 0.0–2730.0 ms Delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

FB.G L –99 to +99% Left channel feedback (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

DELAY R 0.0–1350.0 ms Right channel delay time

FB.G R –99 to +99% Right channel feedback (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DELAY 0.0–2725.0 ms Delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

WAVE Sine, Tri Modulation waveform

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DELAY L 0.0–2730.0 ms Left channel delay time

DELAY C 0.0–2730.0 ms Center channel delay time

DELAY R 0.0–2730.0 ms Right channel delay time

LEVEL L –100 to +100% Left channel delay level

LEVEL C –100 to +100% Center channel delay level

LEVEL R –100 to +100% Right channel delay level

FB.DLY 0.0–2730.0 ms Feedback delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

182

■ ECHO

Stereo delay with crossed feedback loop.

■ CHORUS

Chorus effect.

■ FLANGE

Flange effect.

Parameter Range Description

DELAY L 0.0–1350.0 ms Left channel delay time

FB.DLY L 0.0–1350.0 ms Left channel feedback delay time

FB.G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

DELAY R 0.0–1350.0 ms Right channel delay time

FB.DLY R 0.0–1350.0 ms Right channel feedback delay time

FB.G R –99 to +99% Right channel feedback gain (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

L->R FBG –99 to +99% Left to right channel feedback gain (plus values for normal-phase feedback, minus val-

ues for reverse-phase feedback)

R->L FBG –99 to +99% Right to left channel feedback gain (plus values for normal-phase feedback, minus val-

ues for reverse-phase feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

PM DEP. 0–100% Pitch modulation depth

AM DEP. 0–100% Amp modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

WAVE Sine, Tri Modulation waveform

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

183

Appendix

■ SYMPHONIC

Symphonic efect.

■ PHASER

16-stage phaser.

■ AUTOPAN

Auto-panner.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

OFFSET 0–100 Lowest phase-shifted frequency offset

STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

*1. L<->R, L—>R, L<—R, Turn L, Turn R

Panning direction

WAVE Sine, Tri, Square Modulation waveform

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

184

■ TREMOLO

Tremolo effect.

■ HQ.PITCH (Effect 2 only)

High-quality pitch shifter.

■ DUAL PITCH

Twin-voice pitch shifter.

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

WAVE Sine, Tri, Square Modulation waveform

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

PITCH –12 to +12 semitones Pitch shift

FINE –50 to +50 cents Pitch shift ﬁne

DELAY 0.0–1000.0 ms Delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

MODE 1–10 Pitch shift precision

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

PITCH 1 –24 to +24 semitones Channel 1 pitch shift

FINE 1 –50 to +50 cents Channel 1 pitch shift ﬁne

PAN 1 L16–1, C, R1–16 Channel 1 panpot

DELAY 1 0.0–1000.0 ms Channel 1 delay time

FB.G 1 –99 to +99% Channel 1 feedback gain (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

LEVEL 1 –100 to +100% Channel 1 level (plus values for normal phase, minus values for reverse phase)

PITCH 2 –24 to +24 semitones Channel 2 pitch shift

FINE 2 –50 to +50 cents Channel 2 pitch shift ﬁne

PAN 2 L16–1, C, R1–16 Channel 2 panpot

DELAY 2 0.0–1000.0 ms Channel 2 delay time

FB.G 2 –99 to +99% Channel 2 feedback gain (plus values for normal-phase feedback, minus values for

reverse-phase feedback)

LEVEL 2 –100 to +100% Channel 2 level (plus values for normal phase, minus values for reverse phase)

MODE 1–10 Pitch shift precision

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

185

Appendix

■ ROTARY

Rotary speaker simulator.

■ RING MOD.

Ring modulator.

■ MOD.FILTER

LFO modulation-type ﬁlter.

■ DISTORTION

Distortion effect.

Parameter Range Description

ROTATE STOP, START Rotation stop, start

SPEED SLOW, FAST Rotation speed (see SLOW and FAST parameters)

DRIVE 0–100 Overdrive level

ACCEL 0–10 Accelation at speed changes

LOW 0–100 Low-frequency ﬁlter

HIGH 0–100 High-frequency ﬁlter

SLOW 0.05–10.00 Hz SLOW rotation speed

FAST 0.05–10.00 Hz FAST rotation speed

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

SOURCE OSC, SELF Modulation source: oscillator or input signal

OSC FREQ 0.0–5000.0 Hz Oscillator frequency

FM FREQ 0.05–40.00 Hz Oscillator frequency modulation speed

FM DEPTH 0–100% Oscillator frequency modulation depth

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

PHASE 0.00–354.38° Left-channel modulation and right-channel modulation phase difference

LEVEL 0–100 Output level

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DST TYPE DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone

N.GATE 0–20 Noise reduction

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

186

■ AMP SIMULATE

Guitar Amp Simulator.

■ DYNA.FILTER

Dynamically controlled ﬁlter.

■ DYNA.FLANGE

Dynamically controlled ﬂanger.

Parameter Range Description

AMP TYPE

*1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT

Guitar amp simulation type

DST TYPE DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

N.GATE 0–20 Noise reduction

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

CAB DEP 0–100% Speaker cabinet simulation depth

BASS 0–100 Bass tone control

MIDDLE 0–100 Middle tone control

TREBLE 0–100 High tone control

EQ F 99–8.0 kHz Parametric equalizer frequency

EQ G –12 to +12 dB Parametric equalizer gain

EQ Q 10.0–0.10 Parametric equalizer bandwidth

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI note on velocity

SENSE 0–100 Sensitivity

TYPE LPF, HPF, BPF Filter type

OFFSET 0–100 Filter frequency offset

RESO. 0–20 Filter resonance

DIR. UP, DOWN Upward or downward frequency change

DECAY 6.0 ms–46.0 s Filter frequency change decay speed

LEVEL 0–100 Output Level

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI note on velocity

SENSE 0–100 Sensitivity

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

OFFSET 0–100 Delay time offset

DIR. UP, DOWN Upward or downward frequency change

DECAY 6.0 ms–46.0 s Decay speed

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

EQ F 100–8.00 k [Hz] Parametric equalizer center frequency

EQ G –12 to +12 [dB] Parametric equalizer gain

EQ Q 10–0.10 Parametric equalizer band width

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

187

Appendix

■ DYNA.PHASER

Dynamically controlled phaser.

■ REV+CHORUS

Reverb and chorus effects in parallel.

■ REV->CHORUS

Reverb and chorus effects in series.

Parameter Range Description

SOURCE INPUT, MIDI Control source: input signal or MIDI note on velocity

SENSE 0–100 Sensitivity

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

OFFSET 0–100 Lowest phase-shifted frequency offset

STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages

DIR. UP, DOWN Upward or downward frequency change

DECAY 6.0 ms–46.0 s Decay speed

LSH F 21.2–8.00 k [Hz] Low-shelving ﬁlter frequency

LSH G –12 to +12 [dB] Low-shelving ﬁlter gain

HSH F 50.0–16.0 k [Hz] High-shelving ﬁlter frequency

HSH G –12 to +12 [dB] High-shelving ﬁlter gain

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

PM DEP. 0–100% Pitch modulation depth

AM DEP. 0–100% Amp modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV/CHO 0–100% Reverb and chorus balance (0% = chorus, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

PM DEP. 0–100% Pitch modulation depth

AM DEP. 0–100% Amp modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV.BAL 0–100% Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

188

■ REV+FLANGE

Reverb and ﬂanger effects in parallel.

■ REV->FLANGE

Reverb and ﬂanger effects in series.

■ REV+SYMPHO.

Reverb and symphonic effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

WAVE Sine, Tri Modulation waveform

REV/FLG 0–100% Reverb and ﬂange balance (0% = ﬂange, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

WAVE Sine, Tri Modulation waveform

REV.BAL 0–100% Reverb and ﬂanged reverb balance (0% = ﬂanged reverb, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV/SYM 0–100% Reverb and symphonic balance (0% = symphonic, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

189

Appendix

■ REV->SYMPHO.

Reverb and symphonic effects in series.

■ REV->PAN

Reverb and auto-pan effects in parallel.

■ DELAY+ER.

Delay and early reﬂections effects in parallel.

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

MOD.DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform

REV.BAL 0–100% Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

HI.RATIO 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DIR.

*1. L<->R, L—>R, L<—R, Turn L, Turn R

Panning direction

WAVE Sine, Tri, Square Modulation waveform

REV BAL. 0–100% Reverb and panned reverb balance (0% = panned reverb, 100% = reverb)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB.DLY 0.0–1000.0 ms Feedback delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

TYPE S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

LIVENESS 0–10 Early reﬂections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

DLY/ER 0–100% Delay and early reﬂections balance (0% = early reﬂections, 100% = delay)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

190

■ DELAY->ER.

Delay and early reﬂections effects in series.

■ DELAY+REV

Delay and reverb effects in parallel.

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB.DLY 0.0–1000.0 ms Feedback delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

TYPE S-Hall, L-Hall, Random,

Revers, Plate, Spring

Type of early reﬂection simulation

ROOMSIZE 0.1–20.0 Reﬂection spacing

LIVENESS 0–10 Early reﬂections decay characteristics (0 = dead, 10 = live)

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

ER NUM. 1–19 Number of early reﬂections

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

DLY.BAL 0–100% Delay and early reﬂected delay balance (0% = early reﬂected delay, 100% = delay)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB.DLY 0.0–1000.0 ms Feedback delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

DELAY HI 0.1–1.0 Delay high-frequency feedback ratio

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

REV HI 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

DLY/REV 0–100% Delay and reverb balance (0% = reverb, 100% = delay)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

191

Appendix

■ DELAY->REV

Delay and reverb effects in series.

■ DIST->DELAY

Distortion and delay effects in series.

■ MULTI FILTER

Three-band parallel ﬁlter (24 dB/octave)

Parameter Range Description

DELAY L 0.0–1000.0 ms Left channel delay time

DELAY R 0.0–1000.0 ms Right channel delay time

FB.DLY 0.0–1000.0 ms Feedback delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

DELAY HI 0.1–1.0 Delay high-frequency feedback ratio

REV TIME 0.3–99.9 s Reverb time

INI.DLY 0.0–500.0 ms Initial delay before reverb begins

REV HI 0.1–1.0 High-frequency reverb time ratio

DIFF. 0–10 Reverb diffusion (left-right reverb spreed)

DENSITY 0–100% Reverb density

HPF Thru, 21.2 Hz–8.0 kHz High-pass ﬁlter cutoff frequency

LPF 50 Hz–16.0 kHz, Thru Low-pass ﬁlter cutoff frequency

DLY.BAL 0–100% Delay and delayed reverb balance (0% = delayed reverb, 100% = delay)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

DST TYPE DST1, DST2, OVD1,

OVD2, CRUNCH

Distortion type (DST = distortion, OVD = overdrive)

DRIVE 0–100 Distortion drive

MASTER 0–100 Master volume

TONE –10 to +10 Tone control

N.GATE 0–20 Noise reduction

DELAY 0.0–2725.0 ms Delay time

FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase

feedback)

HI.RATIO 0.1–1.0 High-frequency feedback ratio

FREQ. 0.05–40.00 Hz Modulation speed

DEPTH 0–100% Modulation depth

DLY BAL 0–100% Distortion and delay balance (0% = distortion, 100% = delayed distortion)

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Parameter Range Description

TYPE 1 HPF, LPF, BPF Filter 1 type: low pass, high pass, band pass

TYPE 2 HPF, LPF, BPF Filter 2 type: low pass, high pass, band pass

TYPE 3 HPF, LPF, BPF Filter 3 type: low pass, high pass, band pass

FREQ. 1 28 Hz–16.0 kHz Filter 1 frequency

FREQ. 2 28 Hz–16.0 kHz Filter 2 frequency

FREQ. 3 28 Hz–16.0 kHz Filter 3 frequency

LEVEL 1 0–100 Filter 1 level

LEVEL 2 0–100 Filter 2 level

LEVEL 3 0–100 Filter 3 level

RESO. 1 0–20 Filter 1 resonance

RESO. 2 0–20 Filter 2 resonance

RESO. 3 0–20 Filter 3 resonance

MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds

Appendix

192

Sample library list

This is a list of the sample libraries that are installed on the internal

hard disk when the AW16G is shipped from the factory.

The list is printed here in the order as sorted by the OLD button.

Name

PAD1 PAD2 PAD3 PAD4

ABCDABCDABCDABCD

Normal8_120 LL––LL––LL––OO – –

Normal8_60 LL––LL––LL––OO – –

Normal16_120 LL––LL––LL––OO – –

Normal16_60 LL––LL––LL––OO – –

NormShfﬂ120 LL––LL––LL––OO – –

NormShfﬂ_60 LL––LL––LL––OO – –

Med8_110 LL––LL––LL––OO – –

MedFast8_140 LL––LL––LL––OO – –

MedSlow8_90 LL––LL––LL––OO – –

Fast8_170 LL––LL––LL––OO – –

Simple8_125 LL––LL––LL––OO – –

Simple16_114 LL––LL––LL––OO – –

Bounce8_93 LL––LL––LL––OO – –

LatinRock126 LL––LL––LL––OO – –

Syncopatn_89 LL––LL––LL––OO – –

Triplet_65 LL––LL––LL––OO – –

Shufﬂe8_130 LL––LL––LL––OO – –

Shfﬂe16_127 LL––LL––LL––OO – –

Southern_93 LL––LL––LL––OO – –

Funk1_108 LL––LL––LL––OO – –

Funk2_108 LL––LL––LL––OO – –

NJS_110 LL––LL––LL––OO – –

Hip_96 LL––LL––LL––OO – –

HipFunk_106 LL––LL––LL––OO – –

OldSkool_106 LL––LL––LL––OO – –

LoudFunk_118 LL––LL––LL––OO – –

Detoroit_129 LL––LL––LL––O–––

BreakRock106 LL––LL––LL––LL––

Gangsta_94 LL––LL––LL––OO – –

GarageHs_128 LL––LL––LL––OO – –

2Step_135 LL––LL––LL––LL––

R&BSmooth_64 LL––LL––LL––OO – –

TrncHouse135 LL––LL––LL––LL––

TecLectro134 LL––LL––LL––LL––

OldSkol2_102 LL––LL––LL––LL––

FlipHop_128 LL––LL––LL––O–––

BigBeat_126 LL––LL––LL––OO – –

Drumn'Bs_147 LL––LL––LL––LL––

Techno_140 LL––LL––LL––OO – –

Ibiza_135 LL––LL––LL––LL––

SambaEns_137 LL––LL––LL––LL––

Latin16_80 L–––L–––L–––L–––

Latin8_130 LL––LL––LL––OO – –

193

Appendix

L: LOOP

O: ONESHOT

–: No assigns

LatinSwng154 LL––LL––LL––OO – –

Scratch1 OO – – OO – – OO – – OO – –

Scratch2 OO – – OO – – OO – – OO – –

SE_Analog OO – – OO – – OO – – OO – –

SE_Beep OO – – OO – – OO – – OO – –

SE_SFX OO – – OO– – OO – – OO – –

Robot_Voice OO – – OO – – OO – – OO – –

Female_Wet OO – – OO– – OO – – OO – –

Female_Dry OO – – OO – – OO – – OO – –

Male_Dry OO – – OO – – OO – – OO – –

City_Noise LL––LL––OO – – OO – –

Car_Action OO – – OO – – OO – – OO – –

Other_Rides OO – – OO – – OO – – OO – –

Door_Action OO – – OO – – OO – – OO – –

Guns OO – – OO– – OO – – OO – –

Laser&Buzz OO – – OO – – OO – – OO – –

Bang&Explosn OO – – OO – – OO – – OO – –

Bell&Beep OO – – OO – – OO – – OO – –

Human_Action OO – – OO – – OO – – OO – –

Punch&Swish OO – – OO – – OO – – OO – –

Hit&Swish OO – – OO – – OO – – OO – –

Fire L–––L–––L–––L–––

Rain1 L–––L–––L–––L–––

Rain2 L–––L–––L–––O–––

Storm LL––LL––LL––LL––

River LL––LL––LL––LL––

Sea OO – – L L ––OO––LL––

Jungle_Amb L –––L-––L–––L–––

Night_Amb OO – – L L ––L–––L–––

Birds LL––LL––OO – – OO – –

Dog&Cat OO – – OO – – OO – – OO – –

Stock_Farm OO – – OO – – OO – – OO – –

For_Demo LL––LL––LL––OO – –

Name

PAD1 PAD2 PAD3 PAD4

ABCDABCDABCDABCD

Appendix

194

Troubleshooting

If the AW16G does not operate as you expect, or if you suspect a

problem, please refer to the following points and take the appropri-

ate action.

■ Power does not turn on

• Is the AC adaptor connected to an AC outlet of the

correct voltage?

• Is the POWER switch turned ON?

• If the power still does not turn on, please contact

your Yamaha dealer.

■ LCD display is dim or dark

• Use the contrast knob located at the lower right of

the screen to adjust the contrast.

■ Can’t use the [DATA/JOG] dial to control on-screen

parameters

•The [JOG ON] key may be on.

• Some parameters cannot be operated in certain

states, such as while the recorder is running.

No sound

■ No sound, or sound is too faint

• Are speakers or headphones connected correctly?

• Is your amp and other external devices turned on?

• Does the stereo output channel meter move?

• Is the stereo output channel fader raised? Is it turned

on?

•The EQ gain may be set to an extremely low value.

•The dynamics processor may be set to an extreme

threshold or ratio.

• If you are connecting an electric guitar, is it con-

nected to the Hi-Z jack?

• Is the attenuator of the EQ screen or VIEW screen

raised?

* Check the level (meter movement) in the METER page

of the VIEW screen.

* If you press the [SEL] key in the MONITOR screen INIT

page, that channel will be initialized to default values

that allow sound to be output.

* If DIGITAL IN is set to other than DISABLE in the UTILITY

screen D.IN HDD page, and no signal is being input to

the DIGITAL INPUT jack, a message of “WRONG WORD

CLOCK” will appear, and sound will not be output.

■ Input sound is not output

• Is the signal from the external device being input?

•The connection cable from the external device may

be broken.

• Is the [GAIN] control set to an appropriate level?

• Is the input channel fader raised? Is it turned on?

•The input channel may have been set to DIGITAL IN.

• When recording, is the recording-destination track

fader (which adjusts the monitor level) raised?

* If you are recording, the sound of that input channel

will not be heard during playback.

■ Recorded sound is not output

• Has audio data been recorded on the recorder?

• Is the virtual track set to the track that was recorded?

•A recorded region shorter than 10 msec will not be

played back.

•Tracks 1–16 will not play back if the AW16G is in

Stereo Track, Sound Clip, or Audio CD playback

mode.

■ Can’t play back the STEREO track

• Is the stereo track turned on in the MONITOR screen

ST.TRACK page?

■ Metronome cannot be heard

•The metronome sound is normally sent only to the

MONITOR OUT and headphones.

•The metronome will not sound while the recorder is

stopped.

• In Sound Clip mode, the metronome will sound only

during recording.

Can’t record, something is wrong with

the recorded sound

■ Can’t record

• Is there sufﬁcient free space on the internal hard disk?

* You can check the remaining recordable time by setting

the counter display to REMAIN in the SONG screen

SETUP page.

•The song may be protected.

•The stereo track may be in playback mode.

• Is the input signal routed appropriately to the

recorder?

• Check the recording-source and recording-destina-

tion in the QUICK NAVIGATE page RECORD screen?

• DIGITAL REC may have been turned OFF in the

UTILITY screen PREFER page.

• Please read and understand the copyright warning (→

p. 5) before using digital input signals.

■ Can’t record on the STEREO track

• It is not possible to record on the STEREO track while

recording on other tracks.

■ Noise is present in the recorded signal

•The oscillator may be functioning.

• Does the word clock setting match for the AW16G

and the external device(s)?

• Go to the QUICK NAVIGATE screen RECORD page

and check the recording-source and recording-desti-

nation.

195

Appendix

Something wrong with the sound

■ Signal from the INPUT 8 jack is too loud

•A conventional line-level signal may be connected to

the Hi-Z jack.

■ Sound is distorted

• Is the [GAIN] control set correctly?

•The connection cable from the external device may

be broken.

•The fader of the input channel or monitor channel

may be raised excessively.

•The stereo output channel fader may be raised exces-

sively.

•The stereo output channel attenuator may be raised

excessively.

•The EQ or dynamics processor may have been set to

produce an extreme gain boost.

• Did you record at an appropriate level?

• Is the word clock setting correct for both the AW16G

and the external device(s)?

• An effect such as Distortion or Amp Simulate may be

in use.

* Go to the VIEW screen METER page and check the level

(meter movement).

■ The volume of a particular channel increases or

decreases

• Are the dynamics processor settings appropriate?

•A scene recall may be speciﬁed in the SONG screen

TEMPO MAP.

■ Can’t store a scene

•The store-destination scene may be protected.

•A scene cannot be stored in scene number 00.

■ Can’t reproduce a scene

• One or more channels may be set to Recall Safe.

■ Can’t save to a library

• It is not possible to save to the factory-preset libraries.

■ Meters move even though the faders are lowered

•The meter display may be set to PRE FADER.

■ Moving a fader does not change the level

• In the [VIEW] screen FADER page, check whether the

display moves in correspondence with fader opera-

tions.

* You cannot control the level until the panel fader posi-

tion matches the position shown in the display.

• In the UTILITY screen PREFER page, is FADER FLIP

set appropriately?

*When the power is turned on, FADER FLIP will be set to

TRACK.

•The fader may be set to PRE FADE in AUX.

■ Pairing was speciﬁed, but the signal is monaural

• Is the odd-numbered channel panned far left and the

even-numbered channel panned far right?

■ Pairing was speciﬁed, but the signal phase does not

match

•Even when channels are paired, the phase setting is

not linked.

■ Signal is delayed

• An effect such as delay may be inserted.

■ Can’t use the internal effects

• Effect BYPASS may be turned ON.

•The effect may have been inserted into a different

channel.

• Are the level of EFF.RTN 1, 2 faders raised?

• 019. HQ. Pitch can be used only with EFFECT 2.

•These do not affect the stereo track, sound clip, or

audio CD playback.

■ Playback pitch is wrong

•VARI may be selected.

• Is the synchronized external device operating on the

same sampling frequency (44.1 kHz)?

• Is the master device operating in a stable way?

•You may have executed the EDIT screen PITCH com-

mand.

• Is an effect such as HQ.Pitch or Dual Pitch selected

for a monitor channel?

Recorder operations

■ When you press the [PLAY] key it blinks, and play-

back does not occur

• Is the AW16G set to MTC SLAVE?

* Access the UTILITY screen MIDI page, and check the

setting.

■ Something goes wrong with the sound when you use

the [FF] key or [REW] key

• Differences in the number of simultaneously played

tracks will affect the way in which the sound is heard

when these controls are operated.

■ Can’t edit a recorded track

•The song may be protected.

•Have you selected the virtual track that you

recorded?

■ Editing results are not heard in the sound

•Have you selected the virtual track that you

recorded?

• Are you using the appropriate editing command? *

* For details on editing commands, refer to “EDIT

screen.”

■ Counter display is not 0 when you return to the

beginning of the song

•The display mode may be set to REMAIN (remaining

recording time).

• If the display mode is set to REL (relative time), the

start point may be speciﬁed.

* Go to the SONG screen SETUP, POINT page and check

the settings.

■ Display indicates DISK FULL, MEMORY FULL, or

TOO MANY REGIONS, and you cannot record or

edit

•There is insufﬁcient free space, or too many record-

ing regions. Erase unneeded tracks and then perform

the Optimize operation to obtain more free space.

■ The display indicates DISK BUSY during playback

• It is possible that the recorded data has become frag-

mented, so that it cannot be read fast enough. You

can try measures such as re-recording, deleting

tracks, or backing up the data and then formatting the

hard disk.

Appendix

196

Sampler operations

■ When you press a pad there is no sound, or the

wrong bank is heard

•Have you selected a bank to which the waveform is

assigned?

•A bank change may have been speciﬁed in the

SONG screen TEMPO MAP page.

■ The sound is not what you loaded, or the sound is

different depending on whether you are stopped or

playing

• If the playback mode is set to LOOP, the sound will

play according to the monitor tempo speciﬁed in the

SAMPLE screen SETUP page while the recorder is

stopped, and will play according to the song tempo

while the recorder is playing.

■ The sound you loaded only plays part of the way

•Have you made trim settings to shorten the Start–End

region?

• If the playback mode is set to GATE, the sample will

play only while you continue pressing the pad.

• If the playback mode is set to LOOP and Slice is

turned off, the sample will play only for the length of

a measure.

■ The display indicates MEMORY FULL, and you can’t

sample or import

• Access the SAMPLE screen MEMORY page, and

check the amount of used memory. Execute ERASE or

EXTRACT to increase the amount of free memory.

MIDI operations

■ Can’t exchange MIDI data

• Are the MIDI cables connected correctly?

•A MIDI cable may be broken.

• Is the power turned on for the transmitting and

receiving devices?

• Do the channel settings match for the transmitted and

receiving devices?

•Have the appropriate settings been made in the UTIL-

ITY screen MIDI page?

*MIDI data cannot be transmitted or received unless the

MIDI button is turned on.

• Is a scene assigned to the program change number

being transmitted?

■ MTC messages are not transmitted

• In the UTILITY screen MIDI page, has the MTC but-

ton been turned on?

• Is MTC SYNC set to MASTER?

■ The AW16G does not synchronize to incoming MTC

messages

• Is the MIDI cable connected to the MIDI IN connec-

tor?

• In the UTILITY screen MIDI page, has MTC Sync

been set to SLAVE?

*MIDI data cannot be transmitted or received unless the

MIDI button is turned on.

■ MTC synchronization drifts

• Is a large amount of MIDI data (notes etc.) being

received together with the MTC messages?

• Does the frame rate match between the AW16G and

the external device?

• SYNC OFFSET may have been set.

• If jumps occur in the synchronized time, change the

SYNC AVE. setting in the UTILITY screen MIDI page,

and try again.

■ MMC messages is not transmitted

• Is the MIDI cable connected to the MIDI OUT con-

nector?

• In the UTILITY screen MIDI page, has MMC been set

to MASTER? Does the DEVICE NO. match?

■ Can’t receive MMC messages

• Is the MIDI cable connected to the MIDI IN connec-

tor?

• In the UTILITY screen MIDI page, has MMC been set

to SLAVE? Does the DEVICE NO. match?

■ Can’t use the preset remote settings.

• Depending on the sequencer that you want to con-

trol, you may need to make settings on the

sequencer. For details, refer to page 200.

• MIDI data cannot be transmitted unless the MIDI but-

ton is turned on in the MIDI page of the UTILITY

screen.

Song operations

■ Can’t save a ﬁle

• Is there sufﬁcient space on the internal hard disk?

• Did you perform the correct shut-down procedure

when you last turned off the power? *

* Disconnecting the power without performing the shut-

down operation will shorten the lifespan of the hard

disk and CD-RW drive, may damage the hard disk and

CD-RW drive and disc, and may result in loss of data.

■ Song ﬁle size is unnaturally large

•Even after you use recorder editing operations to

erase a track or other data, that sound ﬁle will remain

on the disk. Execute the Optimize command in the

SONG screen LIST page.

CD operations

■ CD-RW drive is not recognized

• Is the CD-RW drive connected correctly?

■ Can’t create an audio CD

• Is the CD-RW drive installed correctly? Have the

attaching screws come loose?

• Is CD-R/RW media inserted?

•The inserted CD-R may have already been ﬁnalized.

• Is a signal recorded on the stereo track?

•The stereo track must be at least four seconds long.

•Have you saved a song in which a stereo track has

been recorded?

• Does the display indicate DISK FULL?

• Create sufﬁcient space on the hard disk.

•Erase unneeded tracks and then execute Optimize to

increase the available space.

197

Appendix

■ An audio CD you created does not play back on a

conventional player

• An audio CD you created you not play back on a

conventional player unless the disc has been ﬁnal-

ized.

■ Audio recorded on CD-RW media does not play

back on some players

• In order for audio data recorded on CD-RW media to

be played back, the player must support CD-RW.

Contact the manufacturer of the player regarding CD-

RW support.

■ The sound skips while playing an audio CD that you

created

• Depending on the CD-R media you use, there may

be differences in the quality of the completed CD.

Appendix

198

Display message list

■ Messages

A/B POINTS NOT FOUND

Repeat Playback cannot be performed because A/B points are not speciﬁed.

BULK: BYTE COUNT MISMATCH!

The data length speciﬁed within the received system exclusive data did not

match the length of the data that was actually received.

BULK: CHECK SUM MISMATCH!

The check sum of the received system exclusive is incorrect.

BULK: MEMORY PROTECTED!

The scene memory you attempted to receive is protected.

CANNOT REDO

Redo (re-execution of an operation) is not possible.

CANNOT SET MARK

It is not possible to specify a mark at an already-speciﬁed position.

CANNOT UNDO

Undo (cancellation of an operation) is not possible.

CD PLAY MODE NOW

Since the AW16G is in CD Play mode, this operation is not possible.

CH. PARAMETER INITIALIZED

The mixer parameters of the channel have been initialized.

DIFFERENT TC FRAME TYPE

MTC of a different frame type than the internal setting is being received.

DIGITAL-ST-IN REC PROHIBIT.

Recording is prohibited for the signal being input from DIGITAL STEREO IN.

DISK BUSY!!

The reading speed of the internal hard disk is not fast enough, or the reading

speed has slowed down because the recorded data has become fragmented.

DISK FULL!!

There is insufﬁcient space on the internal hard disk.

IN/OUT POINTS NOT FOUND

Auto-punch recording cannot be performed because in/out points are not speci-

ﬁed.

IN/OUT POINTS TOO CLOSE

The auto punch-in/out interval is too short. It cannot be set less than approxi-

mately 100 msec.

LOCATE POINT ERASED

The locate point has been erased.

LOCATE POINT SET

The locate point has been set.

MARK POINT ERASED

The mark has been erased.

MARK POINT SET

The mark has been set.

MEMORY FULL!!

The song has no more free space. One song can use a maximum of 6.4 GB.

MIDI BULK RECEIVED

A bulk data dump was received.

MIDI IN: DATA FRAMING ERROR!

Invalid data may have been received at the MIDI IN connector.

MIDI IN: DATA OVERRUN!

Invalid data may have been received at the MIDI IN connector.

MIDI: RX BUFFER FULL!

Receiving more MIDI data than it can handle.

MIDI: TX BUFFER FULL!

Attempting to transmit more MIDI data than it can handle.

MTC SLAVE MODE NOW

This operation cannot be performed because the AW16G is in MTC Slave mode.

NO MARK LEFT

The allowable number of marks has been exceeded.

NO MEDIA!!

Media has not been inserted.

RECORDER BUSY

The operation cannot be executed because the recorder is operating.

RECORDER RUNNING

The operation cannot be executed because the recorder is recording or playing.

RECORD TRACK NOT SELECTED

Recording cannot be performed because you have not selected a record track.

REDO COMPLETE

Redo (re-execution of the previous operation) has been completed.

REPEAT POINTS TOO CLOSE

The repeat interval is too short. It cannot be set to less than one second.

SOUND CLIP MODE NOW

Since you are in Sound Clip mode, this operation cannot be executed.

STEREO TRACK PLAYBACK MODE

Since you are in Stereo Track Playback mode, this operation cannot be executed.

SYSTEM ERROR!!

An internal system error has occurred.

THIS SONG IS PROTECTED.

This song is protected, and cannot be edited or recorded.

TOO MANY REGIONS!

There are too many recorded regions.

TRIGGER LIST RECORDING

A sampling pad trigger list is being recorded.

UNDO COMPLETE

Undo (cancellation of the previous operation) has been executed.

WRONG WORD CLOCK!!

An inappropriate word clock is being received from the connected device to

which you are synchronizing.

199

Appendix

■ Popup messages

ATAPI Error!

A problem occurred while communicating with the CD-RW drive.

Can't Select Current Song!

The current song cannot be selected.

CD Size Full!

Data exceeding the recordable length of the CD cannot be added.

CD Track Over!

The maximum number of tracks has been reached, and further addition is

not possible.

CD-RW Drive Error!

A problem occurred with the CD-RW drive.

CD-RW Drive Not Found!

No CD-RW drive is installed.

CD Write Error!

The data could not be written correctly to the CD.

Change Media, Invalid Order.

Please exchange the media. The order of media volumes is incorrect.

Change Media, Not 1st Media.

Please exchange the media. This is not the ﬁrst media volume.

Change Media, Please.

The media is an incorrect type. Please exchange it.

Compare Error!

The data was not written correctly.

Disk Full!

The disk has no free capacity.

End Range Over!

The operation could not be executed, since the end of the song would be

later than 24 hours.

Exchange Next Media.

Please insert the next volume of media.

File Number Full!

No more songs can be created or restored, since this would exceed the

maximum number of ﬁles.

File System Error!

An error has occurred in the ﬁle system of the internal hard disk.

For Effect2 Only!

This cannot be recalled because it is only for use with EFFECT 2.

HDD Error!

A problem occurred with the internal hard disk.

IDE Error!

A problem occurred while communicating with the internal hard disk.

Invalid Parameter!

The parameter setting exceeds the allowable range.

Media Error!

A problem has occurred on the media.

Media Full!

The media has no free space.

Memory Full!

The song has no more free space. One song can use a maximum of

6.4 GB.

Memory Full!

There is no more free space in sampling pad memory.

No Data to Backup!

You have not selected data to back up.

No Data to Restore!

You have not selected data to restore.

No Data!

The selected region does not contain data.

No Data!

Since no data has been saved, you cannot recall, erase, or edit the title.

No Media!

Media has not been inserted.

No Song to Write!

No songs to write to the CD have been selected.

No Stereo Track!

There is no song that includes a master track longer than four seconds.

Not 44.1kHz/16bit Song!

The song cannot be restored since it is not a 44.1 kHz/16-bit song.

Prohibit CD Import!

Can’t import from a CD because DIGITAL REC is prohibited.

Protected!

Can’t save, erase, or edit the title because the song is protected.

Read Only!

Can’t save, erase, or edit the title because the song is read-only.

Recognized AW2816- Formatted Media!

This is AW2816 format media.

Recognized AW4416- Formatted Media!

This is AW4416 format media.

Song Number Full!

No more songs can be created or restored, since this would exceed the

maximum number of songs.

System Error!

An internal system error has occurred.

Too Small File!

WAVE ﬁles shorter than 200 msec cannot be imported.

Too Small Region!

Time compression/expansion cannot be executed because the region is

too short.

Track Length Too Short!

Since the song length divided by the markers would be less than four sec-

onds, you cannot divide it with a marker.

Track Not Recorded!

The track you selected does not contain any recorded data.

Appendix

200

About the CD-ROM included with the AW16G

Caution

•This disk is a CD-ROM. Do not attempt to play the

disk on an audio CD player. Doing so may result in

irreparable damage to your audio CD player.

• All copyrights to this software are the property of

Yamaha Corporation.

• Copying or modiﬁcation of this software in part or in

whole is forbidden.

•Yamaha Corporation takes no responsibility for any

results or damages that may result from your use of

this software.

• Cubase VST is a trademark of Steinberg Media Tech-

nologies AG.

• Logic Audio is a trademark of Emagic Soft- und Hard-

ware Gmbh.

• Cakewalk is a registered trademark of Twelve Tone

Systems, Inc.

• ProTools is a trademark or registered trademark of

Avid Technology, Inc. or its related companies.

•Windows is a registered trademark of Microsoft Cor-

poration USA in the United States and other coun-

tries.

• Macintosh is a registered trademark of Apple Com-

puter, Inc. USA in the United States and other coun-

tries.

• Other company names and product names in this

document are the trademarks or registered trade-

marks of their respective corporate owners.

Contents of the CD-ROM

The included CD-ROM contains a backup ﬁle that you

can use to restore the AW16G to its factory-set condition,

and setting ﬁles that let you use the AW16G’s MIDI

Remote function with various software sequencers.

When you view this CD-ROM in Windows, a ﬁle named

Aw_00000.16g will appear in the root directory. This is a

backup ﬁle of the demo song and sample library that is

installed in the internal hard disk when the AW16G is

shipped from the factory. This ﬁle cannot be opened from

Windows or Macintosh.

Restoring the internal hard disk

to the factory-set condition

In order to restore the internal hard disk to the factory-set

condition, you will need to perform the following two

procedures.

1) Initialize the internal hard disk

2) Load the demo song and sample library

Since this procedure will erase all data from the internal

hard disk, be sure to create a backup of any important

data before you perform this procedure.

■ Initializing the internal hard disk

Initialize the internal hard disk. (→ p. 160)

When you initialize the internal hard disk, the system

settings will return to their factory-set state.

Folder

name

Software name Contents

Remote

Cubase remote

ﬁle

Setting ﬁle for remotely

controlling the Cubase

sequencer software from

the AW16G.

Logic remote ﬁle

Setting ﬁle for remotely

controlling the Logic

sequencer software from

the AW16G.

SONAR 2/Cake-

walkProAudio

remote ﬁle (Win-

dows only)

Setting ﬁle for remotely

controlling the SONAR 2/

CakewalkProAudio

sequencer software from

the AW16G.

201

Appendix

■ Loading the demo song and sample

library

Insert the included CD-ROM into the CD-RW

drive of the AW16G.

In the Work Navigate section, repeatedly

press the [CD] key to access the RESTORE

page.

Make sure that the cursor is located at the

READ CD INFO button, and press the

[ENTER] key.

Loading from the CD-ROM will begin. When load-

ing is ﬁnished, the contents of the display will

change as follows.

Move the cursor to the DISABLE button and

press the [ENTER] key.

The DISABLE button will change to ENABLE, and

the symbol at the right of the list will change to ●.

Move the cursor to the PAD button and press

the [ENTER] key.

Once again, loading from the CD-ROM will begin.

When loading is ﬁnished, the contents of the dis-

play will change as follows.

Move the cursor to the ALL button and press

the [ENTER] key.

Move the cursor to the DISABLE button and

press the [ENTER] key.

The DISPLAY button will change to ENABLE, and all

symbols at the right of the list will change to ●.

This selects all songs and sample libraries.

Move the cursor to the EXECUTE button and

press the [ENTER] key.

A popup window will ask you for conﬁrma-

tion, so move the cursor to the OK button or

CANCEL button, and press the [ENTER] key.

While the Restore operation is being executed, the

state of progress will be shown in a popup window.

When this popup window closes, the operation has

been completed.

Installing a remote ﬁle

Please be aware that the menu names and screens that

appear in the explanation below may differ depending

on the software you are using.

■ Windows users

In order to use a remote ﬁle, the corresponding software

must be installed.

Installing the Cubase remote setup ﬁle

Start up Cubase.

In the menu bar, click [Option] → [Remote

Setup] → [Setup].

The VST Remote window will appear. Make

the following settings and click the [OK] but-

ton.

Note

The content that is shown for “Input” and “Output” will

depend on the MIDI device(s) you are using. For details,

refer to the owner’s manual for the MIDI device(s) you

are using.

The Generic Remote window will appear.

Click the [EDIT] button.

The Generic Remote Setup window will

appear. Click the [Import] button.

A dialog box like the following will appear.

Select the Cubase remote setup ﬁle (Yamaha

AW16G Remote.xml) from the included CD-

ROM, and click the [Open] button.

Close the Generic Remote Setup window.

Remote: Generic

Remote

Input: (the MIDI

device you are using)

Output: (the MIDI

device you are using)

Appendix

202

Installing the Logic preference ﬁle

Start up Logic.

In the menu bar, click [Option] → [Settings]

→ [Key Commands...].

The Key Commands window will open. In

the menu bar, click [Option] → [Import Key

Commands...].

A dialog box will appear. Select the Logic

preference ﬁle (Logic32.prf) from the

included CD-ROM, and click the [Open] but-

ton.

When you import the ﬁle, the following settings will

be made.

Please note that all the previously-speciﬁed key

commands will be initialized. If you do not want to

change your existing user key command settings,

you can manually make the MIDI channel and CC#

settings shown above.

SONAR 2/CakewalkProAudio template (Installation/set-

tings)

Copy the template to the folder in which

SONAR 2/CakewalkProAudio is installed.

Start up SONAR 2/CakewalkProAudio.

In the menu bar, click [Option] → [Audio].

The Cakewalk DirectShow Audio dialog box

will appear. Change the “Number of Aux

Busses” (from the default value of 2) to [3],

and click the [OK] button.

This completes preparations for the template.

SONAR 2/CakewalkProAudio template (Loading the

template)

Start up SONAR 2/CakewalkProAudio.

If you are using SONAR 2:

In the menu bar, click [File] → [Open].

If you are using Cakewalk:

In the menu bar, click [File] → [New].

If you are using SONAR 2:

The “Open ﬁle” dialog box will appear. Choose

Cakewalk template ﬁles as the type of ﬁle to be

loaded. From the list in the dialog box, choose

Yamaha AW16G Remote and click the [OK] button.

If you are using Cakewalk:

The “New Project File” dialog box will appear.

From the list in the dialog box, choose Yamaha

AW16G Remote, and click the [OK] button.

The template will be loaded, and three windows

will appear; the Track window, Control window,

and Panel window.

In the menu bar, click [Option] → [MIDI

Devices].

The MIDI Ports window will open. In the

Input Ports ﬁeld, assign the MIDI device that

you are using.

This completes preparations for controlling SONAR 2/

CakewalkProAudio from the AW16G.

● If you changed the track structure from the default

settings of the template ...

With the Yamaha AW16G Remote template started,

click the [CONFIG] button in the panel window.

A cluster will open at the right.

Drag the [SET MIDI First Track] knob to the ﬁrst track

number of the MIDI tracks.

* If you use this template, you will not be able to con-

trol the tracks correctly from the AW16G unless the

MIDI tracks are continuous from 1—16.

* If you set the value to an invalid track (an unused

track), the panel knobs, buttons, or sliders may be

shaded. If this occurs, set the value back to the correct

track.

Pro Tools software

You can remotely control the Pro Tools software from the

AW16G. No special setting ﬁle is required. The setting

procedure is the same as for the Mac version.

Refer to “Macintosh users” → “Pro Tools software” (→

p. 203).

203

Appendix

■ Macintosh users

In order to use a remote ﬁle, the corresponding software

must be installed.

Installing the Cubase remote setup ﬁle

For Cubase, the procedure is the same as for the Win-

dows version. Refer to “Windows users” → “Installing the

Cubase remote setup ﬁle” (→ p. 201).

Installing the Logic preference ﬁle

Start up Logic.

Click [Option] → [Settings] → [Key Com-

mands...].

The Key Commands window will open. In

the Key Commands window, click [Option]

→ [Import Key Commands].

A dialog box will appear. Select the Logic

preference ﬁle (Logic Preferences) from the

included CD-ROM, and click the [Open] but-

ton.

When you import the ﬁle, the following settings will

be made.

Please note that all the previously-speciﬁed key

commands will be initialized. If you do not want to

change your existing user key command settings,

you can manually make the MIDI channel and CC#

settings shown above.

Pro Tools softwares

You can remotely control the Pro Tools software from the

AW16G. No special setting ﬁle is required. Use the fol-

lowing procedure to make settings.

In the menu bar, click [Setup] → [Peripher-

als...].

The Peripherals window will open. Click the

[MIDI Controllers] button.

In the MIDI Controllers window, make the follow-

ing settings.

In the Receive From ﬁeld and the Send to ﬁeld,

specify the MIDI device you are using.

This completes preparations for using the AW16G’s

MIDI Remote function to control the Pro Tools soft-

ware.

Type Receive From Send to #ch’s

#1 CS-10

(the MIDI

device you are

using)

(the MIDI

device you are

using)

Appendix

204

MIDI data format

1. Functions

1.1. Scene Change

The settings of the [MIDI PROGRAM CHANGE TABLE] specify the

scene that is recalled when a Program Change message is received.

The settings of the [MIDI PROGRAM CHANGE TABLE] specify the

program number that is transmitted when a scene is recalled. If more

than one program number has been assigned to that scene memory

number, the lowest-numbered program number will be transmitted.

1.2. MMC Control

These messages allow basic recorder operations such as STOP/PLAY/

REC/LOCATE.

If you select the MIDI SETUP menu item MMC MASTER, MMC

commands will be transmitted according to the operation of the

transport. If you select MMC SLAVE, the internal recorder will oper-

ate according to the received MMC commands.

1.3. Effect Control

Depending on the type of effect, note-on/off messages can be used

for control.

These settings are made for the parameters of each effect.

1.4. MIDI Clock transmission

If you set MIDI OUT to MIDI CLOCK, MIDI clock messages can be

transmitted during playback or recording.

In MIDI Clock transmission mode, Song Position Pointer and Start/

Stop/Continue commands will also be issued, and during playback

or recording, MIDI Clock will be transmitted according to the MIDI

Tem p o M a p.

1.5. MTC transmission (MTC Master)

If you set MIDI OUT to MTC, MTC can be transmitted during play-

back or recording.

1.6. MTC reception (MTC Slave)

If you set MTC MODE to SLAVE, the internal recorder will operate

in synchronization with MTC messages received from the MIDI IN

connector.

1.7. Realtime control of parameters

Control changes can be used to send/receive internal parameters in

realtime.

1.8. Transmission of scene memories or data

The bulk dump function can be used to send data to another device,

or copy settings from another device to the AW16G.

1.9. MIDI Remote

The faders, SEL keys, and RTZ / FF / REW / STOP / PLAY / REC keys

can be used to control an external MIDI device.

In PRESET mode, operating the above controllers will transmit

MIDI data according to the preset settings of the AW16G.

In USER mode, operating the above controllers will transmit the

MIDI data that you specify.

2. MIDI data ﬂow diagram

3. AW16G settings and operation

3.1. MIDI Setup

Set basic MIDI operation.

3.1.1. MIDI OUT

Specify the function of the MIDI OUT connector.

3.1.2. MMC MODE

Select whether the AW16G will be the MMC MASTER or SLAVE.

3.1.3. MMC Dev.

Specify the ID number that will be used when transmitting or receiv-

ing MMC commands.

3.1.4. MTC SYNC MODE

Select whether the AW16G will be the MTC MASTER or SLAVE.

3.1.5. MTC SYNC AVERAGE

When the AW16G is functioning as a MTC SLAVE, this setting speci-

ﬁes how it will follow the MTC data. Set this to 0 if the incoming

MTC data has a highly accurate timing; set this to 1 or 2 if the timing

of the incoming MTC data is not as accurate (such as when receiving

MTC from a software sequencer).

3.1.6. MTC SYNC OFFSET

When the AW16G is functioning as a MTC SLAVE, this setting adds

an offset to the received MTC data. The received time code value

shifted by this amount will correspond to the location indicated by

the internal time code of the AW16G.

3.1.7. MIDI Tx Ch

This sets the MIDI channel that will normally be used.

However, transmission in response to a request will occur on the

Receive Channel, in order to specify the device that transmitted the

request.

3.1.8. MIDI Rx Ch

This sets the MIDI channel that will be used for reception. If this is

set to ALL, data of all MIDI channels will be receive d.

MTC (MTC Slave)

PROGRAM CHANGE (Scene Recall)

CONTROL CHANGE (Parameter Edit)

BULK DUMP / BULK DUMP Request

MMC (Transport Control)

Channel Message / Exclusive Message

(MIDI REMOTE Learn)

MTC SLAVE

PGM CHG

CTRL CHG

RX DISABLE

MMC SLAVE

LEARN

PROGRAM CHANGE

CONTROL CHANGE

BULK DUMP /

BULK DUMP Request

MMC

MTC

MIDI CLOCK

PGM CHG

CTRL CHG

TRANSMIT/REQUEST

MMC MASTER

MIDI OUT (MTC)

MIDI OUT (CLK)

MIDI OUT (MIDI)

MIDI OUT (THRU)

MIDI IN

MIDI OUT

REMOTE Transport

REMOTE Fader/Sel

SW1

SW2

SW3

SW4

SW1 REMOTE OFF

SW2 REMOTE ON(Remote)

SW3 REMOTE ON

SW4 REMOTE OFF or REMOTE ON(Normal)

SW4

NOTE ON/OFF (Effect Control)

EFF MIDI

205

Appendix

3.1.9. Program Change Mode

Enable/disable reception and transmission. If MIDI Rx Ch is set to

ALL, these messages will be received regardless of their MIDI chan-

nel.

3.1.10. Control Change Mode

If this is enabled, you can specify the correspondence between con-

trol numbers and operations of the mixer section. For mode 1, trans-

mission and reception will occur without regard to the MIDI Tx Ch

and MIDI Rx Ch settings. For modes 2 and 3, reception will occur

without regard to MIDI channel if you set MIDI Rx Ch to ALL.

3.2. MIDI BULK DUMP

Controls transmission of Bulk Dump and Bulk Dump Request.

3.2.1. BULK DUMP Category

Selects the type of parameters for Dump or Dump Request.

3.2.1.1. SCENE

Mixer scene settings. E.BUF is the current state, 01-96 are stored

scenes. ALL selects all scenes.

3.2.1.2. LIBRARY

All memory settings for all libraries (EQ / EFFECT / DYNAMICS /

CHANNEL).

3.2.1.3. SYSTEM

Settings that apply to the entire AW16G.

3.2.1.4. REMOTE

Settings for the MIDI Remote function.

3.2.1.5. PROGRAM CHANGE TABLE

This is the Program Change Table.

3.2.1.6. ALL

All of the above settings.

3.2.2. INTERVAL

Speciﬁes the interval at which consecutive Bulk Dump or Bulk

Dump Request messages will be transmitted. Increase this setting if

the receiving device fails to receive all of the bulk data.

3.2.3. RX DISABLE

If RX Disable is turned on, no Bulk Dump or Bulk Dump Request

messages will be received.

3.2.4. REQUEST

Tr ansmits the selected Bulk Dump Request.

3.2.5. TRANSMIT

Tr ansmits the selected Bulk Dump.

3.3. MIDI PROGRAM CHANGE TABLE

This table allows you to freely specify the correspondence between

Program Change No. and Scene No.

This table is used for conversion for both transmission and recep-

tion.

4. MIDI format list

4.1. CHANNEL MESSAGE

4.2. SYSTEM COMMON MESSAGE

4.3. SYSTEM REALTIME MESSAGE

4.4. SYSTEM EXCLUSIVE MESSAGE

4.4.1. REALTIME SYSTEM EXCLUSIVE

4.4.1.1. MMC

4.4.2. BULK DUMP / BULK DUMP REQUEST

Command Rx/Tx function

8n NOTE OFF Rx Control the internal effect

9n NOTE ON Rx Control the internal effect

Bn CONTROL CHANGE Rx/Tx Edit parameters

Cn PROGRAM CHANGE Rx/Tx Switch scene memories

Command Rx/Tx function

F1 MIDI TIME CODE Rx/Tx MTC transmission

F2 SONG POSITION POINTER Tx Song position transmission

Command Rx/Tx function

F8 TIMING CLOCK Tx MIDI Clock transmission

FA START Tx Start command transmission

FB CONTINUE Tx Continue command transmission

FC STOP Tx Stop command transmit

FE ACTIVE SENSING Rx Check MIDI cable connections

FF RESET Rx Clear running status

Command Rx/Tx function

01 STOP Rx/Tx Transport stop

02 PLAY Rx Transport play

03 DEFERRED PLAY Rx/Tx Transport play

04 FAST FORWARD Rx/TX Transport fast-forward

05 REWIND Rx/Tx Transport rewind

06 RECORD STROBE Rx Transport punch-in record

07 RECORD EXIT Rx Transport punch-out

0F RESET Rx/Tx MMC reset

44 LOCATE Rx/Tx Transport locate

Data Name Rx/Tx function

'M' Rx/Tx Scene Memory & Request

'S' Rx/Tx System Memory & Request

'R' Rx/Tx Remote Memory & Request

'Q' Rx/Tx Equalizer Library & Request

'Y' Rx/Tx Dynamics Library & Request

'E' Rx/Tx Effect Library & Request

'H' Rx/Tx Channel Library & Request

'P' Rx/Tx Program Change Table & Request

Appendix

206

5. MIDI format details

5.1. NOTE OFF (8n)

< Reception >

Received when [Rx CH] matches.

Used to control effects. Refer NOTE ON for details.

5.2. NOTE ON (9n)

< Reception >

Received when [Rx CH] matches.

Used to control effects. Refer below for details.

Ve locity of 0x00 is equivalent to Note-Off.

* Effect control by Note

1: Dynamic Flange/Dynamic Phase/Dynamic Filter

When the SOURCE parameter is set to MIDI, the note velocity (both

note-on and note-off) is used to control the Modulation frequency

width.

5.3. CONTROL CHANGE (Bn)

< Reception >

Control change messages will be received if the [Control Change

Mode] is RX or TX/RX and the [MIDI Rx Ch] matches. However if

[MIDI Rx Ch] is ALL, this message is received regardless of the chan-

nel.

< Transmission >

If [Control Change Mode] is TX or TX/RX, control change messages

will be transmitted on the [MIDI Tx Ch] channel when you operate a

parameter.

The control value is converted into a parameter value according to

the following equation.

S= total number of steps in the parameter’s variable range

128 / S = X remainder Y

INT((Y+1)/2) = Z

If (MIDI DATA - Z) < 0, then Value = 0

If ((MIDI DATA - Z)/X) > MAX, then Value = MAX

Otherwise, Value = INT ((MIDI DATA -Z)/X)

5.4. PROGRAM CHANGE (Cn)

< Reception >

Program change messages will be received if the [Program Change

Mode] is RX or TX/RX and the [MIDI Rx Ch] matches. However if

[MIDI Rx Ch] is ALL, this message is received regardless of the chan-

nel.

A scene memory will be recalled according to the [PROGRAM

CHANGE TABLE] settings.

< Transmission >

If [Program Change Mode] is TX or TX/RX, a program change will

be transmitted on the [MIDI Tx Ch] according to the [PROGRAM

CHANGE TABLE] settings when you recall a memory number. If the

recalled memory number has been assigned to more than one pro-

gram number, the lowest-numbered program number will be trans-

mitted.

5.5. MIDI TIME CODE QUARTER FRAME (F1)

< Transmission >

If [MIDI OUT] is set to MTC, Quarter Frame messages will be trans-

mitted according to the time code movements of the recorder when

the recorder is playing or recording.

< Reception >

This message is received if [MTC SYNC MODE] is set to SLAVE.

Quarter Frame messages received in realtime are internally assem-

bled into time code that controls the recorder.

5.6. SONG POSITION POINTER (F2)

< Transmission >

If [MIDI OUT] is set to CLK, a song position message will be trans-

mitted when STOP or LOCATE is performed on the recorder, to

indicate the song position from which the song should start at the

next START or CONTINUE message.

5.7. TIMING CLOCK (F8)

< Transmission >

If [MIDI CLK] is ON, this message is transmitted according to the

MIDI Tempo Map from when the recorder begins playing or record-

ing, until it stops.

5.8. START (FA)

< Transmission >

If [MIDI CLK] is ON, this message is transmitted when the recorder

begins playing or recording at a location other than the ﬁrst measure.

5.9. CONTINUE (FB)

< Transmission >

If [MIDI CLK] is ON, this message is transmitted when the recorder

begins playing or recording at a location other than the ﬁrst measure.

5.10. STOP (FC)

< Transmission >

If [MIDI CLK] is ON, this message is transmitted when the recorder

stops.

5.11. ACTIVE SENSING (FE)

< Reception >

Once this message is received, subsequent failure to receive any mes-

sage for a period of 300 ms will cause Running Status to be cleared,

and MIDI communications to be initialized.

5.12. RESET (FF)

< Reception >

When a Reset message is received, MIDI communications will be ini-

tialized by clearing Running Status etc.

5.13. EXCLUSIVE MESSAGE (F0-F7)

5.13.1. MMC

5.13.1.1. MMC STOP

< Transmission >

When the STOP key is pressed, this message is transmitted with a

device number of 7F.

STATUS 1000nnnn 8n

Note Off Message

DATA 0nnnnnnn nn

Note No.

0vvvvvvv vv

Velocity ( ignored)

STATUS 1001nnnn 9n

Note On Message

DATA 0nnnnnnn nn

Note No.

0vvvvvvv vv

Velocity ( 1-127:On, 0:off)

STATUS 1011nnnn Bn

Control Change

DATA 0ccccccc cc

Control No. (0-95, 102-119)

0vvvvvvv vv

Control Value (0-127)

STATUS 1100nnnn Cn

Program Change

DATA 0nnnnnnn nn

Program No. ( 0-127)

STATUS 11110001 F1

Quarter Frame Message

DATA 0nnndddd dd

nnn = message type (0-7) dddd = data

STATUS 11110010 F2

Song Position Pointer

DATA 0ddddddd dd0

data( H) high 7 bits of 14 bits data

0ddddddd dd1

data( L) low 7 bits of 14 bits data

STATUS 11111000 F8

Timing Clock

STATUS 11111010 FA

Start

STATUS 11111011 FB

Continue

STATUS 11111100 FC

Stop

STATUS 11111110 FE

Active Sensing

STATUS 11111111 FF

Reset

207

Appendix

< Reception >

If the AW16G is operating as an MMC Slave, the transport will stop

when this message is received with a matching device number or a

device number of 7F.

5.13.1.2. MMC PLAY

< Reception >

If the AW16G is operating as an MMC Slave, the transport will begin

playback when this message is received with a matching device num-

ber or a device number of 7F.

5.13.1.3. MMC DEFERED PLAY

< Transmission >

This message is transmitted with a device number of 7F when the

PLAY key is pressed.

< Reception >

If the AW16G is operating as an MMC Slave, the transport will begin

playback when this message is received with a matching device num-

ber or a device number of 7F.

5.13.1.4. MMC FAST FORWARD

< Transmission >

This message is transmitted with a device number of 7F when the FF

key is pressed or when the Shuttle is rotated toward the right to enter

Cue mode.

< Reception >

If the AW16G is operating as an MMC Slave, the transport will begin

fast-forward when this message is received with a matching device

number or a device number of 7F.

5.13.1.5. MMC REWIND

< Transmission >

This message is transmitted with a device number of 7F when the

REWIND key is pressed or when the Shuttle is rotated toward the left

to enter Review mode.

< Reception >

If the AW16G is operating as an MMC Slave, the transport will begin

rewind when this message is received with a matching device number

or a device number of 7F.

5.13.1.6. MMC RECORD STROBE

< Reception >

This message is received if the AW16G is operating as an MMC Slave

and the device number matches or is 7F. If the transport is stopped,

then recording will begin. If the transport is playing, then punch-in

will occur.

5.13.1.7. MMC RECORD EXIT

< Reception >

This message is received if theAW16G is operating as an MMC Slave

and the device number matches or is 7F. If the transport is recording,

then punch-out will occur.

5.13.1.8. MMC RESET

< Transmission >

This message is transmitted with a device number of 7F when song

loading is ﬁnished.

< Reception >

This message is received if the AW16G is operating as an MMC Slave

and the device number matches or is 7F. MMC-related internal set-

tings will be reset to the power-on state.

5.13.1.9. MMC LOCATE (TARGET)

< Transmission >

This message is transmitted with a device number of 7F when a

locate-related key such as MARK SEARCH/IN/OUT is pressed, a FF/

REW/shuttle operation is performed, when the transport returns to

the auto-punch pre-roll point, or when repeating.

< Reception >

This message is received if the AW16Gis operating as an MMC Slave

and the device number matches. The transport will locate to the time

code position speciﬁed within the command data.

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000001 01

Stop(MCS)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000010 02

Play(MCS)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000011 03

Deferred play(MCS)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000110 04

Fast Forward(MCS)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000101 05

Rewind(MCS)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000110 06

Record strobe

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00000111 07

Record Exit

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

00001101 0D

Reset

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01111111 7F

Real Time System Exclusive

Device ID 0ddddddd dd

Destination (00-7E, 7F:all call)

Command 00000110 06

Machine Control Command(mcc) sub-id

01000100 44

Locate

00000110 06

byte count

00000001 01

"target" sub command

0hhhhhhh hh

hour (Standard Time Code)

0mmmmmmm mm

minute

0sssssss ss

second

0fffffff ff

frame

0sssssss ss

sub-frame

EOX 11110111 F7

End Of Exclusive

Appendix

208

5.13.2. BULK DUMP / BULK DUMP REQUEST

This message inputs/outputs the contents of various internal memo-

ries. The unique header is used to distinguish whether the data

belongs to the AW16G.

The check sum is calculated by adding the bytes starting after BYTE

COUNT (LOW) and ending before CHECK SUM, then inverting the

bits and adding 1 (binary complement), and setting bit 7 to 0.

CHECK SUM = ( -sum) & 0x7F

< Reception >

This message is received if [RX DISABLE] is off, and the [MIDI Rx

Ch] matches the MIDI channel included in the Sub Status.

When a bulk dump is received, it is immediately written into the

speciﬁed memory.

When a bulk dump request is received, a bulk dump will be transmit-

ted immediately.

System Memory Bulk Dump is not received while the recorder is

running.

< Transmission >

Bulk Dump messages are transmitted on the [Tx CH] in response to

key operations in the [MIDI BULK DUMP] screen.

Bulk Dump messages are transmitted on the received MIDI channel

in response to a Bulk Dump Request.

5.13.2.1. Scene Memory Bulk Dump Format

All data is divided into 4 bit units.

5.13.2.2. Scene Memory Bulk Dump Request

Format

5.13.2.3. System Memory Bulk Dump Format

All data is divided into 4 bit units.

5.13.2.4. System Memory Bulk Dump Request

Format

5.13.2.5. Remote Memory Bulk Dump Format

All data is divided into 4 bit units.

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00111111 3F

8126(8116+10)bytes

BYTE COUNT

(LOW)

0111110 3E

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110011 37

'7'

00110110 35

'5'

DATA NAME 01001101 4D

'M'

0mmmmmmm mm

m=0-96,97(Scene Memory No.0-96, Current

Scene)

Receive is effective No.1-96,97

DATA 0ddddddd ds

Scene Memory((4058*2) bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01001101 4D

'M'

0mmmmmmm mm

m=0-96,97(Scene Memory No.0-96, Current

Scene)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000001 01

128(118+10)bytes

BYTE COUNT

(LOW)

00000000 00

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010011 53

'S'

00100000 20

' '

DATA 0ddddddd ds

Setup Memory(59*2bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010011 53

'S'

00100000 20

' '

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00001111 0F

1962(1952+10)bytes

BYTE COUNT

(LOW)

00101010 2A

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010010 52

'R'

00100000 20

' '

DATA 0ddddddd ds

Remote(Internal Parameter)

Memory(976*2bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

209

Appendix

5.13.2.6. Remote Memory Bulk Dump Request

Format

5.13.2.7. Equalizer Library Bulk Dump Format

All data is divided into 4 bit units.

5.13.2.8. Equalizer Library Bulk Dump Request

Format

5.13.2.9. Dynamics Library Bulk Dump Format

All data is divided into 4 bit units.

5.13.2.10. Dynamics Library Bulk Dump

Request Format

5.13.2.11. Effect Library Bulk Dump Format

All data is divided into 4 bit units.

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010010 52

'R'

00100000 20

' '

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000000 00

110(100+10)bytes

BYTE COUNT

(LOW)

01101110 6E

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010001 51

'Q'

0mmmmmmm mm

m= 0-127 (Equalizer Library No.1-128)

Receive is effective No.41-128

DATA 0ddddddd ds

Equalizer Library Memory(48*2bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010001 51

'Q'

0mmmmmmm mm

m= 0-127 (Equalizer Library No.1-128)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000000 00

94(84+10)bytes

BYTE COUNT

(LOW)

01011110 5E

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01011001 59

'Y'

0mmmmmmm mm

m= 0-127 (Dynamics Library No.1-128)

Receive is effective No.41-128

DATA 0ddddddd ds

Dynamics Library Memory(42*2 bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01011001 59

'Y'

0mmmmmmm mm

m= 0-127 (Dynamics Library No.1-128)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000001 01

142(132+10)bytes

BYTE COUNT

(LOW)

00001110 0E

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01000101 45

'E'

0mmmmmmm mm

m= 0-127 (Effect Library No.1-128)

Receive is effective 42-128

DATA 0ddddddd ds

Effect Library Memory(66*2bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

Appendix

210

5.13.2.12. Effect Library Bulk Dump Request

Format

5.13.2.13. Channel Library Bulk Dump Format

All data is divided into 4 bit units.

5.13.2.14. Channel Library Bulk Dump Request

Format

5.13.2.15. Program Change Table Bulk Dump

Format

All data is divided into 7 bit units.

5.13.2.16. Program Change Table Bulk Dump

Request Format

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01000101 45

'E'

0mmmmmmm mm

m= 0-127 (Effect Library No.1-128)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000001 01

226(216+10)bytes

BYTE COUNT

(LOW)

01100010 62

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01001000 48

'H'

0mmmmmmm mm

m= 0-64 (Channel Library No.0-64)

Receive is effective No.2-64

DATA 0ddddddd ds

Effect Library Memory(108*2 bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01001000 48

'H'

0mmmmmmm mm

m= 0-64 (Channel Library No.0-64)

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID No.(YAMAHA)

SUB STATUS 0000nnnn 0n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

BYTE COUNT

(HIGH)

00000001 01

138(128+10)bytes

BYTE COUNT

(LOW)

00001010 0A

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010000 50

'P'

00100000 20

' '

DATA 0ddddddd ds

Program Change Table(128bytes)

: :

0ddddddd de

CHECK SUM 0eeeeeee ee

ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND

7Fh

EOX 11110111 F7

End Of Exclusive

STATUS 11110000 F0

System Exclusive Message

ID No. 01000011 43

Manufacturer's ID (YAMAHA)

SUB STATUS 0010nnnn 2n

n=0-15(MIDI Channel No.1-16)

FORMAT No. 01111110 7E

Universal Bulk Dump

01001100 4C

'L'

01001101 4D

'M'

00100000 20

' '

00100000 20

' '

00111000 38

'8'

01000011 43

'C'

00110111 37

'7'

00110101 35

'5'

DATA NAME 01010000 50

'P'

00100000 20

' '

EOX 11110111 F7

End Of Exclusive

211

Appendix

MIDI Implementation Chart

YAMAHA [PROFESSIONAL AUDIO WORKSTATION] Date: Jan 30, 2002

Model: AW16G

MIDI Implementation Chart

Version: 1.0

Function... Transmitted Recognized Remarks

Basic

Channel

Default

Changed

1–16

Memorized

Mode

Default

Messages

Altered

**************

OMNI off/OMNI on

Memorized

Note

Number :True Voice

************** X

Velocity

Note On

Note Off

After

Touch

Key’s

Ch’s

Pitch Bend X X

Control

Change

0-95,102-119 O O Assignable

Prog

Change :True#

0–127

**************

0–127

0–96

Assignable

System Exclusive O O *1

System

Common

:Song Pos

:Song Sel

:Tune

System

Real Time

:Clock

:Commands

Aux

Messages

:Local ON/OFF

:All Notes OFF

:Active Sense

:Reset

Notes

MTC quarter frame message is transmitted.

MTC quarter frame message is recognized.(When MTC Sync mode)

*1: Bulk Dump/Request, MMC

*2: When MCLK Sync mode

For MIDI remote, ALL messages canbe transmitted.

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO

O: Yes

X: No

Appendix

212

Speciﬁcations

■ General Speciﬁcations

Frequency Response

0 +1/–3 dB, 20 Hz–20 kHz

(MIC/LINE IN – STEREO OUT)

Total harmonic distortion

(Nominal input/Output level) 20 kHz LPF

Less than 0.03% 1 kHz (LINE IN to

STEREO OUT)

Less than 0.2% 1 kHz (MIC IN to

STEREO OUT)

Dynamic range

(Maximum level to Noise level) IHF-A

109 dB typ. DA converter (STEREO OUT)

103 dB min. DA converter (STEREO OUT)

103 dB typ. AD + DA (LINE IN to STEREO

OUT)

97 dB min. AD + DA (LINE IN to STEREO

OUT)

AD converter 24-bit linear, 64-times oversam-

pling

DA converter 24-bit linear, 128-times oversam-

pling

Internal processing 32-bit

Sampling frequency Internal 44.1 kHz (±6%)

External 44.1 kHz (±6%)

Audio input section

MIC/LINE 8 channels

DIGITAL IN 2 channels (optical stereo × 1)

Audio output section

MONITOR OUT 2 channels (stereo × 1)

PHONES 2 channels (stereo × 1)

STEREO/AUX OUT 2 channels (stereo × 1)

DIGITAL OUT 2 channels (optical stereo

× 1)

Mixer section Total 36 channels

MIC/LINE INPUT 8 channels

Internal effect return 4 channels (stereo × 2)

Recorder monitor 16 channels

Quick loop sampler 8 channels (stereo × 4)

Internal effects section

Multi-effects × 2

Bus section Total 8 buses

Bus 2 (L/R)

AUX2 (1/2)

STEREO 2 (L/R)

Effect 2 (1/2)

Internal HDD 20 GB 2.5" IDE

Maximum capacity per one song: 6.4 GB

Maximum songs 1,000 songs

Recorder resolution 16 bit linear (non-compressed)

Maximum tracks of recording/playback simultaneously

8 tracks, Recording & 16 tracks,

playback

Number of tracks 144 tracks (16 tracks + stereo

tracks) × 8 virtual

Fader 13 × 45 mm

MIDI MTC (Master/Slave), MIDI Clock

(Master), MMC (Master/Slave), Pro-

gram Change, Control Change,

Bulk Dump

Memory Scene memory, EQ library, dynam-

ics library, effect library, channel

library, sample library

AC adaptor PA-300

Power requirements U.S.A. & Canada 110–120 V,

50/60 Hz

Europe 220–240 V, 50/60 Hz

Dimensions (W × H × D)

425.0 × 98.8 × 321.5 mm

(16.7 × 3.9 × 12.6 inches)

Weight 4.4 kg (9.7 lbs)

Operating temperature range

5° to 35° C

Options Footswitch FC5, CD-RW Drive

CDRW16G

■ Mixer section

● Input/output

MIC/LINE input channel 1, 2 (balanced, XLR-type)

+48 V ±3 V DC phantom powering

Input impedance 3 kΩ

Nominal input level –46 dB to +4 dB

Minimum input level –52 dB

Maximum input level +18 dB

MIC/LINE input channel 3–8

(balanced, TRS phone jack)

Input impedance 3 kΩ

Nominal input level –46 dB to +4 dB

Minimum input level –52 dB

Maximum input level +18 dB

MIC/LINE input (Hi-Z) channel 8

(unbalanced, phone jack)

Input impedance 500 kΩ

Nominal input level –46 dB to +4 dB

Minimum input level –52 dB

Maximum input level +18 dB

STEREO/AUX OUT L, R (unbalanced, phone jack)

Output impedance 150Ω

Nominal load impedance 10 kΩ

Nominal output level –10 dBV

Maximum output level +4 dBV

MONITOR OUT L, R (unbalanced, TRS phone jack)

Output impedance 150Ω

Nominal load impedance 10 kΩ

Nominal output level –10 dB

Maximum output level +4 dB

213

Appendix

PHONES (unbalanced, TRS phone jack)

Nominal load impedance 8–40Ω

Maximum output level 100 mW + 100 mW

(40 Ω load)

DIGITAL STEREO I/O Optical

* 0 dB= 0.775 Vrms, 0 dBV= 1.0 Vrms

● Digital mixer

Input channel (INPUT 1–8, TRACK 1–16, PAD 1–4)

Attenuator, Phase (normal,

reverse), EQ (4-band PEQ),

Dynamics, On/Off, Pan

Internal effects return

EQ (4-band PEQ), On/Off, Pan

Bus

Stereo L, R Attenuator, EQ (4-band PEQ),

Dynamics, On/Off, Balance

Bus L, R

Aux 1–2

EFF 1–2

■ Recorder section

● Edit

Song edit Optimize, Delete, Copy, Import

Track edit Erase, Delete, Insert, Copy, Move,

Exchange, Time Compression/

Expansion, Pitch Change, Export,

CD import

● Others

Locate Quick locate: RTZ, A/B, Last REC

In/Out

Mark: 1–99

Punch I/O Manual Punch I/O, Auto Punch I/

■ Quick loop sampler

POLYPHONY 4 voices (stereo)

RECORDABLE TIME Total 44 seconds (stereo)

Edit function NAME, TRIM, PLAYBACK, MODE,

ERASE, EXTRACT, CD IMPORT,

TRACK IMPORT

■ Controls

ANALOG SECTION

INPUT [CH1-8] LINE/MIC VR

INPUT [CH1-2] PHANTOM +48V SW ON/OFF

OUTPUT LEVEL MONITOR/PHONES VR

MIXER SECTION

WORK NAVIGATE SONG/CD/TRACK/EDIT/UTIL-

ITY/REMOTE

QUICK NAVIGATE RECORD/MONITOR

CHANNEL SELECT INPUT1-8/TRACK 1-8/TRACK

[9/10]-[15/16]/STEREO

MIXER SCENE/VIEW/[PAN/BAL]/EFF1/

EFF2

EQ EQ/DYN/HIGH/HI-MID/LO-MID/

LOW

FADER TRACK 1-8/TRACK [9/10]-[15/16]/

STEREO

SAMPLER SECTION

QUICK LOOP SAMPLER SELECT/PAD 1-4/EDIT

RECORDER SECTION

LOCATE / /IN/OUT/A/B/RTZ/MARK/

SET/CANCEL/AUTO PUNCH/

REPEAT

TRANSPORT REW/FF/STOP/PLAY/REC

COMMON SECTION

DATA ENTRY / / / /ENTER

UNDO/REDO

SOUND CLIP

JOG ON

ENCORDER DATA/JOG

DISPLAYS 240 × 64 dot GRAPHIC LCD

(contrast control pot.)

■ Control I/O

MIDI IN 5-pin DIN

MIDI OUT/THRU 5-pin DIN

Foot switch Phone jack

Appendix

214

Dimensions

Speciﬁcations and external appearance subject to change without notice.

For European Model

Purchaser/User Information speciﬁed in EN55103-1 and EN55103-2.

Inrush Current: 70A

Conformed Environment: E1, E2, E3 and E4

425

313

321.5

8.5

98.8

88.8

Unit: mm

215

Appendix

Index

A/B key 20

A/B point

A-B Repeat

Access indicator

18, 22

Accessing a screen/page/

channel

Adjusting the input level

AMP

Assigning input signals

(Bus recording)

Assigning input signals

(Direct recording)

ATT knob

160

audio CD

Basic settings

Disc At Once

Erasing

105

Finalizing

104

Methods

Playing

106

Track At Once

AUDIO WRITE SPEED

AUTO PUNCH key

Auto punch-in/out

rehearse

AVRG (Average)

150

Back up 145

balance

PAN/BALANCE knob

Basic operation

Accessing a screen/

page/channel

Editing a value in the

display

Inputting text

Switching a button on/

off

Using the Selected

Channel section

Viewing the display

Block diagram

218

bounce

Convenient functions

bounce recording

BPM

120

buck up

Responsibility

Bulk dump

149, 154

Bus

terminology

Bus recording

CANCEL key 20

CD key

CD PLAY button

106

CD Play function

106

CD-R/RW drive

Cautions for handling

Handling the media

CD-ROM included with

the AW16G

200

CD-RW drive

10, 22

Access indicator

Basic settings

Disc At Once

Eject button

Eject hole

Handling

Installing

media

Methods

Removing

Track At Once

Using

CD-RW MEDIA ERASE

CH RECALL SAFE

Channel library

Recall

Compander

175

COMPARE button

Compressor

174

Connect external devices

Connecting instrument or

mic

Connecting the AC adap-

tor

DC IN connector

control change

151

controlling a tone genera-

tor module

166

Notice

Counter

COUNTER DISPLAY

139

COUNTER DISPLAY

139

Creating a new song

Current song

CURSOR key

D.OUT COPYRIGHT ON/

OFF button

162

DATA WRITE SPEED

DATA/JOG dial

DC IN connector

demo song

Mixing

Playing

DIGITAL IN jack

DIGITAL IN PATCH

160

DIGITAL IN PATCH

160

Digital input setting

160

DIGITAL REC ON/OFF

button

160

DIGITAL STEREO IN/OUT

jack

Dimensions

214

Direct recording

Disc At Once

Writing

102

Display message list

198

Ducking

176

DYN button

DYN knob

19, 25

Dynamics

Dynamics library

53, 57,

library list

177

Recall

57, 78

Dynamics parameter

174

KEYIN SOURCE

Edit 92, 93, 94

dynamics parameters

EQ parameters

parameters of an inter-

nal effect

Edit command

COPY

128

DELETE

127

ERASE

126

EXCHANGE

130

EXPORT

131

INSERT

127

MOVE

129

PITCH CHANGE

131

TIME COMP/EXP (Time

Compression/Ex-

pansion)

130

EDIT key

Editing a value in the dis-

play

Editing command

123

List

126

EFF 1 knob

19, 25

EFF 2 knob

19, 25

effect

BYPASS

USED AS

Effect library

Effect Parameters

180

library list

178

Recall

Eject button

Eject hole

ENTER key

EQ button

EQ knob

19, 25

EQ library

52, 56, 77

library list

173

Recall

example of connections

Expander

175

Exporting WAV files and

importing audio

CD or WAV files

132

external devices

163

external effects

167

MD recorder

169

tone generator module

166

workstation synth

163

external effects

167

Fader 19

FADER FLIP

162

FADER RECALL SAFE

Features

CD-RW drive

Mixer section

Quick Loop Sampler

section

Recorder section

FF key

Finalizing

98, 104

FOOT SW jack

22, 59

foot switch

FORMAT button

161

free space on the hard disk

141

Front panel

GAIN knob 18

Gate

176

Gate mode

108

Grounding terminal

HIGH key 19

HI-MID key

Appendix

216

IN/OUT key 20

In/out point

included items

Index

215

Initializing a channel

INPUT CH MUTE/MIX

button

106

INPUT LEVEL knob

Input library

50, 77

library list

171

INPUT LIBRARY popup

window

INPUT SEL key

INPUT SETTING popup

window

34, 77

Inputting text

internal effect

50, 84

EFF

PRE/POST

JOG ON key 20, 71

LATCH button 158

LEARN button

158

Level meter

34, 90

PRE/POST buttons

library

Basic operation

Channel library

Delete

Details

Dynamics library

57, 78

Effect library

EQ library

56, 77

Input library

Mastering library

Naming

Recall

Sample library

Storing

terminology

LIBRARY button

LISTEN button

Loading a song

Locate points

locator

A/B point

Adjusting the position

Erasing

icon

In/out point

Locate points

LOCATOR button

Locator point/marker

display area

marker

MARKER button

POSITION

Relative zero point

Start/end point

LOCATOR button

Locator point/marker dis-

play area

LO-MID key

Loop mode

108, 119

LOW key

Manual punch-in/out 59

MARK key

MARK SEARCH key

marker

Adjusting the position

Erasing

icon

List

Locate points

LOCATOR button

Locator point/marker

display area

MARKER

MARKER button

MEAS

POSITION

MARKER button

Mastering library

library list

172

Recall

MASTERING LIBRARY

popup window

MD recorder

169

MEAS

media

Erasing

105

message list

198

metronome

Metronome button

36, 47

Metronome knob

MIC/LINE INPUT jack

21,

MIC/LINE INPUT jack (Hi-

21, 33

MIDI

149

Basic

150

Bulk dump

154

CTRL CHG MODE

151

DEV (device number)

150

MIDI CH

151

MIDI data format

204

MIDI OUT

150

MIDI Remote

155

MMC MODE

150

MTC MODE

150

PGM CHG MODE

151

settings

150

MIDI data format

204

MIDI IN connector

MIDI OUT/THRU connec-

tor

MIDI Remote

149, 155

user-defined Remote

function

157

mix balance

mixdown

check the level

Convenient functions

Preparing

Recording

Viewing all parameters

MMC device number

150

MMC MODE

150

MONITOR key

MONITOR OUT jack

MONITOR TEMPO

120

MONITOR/PHONES

knob

MOTOR ON ACCESS/

DISC IN button

MTC MODE

150

AVRG (Average)

150

OFST (Offset)

151

Nudge function 71

NUDGE MODE

71, 162

NUDGE TIME

71, 162

OFST (Offset) 151

One shot mode

108, 119

OPTIMZ button

141

Overall setting

162

Overdubbing

55, 58

Assigning the input sig-

nal

Auto punch-in/out

Manual punch-in/out

Virtual track

pad 107, 112

playback mode

119

PAD SEL key

Pad track

108

terminology

Pads 1-4

Pair

49, 83

Paired channels

terminology

Pan

57, 83

PAN/BAL knob

19, 25

PARAM DISP TIME

162

PERFECTLY button

105

PHANTOM +48V switch

PHASE

PHONES jack

ping-pong recording 81,

PLAY key

playback

A-B Repeat

popup window

INPUT LIBRARY popup

window

INPUT SETTING popup

window

POSITION

POSTROLL TIME

162

POWER switch

PRECAUTIONS

PREROLL TIME

162

program change

151

PROTECT button

139

Punch-in/out

Quick loop sampler 14,

107

an audio CD

112

Delete

122

Editing the sample name

117

Gate

119

Gate mode

108

Importing

112

Importing from an audio

track/stereo track

114

Loop mode

108, 119

One shot mode

108,

119

Pad Track

108

Slice function

120

Switching the playback

mode

119

Trigger

119

Trigger mode

108

WAV file

112

Rear panel 21

REC key

RECALL CONFIRM ON/

OFF button

162

Recall Safe

RECORD key

Recording on a track

Recording/playing a

sound clip

Relative zero point

REMOTE key

REPEAT key

Responsibility for loss of

data

4, 9

REW key

RTZ key

217

Appendix

Sample bank 107

Sample bank and sample

terminology

SAMPLE EDIT key

Sample library

78, 109

Back up

145

library list

192

Recall

Restoring

147

Sampling

115

Editing the sample name

117

Trimming

118

Sampling an external in-

put signal

115

Saving the current song

scene

Naming

PROTECT button

Recall Safe function

SCENE key

scene memory

73, 79

About

Basic operation

Details

Recall

Storing

terminology

Selected channel

Selected Channel section

SET key

shut down

SHUTDOWN page

SIMPLY button

105

SLICE

120

Slice function

120

Song

137

AW2816

148

AW4416

148

Back up

145

Copy

140

Delete

140

Editing settings

139

Editing the song name

138

Importing data

144

management

137

Optimizing

141

Restoring

147

tempo map

142

terminology

song

Saving

SONG key

SORT field

Sound Clip

Sound clip

Recording/playing

SOUND CLIP key

SOUND CLIP TIME

162

Specifications

212

Start/end point

Stereo bus assign switch

STEREO fader

STEREO SEL key

STEREO/AUX OUT jack

STOP key

STORE CONFIRM ON/

OFF button

162

Switching a button on/off

System data

terminology

Tempo map

Tempo map event

terminology

Tempo map event

47, 142

terminology

Bus

Channel

Library

Locate point/marker

Pad track

Paired channels

Paired tracks

Sample bank and sam-

ple

Scene and scene memo-

Song

System data

Tempo map

Tracks

TEST button

test tone

159

Text input box

Text palette

TIME

TIME CODE BASE

139

tone generator module

166

Top panel

Data entry/control sec-

tion

Display

Input/output section

Locate section

Mixer section

Quick Loop Sampler

section

Selected Channel sec-

tion

Transport section

Work Navigate section

Track At Once

Writing

100

Track editing

123

Basic procedure

124

TRACK field

TRACK key

Track recording

Bus recording

Creating a new song

Direct recording

NAME button

Pairing

TRACK field

Track name

Track view

V.TR field

WAVE button

TRACK SEL key

Trigger mode

108

Troubleshooting

194

Turning the power on/off

POWER switch

UNDERRUN PROTECT

button

Undo function

Undo List

UNDO LIST popup win-

dow

UNDO/REDO key

UNLATCH button

158

utility functions

149

Checking

160

D.OUT COPYRIGHT

ON/OFF button

162

Digital input settings

160

FADER FLIP

162

initializing the internal

hard disk

160

internal hard disk

160

NUDGE MODE

162

NUDGE TIME

162

PARAM DISP TIME

162

POSTROLL TIME

162

PREROLL TIME

162

RECALL CONFIRM ON/

OFF button

162

SOUND CLIP TIME

162

STORE CONFIRM ON/

OFF button

162

test tone

159

UTILITY key

VARI PITCH knob 160

VARI PITCH ON/OFF but-

ton

160

VIEW key

Viewing the display

Virtual track

Switching

terminology

WAVE button 48

WAVE DISPLAY popup

window

waveform

website

workstation synth

163

WRITE button

Appendix

218

Block diagram

V905320 XXXIPXXX.X-XXC0

220 Printed in Taiwan

M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

Owner’s ManualOwner’s Manual

Documenttranscriptie

Owner’s Manual Keep This Manual For Future Reference. E 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. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. IMPORTANT THE WIRES IN MAINS LEAD ARE COLOURED ACCORDANCE WITH THE FOLLOWING CODE: BLUE : BROWN : IN NEUTRAL LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. * This applies only to products distributed by YAMAHA KEMBLE MUSIC (U.K.) LTD. PRECAUTIONS – for safe operation – WARNING Installation • Connect this unit’s power cord only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. Failure to do so is a fire and electrical shock hazard. • Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. • Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a fire and electrical shock hazard. • Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard. In particular, be careful not to place heavy objects on a power cord covered by a carpet. • Do not install a CD-RW drive into this device while the power cable is plugged into an AC outlet. Doing so is an electrical shock hazard. • Use the ground connector on the rear panel to securely ground the device. If the device is not grounded, you may suffer a dangerous electrical shock. Operation • Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a fire and electrical shock hazard. • Do not modify the unit. Doing so is a fire and electrical shock hazard. • If lightning begins to occur, turn off the power switch of the unit as soon as possible, and unplug the power cable plug from the electrical outlet. • If there is a possibility of lightning, do not touch the power cable plug if it is still connected. Doing so may be an electrical shock hazard. • Use only the included AC adaptor (PA-300) for this unit. Using other types may be a fire and electrical shock hazard. In case an abnormality occurs during operation • If the power cord is damaged (i.e., cut or a bare wire is exposed), ask your dealer for a replacement. Using the unit with a damaged power cord is a fire and electrical shock hazard. • Should this unit and AC adaptor be dropped or the cabinet be damaged, turn the power switch off, remove the power plug from the AC outlet, and contact your dealer. If you continue using the unit without heeding this instruction, fire or electrical shock may result. • If you notice any abnormality, such as smoke, odor, or noise, or if a foreign object or liquid gets inside the unit, turn it off immediately. Remove the power cord from the AC outlet. Consult your dealer for repair. Using the unit in this condition is a fire and electrical shock hazard. CAUTION Installation • Hold the power cord plug when disconnecting it from an AC outlet. Never pull the cord. A damaged power cord is a potential fire and electrical shock hazard. • Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard. • This unit has ventilation holes at the bottom and rear to prevent the internal temperature rising too high. Do not block them. Blocked ventilation holes are a fire hazard. In particular, do not - place the unit on its side or upside down, - place the unit in any poorly-ventilated location such as a bookcase or closet. - cover the unit with a table cloth or place it on a carpet or bed. • Always touch a well-grounded metal surface or the like to fully discharge any static electric charge on your body and clothing before handling a CD-RW drive. Neglecting this precaution can cause damage to the unit from static electricity. • Be careful not to touch the leads (metal feet) on the rear side when handling a CD-RW drive. Touching the leads can cause contact defects. Operation • Do not cover or wrap the AC adaptor with a cloth or blanket. Heat may build up under the cloth or blanket, melting the case, or causing fire. Use only in a well-ventilated environment. 3 PRECAUTIONS PRECAUTIONS – for correct operation – Connector pin assignments • XLR-type connectors are wired as follows: pin 1: ground, pin 2: hot (+), and pin 3: cold (–). Interference with other electrical devices • The digital circuits of this unit may induce a slight noise into nearby radios and TVs. If noise occurs, relocate the affected equipment. Replacing abrasive parts • The performance of components with moving contacts, such switches, rotary controls, faders, and connectors, deteriorates over time. The rate of deterioration depends on the operating environment and is unavoidable. Consult your dealer about replacing defective components. Influence on cell phone usage • Using a mobile telephone near this unit may induce noise. If noise occurs, use the telephone away from the unit. ■ Be sure to turn off the power when you are finished When using the AC adaptor, a small amount of electrical current will still be flowing even if the power is turned off (i.e., the power switch set to “STANDBY”). The standby current consumption is designed to be as small as possible. If you will not be using this product for an extended period of time, be sure to unplug the AC adaptor from the AC outlet. Handling the CD-R/RW media Please observe the following points when handling the disc. Failure to do so may cause problems such as the recorded data being lost, the drive to malfunction, or the printed label to become blurred. • Do not place the disc in locations of direct sunlight, high temperature, or high humidity. • Do not touch either surface of the disc. Hold the disc at the edges. • Gently wipe dust or dirt off of the recording surface of the disc. Use an air duster or cleaner to remove dust. Vigorously rubbing the surface of the disc with a dry cloth may scratch the disc. • Do not write on the disc or affix labels to it. • Do not wipe the disc with chemicals or detergents. • Do not bend or drop the disc. Storing produced data Produced data can be lost due to breakdown or mistaken operation. We strongly recommend that you store all data on CD-R/CD-RW discs. Responsibility for loss of data, etc. Yamaha will accept no responsibility for any damages (including consequential or incidental) incurred by the customer or any third party as a result of loss or impairment of the data stored on the CD-R media, regardless of whether such loss could have been or actually was foreseen by Yamaha. Nor does Yamaha guarantee the media against any defect that may render it unusable. 4 Cautions for handling optional equipment • For inquiries concerning CD-RW drive handling, please consult your Yamaha dealer. • Always switch off the power for the main unit and all peripherals, unplug the AC adaptor for the main unit and the outlet, then disconnect the cables connecting the main unit with the peripherals before starting installation work. • Wear thick gloves when working on this equipment to avoid cutting your hands on metal fittings or the like on the main unit or CD-RW drive. • Always touch a well-grounded metal surface or the like to fully discharge any static electric charge on your body and clothing before starting to work on this equipment. • Take extreme care to avoid touching any terminals or board surface parts. • In order to protect the electronic circuits of the CD-RW drive, etc. from damage due to static electricity, when handling any of this equipment, take the most extreme care to avoid touching IC leads or other electronic parts. • Be careful not to drop any screws into the main unit. If you switch the power on with a dropped screw still in the main unit, the main unit may malfunction or break down. If a dropped screw can not be retrieved, consult your Yamaha dealer. • If the CD-RW drive breaks down, contact the store where you purchased that equipment. Copyright Notice Copyright and other intellectual property laws in various countries permit reproduction of copyrighted materials under certain requirements. The observance of applicable laws for use of this product, however, is your responsibility. Yamaha disclaims any liability for violation of such laws in association with the use of this product. Although this product is designed for original music production, it can be utilized to make reproduction of copyrighted music and other sound products. While certain reproduction and use of reproduced materials are permitted under applicable laws, such reproduction and use without license may constitute copyright infringement and other violation of laws. Since violation of such laws can have serious consequences, you may wish to consult a legal expert about your planned use of this product. This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all computer software, styles files, MIDI files, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON'T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument. 5 Contents Contents 1 Before you start ...............................9 6 Overdubbing.................................. 55 Introduction...............................................................9 Remember to back up your data ................................9 About the CD-RW drive............................................10 Installing the CD-RW drive .......................................10 Removing the CD-RW drive......................................11 Using the CD-RW drive ............................................11 Connecting the AC adaptor .....................................12 Turning the power on/off.........................................12 About overdubbing..................................................55 Assigning the input signal to a track.........................56 Instantly recalling an EQ library ................................56 Instantly recalling a dynamics library ........................57 Setting the mix balance and pan..............................57 Overdubbing ...........................................................58 Punch-in/out............................................................59 Manual punch-in/out .........................................59 Auto punch-in/out..............................................59 Using the Undo List..................................................61 Switching virtual tracks ............................................62 Saving the current song ...........................................63 Loading an existing song .........................................64 2 Introducing the AW16G ................13 Features of the AW16G ............................................13 AW16G terminology ................................................15 Recorder section .................................................15 Mixer section......................................................15 Quick Loop Sampler section ...............................16 Overall................................................................16 Parts of the AW16G and what they do .....................17 Top panel ...........................................................17 Rear panel ..........................................................21 Front panel .........................................................22 Basic operation on the AW16G.................................23 Viewing the display.............................................23 Accessing a screen/page/channel........................23 Switching a button on/off...................................24 Editing a value in the display ..............................24 Inputting text .....................................................24 Using the Selected Channel section ....................25 3 Listening to the demo song...........27 Connect external devices and turn on the power ....................................................................27 Loading the demo song ...........................................28 Playing the demo song ............................................29 Mixing the demo song.............................................30 4 Recording to a sound clip ..............33 Connecting your instrument or mic .........................33 Adjusting the input level ..........................................34 Recording/playing a sound clip ................................35 5 Track recording .............................39 Creating a new song ................................................39 Direct recording and Bus recording..........................40 Assigning input signals to tracks (Direct recording)..............................................................42 Assigning input signals to tracks (Bus recording) ......45 Enabling the metronome .........................................47 Recording on a track ................................................48 Pairing input channels/track channels ......................49 Using the input library..............................................50 Using the EQ library .................................................52 Using the dynamics library .......................................53 6 7 Various types of playback ............. 65 Using the locator......................................................65 Using markers ..........................................................67 Adjusting the position of a locate point or marker ...................................................................68 Erasing a locate point or marker ...............................69 Repeatedly playing a specific region (the A-B Repeat function) ....................................................70 Finding a location while you listen to the sound (the Nudge function) ..................................71 Finding a location while you view the waveform ......72 8 Using libraries and scene memories.................................. 73 About the libraries....................................................73 About scene memories.............................................73 Basic operation for libraries and scene memories......74 Storing library or scene data ...............................74 Recalling library or scene data.............................75 Deleting library or scene data .............................75 Naming library or scene data..............................76 Details on libraries and scene memory .....................77 Input library........................................................77 EQ library ...........................................................77 Dynamics library.................................................78 Effect library .......................................................78 Mastering library ................................................78 Sample library ....................................................78 Channel library ...................................................79 Scene memories .................................................79 Using the Recall Safe function ..................................80 9 Mixdown and bounce operations . 81 About mixdown and bouncing ................................81 Preparing for mixdown ............................................83 Using the internal effects via send/return .................84 Recording on the stereo track...................................86 Bounce (ping-pong) recording procedure ................87 Convenient functions during mixdown/bounce operations..............................................................89 Adding input signals or pad performances during mixdown .............................................. 89 Using meters to check the level of each channel............................................................ 90 Viewing all parameters for a certain channel....... 90 Initializing a channel .......................................... 91 Editing the EQ parameters.................................. 92 Editing the dynamics parameters........................ 93 Editing the parameters of an internal effect ........ 94 Inserting an effect into a track channel ............... 96 10 Creating an audio CD .................. 97 Creating an audio CD .............................................. 97 Types of media that you can use with the CDRW drive................................................................ 97 Methods of writing an audio CD.............................. 98 Basic settings for the CD-RW drive ........................... 99 Writing audio data (Track At Once) ....................... 100 Writing audio data (Disc At Once) ......................... 102 Finalizing CD-R/RW media ..................................... 104 Erasing CD-RW media............................................ 105 Playing an audio CD .............................................. 106 Copying or deleting a song ................................... 140 Optimizing a song ................................................. 141 Creating a tempo map .......................................... 142 Importing data from an existing song.................... 144 Backing up songs and sample libraries ................... 145 Restoring songs or sample libraries ........................ 147 Exchanging song data with the AW4416/AW2816 148 14 MIDI and utility functions......... 149 What you can do using MIDI ................................. 149 Basic MIDI settings ................................................ 150 Transmitting the AW16G’s settings via MIDI (Bulk Dump)........................................................ 154 Using the MIDI Remote function............................ 155 About the MIDI Remote function ..................... 155 Using the MIDI Remote function presets .......... 155 Using the user-defined Remote function........... 157 Using the test tone oscillator.................................. 159 Digital input settings/Checking and initializing the internal hard disk................................................. 160 Overall settings for the AW16G.............................. 162 11 Quick loop sampler.................... 107 15 Using the AW16G with external devices ..................... 163 About the quick loop sampler ................................ 107 Using sample libraries ............................................ 109 Recording/playing a pad performance ................... 110 Importing from an audio CD/WAV file to a pad ..... 112 Importing from an audio track/stereo track to a pad ..................................................................... 114 Sampling an external input signal .......................... 115 Editing the sample name ....................................... 117 Trimming the playback region ............................... 118 Switching the playback mode for each pad ........... 119 Using the Slice function ......................................... 120 Deleting an unwanted sample ............................... 122 Using the AW16G with a “workstation synth”........ 163 Synchronizing the AW16G with the workstation’s sequencer ................................. 163 Recording/playing AW16G mix operations on the workstation’s sequencer ........................... 164 Switching AW16G scenes from the workstation’s sequencer ................................. 165 Remotely controlling a tone generator module ...... 166 Using external effects............................................. 167 Connecting an MD recorder .................................. 169 Mixing down to an MD recorder...................... 169 Recording audio data from an MD recorder ..... 170 12 Track editing ............................. 123 Appendix ........................................ 171 What you can do using editing commands ............ 123 Basic procedure for track editing ...................... 124 List of editing commands....................................... 126 ERASE............................................................... 126 DELETE............................................................. 127 INSERT ............................................................. 127 COPY ............................................................... 128 MOVE .............................................................. 129 EXCHANGE ...................................................... 130 TIME COMP/EXP (Time Compression/ Expansion) ..................................................... 130 PITCH CHANGE................................................ 131 EXPORT............................................................ 131 Exporting WAV files and importing audio CD or WAV files ............................................................. 132 Exporting WAV files .......................................... 132 Importing from an audio CD or WAV file.......... 133 Input library list ..................................................... 171 Mastering library list .............................................. 172 EQ library list ......................................................... 173 Dynamics Parameters ............................................ 174 Dynamics library list............................................... 177 Effects library list .................................................... 178 Effects Parameters.................................................. 180 Sample library list .................................................. 192 Troubleshooting .................................................... 194 Display message list ............................................... 198 About the CD-ROM included with the AW16G ...... 200 Caution............................................................ 200 Contents of the CD-ROM ................................. 200 Restoring the internal hard disk to the factory-set condition ...................................... 200 Installing a remote file ...................................... 201 MIDI data format................................................... 204 MIDI Implementation Chart................................... 211 Specifications......................................................... 212 Dimensions............................................................ 214 Index ..................................................................... 215 Block diagram........................................................ 218 13 Song management..................... 137 About songs .......................................................... 137 Editing the song name........................................... 138 Editing various settings for the song ...................... 139 7 Contents 8 Chapter 1 Before you start This chapter explains what you should know before you begin using the AW16G. Introduction ■ Check the included items The AW16G package contains the following items. If any are missing, please contact your dealer. • The AW16G • AC adaptor (PA-300) • Owner’s manual (this book) • CD-ROM ■ Copyright This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use other’s copyrights. Such copyrighted materials include, without limitation, all computer software, styles files, MIDI files, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. ■ Trademarks • Macintosh is a registered trademark of Apple Computer, Inc. USA in the United States and other countries. • Windows is a registered trademark of Microsoft Corporation USA in the United States and other countries. • Cubase VST is a trademark of Steinberg Media Technologies AG. • Logic Audio is a trademark of Emagic Soft- and Hardware GmbH. • Cakewalk is a registered trademark of Twelve Tone Systems, Inc. • ProTools is a trademark or registered trademark of Avid Technology, Inc. and affiliated companies. • Other company names and product names in this document are the trademarks or registered trademarks of their respective owners. ■ Yamaha website http://www.yamahasynth.com http://www.yamaha.co.jp/product/proaudio/homeenglish/ Yamaha manual library http://www2.yamaha.co.jp/manual/english/ Remember to back up your data ■ Storing produced data ■ Responsibility for loss of data, etc. Produced data can be lost due to breakdown or mistaken operation. We recommend that you store all important data on CD-R or CD-RW discs or other external storage medium. Note Yamaha will accept no responsibility for any damages (including consequential or incidental) incurred by the customer or any third party as a result of loss or impairment of the data stored on the CD-R media, regardless of whether such loss could have been or actually was foreseen by Yamaha. A CD-RW drive (the separately sold CDRW16G) is necessary in order to back up data. Nor does Yamaha guarantee the media against any defect that may render it unusable. 9 Before you start About the CD-RW drive A CD-RW drive is a device that lets you create or play audio CDs, backup and restore data from the internal hard disk, and read data from a CD-ROM. An optional CDRW16G can be installed in the AW16G. Please be aware that other CD-RW drives cannot be installed in the AW16G. ■ Handling 1 Do not drop the drive or subject it to strong physical shock. B Never touch the objective lens. C Be careful that the objective lens does not become dusty or dirty. • Even if a CD-RW drive is operating normally, it may fail a read or write operation approximately once in five hundred times. • Yamaha will take no responsibility for any damages, direct or consequential, that may result from the use of the above CD-RW drive. D If the objective lens becomes dusty, use a commercially available blower etc. to blow the dust off with clean air. E Before installing the drive, touch a grounded metal object so that the drive is not damaged by any static electricity that may be in your body. F Since the inside of the drive contains powerful magnetic circuitry, do not allow any magnetic material to come near the drive. (In particular, any metallic fragments, screws, or pins that enter the drive mechanism will cause operation to fail.) G Do not press on the upper cover. Installing the CD-RW drive 3 4 3 Push the drive here. 1 Turn off the power of the AW16G. 2 Turn the AW16G over on its face. 10 As described in “Turning the power off (shut down)” (→ p. 12), turn off the power of the AW16G. For safety’s sake, also unplug the AC adaptor and the AW16G from the electrical outlet. Be careful not to drop the AW16G on the floor, or damage the components of the top panel. Spread out a soft cloth on a level surface, and stack magazines etc. to support each of the four corners of the upside-down AW16G. 4 Insert the CD-RW drive into the slot. Insert the CD-RW drive into the slot by pressing slightly right of center on the back edge of the drive. The slot cover swings open. When the CD-RW drive reaches the back of the slot, continue applying pressure until you feel the connector click into place. You will need to apply about as much pressure as when pressing an elevator button. Fasten the CD-RW drive with screws. Use the two included screws to fasten the CD-RW drive in place (“4” in the diagram at left). Be sure to follow installation steps 1–4 exactly as directed. In particular, reading and writing may not occur correctly if the screws have not been tightened sufficiently. 1 Removing the CD-RW drive 4 3,5 Pull the CD-RW drive out of the slot. Remove the two screws that fasten the CD-RW drive in place, and pull out the CD-RW drive (“4” in the diagram at left). Grasp here with your thumb and first finger. CD-RW drive cover 2 Remove the CD-RW drive cover. Remove the black screw that holds the CD-RW drive cover in place (“3” in the diagram at left). Do not lose the screw that you removed. 4 1 Before you start 3 Turn off the power of the AW16G. < Bottom of the CD-RW drive > As described in “Turning the power off (shut down)” (→ p. 12), turn off the power of the AW16G. For safety’s sake, also unplug the AC adaptor and the AW16G from the electrical outlet. Turn the AW16G over on its face. Be careful not to drop the AW16G on the floor, or damage the components of the top panel. The cover may crack if you attempt to pull out the CD-RW drive by grasping the black cover. • Do not lose the screws that you removed. • Be careful not to cut yourself on any sharp metal edge. 5 Attach the CD-RW drive cover. Using the black screw that you removed in step 3, attach the CD-RW drive cover. Using the CD-RW drive The CD-RW drive installed in the AW16G is shipped with a protective pad on the disc tray to prevent it from being damaged during transportation. Before you use the AW16G, you must remove this protective pad. To insert a disc into the CD-RW drive, press the eject switch. The disc tray will open. Place the disc on the tray, and gently push the disc tray in. ■ Removing a CD in an emergency If you are unable to remove the disc by pressing the eject switch, insert a wire of less than 2 mm diameter (such as a straightened paper clip) into the eject hole, and push gently. However, pressing the eject switch will not eject the disc when the AW16G is in the following states, so do not use this method in such cases. • When the AW16G's power is “STANDBY“ Note The disc tray is ejected electrically. If the disc tray is not ejected when you press the eject switch, turn on the power of the AW16G and press the eject switch once again. • When the disc is being accessed (data is being read, written, or erased) • While in CD PLAY mode This removal method is for use in emergencies such as when you cannot remove the disc due to a malfunction of the disc tray or a power failure. Do not use this method unnecessarily, since doing so will damage the CD-RW drive. Eject hole Eject button 11 Before you start Connecting the AC adaptor When connecting the included AC adaptor (PA-300), you must first connect it to the DC IN jack of the AW16G, and then to the AC wall outlet. After connecting the AC adaptor to the AW16G, wrap the cable around the hook as shown in the diagram. This will prevent the cable from being accidentally pulled out, causing the AW16G to unexpectedly lose power. DC IN Turning the power on/off You must use the following procedure to switch the power of the AW16G between ON and STANDBY. If you fail to follow this procedure, the internal hard disk or your external monitor system may be damaged. 1 In the work navigate section located in the upper left of the top panel, press the [SONG] key several times to access the following SHUTDOWN page. 2 Press the [ENTER] key located in the middle right of the top panel. 3 Using the CURSOR [ ]/[ ] keys located in the upper right of the top panel, move the cursor (the blinking area in the screen) to the YES button if you want to save the current song, or to the NO button if you do not want to save it. Then press the [ENTER] key. 4 When the “Now safe to turn off...” message appears, turn off the [POWER] switch located on the rear panel. ■ Turning the power on In a system that includes the AW16G, turn the power of each device on in the following order. 1 External devices such as audio sources and effect processors connected to the input/output jacks of the AW16G B The AW16G itself C The monitor system connected to the AW16G’s output jacks Before you turn on the power, make sure that the AC adaptor is firmly connected to the AW16G and to the AC outlet. If the power is disconnected while the AW16G is being used, the AW16G itself or the hard disk may be damaged. When you turn on the power of the AW16G, an opening screen will appear, and then the following screen will appear. A popup window will ask you whether you want to save the current song. ■ Turning the power off (shut down) In a system that includes the AW16G, turn the power of each device off in the following order. 1 The monitor system connected to the AW16G’s output jacks B The AW16G itself C External devices such as audio sources and effect processors connected to the input/output jacks of the AW16G When turning off the power of the AW16G, you must perform the following “shut-down” procedure. 12 If you turn off the power of the AW16G without performing the above shutdown procedure, not only will any unsaved changes be lost, but you also risk damaging the data on the hard disk, and damaging or drastically shortening the lifespan of the hard disk itself and the internal CD-RW drive. Please use caution. Tip! A small amount of electrical current is flowing even when the power is in STANDBY mode. If you will not be using the AW16G for an extended period of time, be sure to disconnect the AC adaptor from your AC outlet. Chapter 2 Introducing the AW16G This chapter describes the features of the AW16G, the name of each part and its function, and introduces terminology you need to know when using the AW16G. Features of the AW16G The AW16G is an audio workstation that combines a digital mixer, multi-effect processor, hard disk recorder, sampler, and CD-RW drive. The following diagram shows the signal flow within the AW16G. Mixer ×2 ×8 INPUT jacks 1–8 Input channels 1–8 Track channels 1–16 Return channels 1/2 Pad channels 1–4 ×2 DIGITAL STEREO IN jack Buses L/R AUX buses 1/2 Effect buses 1/2 Stereo buses L/R ×8 ×2 ×2 ×2 ×2 ×2 ×2 1 2 3 ×16 4 STEREO/AUX OUT jacks DIGITAL STEREO OUT jack MONITOR OUT jacks PHONES jack Metronome Stereo output channel Recorder input patching Sound clip ×2 ×2 ×2 ×2 Effect 1 Internal effects Effect 2 ×2 CD Play ×16 CD Write Quick loop sampler Recorder DATA Backup/Restore Import/Export CD-RW drive Now let’s take a more detailed look at each section of the AW16G. ■ Mixer section ● Full-fledged mixer with 36 input channels The AW16G contains a digital mixer with a total of 36 input channels, including analog inputs x 8, stereo digital input x 1, recorder tracks x 16, and effect returns x 2. Audio quality is guaranteed by 24-bit AD/ DA and 32-bit internal processing. A Hi-Z input jack for directly connecting an electric guitar or bass is also provided. ● Totally redesigned operation The AW16G is designed to be operated directly by the musician (guitarist, vocalist, drummer etc.). With a minimum number of steps, you can assign input signals to tracks, switch the monitor signal, and record with effects, EQ, and dynamics processing applied. 13 Introducing the AW16G ● Four-band EQ and dynamics processors on each channel Four-band full-parametric EQ and dynamics processing is provided on virtually every channel. You can recall the desired preset from the library, and use the panel knobs and keys to quickly adjust the settings. ● Two high-quality multi-effect units are built-in The two built-in effect units deliver a wide variety of effects including spatial-type effects such as reverb and delay, modulation type effects such as chorus and flanger, and guitar-type effects such as distortion and amp simulation. These effects can be used either via send/return, or inserted into a desired channel. ■ Recorder section ● 8-track simultaneous recording/16-track simultaneous playback You can record multiple tracks of instruments one by one, or set up multiple mics to record a drum set or a live performance by an entire band. A stereo track for direct mixdown of all 16 tracks is also provided, letting you manage the multi-track audio and the twotrack mix as a single package of data. For the multi-tracks as well as the stereo track, you can use eight virtual tracks for each track. When recording parts or during mixdown, you can switch virtual tracks to record multiple takes, and select the best take later. ● Versatile editing functionality Audio data recorded on a track can be copied, moved, or edited using a variety of commands. You can make detailed edits, or even make radical changes to the structure of the song by using the same riff repeatedly or increasing the number of choruses. “Time Compression” lets you compress or expand the time axis of the audio data in a range of 50%–200%. “Pitch Change” lets you modify the pitch in a range of one octave upward or downward. You can use the Undo function to reverse the results of as many as the last fifteen editing operations. ● A variety of Locate methods, and auto punch-in/out Seven locate points (start/end, relative zero, A/B, in/ out) and 99 markers can be assigned at any desired point in the song, for quick access via Locate operations. Auto punch-in/out and A-B repeat playback functions are also provided. The AW16G also has a metronome that follows the tempo map. ● Sound Clip function The Sound Clip function lets you record and play back an input signal without affecting the recorder tracks. You can use this as a sketch for your ideas for a song or arrangement. 14 ■ Quick Loop Sampler section The AW16G has a built-in pad-type sampler. You can assign sixteen stereo waveforms to the four pads with sample banks. Sampling uses the same 16-bit 44.1 kHz high quality as recording. Audio tracks from the hard disk, external input from the mixer, or WAV files from a CD-ROM disc can also be loaded. The timing at which each pad is pressed can be recorded on a dedicated pad track, and edited later. Drum phrases from the sample library can be assigned to pads, and you can then record pad operations to use this function as a simple rhythm machine. The maximum polyphony is four stereo notes, and the maximum playback time is a total of 44 seconds of stereo for the entire Quick Loop Sampler. ■ CD-RW drive A dedicated CD-RW drive (the CDRW16G, option) can be installed in the AW16G. If this is installed, you can produce an audio CD from the stereo tracks of the songs recorded on the hard disk. Markers assigned within a song can also be used as the track numbers of the CD. You can even use advanced techniques such as assigning more than one track number within a single song. The CD-RW drive can also be used to backup/restore songs, to play back audio CDs, and to load WAV data from a CD-ROM. AW16G terminology 2 ■ Paired tracks ■ Tracks For audio tracks 9/10–15/16, adjacent pairs of tracks are handled by the mixer as a single unit. These pairs of tracks are referred to as “paired tracks.” A paired track can be used to record a stereo source, or a dual-guitar performance, etc. A location where data is recorded is called a “track.” The AW16G’s recorder section uses the following types of track. ● Audio tracks The physical tracks used to record and play back audio data are called “audio tracks,” or simply “tracks.” The AW16G has sixteen audio tracks. You can record eight tracks simultaneously, and play back 16 tracks simultaneously. ● Stereo track Independently from audio tracks 1–16, the AW16G has a “stereo track” that records and plays a stereo audio signal. The stereo track is used mainly as a dedicated mixdown track for recording the final mix. ● Virtual tracks Each audio track 1–16 and the stereo track consists of eight tracks. Each of these eight tracks is called a “virtual track.” For the audio tracks and the stereo track, only one virtual track can be recorded or played at any time. However, you can switch virtual tracks to continue recording other takes while preserving the previously-recorded content. The diagram below shows the concept of virtual tracks. The horizontal rows indicate audio tracks 1– 16, and the vertical columns correspond to virtual tracks 1–8. The shaded areas indicate the virtual track that is currently selected for recording or playback. Audio tracks Virtual tracks 1 2 3 1 2 3 4 5 6 7 8 Virtual tracks Stereo track 1 2 3 4 5 6 7 8 4 5 6 7 8 9 10 11 12 13 14 15 16 ■ Locate points/markers Locations within a song that you specified in order to execute a function such as auto punch-in/out or A-B repeat playback are called “locate points.” Locate points include the in/out points and the A/B points, and you can use the keys of the Locate section to move instantly to these points. Independently of the locate points, you can assign “markers” at desired locations within a song so that you will be able to find these locations quickly. The AW16G lets you set up to ninety-nine markers (1–99). By using the keys of the Locate section you can move instantly to the previous or next marker. Mixer section ■ Channels A signal route that processes a single signal within the mixer and sends it to various sections is called a “channel.” The mixer section of the AW16G lets you use the following channels. ● Input channels 1–8 These apply EQ and dynamics processing to the signals that are input from MIC/LINE INPUT jacks 1–8, and send them to the recorder tracks or to the STEREO OUT jacks. ● Track channels 1–16 These channels apply EQ and dynamics processing to the audio playback signals from audio tracks 1–16 of the recorder, and send the signals to the stereo track and the STEREO OUT jacks. You can also perform “bounce recording” by sending these channels to different tracks. ● Return channels 1/2 These channels send the return signals from the internal effects to the stereo track and the STEREO OUT jacks. ● Pad channels 1–4 These channels apply EQ and dynamics processing to the playback of Quick Loop Sampler pads 1–4, and send the signals to the stereo track and the STEREO OUT jacks. ● Stereo output channel This applies EQ and dynamics processing to the signal of the stereo bus (which combines the signals of the various channels), and sends it to the stereo track or to the STEREO OUT jacks. The same signal is also output from the MONITOR OUT jacks and from the PHONES jack. 15 Introducing the AW16G Recorder section Introducing the AW16G ■ Paired channels Quick Loop Sampler section For track channels 9/10–15/16, pad channels 1–4, and return channels 1/2, the parameters (except for pan and phase) are always linked for adjacent pairs of channels. These are called “paired channels.” ■ Sample banks and samples For input channels 1–8 and track channels 1–8, you can also switch two adjacent odd-numbered/even-numbered channels to function as paired channels. The parameters (except for pan and phase) of paired channels will be linked, so that adjusting one parameter will cause the same parameter of the other channel to follow. ■ Buses A signal route that mixes the signals from multiple channels and send them to an output jack or recorder track input is called a “bus.” Unlike channels, which handle only a single signal, a bus can combine multiple signals into one or two, and send them to a destination. (The term “bus” comes from the vehicle that carries numerous people simultaneously.) The AW16G’s mixer section lets you use the following buses. ● Stereo bus This mixes the input signals to stereo, and sends them via the stereo output channel to the stereo track of the recorder or to the STEREO OUT jacks. ● AUX buses 1/2 These combine the signals from the various track, input, return, and pad channels, and output them via the STEREO/AUX OUT jacks to an external device. Use these when you will use an external effect processor, or to create a mix differing from the stereo channel for musicians to monitor. ● Effect buses 1/2 These combine the signals from the track, input, return, and pad channels, and input them to built-in effects 1 and 2. (However, it is not possible for the return channel 1/2 signals to be returned to the input of the same effect.) ● Buses L/R These combine the signals of track, input channels, and send them to recorder track inputs. In the Quick Loop Sampler section you can assign stereo waveforms to the four pads, and strike the pads to play them back. These stereo waveforms are called “samples.” The memories to which the samples are assigned are called “sample banks,” and each pad provides four sample banks (A–D). ■ Pad track The AW16G can realtime-record and play back your strikes on the pads. The memory that records these pad operations is called the “pad track.” Unlike the tracks that record audio, the pad track simply records the timing at which you “pressed a pad” or “released a pad.” Overall ■ Songs The smallest unit by which the AW16G manages a composition is called a “song.” When you save a song on the hard disk, all data necessary for reproducing that song will be saved; i.e., not just the audio data, but also mixer settings and the samples used by the quick loop sampler. You can return to the original state at any time by loading the saved song. ■ Scenes and scene memories A “scene” is a stored set of settings for the mixer section and effects. The area of memory that holds the scenes is called “scene memory,” and 96 scenes can be stored for each song. Scene memories are saved on the hard disk as part of the song. ■ Libraries A “library” is an area of memory that stores individual settings such as for EQ or dynamics. The AW16G has separate libraries for EQ, dynamics, effect, channel, input, and mastering settings. Each library is saved on the hard disk as part of the song. ■ Tempo map The “tempo map” records changes in tempo and time signature that occur during the course of a song. The tempo map is saved on the hard disk as part of the song. ■ System data Various global settings that apply to all songs are collectively referred to as “system data.” System data is stored on the hard disk independently of the individual songs. 16 Parts of the AW16G and what they do 2 This section explains the names and functions of the various items on the AW16G’s top panel, rear panel, and front panel. Introducing the AW16G Top panel Work Navigate section (P. 18) Input/output section (P. 18) Selected Channel section (P. 19) Data entry/control section (P. 20) Display (P. 18) Quick Navigate section (P. 18) Quick Loop Sampler section (P. 18) Mixer section (P. 19) Locate section (P. 20) Transport section (P. 21) 17 Introducing the AW16G ■ Input/output section 3 1 2 1 [GAIN] knobs 1–8 C [MONITOR/PHONES] knob These adjust the sensitivity of the signals that are input from the rear panel MIC/LINE INPUT jacks 1–8. B [INPUT SEL] keys 1–8 This knob adjusts the level of the signal that is output from the MONITOR OUT jacks and the PHONES jack. These keys select the mixer input channel that you will operate. ■ Work Navigate section B [MONITOR] key 1 2 3 4 5 6 This key accesses the MONITOR screen, where you can quickly select the signal to be monitored, or switch the stereo track playback on/off. ■ Display 1 2 1 [SONG] key This key accesses the SONG screen, where you can save or load songs, and perform the shut-down procedure. B [CD] key This key accesses the CD screen, where you can write or play an audio CD, and backup or restore data. C [TRACK] key This key accesses the TRACK screen, where you can check whether each track contains data, and switch the virtual tracks that will be used for recording and playback. D [EDIT] key This key accesses the EDIT screen, where you can copy or erase tracks. This is a backlit liquid crystal display that indicates the current operating status or the settings of the various parameters. The screens that are displayed will depend on the front panel keys and knobs that are operated. 1 Access indicator This indicator indicates the access status of the internal hard disk. When the hard disk is being read or written, this indicator will light. Never turn off the power of the AW16G when the access indicator is lit. Doing so will not only damage the data on the internal hard disk, but may also damage the hard disk itself. When you want to turn off the power of the AW16G, you must perform the shutdown procedure (→ p. 12). B Contrast Adjusts the brightness of the display. E [REMOTE] key This key accesses the REMOTE screen, where you can use the front panel faders and [TRACK SEL] keys to control an external MIDI device or sequencer software on your computer. ■ Quick Loop Sampler section F [UTILITY] key This key accesses the UTILITY screen, where you can make MIDI, oscillator, and digital input settings, and format the hard disk. 2 3 1 [PAD SEL] key ■ Quick Navigate section 1 1 Hold down this key and press a pad 1–4 to select a pad for operations. 2 B Pads 1–4 Each of these pads plays back the sample that has been assigned to it. 1 [RECORD] key This key accesses the RECORD screen, where you can quickly assign the signal to be recorded to the input of each track, and make settings for recording. 18 C [SAMPLE EDIT] key This key accesses the SAMPLE screen, where you can make settings and perform operations for the quick loop sampler. ■ Mixer section 2 1 3 2 Introducing the AW16G 4 5 1 [TRACK SEL] keys 1–8 B [TRACK SEL] keys 9/10–15/16 C [STEREO SEL] key 6 D Faders 1–8 E Faders 9/10–15/16 Normally, these faders adjust the playback level of each recorder track. By changing the internal settings, you can also use these faders to control the input levels of input channels 1–8 and pads 1–4. Use these keys to select the mixer track channels or recorder tracks that you want to control. F [STEREO] fader This adjusts the output level of the stereo bus. ■ Selected Channel section 1 6 2 7 3 8 4 9 5 J C [EFF 1] knob D [EFF 2] knob Turning these knobs will adjust the amount of signal that is sent from the currently selected channel to the internal effects 1 and 2 (i.e., effect send levels 1 and 2). You can press these knobs to access the EFF1 or EFF2 screens, where you can adjust the parameters of the internal effects. E [PAN/BAL] knob Turning this knob will adjust the pan of the currently selected channel (or the balance of the stereo output channel). You can press this knob to access the PAN screen, where you can adjust pan for multiple channels. 1 [EQ] knob Turning this knob will adjust the EQ (equalizer) gain for the currently selected channel. You can press this knob to access the EQ screen, where you can adjust all of the EQ settings. B [DYN] knob Turning this knob will adjust the dynamics depth for the currently selected channel. You can press this knob to access the DYN screen, where you can adjust all of the dynamics settings. F G H I [HIGH] key [HI-MID] key [LO-MID] key [LOW] key These keys select one of the four EQ bands (HIGH, HI-MID, LO-MID, LOW) to be adjusted. J [VIEW] key This key accesses the VIEW screen, where you can check the level of each channel, or perform onscreen adjustments to the faders and other mix parameters of each channel. 19 Introducing the AW16G ■ Data entry/control section ■ Locate section 4 1 4 2 3 1 7 2 8 3 9 5 5 6 6 1 [SOUND CLIP] key This key accesses the CLIP screen, where you can record or play sound clips. 1 [UNDO/REDO] key This key cancels the results of a recording or track editing operation (Undo), or re-executes a cancelled operation (Redo). B [AUTO PUNCH] key Tip! C [REPEAT] key • This key will light if Undo can be performed. • If you press and hold this key, the UNDO LIST screen will appear. Here you can turn the [DATA/JOG] dial to revert as many as the last fifteen operations (→ p. 61). B [SCENE] key This key accesses the SCENE screen, where you can save or recall scene memories. C [JOG ON] key This key is an on/off switch for the Nudge function (→ p. 71) which uses the [DATA/JOG] dial (5). When this function is on, the key will light. D [CURSOR] keys ([ ]/[ ]/[ ]/[ ] keys) These keys move the cursor in the screen (the blinking frame) to select a specific item. E [DATA/JOG] dial Use this dial to change the value of a parameter. If the [JOG ON] key (3) is on, this dial operates the Nudge function. F [ENTER] key Use this key to operate a button displayed in the screen, or to execute a specific function. This key switches the audio punch-in/out function on/off, letting you automate recording. This key switches the A-B repeat function on/off, letting you repeatedly play a specified region. D MARK SEARCH [ ]/[ ] keys These keys search for markers placed within the song. E [IN]/[OUT] keys These keys specify the points at which auto punchin/out recording will begin (the In point) and end (the Out point). These keys can also be used as locate keys to move directly to the In point or Out point. F [A]/[B] keys These keys specify the points at which the Repeat function will begin (point A) and end (point B). These keys can also be used as locate keys to move directly to point A or point B. G [MARK] key This key places a mark at the current location of the song. H [SET] key Use this key in conjunction with the [IN]/[OUT] keys or the [A]/[B] keys to register the current location as a locater. I [CANCEL] key Use this key in conjunction with the [IN]/[OUT] keys or the [A]/[B] keys to cancel a locater that you registered. 20 ■ Transport section 1 C FF [ 2 ] key This key fast-forwards the current location. Each time you press this key, you will alternate between 8x speed and 16x speed. 3 D STOP [■] key E PLAY [ 4 1 RTZ [ 5 6 ] key This key moves directly to the relative zero time location. Used in conjunction with the [SET] key, this registers the current location as the relative zero time. F REC [●] key If you hold down this key and press the PLAY [ ] key while the recorder is stopped, recording will begin. If you hold down this key and press the PLAY [ ] key during playback, you will switch from playback to recording (“punch-in”). Tip! Broadly speaking, the times displayed in the AW16G’s counter can be either absolute time (ABS) or relative time (REL). The absolute time zero location is fixed, but the relative time zero location can be freely specified. B REW [ ] key If you press this key while the recorder is stopped, playback will begin. If you press this key during fast-forward or rewind, normal-speed playback will begin. If you press this key during recording, recording will stop and playback will resume (“punch-out”). ] key This key rewinds the current location. Each time you press this key, you will alternate between 8x speed and 16x speed. Rear panel 6 N 5 M L 4 K 1 MIC/LINE INPUT (XLR) jacks 1/2 These are XLR-3-31 type balanced input jacks. The nominal input level is –46 to +4 dB. Mics, direct boxes, or line level devices with balanced output jacks can be connected here. The pin configuration is shown below. Male XLR connector 1 (ground) 3 (cold) 2 (hot) B MIC/LINE INPUT (TRS phone) jacks 3–8 These are TRS phone type 1/4" input jacks (balanced). The nominal input level is –46 to +4 dB. Devices such as synthesizers or rhythm machines with unbalanced outputs can also be connected here. The pin configuration is shown below. 1/4" TRS phone plug Ring (cold) Tip (hot) 3 J 2 9 8 1 7 C MIC/LINE INPUT jack 8 (Hi-Z) This is a high impedance 1/4" phone input jack (unbalanced). The nominal input level is –46 to +4 dB. An instrument with high output impedance such as an electric guitar or bass with passive-type pickups can be connected here. D STEREO/AUX OUT jacks These are 1/4" phone output jacks (unbalanced) that output the signals of the stereo bus or AUX bus 1/2. E MONITOR OUT jacks These are 1/4" phone output jacks (unbalanced) for connection to your monitor setup, such as a stereo system or powered speakers. F PHONES jack This is a 1/4" TRS phone output jack for connecting your headphones for monitoring. Sleeve (ground) 21 2 Introducing the AW16G This key stops playback, recording, fast-forward, or rewind. Introducing the AW16G G PHANTOM +48V switch This switch supplies phantom power to MIC/LINE (XLR) jacks 1/2. Turn this switch on if you connect condenser mics requiring external +48V power to MIC/LINE INPUT (XLR) jacks 1/2. • You must turn this switch off if a device not requiring an external power supply is connected to the INPUT (XLR) 1/2 jacks. • If phantom power is turned on, power will be supplied to both the INPUT (XLR) 1/2 jacks. H FOOT SW jack A separately sold foot switch (Yamaha FC5) can be connected here to control transport operations such as start/stop, or to perform punch-in/out. Note The appropriate operation may not occur if you use a foot switch other than the Yamaha FC5 (or equivalent). I MIDI IN connector J MIDI OUT/THRU connector These connectors allow MIDI messages to be exchanged with external devices. MIDI IN receives MIDI messages. MIDI OUT/THRU can be internally switched to function either as a MIDI OUT jack (which transmits MIDI messages generated within the AW16G) or MIDI THRU jack (which re-transmits messages that are received at the MIDI IN jack). K DIGITAL STEREO IN/OUT jacks These are optical jacks that allow digital audio signals to be exchanged with external devices. They support the IEC958 consumer format. L Grounding terminal This is a terminal for electrically grounding the AW16G. To prevent electrical shock, you must connect this terminal to an electrical ground before you plug the AC adaptor into an AC outlet. Grounding will also help prevent hum and noise. M POWER switch This switches the power between ON and STANDBY. Note When switching the power of the AW16G between ON and STANDBY, you must follow the “Turning the power on/off” (→ p. 12) procedures described. N DC IN connector Connect the included AC adaptor (PA-300) to this connector. Use only the included AC adaptor (PA-300) for this unit. Using other types may be a fire and electrical shock hazard. 22 Front panel ■ CD-RW drive 321 1 Eject button This switch ejects the disc tray. B Eject hole This hole allows you to open the disc tray manually. C Access indicator This indicator will light while the CD inserted in the drive is being accessed. Basic operation on the AW16G The display of the AW16G shows the following information. 2 3 4 ● Knob/fader/parameter display area The knob/fader/parameter display area within the display is used to edit the value of the corresponding parameter. 5 Knob 1 Screen name fader parameter display area ● Page display area Most screens are divided by function into two or more “pages.” The page display area lists the pages that can be selected within that screen. The name of the currently selected page is highlighted. This is the name of the currently selected screen. B Selected channel This indicates the mixer channel that is selected for operations. The display has the following significance. TRACK 1–8 ...........................Track channels 1–8 TRACK 9/10–15/16...............Track channels 9/10–15/16 INPUT 1–8............................Input channels 1–8 STEREO.................................Stereo output channel PAD 1–4................................Pad channels 1–4 Operating the knobs or keys of the Selected Channel section will edit the parameters of the channel that is selected here. C Counter (left side) This indicates the current location within the song. When the AW16G is in the default state, this counter will indicate the absolute time (the time from where you began recording the song) in units of hours/minutes/seconds/milliseconds. At the left of this value is displayed the locate point or marker that was passed most recently. D Counter (right side) This indicates the current location within the song in units of measures/beats. The measures/beats are calculated according to the tempo and time signature specified in the tempo map for the song. The current tempo and time signature are displayed at the left of this value. E Main screen Accessing a screen/page/channel When you want to edit an internal setting of the AW16G, or to edit a parameter that cannot be operated by a fader or knob shown in the display, you will need to access the desired screen and page. 1 Press the key or knob for the desired screen. The keys and knobs of various sections listed below have their own screens, and the corresponding screen will be displayed when you press a key or knob. • All keys in the Work Navigate section • All keys in the Quick Navigate section • The [VIEW] key of the Selected Channel section • All knobs of the Selected Channel section • The [SAMPLE EDIT] key of the Quick Loop Sampler section Tip! When you switch screens, the page that was last used in that screen will be displayed. The information displayed in this area will depend on the key that was last pressed. The following types of object are displayed in the main screen. ● Cursor The blinking frame within the display is called the “cursor.” When an object in the screen is enclosed by the cursor, that object is selected for operations. 23 Introducing the AW16G Viewing the display 1 2 ● Buttons Buttons in the display are used to switch a parameter on/off, to select one of multiple choices, or to execute a specific function. A button that is currently on will be displayed in black with white text. A button that is currently off will be displayed in white with black text. This section explains basic operations on the AW16G. Introducing the AW16G 2 To switch pages within a screen, you can either repeatedly press the same key as in step 1, or hold down the same key as in step 1 and use the CURSOR [ ]/[ ] keys. If there are more pages than can be shown in one screen, an arrow like the following will appear in the page display area. This arrow means that one or more additional hidden pages exist in that direction. To access a hidden page, hold down the same key as in step 1, and press the [CURSOR] key of the same direction as the arrow. In pages that display a list of parameters for multiple channels, the screen may be divided into a page for the input channels/pad channels and a page for the track channels, since not all of the parameters can be shown in a single screen. In this case, use the [INPUT SEL] keys, pads 1–4, or [TRACK SEL] keys to select the channels that you want to view. Inputting text When you create a new song or save a scene memory or library setting, a popup window will appear, allowing you to assign a name for the song or setting. 2 1 5 1 2 This box lets you input characters, numerals, and symbols. When you save the data for the first time, the box will contain a default name. You can input a scene/library name or song name of up to twelve characters. 2 24 B Text palette This displays the characters, numerals, and symbols that can be input in the text input box. C CANCEL button Press the [ENTER] key. D OK button The button will be switched on/ off. If you move the cursor to a button that executes a specific function and then press the [ENTER] key, that function will be executed. E Here’s how to edit the value of a fader, knob, or parameter shown in the display. Use the [CURSOR] keys to move the cursor to the desired fader, knob, or parameter value. Turn the [DATA/JOG] dial to edit the value. 7 1 Text input box Use the [CURSOR] keys to move the cursor to the desired button in the screen. Editing a value in the display 1 6 This popup window contains the following items and functions. Switching a button on/off Here’s how to switch a button in the screen on/off. 3 4 If you move the cursor to this button and press the [ENTER] key, you will return to the previous screen without changing the name. If you move the cursor to this button and press the [ENTER] key, the scene/library will be saved or the new song will be created. button If you move the cursor to this button and press the [ENTER] key, the character that is currently selected in the text input box will be switched between uppercase and lowercase. F INS button When you move the cursor to this button and press the [ENTER] key, a space will be inserted at the location of the currently selected character (underlined), and subsequent characters will move one character backward. G DEL button When you move the cursor to this button and press the [ENTER] key, the currently selected character (underlined) will be deleted, and subsequent characters will move one character forward. To assign a new name, use the [CURSOR] keys to move the cursor in the text input box to the character that you want to change, and turn the [DATA/ JOG] dial to select a character. When you have finished inputting the name, move the cursor to the OK button and press the [ENTER] key to apply the new name. Using the Selected Channel section Note You can use the knobs and keys of the Selected Channel section to directly operate the mix parameters (EQ, dynamics, pan, etc.) of the currently selected channel. 1 Use the [TRACK SEL] keys, [INPUT SEL] keys, [STEREO SEL] keys, or pads 1–4 to select the channel that you want to operate. When using the Selected Channel section, you must first select the channel that you want to operate. The currently selected channel is indicated in the upper left of the screen. The channels correspond to each key or pad as follows. [TRACK SEL] keys 1–8 ...........Track channels 1–8 [TRACK SEL] keys 9/10–15/16...........................Track channels 9/10–15/16 [INPUT SEL] keys 1–8 ...........Input channels 1–8 [STEREO SEL] key..................Stereo output channel Pads 1–4................................Pad channels 1–4 2 According to the parameter you want to edit, turn the five knobs of the Selected Channel section. 3 If you want to access the screen for a parameter and edit it in greater detail, press one of the five knobs or the [VIEW] button. Pressing each knob or button will access the following screens. Press the [EQ] knob The EQ screen will appear. Press the [DYN] knob The DYN screen will appear. Press the [EFF 1] knob The EFF 1 screen will appear. Press the [EFF 2] knob The EFF 2 screen will appear. Press the [PAN/BAL] knob The PAN screen will appear. Press the [VIEW] key The VIEW screen will appear. The following items will change when you turn each knob. ● EQ screen EDIT page Turn the [EQ] knob This changes the amount of boost/cut for the selected EQ band. To select the EQ band, use the [HIGH], [HIMID], [LO-MID], and [LOW] keys located at the right. Turn the [DYN] knob This changes the depth of dynamics processing. Turn the [EFF 1] knob This adjusts the level of the signal that is sent from that channel to internal effect 1. (If the stereo output channel is selected, this adjusts the return level from internal effect 1.) Turn the [EFF 2] knob This adjusts the level of the signal that is sent from that channel to internal effect 2. (If the stereo output channel is selected, this adjusts the return level from internal effect 2.) 4 Move the cursor in the screen to the desired parameter, and use the [DATA/JOG] dial or the [ENTER] key to operate the parameter. Note • If you change individual parameters in the DYN screen, the parameter that you operate last will be assigned to the [DYN] knob. • If you want to return to the state in which turning the [DYN] knob will adjust multiple parameters simultaneously, you must once again recall the library containing the dynamics settings you recalled prior to editing in the DYN screen. Turn the [PAN/BAL] knob This adjusts the pan of the signal that is sent from that channel to the stereo bus. (If the stereo output channel is selected, this adjusts the balance of the left and right channels.) 25 2 Introducing the AW16G • Simply turning the knobs of the Selected Channel section will not cause the screen to change. • If you turn the [DYN] knob immediately after recalling a preset library that includes dynamics settings, multiple dynamics parameters will change simultaneously, affecting the way in which dynamics processing is applied. The depth of this change will depend on the library that is recalled. Introducing the AW16G 26 Chapter 3 Listening to the demo song When the AW16G is shipped from the factory, its hard disk contains a demo song. This chapter explains how to play back the demo song while you operate the faders and keys of the front panel. Connect external devices and turn on the power The following diagram shows a typical example of connections to the AW16G. Connect your mics, instruments, and external devices as shown in this diagram. Mics Synthesizer MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC INPUT 1 2 Electric guitar/ Electric bass INPUT 8 (HI-Z) 3–8 Rhythm machine DAT recorder, MD recorder, etc. DIGITAL STEREO OUT 00.00.00.00 DIGITAL STEREO IN MONITOR OUT PHONES VOL VOL Monitor system Headphones When you have finished making connections, turn on the power switch of each device in the following order. After the opening screen, the following screen will appear. 1 External devices such as audio sources or effect processors connected to the input/output jacks of the AW16G B The AW16G itself C The monitor system connected to the output jacks of the AW16G When you turn on the power of the AW16G, the lastused song will be loaded automatically. When you turn on the power of the AW16G with the factory settings, a blank song will be loaded, so you can start recording immediately. 27 Listening to the demo song Loading the demo song Here’s how to load the demo song from the hard disk. 1 In the work navigate section, press the [SONG] key. The SONG screen will appear, where you can save or load songs. 5 Move the cursor to either YES (save the current song) or NO (don’t save the current song), and press the [ENTER] key. The song data will be loaded, and “Ride with me” will become the current song. Note If you select NO, any changes that you made to the current song since you last saved it will be lost. 2 Either press the [SONG] key repeatedly or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page. In this page, you can select a song on the hard disk, and load or delete it. 2 1 1 List This area lists the songs that are saved on the hard disk. The line enclosed by the dotted frame in the center of the list indicates the song that is selected for operations. The highlighted line indicates the song that is currently loaded into the AW16G. (This is called the “current song.”) B SORT field These three buttons let you select how the songs in the list will be sorted. Choose the NAME button (sort alphabetically), OLD button (sort by save date), or SIZE button (sort by size). 3 Turn the [DATA/JOG] dial to select the song “Ride with me.” 4 Move the cursor to the LOAD button in the screen, and press the [ENTER] key. A popup window like the following will appear. This window asks you whether you want to save the current song. 28 Playing the demo song Here’s how to play back the demo song you loaded, and adjust the monitor level. 1 4 Either press the [VIEW] key repeatedly or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the VIEW screen METER page. To adjust the monitor level appropriately, use the AW16G’s [MONITOR PHONES] knob and the volume control of your monitor system. Tip! 5 To stop the song, press the STOP [■] key. The VIEW screen METER page contains meters that show the input level of each channel and the output level of the stereo output channel. It is convenient to display this page when you want to check the level of each track. Note Make sure that the selected channel area at the upper left of the METER page indicates either TRACK 1–8 or TRACK 9/10–15/16. If neither of these are displayed, press either the [TRACK SEL] key 1–8 or 9/10–15/16. 2 Lower the AW16G’s [STEREO] fader to the infinity position. Also make sure that the AW16G’s [MONITOR PHONES] knob and the volume of your monitor system are turned down. 3 Press the PLAY [ ] key. The demo song will begin playing, and the level of each track channel will be displayed in the METER page of the VIEW screen. 29 3 Listening to the demo song The demo song uses the Scene function to switch the settings of the mixer. This means that playback will occur using the pre-specified balance — you do not need to operate the faders. Listening to the demo song Mixing the demo song When you play back a song, tracks 1–16 of the recorder are directly connected to track channels 1–8 and 9/10– 15/16 of the mixer. The signals that pass through track channels 1–8 and 9/10–15/16 are sent to the stereo bus, routed through the stereo output channel, and sent from the STEREO/AUX OUT jacks or the MONITOR OUT jacks. ● Signal flow during song playback Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Track 9 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track channels Stereo output channel Stereo bus Mixer section Track channels 1–8 and 9/10–15/16 are directly controlled by the faders and [TRACK SELECT] keys of the panel. Here’s how you can adjust the mix level of each track channel and switch it on/off while the song plays back. 30 1 Press the RTZ [ ] key. Note The demo song will be rewound to the beginning. 4 The demo song will begin playing. While listening to the demo song, try operating faders 1–8 and 9/10–15/16. Notice that the level of the corresponding track will change. Operating the [STEREO] fader will change the overall level of the song. 6 7 To mute the playback of a specific track, access the MONITOR screen ON/ OFF page, either by repeatedly pressing the [MONITOR] key or by holding down the [MONITOR] key and using the CURSOR [ ]/[ ] keys. The MONITOR screen ON/OFF page lets you switch each channel on/off. A channel that is switched off in this page will not be sent to the stereo bus or AUX bus, and will be muted. 5 In this page, pressing the [STEREO SEL] key will have no effect. ] button. To cancel the muted state, press the same [TRACK SEL] key you pressed in step 5, to make the indicator light green. If you want to monitor the playback of just a specific track, access the MONITOR screen SOLO page by either repeatedly pressing the [MONITOR] key or by holding down the [MONITOR] key and using the CURSOR [ ]/ [ ] keys. The SOLO page of the MONITOR screen lets you mute all other channels while listening to only a specific channel. (This is called the “solo” function.) When you sol a channel in this page, the signals of the remaining channels will be muted, and will no longer be sent to the stereo bus or AUX buses. 8 Press the [TRACK SEL] key of the track channel that you want to solo. Press the [TRACK SEL] key(s) for the track channel(s) that you want to mute. (You may select more than one channel.) For example if you press [TRACK SEL] key 3, the screen will change as follows, and channels other than track channel 3 will be muted. At this time, [TRACK SEL] key 3 will light orange, and the other [TRACK SEL] keys and [INPUT SEL] keys will go dark. For example if you press [TRACK SEL] keys 1 and 3, the screen will change as follows, and track channels 1 and 3 will be muted. At this time, [TRACK SEL] keys 1 and 3 will go dark. The graphic in the display will also indicate this. Note The [TRACK SEL] key you press last will always light orange regardless of the mute status. This indicates that this channel is the “selected channel” (→ p. 25). Note Only one channel can be soloed at a time. 9 To cancel soloing, press the currently selected [TRACK SEL] key (lit orange) once again. Note While playing the demo song, the level or the on/off status of a channel you adjusted manually may return to its previous setting. This is because the Scene function has switched the state of the mixer settings, and is not a malfunction (→ p. 142). You can use the Recall Safe function to temporarily prevent scenes from being recalled. (→ p. 80) 31 3 Listening to the demo song 2 3 Press the PLAY [ Listening to the demo song 32 Chapter 4 Recording to a sound clip The AW16G has a Sound Clip function that lets you record and play back independently of the recorder section. You can use a sound clip to quickly record and play back your performances on an audio source connected to the AW16G or on the pads. This is an ideal way to capture ideas for a song or arrangement, or to record a simple accompaniment for practicing a part. This chapter explains how an instrument or mic connected to an input jack can be recorded as a sound clip. Connecting your instrument or mic First, the instrument or mic that you want to record must be connected to a MIC/LINE INPUT jack. The various types of jack are compatible with the following sources. ● MIC/LINE INPUT (XLR) jacks 1/2 These are XLR-type balanced input jacks. Use a male XLR ↔ female XLR cable to connect your mic, direct box, or a guitar/bass preamp that has a balanced output jack. Balanced cable (male XLR ↔ female XLR) Alternatively, you can use a 1/4" phone ↔ 1/4" phone cable to connect an instrument with unbalanced output, such as a synthesizer or rhythm machine. 1/4" phone ↔ phone cable Synthesizer/ rhythm machine Mic Preamp or effect processor with balanced output Direct box MIC/LINE INPUT (TRS phone) jacks 3–8 ● MIC/LINE INPUT jack 8 (Hi-Z) Use a 1/4" phone ↔ phone cable to directly connect an electric guitar/bass that has passive pickups. MIC/LINE INPUT (XLR) jacks 1/2 Electric guitar/bass ● MIC/LINE INPUT (TRS phone) jacks 3–8 These are TRS-type balanced input jacks. Use a 1/4" TRS phone ↔ female XLR cable to connect your mic, direct box, or a guitar/bass preamp that has a balanced output jack. 1/4" TRS phone ↔ female XLR cable 1/4" phone ↔ phone cable MIC/LINE INPUT (HI-Z) jacks 8 Electric guitar/bass with passive pickups Mic Preamp or effect processor with balanced output Direct box MIC/LINE INPUT (TRS phone) jacks 3–8 Electric guitar/bass 33 Recording to a sound clip Adjusting the input level The signals that are input from MIC/LINE INPUT jacks 1– 8 are sent to input channels 1–8 respectively. Here's how to adjust the input level of the input channel, and make settings so that you can hear the sound from your monitor system via the stereo bus. 1 Lower the [STEREO] fader to the –∞ position. Also turn down the [GAIN] knob for the MIC/ LINE INPUT jack to which your instrument/ mic is connected. 2 Press and hold the [INPUT SEL] key for the jack to which your instrument/mic is connected. When you press and hold an [INPUT SEL] key, the INPUT SETTING popup window will appear, allowing you to make settings for the corresponding input channel. The following diagram is an example of the screen that will appear if you press and hold [INPUT SEL] key 1. 3 While you watch the level meter in the popup window, produce sound on your instrument, and turn the [GAIN] knob to adjust the input level. As you turn the [GAIN] knob toward the right, the level meter in the popup window will move more widely. (However, you will not yet hear anything from your monitor system.) For the best audio quality, adjust the level as high as possible without allowing the meter to clip when the loudest volume occurs. 4 While you play your instrument, raise the [STEREO] fader to the 0 dB position. The LR meters at the right of the screen will now move. As you turn the [MONITOR/PHONES] knob toward the right, you should begin to hear sound from your monitor system. 2 Note 4 1 3 1 INPUT LEVEL knob Move the cursor to this knob and turn the [DATA/ JOG] dial to adjust the level of the input channel. Normally you will leave this at the default setting of 0 dB. The current level is shown by the value (dB units) above the knob. B Stereo bus assign switch When you move the cursor to this knob and press the [ENTER] key, the signal that is sent from the corresponding input channel to the stereo bus will be switched on/off. C Level meter This indicates the input level of the input channel. The symbol in the window indicates the location at which the level is detected. D EXIT button Move the cursor to this button and press the [ENTER] key to close the popup window and return to the previous screen. 34 If you still do not hear sound after raising the [STEREO] fader, check the INPUT SETTING popup window to make sure that the stereo bus assign switch is turned on, and that the INPUT LEVEL knob value has not been set below 0.0 dB. 5 To exit the INPUT SETTING popup window, move the cursor to the EXIT button and press the [ENTER] key. You will return to the previous screen. Tip! The level settings described above are the basic settings for any type of recording --- not just for a sound clip. By using the [GAIN] knob to raise the level as far as possible without allowing distortion to occur, you can ensure that the input signal is converted into digital form with the highest possible quality before it is input to the mixer section. If the [GAIN] knob is not raised sufficiently, you may not be taking full advantage of the available dynamic range of the mixer section and recorder section. When the input LEVEL knob and [STEREO] fader are set to the 0 dB position, the input level will be output without change to the recorder and monitor. Recording/playing a sound clip Now that preparations are complete, let's record to a sound clip. The post-fader signal of the stereo output channel can be recorded directly on a sound clip. For playback, the signal will be sent immediately before the stereo output channel fader. (EQ and dynamics cannot be applied to the playback of a sound clip.) 4 ● Signal flow when using a sound clip Recording to a sound clip MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC Metronome MIC/LINE INPUT jacks Sound clip Input channels Stereo output channel Stereo bus Mixer section 35 Recording to a sound clip ■ Recording a sound clip 1 In the Locate section, press the [SOUND CLIP] key. 5 Tip! The CLIP screen will appear, where you can record and play sound clips. 1 2 3 4 • The metronome sound will not be recorded in the sound clip. If necessary, you can move the cursor to the metronome knob and turn the [DATA/JOG] dial to adjust the volume level of the metronome sound. • In addition to an instrument connected to the MIC/ LINE INPUT jacks, your performance on the quick loop sampler pads can also be recorded. • The knobs/keys of the selected channel are active even while the CLIP screen is displayed. If necessary, you can record the signal processed by EQ and dynamics (→ p. 50). 5 1 Metronome button Switches the metronome on/off. B Metronome knob Play your instrument in time with the metronome. 6 To stop recording, press the STOP [■] key. The display will show S and E symbols to indicate the start point and end point. Adjusts the volume level of the metronome. The value shown above the knob shows the current setting in dB units. C START button Specifies the current location as the start point of the sound clip (the location at which playback will begin). The current location is shown in minutes/ seconds/milliseconds at the left. D END button Specifies the current location as the end point of the sound clip (the location at which playback will end). The current location is shown in minutes/seconds/milliseconds at the left. E CLIP button When you turn this button on, the START button (3) and END button (4) settings will be enabled. Note Recording and playback in the Recorder section cannot be performed while the CLIP screen is displayed. 2 If you want to use the metronome, move the cursor to the metronome button and press the [ENTER] key. The time signature and tempo used by the metronome are displayed above the metronome button. 3 To change the tempo of the metronome, move the cursor to the tempo value and turn the [DATA/JOG] dial. Note The time signature of the metronome is determined by the tempo map setting immediately prior to accessing the CLIP screen. Please be aware that the setting cannot be edited from this screen. (For details on tempo map settings → p. 142) 4 36 In the Transport section, hold down the REC [●] key and press the PLAY [ ] key. The metronome will begin sounding, and the counter display will advance. The counter in the CLIP screen always starts from 0, and indicates the current time in minutes/seconds/milliseconds. This counter is separate from the counter of a conventional song. Tip! • With the default settings of the AW16G, a maximum of 30 seconds can be recorded in a sound clip. If you continue recording for longer than 30 seconds, the last 30 seconds of your playing before you stopped recording will be recorded. (However, the counter display during recording will continue to advance.) • In the UTILITY screen PREFER page, you can specify up to 180 seconds as the maximum length that can be recorded in a sound clip. You are free to make this setting before creating a new song, but this cannot be changed once the song has been created. (→ p. 162) ■ Playing a sound clip 1 To hear the content that you recorded in the sound clip, press the PLAY [ ] key. The region from where you began recording to where you stopped recording will play repeatedly. To stop, press the STOP [■] key. If you record again, the previous data will be overwritten. In the CLIP screen, the keys of the Transport section will have the following functions. Key RTZ [ ] key Returns to the location at which you began recording. If the CLIP button is on, this returns to the Start point. ] key Rewinds the current location toward the beginning. You will stop when you reach the location at which you began recording or the Start point. ] key Fast-forwards the current location. You will stop when you reach the location at which you stopped recording or the End point. STOP [■] key Stops playback, recording, rewind, or fast-forward. PLAY [ Starts playback. Pressing this key during playback does nothing. FF [ ] key REC [●] key To execute the CLIP screen, press the [SOUND CLIP] key. A popup window will ask you for confirmation. Move the cursor to the OK button to exit the CLIP screen or to the CANCEL button to cancel, and press the [ENTER] key. When you exit the CLIP screen, you will return to the TRACK screen VIEW page. However you can press the [SOUND CLIP] key at any time to play back the previously recorded content or record a new performance. Note When you record a sound clip, the previous recording will be lost. Please be aware that the Undo function cannot be used to recover a deleted sound clip. Tip! • A popup window will also ask you to confirm that you want to exit the CLIP screen if you press a key in the Work Navigate section or Quick Navigate section while playback is stopped in the CLIP screen. • The recorded contents of the sound clip are stored for each song. If you hold down this key while stopped and press the PLAY [ ] key, recording will begin. Pressing this key during playback does nothing. Tip! You will not hear the metronome and pads 1–4 while a sound clip is playing. However, you can still monitor the signals of input channels 1–8. 2 If you want to change the playback region of the sound clip, stop at the location that you want to specify as the Start point, move the cursor to the START button, and press the [ENTER] key. The current location will be registered as the Start point. 3 In the same way, stop at the location that you want to specify as the End point, move the cursor to the END button, and press the [ENTER] key. 4 Stop playback, move the cursor to the CLIP button, and press the [ENTER] key. The CLIP button will turn on, and the specified Start point and End point will be enabled. Note The START button, END button, and CLIP button are disabled while the sound clip is playing. Tip! The region of data between the specified Start point and End point can be copied to an audio track of the Recorder section by using the EDIT screen COPY command (→ p. 128). 37 4 Recording to a sound clip REW [ Function 5 Recording to a sound clip 38 Chapter 5 Track recording This chapter explains how to create a new song, and record the audio signal from an instrument or mic connected to the AW16G onto the first track of your song. Creating a new song In order to begin recording on the AW16G, you must first create a new song. For example if you have saved effect settings in a library for the current song and would like to use these settings for the new song as well, you would turn on the LIBRARY button. Tip! When you start up the AW16G for the first time, an empty song will be loaded automatically. If you use this automatically-loaded song, the procedure described here is not necessary. 1 2 4 In the Work Navigate section, either press the [SONG] key repeatedly or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page. Move the cursor to the NEW button and press the [ENTER] key. A popup window will ask you whether you want to save the current song. Use the buttons to choose the items that will be carried over from the current song. Then move the cursor to the OK button and press the [ENTER] key. The TITLE EDIT popup window will appear, allowing you to assign a name to the song. 5 6 Assign a name to the song (for details on assigning a name → p. 24). To create the new song, move the cursor to the OK button and press the [ENTER] key. A new song will be created, and you will return to the SONG screen LIST page. Tip! 3 Move the cursor to either YES (if you want to save the current song) or NO (if you do not want to save the current song), and press the [ENTER] key. • If you move the cursor to the CANCEL button (instead of the OK button) and press the [ENTER] key, you will return to the SONG screen LIST page without creating a new song. • You may also edit the song name later (→ p. 138). Next, a popup window will appear, allowing you to specify the items whose settings will be carried over from the current song. You may choose one or more of the following items if desired. SCENE button ............ Scene memories LIBRARY button......... EQ, dynamics, effects, and channel libraries TEMPO button ........... Tempo map 39 Track recording Direct recording and Bus recording Instruments/mics connected to the AW16G can be assigned to tracks in one of the following two ways. ■ Direct recording With this method, input channels are assigned to tracks in a one-to-one correspondence. This method requires the same number of tracks as the number of input channels you use. However, this method has the advantage that you will be free to adjust the volume, pan (stereo position), and tone of each instrument after it has been recorded. Synthesizer/ rhythm machine MIC/LINE INPUT jacks Input channels Stereo output channel Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 40 Mixer section ■ Bus recording With this method, you can send multiple input channels to the L/R bus, and assign the mixed signal to one or two tracks. This method requires fewer tracks. However, you will need to decide on the final volume, pan, and tone of each instrument at the time of recording. (You will not be able to adjust these independently after recording.) Synthesizer/ rhythm machine 5 Track recording MIC/LINE INPUT jacks Input channels Stereo output channel Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 L/R bus Mixer section Note The way in which you assign the input signals to tracks will depend on the method you choose. 41 Track recording Assigning input signals to tracks (Direct recording) 1 2 3 Lower the [STEREO] fader to the –∞ position. Connect instruments/mics to MIC/LINE INPUT jacks 1–8. In the Quick Navigate section, either press the [RECORD] key repeatedly or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the DIRECT page of the RECORD screen. The [INPUT SEL] keys and [TRACK SEL] keys will blink red. C 1-8 button If you move the cursor to this button and press the [ENTER] key, input channels 1–8 will be connected to tracks 1–8. D 9-16 button If you move the cursor to this button and press the [ENTER] key, input channels 1–8 will be connected to tracks 9–16. E SAFE button If you move the cursor to this button and press the [ENTER] key, all connections will be cancelled. 4 Press the [INPUT SEL] key for the input channel to which your instrument/mic is connected. The corresponding [INPUT SEL] key will light red, and the remaining [INPUT SEL] keys will go dark. If this input channel is not yet assigned to a track, all [TRACK SEL] keys will blink red. This blinking indicates that the tracks can be selected as the recording destination. The screen will indicate how input channels are connected to tracks. 1 In the screen, the symbol for that input channel will be highlighted. 3 45 2 1 INPUT Indicates the connection status of input channels 1– 8. If you move the cursor to numbers 1–8 and press the [ENTER] key, the INPUT SETTING popup window will appear, allowing you to make settings for the corresponding input channel. If you move the cursor to the symbol and press the [ENTER] key, the symbol will be highlighted, and the corresponding input channel will be selected as a recording source. B TRACK Indicates the connection status of tracks 1–16. If you move the cursor to the symbol and press the [ENTER] key, the symbol will be highlighted, and the corresponding track will be selected as a recording destination. 42 Tip! • You can also select an input channel by moving the cursor to the symbol of the desired input channel and pressing the [ENTER] key. • If you select an input channel to which a track is already assigned, only the corresponding [TRACK SEL] key will blink red. • If you press and hold the [INPUT SEL] key of an input channel, the INPUT SETTING popup window will appear, allowing you to make settings for the corresponding input channel. To exit this window and return to the previous screen, move the cursor to the EXIT button and press the [ENTER] key. 5 Press the [TRACK SEL] key of the track on which you want to record. The selected input channel and track will be connected internally. At this time, only the selected [INPUT SEL] key and [TRACK SEL] key will be blinking red. The blinking [TRACK SEL] key indicates that the corresponding track is in record-ready mode. 7 Press and hold the [INPUT SEL] key for the recording-source input channel, to access the INPUT SETTING popup window. Tip! You can also access the INPUT SETTING popup window by moving the cursor to an input channel number in the RECORD screen DIRECT page, and pressing the [ENTER] key. 8 Use the [GAIN] knob to adjust the input level of the signal. For details on adjusting the input level, refer to “Recording to a sound clip” (→ p. 33). 5 If an input channel is connected to a recording-destination, that recording-destination and the METER button will be added to the display in the INPUT SETTING popup window. By moving the cursor to the METER button and pressing the [ENTER] key, you can switch the location at which the level is detected between “prefader” (default setting; immediately after A/D) and “post-fader” (after the signal has passed through EQ, dynamics, and the level knob). Check that the increase in level after passing through EQ and dynamics does not cause the signal to clip. Tip! • You can also select a track by moving the cursor to the symbol of the desired track and pressing the [ENTER] key. • The input channel and track will be internally connected even if you first press the [TRACK SEL] key and then press the [INPUT SEL] key afterward. • When an input channel is selected as a recording source, its assignment to the stereo bus will automatically be turned off, and it will be connected to allow monitoring via the track channel. • EQ and dynamics settings will be flat for a track channel that is selected as the recording destination. 6 If you want to record more than one instrument or mic simultaneously, assign other input channels to tracks in the same way. Tip! • To cancel a connection that you made, press the [INPUT SEL] key to make it light red, and then press the [TRACK SEL] key of the track that is selected as the recording destination. To cancel all connections, move the cursor to the SAFE button and press the [ENTER] key. • To change the recording destination, press the [INPUT SEL] key to make it light red, and then press the [TRACK SEL] key of a different track. • If both the recording-source inputs and the recordingdestination tracks are paired, two adjacent odd-numbered/even-numbered channels will be simultaneously assigned to two adjacent odd-numbered/even-numbered tracks. 9 Raise the [STEREO] fader to the 0 dB position. 10 To monitor the signal that you are recording, raise the fader of the track channel that you selected as the recording destination. Normally when recording, you do not monitor the input channel signal before it is recorded, but rather the signal after passing through the recorder, via the track channel. This lets you monitor the signal that is actually being recorded, and also lets you adjust the volume and tone of the monitor signal without affecting the signal that is being recorded. If the track channel fader for the recording-destination track is set to the 0 dB position, the monitor level during recording will be the same as the playback level after recording. 43 Track recording In the screen, a line will be drawn to indicate the connection. Track recording ● Monitor signal flow during recording Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 from the input channels Stereo output channel Track channels Stereo bus Mixer section 11 To adjust the pan of the monitor signal, press the [TRACK SEL] key for the corresponding track channel, and turn the [PAN/BAL] knob of the Selected Channel section. Note The pan setting of an input channel will have no effect if that input channel is assigned to a track by direct recording. 44 Assigning input signals to tracks (Bus recording) 1 2 3 The current setting [INPUT SEL] key will light orange, and that input channel will be selected for operations. Lower the [STEREO] fader to the –∞ position. Connect instruments/mics to MIC/LINE INPUT jacks 1–8. In the Quick Navigate section, either press the [RECORD] key repeatedly or hold down the [RECORD] key and use the CURSOR [ ]/ [ ] keys to access the MIXED page of the RECORD screen. 2 Track recording In the MIXED page of the RECORD screen, you can assign the input channel signals to any one or two tracks via the L/R bus. 1 5 In the screen, the symbol for the corresponding input channel will be highlighted, and a line will appear, indicating that this channel is connected to the bus. Tip! • You can also select an input channel by moving the cursor to the symbol for the desired input channel and pressing the [ENTER] key. • If you press and hold the [INPUT SEL] key of an input channel, the INPUT SETTING popup window will appear, allowing you to make settings for the corresponding input channel. To close this popup window and return to the previous screen, move the cursor to the EXIT button and press the [ENTER] key. 54 3 1 INPUT Selects the record-source input channel. B L/R bus The two horizontal lines indicate the bus L/R signal route. You can check the on/off status of the signal that is sent from the record-source input channel(s) to bus L or R, and check the tracks that will be the record-destination of the L/R bus. C TRACK 5 Repeatedly press the same [INPUT SEL] key as in step 4, and the signal sent from that input channel to the L/R bus will be switched on/off. Each time you press the [INPUT SEL] key, the screen will change as follows. Selects the track(s) that will be the record-destination of the L/R bus signal. D SAFE button To cancel all record-sources and record-destinations, move the cursor to this button and press the [ENTER] key. E BUS button When you move the cursor to this button and press the [ENTER] key, a dedicated fader and level meter for the L/R bus will appear in the right of the screen. You can use this to adjust the master level of the L/R bus. 4 Press the [INPUT SEL] key for the input channel to which you connected your instrument or mic. Tip! For an input channel that is selected as a record-source, the assignment to the stereo bus will automatically be turned off, and connections will be made so that the signal can be monitored via the track channel. 45 Track recording 6 7 As necessary, use the same procedure to specify other input channels as recordingsources. 12 Press the [TRACK SEL] key(s) for the recorddestination track(s). To adjust the volume balance of each input channel, repeatedly press the [VIEW] key in the Selected Channel section to access the FADER page. When you want to set the volume balance of the input channels, it is convenient to use the FADER page of the VIEW screen. Here you can adjust the on/off status and input levels for the input channels, pad channels, and track channels — all in one page. You can select up to two tracks as the record-destination. If you select track 1, 3, 5, or 7, the signal will be connected to bus L. If you select track 2, 4, 6, or 8, the signal will be connected to bus R. If you select tracks 9/10–15/16, odd-numbered tracks will be connected to bus L, and even-numbered tracks will be connected to bus R. The screen will display lines to indicate how the signals are connected to the track(s). 13 While producing sound on your instruments, use the [INPUT SEL] keys or CURSOR [ ]/ [ ] keys to move the cursor to the input channel that you want to control, and turn the [DATA/JOG] dial to adjust the volume balance. Tip! • EQ and dynamics settings will be flat for a track channel whose track has been selected as a record-destination. • If a single track is selected, the pan of the track channel will be centered. If a paired track (→ p. 49) is selected, the odd-numbered/even-numbered track channels will be panned to left and right respectively. • The connection will be cancelled if you once again press the [TRACK SEL] key of a currently selected track. 8 For each input channel to which you connected an instrument or mic, press and hold the [INPUT SEL] key to access the INPUT SETTING popup window, and use the [GAIN] knob to adjust the input level of the signal. For details on adjusting the input level, refer to “Recording to a sound clip” (→ p. 33). 9 Raise the [STEREO] fader to the 0 dB position. 10 Raise the track channel fader for the recorddestination track, so that the monitor level is appropriate. Now you will be able to monitor the signal that is being sent to the track(s) via the L/R bus. 11 To set the pan of each input channel, use the [INPUT SEL] key to select a channel, and turn the [PAN/BAL] knob of the Selected Channel section. When you use bus recording, it will not be possible to adjust the pan or volume balance for individual instruments after they have been recorded on the track(s). This means that you must finalize the pan and volume balance when you send the signals from the input channels to the L/R bus. 46 Note We recommend that you not use the [GAIN] knob to adjust the volume balance of the input channels. This will degrade the S/N ratio, and may cause the sound to distort. Tip! • You can also use the INPUT LEVEL knob in the INPUT SETTING popup window to adjust the volume balance of the input channels. • Normally, the panel faders are dedicated to the track channels. However by changing an internal setting, you can use the faders to control the input levels of the input channels. (→ p. 162) Enabling the metronome Before you begin recording, set the tempo and volume of the metronome. If you will not be using the metronome while recording, you can skip the following procedure. 1 In the Work Navigate section, repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the VIEW page. 5 Move the cursor to the TEMPO field of the event, and turn the [DATA/JOG] dial to set the tempo value. You can set a tempo in a range of 30–250 (BPM). 6 If necessary, move the cursor to the METER field and turn the [DATA/JOG] dial to change the time signature. You can set a time signature in a range of 1/4–8/4. Tip! 2 1 Metronome button Switches the metronome on/off. B Metronome knob Adjusts the metronome volume level. The current value is shown above the knob in dB units. 2 Move the cursor to the metronome button and press the [ENTER] key. 3 When you press the [PLAY] key to begin playback, the metronome will begin sounding. As necessary, move the cursor to the metronome knob and turn the [DATA/JOG] dial to adjust the metronome level. The metronome will be turned on. If you want to change the tempo or time signature, press the [STOP] key to stop playback, and perform the following procedure. 4 In the Work Navigate section, repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the TEMPO page. The TEMPO page lets you create a tempo map that specifies the tempo and time signature of the song. The tempo and time signature that you specify here will be the basis for the measure/beat display counter, the internal metronome, and the MIDI clock messages generated by the AW16G. 1 1 Tempo map events These are the events recorded in the tempo map. When you create a new song, a tempo map event of time signature = 4/4 and tempo = 120 will be created at the beginning of the song (measure 1, beat 1). 47 5 Track recording 1 • It is also possible to change the tempo or time signature during a song. For details, refer to “Song management” (→ p. 137). • It is also possible to use the Quick Loop Sampler as a rhythm machine, instead of the metronome. For details, refer to “Using sample libraries” (→ p. 109). Track recording Recording on a track Now that you have completed your preparations, let’s record on a track. 1 In the Work Navigate section, repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the VIEW screen. 2 3 4 5 1 6 3 Play your instrument in time with the metronome. 4 To stop recording, press the STOP [■] key. 5 To hear the recorded content from the beginning, press the RTZ [ ] key to return the counter display to zero, and press the PLAY [ ] key. 6 If you want to redo the recording, press the [UNDO/REDO] key. 7 When you finish recording, press the Quick Navigate Section [RECORD] key once again, move the cursor to the SAFE button, and press the [ENTER] key. 1 Track view Graphically indicates the presence of data and markers in tracks 1–16, pad tracks 1–4, and the stereo track. B TRACK field Selects the track that you want to operate in the screen. You can select 1–16 (audio track 1–16), ST (stereo track), or PAD 1–4 (pad track 1–4). Note Changing the track here will not change the track to be recorded. If you selected 1–16 or ST in the TRACK field, this area will indicate the number of the currently selected virtual track. D Track name E WAVE button When you move the cursor to this button and press the [ENTER] key, the waveform of the currently selected track will be displayed. This button will appear only if you have selected 1–16 or ST in the TRACK field. F NAME button When you move the cursor to this button and press the [ENTER] key, the TITLE EDIT popup window will appear, allowing you to assign a name to the track. 2 48 In the Transport section, hold down the REC [●] key and press the PLAY [ ] key. The metronome will begin sounding, and the counter display will advance. In the track view within the screen, the vertical line that indicates the current location will advance toward the right. I (In point) and O (Out point) symbols will appear in the track view of the VIEW page, indicating the location of the most recent recording operation. The [UNDO/REDO] key of the data entry/control section will light. This indicates that you can press the [UNDO/REDO] key to execute the Undo function. The [UNDO/REDO] key will go dark, and you will return to the state prior to recording. Repeat steps 2–5. A popup window will ask you for confirmation, so move the cursor to the OK button and press the [ENTER] key. Assignments of the input signals to tracks will be cancelled. It will no longer be possible to press the [REC] key, and this will prevent recording from occurring accidentally. C V.TR field Displays the name that has been assigned to the virtual track. If nothing has been recorded, a name of “-NO REC-” will be assigned. The metronome sound will not be recorded on the track. If necessary, move the cursor to the metronome knob and turn the [DATA/JOG] dial to adjust the metronome volume level. 8 If you are satisfied with the recorded content, save the song. (For details on saving → p. 63) Please be aware that the recorded content will be lost if you turn off the power of the AW16G before saving the song. Pairing input channels/track channels Pad tracks 1–4 and track channels 9/10–15/16 are permanently paired. However, you may also specify pairing for adjacent oddnumbered/even-numbered input channels (1/2, 3/4, 5/6, 7/8) or track channels (1/2, 3/4, 5/6, 7/8). When two channels are paired, most of their parameters will be linked, so that operating one of the channels will cause the same setting to occur on the other channel as well. This is convenient when you are recording a stereo audio source, or when you want to play back two bus-recorded tracks as a single stereo track. 1 4 To cancel pairing, press the OK button. If you decide not to cancel pairing, move the cursor to the CANCEL button and press the [ENTER] key. Tip! In the case of paired channels, setting the pan to far left or far right will produce nominal level. (The levels before and after passing through Pan will be the same.) In the case of paired channels, setting the pan to center will produce nominal level. 5 Track recording Hold down the [INPUT SEL] key (or [TRACK SEL] key) of one channel that you want to pair, and then press the other [INPUT SEL] key (or [TRACK SEL] key). A popup window will appear, asking you to confirm the pairing. 2 Move the cursor to one of the following buttons and press the [ENTER] key. INPUT (TRACK) x → y (x= odd number, y= even number)........ Copy the settings of input (track) channel x to y, and pair them. INPUT (TRACK) y → x (x= odd number, y= even number)........ Copy the settings of input (track) channel y to x, and pair them. RESET BOTH .............. Initialize both input (track) channels, and pair them. CANCEL..................... Cancel pairing. When input channels are paired, all mix parameters other than the [GAIN] knob and phase/pan settings will be linked. When track channels are paired, all mix parameters other than the phase/pan settings will be paired. Operating just the odd-numbered fader will adjust the level of both odd-numbered/even-numbered channels. (While channels are paired, the evennumbered fader has no effect.) 3 To defeat pairing, hold down the [INPUT SEL] key (or [TRACK SEL] key) of one of the channels, and press the other [INPUT SEL] key (or [TRACK SEL] key). A popup window will ask you to confirm that you want to cancel pairing. 49 Track recording Using the input library The input library is a library of settings used to apply internal effects, EQ, or dynamics settings to the input signal when you want to record the processed signal. Here’s how to apply input library settings to the signal of an input channel. 1 4 Turn the [DATA/JOG] dial to select the desired input library data. The input library data is organized into the following categories. Number Abbreviation Press and hold the [INPUT SEL] key of the input channel for which you want to use the input library. The INPUT SETTING popup window will appear. EG Data suitable for electric guitar. AG Data suitable for acoustic guitar. 31–35 BA Data suitable for bass. 36–40 VO Data suitable for vocals 01–25 Note When you use the input library, internal effect 1 or 2 will be disconnected from the send/return of the mixer, and patched to a specific input channel. For this reason, you can use the internal effects on a maximum of two channels. 3 Move the cursor to the EFF1 button or EFF2 button, and press the [ENTER] key. The INPUT LIBRARY popup window will appear, allowing you to select an input library. 1 2 3 1 List This is the library list. The line surrounded by a dotted line in the middle of the list is the data that is selected for loading. When you turn the [DATA/ JOG] dial, the data in the list will scroll upward or downward. B RECALL button Move the cursor to this button and press the [ENTER] key to load the currently selected data. C EXIT button Move the cursor to this button and press the [ENTER] key to close the popup window. 50 Note Move the cursor to the LIBRARY button, and press the [ENTER] key. The following popup window will appear. In this popup window, you can select whether the internal effect 1 or 2 will be patched to the input channel. Data for initializing the input channel 00 26–30 2 Category All input library data is read-only. 5 Select the desired data, and press the [ENTER] key. 6 Move the cursor to the OK button and press the [ENTER] key. A popup window will ask you to confirm the recall operation. The data of the selected library will be loaded, and the internal effect, EQ (or speaker simulator), and dynamics effect will be applied to the input signal. Input library MIC/LINE INPUT jack Speaker simulator Internal effect to the bus Dynamics EQ 5 INPUT LEVEL Input channel Track recording Note If the input channel is paired, the same settings will be applied to both channels. 7 If you want to adjust the effect, use the [INPUT SEL] key to select the input channel. While you produce sound on your instrument, adjust the [EQ] knob, [DYN] knob, or [EFF 1]/[EFF 2] knobs of the Selected Channel section. Immediately after you select an input library, turning the knobs of the Selected Channel section will control the following items. Turning the [EQ] knob ......Adjusts the amount of boost/ cut for each EQ band. To select the band that will be adjusted, use the [HIGH] key, [HI-MID] key, [LO-MID] key, or [LOW] key located at the right. Turning the [DYN] knob....Simultaneously adjusts multiple dynamics parameters to adjust the dynamics effect. The result will depend on the library that you selected. Turning the [EFF 1] knob...Adjusts the balance of direct sound and processed sound for internal effect 1. Turning the [EFF 2] knob...Adjusts the balance of direct sound and processed sound for internal effect 2. Note Depending on the input library you select, the level of the input channel may change. Re-adjust the volume balance using the INPUT LEVEL knob in the INPUT SETTING popup window. Tip! If turning the [EQ] knob or [DYN] knob does not produce the desired result, you can reload new settings from the EQ library or dynamics library (→ p. 77, 78). 8 In the same way, select input library settings for the other input channels. However, a maximum of two input channels can use the internal effects at the same time. 51 Track recording Using the EQ library The EQ library contains EQ settings appropriate for a variety of instruments. Use these when you want to apply EQ to an input channel while you record, or when you want to modify the EQ settings after recalling an input library. 1 Press and hold the [INPUT SEL] key of the input channel for which you want to use the input library, to access the INPUT SETTING popup window. 5 6 Move the cursor to the EXIT button and press the [ENTER] key. If you want to adjust the EQ settings, press the [HIGH] key, [HI-MID] key, [LO-MID] key, or [LOW] key of the Selected Channel section to select the band, and turn the EQ knob to adjust the amount of boost/cut. Note If turning the EQ knob does not change the tone, check whether EQ may have been turned off for that channel (→ p. 92). Tip! 2 Move the cursor to the EQ button in the screen, and press the [ENTER] key. The EQ library will appear. 1 2 3 1 List This is the library list. The line surrounded by a dotted line in the middle of the list is the data that is selected for loading. When you turn the [DATA/ JOG] dial, the data in the list will scroll upward or downward. B RECALL button Move the cursor to this button and press the [ENTER] key to load the currently selected data. C EXIT button Move the cursor to this button and press the [ENTER] key to close the popup window. Tip! You can also access the EQ library by pressing the [EQ] knob of the Selected Channel section. For details, refer to “Using libraries and scene memories” (→ p. 73). 3 Turn the [DATA/JOG] dial to select the library that you want to use, and press the [ENTER] key. A popup window will ask you to confirm the library recall operation. 4 52 Move the cursor to the OK button and press the [ENTER] key. The selected library will be loaded. If necessary, you can also adjust the frequency and Q parameters of each band. For details, refer to “Using libraries and scene memories” (→ p. 73). Using the dynamics library The dynamics library contains dynamics settings suitable for a variety of instruments. As for the EQ library, you can use this to apply dynamics processing to an input channel while you record, or when you want to modify the dynamics settings after recalling an input library. 1 Press and hold the [INPUT SEL] key of the input channel for which you want to use the dynamics library, to access the INPUT SETTING popup window. 5 6 Move the cursor to the EXIT button and press the [ENTER] key. If you want to adjust the dynamics settings, turn the [DYN] knob of the Selected Channel section. Turning the [DYN] knob immediately after a library has been recalled will simultaneously adjust multiple dynamics parameters to control the dynamics effect. (The result will depend on the library that you select.) 5 Note 2 Move the cursor to the DYN button in the screen, and press the [ENTER] key. The dynamics library will appear. Tip! If necessary, you can also make detailed adjustments to the individual dynamics parameters. For details, refer to “Using libraries and scene memories” (→ p. 73). 1 2 3 1 List This is the library list. The line surrounded by a dotted line in the middle of the list is the data that is selected for loading. When you turn the [DATA/ JOG] dial, the data in the list will scroll upward or downward. B RECALL button Move the cursor to this button and press the [ENTER] key to load the currently selected data. C EXIT button Move the cursor to this button and press the [ENTER] key to close the popup window. Tip! You can also access the dynamics library by pressing the [DYN] knob of the Selected Channel section. For details, refer to “Using libraries and scene memories” (→ p. 73). 3 Turn the [DATA/JOG] dial to select the library that you want to use, and press the [ENTER] key. A popup window will ask you to confirm the library recall operation. 4 Move the cursor to the OK button and press the [ENTER] key. The selected dynamics library will be loaded. 53 Track recording If turning the [DYN] knob does not change the tone, check whether dynamics may have been turned off for that channel (→ p. 93). Track recording 54 Chapter 6 Overdubbing This chapter explains how you can record additional performances on other tracks while you listen to the previously-recorded tracks. This chapter also explains how to switch virtual tracks and save songs. About overdubbing “Overdubbing” is the process of recording additional performances on other tracks while you monitor the playback of previously-recorded tracks. The diagram below shows the signal flow when you play back tracks 1–4 and overdub track 5. In this example, the signal that is input from MIC/LINE INPUT jack 1 is routed through recorder track 5 and sent to track channel 5. This signal is then sent to the stereo bus, mixed with the playback sound of track channels 1–4, and output from the STEREO/AUX OUT jacks and the MONITOR OUT jacks / PHONES jack. ● Signal flow when overdubbing Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 MIC/LINE input jacks Input channels Track channels Stereo output channel Stereo bus Mixer section 55 Overdubbing Assigning the input signal to a track In order to overdub, you must first assign the mic or instrument to a new track. The basic procedure is the same as when recording the first track. 1 2 3 4 Assign the input channel to which your instrument/mic is connected to a new track, and adjust the level. For details on this step, refer to “Track recording” (→ p. 39). The diagram below shows an example of when input channel 1 is assigned to track 5. Lower the [STEREO] fader to the –∞ position. Connect your instrument or mic to a MIC/ LINE INPUT jack. In the Work Navigate Section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the DIRECT page of the RECORD screen. Tip! The [INPUT SEL] key and [TRACK SEL] key will blink red. In this example we will use “direct recording,” in which one input channel is assigned to one track. However, you may also use “bus recording,” in which multiple input channels are sent to the L/R bus and recorded on one or two tracks. Instantly recalling an EQ library The chapter entitled “Track recording” explained how to access the LIBRARY page of the EQ screen and load an EQ library to change the EQ. This section explains how you can instantly recall an EQ library. 1 Press the [INPUT SEL] key of the input channel for which you want to use a library. 2 In the Selected Channel section, press down the [EQ] knob and turn it. The corresponding input channel will be selected for operations. Turn the [DATA/JOG] dial to select an EQ library. Then move the cursor to the RECALL button and press the [ENTER] key. The selected library will be loaded. 4 If you want to adjust the EQ settings, use the [HIGH] key, [HI-MID] key, [LO-MID] key, and [LOW] key of the Selected Channel section to select the EQ band, and turn the [EQ] knob to adjust the amount of boost or cut. Tip! Turn while pressing When you turn the [EQ] knob to left or right while pressing it, the LIBRARY page of the EQ screen will appear. 56 3 If necessary, you can make detailed adjustments to EQ parameters such as the center frequency and Q (→ p. 92). Instantly recalling a dynamics library A dynamics library can be instantly recalled in the same way as an EQ library. 1 2 In the Selected Channel section, press down the [DYN] knob and turn it. Turn the [DATA/JOG] dial to select a DYN library. Then move the cursor to the RECALL button and press the [ENTER] key. The selected library will be loaded. 3 Turn while pressing If you want to adjust the dynamics effect, turn the [DYN] knob in the Selected Channel section. Tip! • In the same way, you can press and turn the [EFF1] knob or [EFF2] knob in the Selected Channel to recall an effect library. • If necessary, you can make detailed adjustments to the dynamics parameters (→ p. 93). 6 Overdubbing When you turn the [DYN] knob to left or right while pressing it, the LIBRARY page of the DYN screen will appear. Setting the mix balance and pan Here’s how to set the volume balance and pan for the previously-recorded tracks and the tracks that you now will be overdubbing. 1 2 While you play back the song, raise the track channel faders for the previously-recorded tracks to an appropriate monitoring level. 3 Stop the recorder, and while producing sound on your instrument, adjust the fader of the recording-destination track channel so that the monitoring level is appropriate. Press the track channel [TRACK SEL] key for a previously-recorded track, and use the [PAN/ BAL] knob of the Selected Channel section to set the pan. 4 Press the [TRACK SEL] key for the recordingdestination track channel, and use the [PAN/ BAL] knob of the Selected Channel section to set the pan. In the same way as for the input channel signal, you can also use EQ and dynamics to process the track channel. To do this, press the [TRACK SEL] key to select the track channel, and use the [EQ] knob or [DYN] knob of the Selected Channel section to recall a library and adjust the settings. This procedure will not affect the signal that is recorded on the track. The track channel for the recording-destination track will send the input signal to the stereo bus while recording or stopped, and will send the track playback signal to the stereo bus during playback. This means that in order to monitor the input signal, you must stop the recorder. Tip! The position of the track channel faders will not affect the recording level. However if you set the faders to 0 dB, the playback volume will be the same as when you recorded the tracks. 57 Overdubbing Overdubbing Now you can overdub onto the track that you selected as the recording-destination. 1 In the Work Navigate section, repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the VIEW page. 2 Move the cursor to the metronome button, and press the [ENTER] key to switch the setting on or off as desired. You can perform overdubbing whether the metronome is on or off. 3 In the transport section, hold down the REC [●] key and press the PLAY [ ] key. 4 5 6 While monitoring the previously-recorded tracks, play the instrument that you want to overdub. The metronome will begin sounding, and the counter display will advance. To stop recording, press the STOP [■] key. The [UNDO/REDO] key in the data entry / control section will light. To listen to the recorded performance from the beginning, press the RTZ [ ] key to return the counter display to zero, and press the PLAY [ ] key. Tip! If you recorded from the middle of the song, you can press the [IN] key to move to the location at which you began recording. 7 If you are satisfied with the recorded performance, save the song. (For details on saving → p. 63) If you decide to re-do the recording, press the [UNDO/REDO] key to cancel the recording, and repeat steps 3–7. 58 Punch-in/out 6 If you make a mistake while overdubbing, you can rerecord just the region in which you made the mistake. This process is called “punch-in/out.” Punch-in/out can be performed either as “manual punchin/out” in which you switch between recording and playback manually, or as “auto punch-in/out” in which recording and playback will switch automatically when you reach the locations you specify beforehand. Manual punch-in/out Here’s how to perform punch-in/out using the keys of the transport section or a foot switch. If you want to perform punch-in/out using a foot switch, connect a separately sold foot switch (Yamaha FC5 or equivalent) to the rear panel FOOT SW jack. 2 Access the DIRECT page of the RECORD screen, and make sure that your instrument/ mic is assigned to the track on which you want to punch-in. At this time, the [INPUT SEL] key of the recordingsource and the [TRACK SEL] key of the recordingdestination will blink red. 3 4 5 The recording-destination track will switch from recording back to playback (“punch-out”). 7 8 9 In the transport section, press the PLAY [ key. (Alternatively, press the foot switch.) ] The song will begin playing. At this time, the track playback sound of the recording-destination track channel will be sent to the stereo bus, so you will not be able to monitor the input signal. At the point where you want to begin recording, hold down the PLAY [ ] key and press the REC [●] key (or press the foot switch once again), and begin playing your instrument. The recording-destination track will switch from playback to recording (“punch-in”). The recording-source [INPUT SEL] key and the recording-destination [TRACK SEL] key will light red, and the signal of the corresponding track channel will switch from the track playback to the input signal. To listen to the newly-recorded content, locate to a point just before the punch-in point, and press the PLAY [ ] key. If you are satisfied with the newly-recorded content, save the song. (For details on saving → p. 63) If you decide to re-do the recording, press the [UNDO/REDO] key to cancel the recording, and repeat steps 4–9. The following diagram shows the manual punch-in/ out procedure. 1 2 3 4 5 16 play Locate to a point earlier than where you want to punch-in. You may find it convenient to register a marker at a location one or two measures earlier than the point at which you want to punch-in, so you can quickly return to that point. (For details on registering a marker → p. 67) To stop playback, press the STOP [■] key (or press the foot switch). record punch-in play punch-out Auto punch-in/out Auto punch-in/out is a function that performs the punchin and punch-out operations automatically. In order to use this function, you must first specify the punch-in location (the In point) and the punch-out location (the Out point). 1 Access the DIRECT page of the RECORD screen, and make sure that your instrument/ mic is assigned to the track on which you want to punch-in. The recording-source [INPUT SEL] key and the recording-destination [TRACK SEL] key will blink red. 59 6 Overdubbing 1 At the point where you want to stop recording, press the PLAY [ ] key (or press the foot switch). Overdubbing 2 3 4 5 Locate to the point at which you want to punch-in. 8 In the Locate section, hold down the [SET] key and press the [IN] key. To perform the actual auto punch-in/out, stop the recorder, then hold down the REC [●] key and press the PLAY [ ] key. 1 Only the PLAY [ ] key will light, and playback will begin from the pre-roll point. The current location will be registered as the In point. B When you reach the auto punch-in point, the REC [●] key will light, and recording will begin (“punch-in”). Locate to the point at which you want to punch-out. C When you reach the auto punch-out point, the In the Locate section, hold down the [SET] key and press the [OUT] key. REC [●] key will go dark, recording will stop, and you will return to playback mode (“punch-out”). The current location will be registered as the Out point. D When you reach the post-roll point, you will return to the pre-roll point and stop. Tip! • If you want to set the In and Out points more precisely, you can use the Nudge function (→ p. 71) which repeatedly plays a short region before or after the current location, or use the WAVE DISPLAY popup window (→ p. 72) which lets you view the contents of the track as a waveform. • The In point and Out point will be updated each time you record. The location at which you last started recording will be registered as the In point, and the location at which you last stopped recording will be registered as the Out point. 6 7 9 To check the newly-recorded content, press the [AUTO PUNCH] key to make it go dark, and then press the PLAY [ ] key. 10 If you are satisfied with the newly-recorded content, save the song. (For the Save procedure → p. 63) If you decide to re-do the recording, press the [UNDO/REDO] key to discard the newly-recorded content, and repeat steps 6–9. The following diagram shows the auto punch-in/out procedure. In the Locate section, press the [AUTO PUNCH] key. The [AUTO PUNCH] key will light, and the Auto Punch-in/out function will be enabled. You will automatically locate to a point a specific distance (the “pre-roll time”) ahead of the In point. This point is called the “pre-roll point.” To rehearse the auto punch-in/out, press the PLAY [ ] key. Auto punch-in point Pre-roll point Auto punch-out point 1 2 3 4 5 16 locate play rehearsal play 1 The PLAY [ ] key will light, and playback will begin from the pre-roll point. B When you reach the auto punch-in point, the REC [●] key will begin blinking, and the signal that you are monitoring from the recordingdestination track channel will switch from the track playback to the input signal (recordingsource). (However, recording will not actually occur.) rehearsal punch-in C When you reach the auto punch-out point, the REC [●] key will go dark, and the signal that you are monitoring from the recording-destination track channel will return to the track playback. D When you reach a point that is a specific distance (the “post-roll time”) after the Out point (this point is called the “post-roll point”), you will return to the pre-roll point and stop. Tip! • If you turn the Locate section [REPEAT] key on before step 7, operations 1–4 of step 7 will be repeated up to fifteen times. (The A-B Repeat function is disabled during this time.) If you want to stop repeating the rehearsal, press the [REPEAT] key once again or press the STOP [■] key. • With the initial settings of the AW16G, the pre-roll and post-roll times are each set to four seconds. You can adjust these values in a range of 0–5 seconds (→ p. 162). 60 actual recording punch-out Post-roll point Using the Undo List By using the AW16G’s Undo function, you can not only cancel the most recent recording or editing operation, but can even backtrack through your work for as many as fifteen previous steps. This is convenient when, for example, after performing several overdubs, you decide that you would rather go back to the state immediately after you had recorded the third solo. 1 Press and hold the [UNDO/REDO] key. The UNDO LIST popup window will appear. 1 6 1 Undo list 2 3 Turn the [DATA/JOG] dial to select a step number. 4 Move the cursor to the EXIT button and press the [ENTER] key. Overdubbing This is a list of the previously-performed recording and editing operations. From the left, the list shows a step number that indicates the order in which the operations were performed, the content of the operation, and the track/ virtual track that was affected by the recording or editing operation. The current song is now in the state of the step that is highlighted. The step enclosed by a dotted frame indicates the step to which the Undo function will return the song. Move the cursor to the OK button and press the [ENTER] key. The current song will revert to the state of the step you selected. The popup window will close, and you will return to the previous screen. Note Please note that if you perform recording or editing after “undoing” back to a certain step, the undo/redo data subsequent to that step will be erased. For example if you “undo” the previous three steps, and then perform a recording or editing operation, the undo/redo data for the previous steps 1 and 2 will be erased. 61 Overdubbing Switching virtual tracks Each audio track 1–16 contains eight virtual tracks. After overdubbing a solo part, you can switch the virtual track for that track, and record a different take while preserving the previously-recorded content. Here’s how to switch the virtual track that is selected for a track. 1 5 6 Move the cursor to the TRACK field, and turn the [DATA/JOG] dial to select a track number. 7 Assign a new name to the virtual track. In the Work Navigate section, repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the V.TR page. Move the cursor to the NAME button and press the [ENTER] key. The TITLE EDIT popup window will appear, allowing you to assign a name to the virtual track. In the V.TR page you can switch the virtual track (1– 8) that will be used for recording/playback by each audio track 1–16. 1 2 1 TRACK Indicates the track number 1–16. B V.TR Indicates the status of virtual tracks 1–8. The virtual track that is currently selected for each track is indicated by a “●” symbol. Of the virtual tracks that are currently not selected, those that have been recorded are indicated by “❍”, and those that have not yet been recorded are indicated as “-”. 2 3 Use the CURSOR [ ]/[ ]/[ ]/[ ] keys to select the virtual track number that you want to assign to the desired track. 4 If you want to assign a name to each virtual track, repeatedly press the Work Navigate [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the VIEW page. 62 Press the [ENTER] key. The “●” symbol will be displayed at the position of the newly-selected virtual track. This virtual track will now be used for recording/playback. For details on how to assign a name, refer to page 24. Saving the current song This section explains how to save the current song to the hard disk. If you accidentally turn off the power of the AW16G without saving the song, all recordings or operations that you performed since last saving the song will be lost. You should make a habit of saving the song at appropriate breaks in your work. 1 In the Work Navigate section, repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page. In this page you can select a song on the hard disk, and load or delete it. 2 1 To save the song, move the cursor to the OK button and press the [ENTER] key. If you move the cursor to the CANCEL button (instead of the OK button) and press the [ENTER] key, the Save operation will be cancelled. Note • The song save operation always saves the current song, regardless of the song that is selected in the list. • You cannot save a song that is protected. If for example you have edited the mixer settings and need to save the song, you must disable the protect setting and then save the song. (Making various settings for a song → p. 139) Tip! • If necessary, you can change the name of the song before you save it (→ p. 138). • In the following situations, a popup window will ask whether you want to save the current song; when you load an existing song from the hard disk, when you create a new song, or when you shut-down the AW16G. • However, we recommend that you frequently save the song you are working on, as a safeguard against accidents such as the AW16G’s power cable being accidentally disconnected. 1 List This is a list of the songs saved on the hard disk. The line enclosed by a dotted frame in the center of the list is the song to which your operation you perform will apply. The highlighted line is the song that is currently loaded into the AW16G. (This is referred to as the “current song.”) B SORT field Use these three buttons to select how the songs in the list will be sorted. You can choose NAME (sort alphabetically), OLD (sort by date of saving), or SIZE (sort by size). C SAVE button When you move the cursor to this button and press the [ENTER] key, the current song will be saved. 2 Move the cursor to the SAVE button and press the [ENTER] key. A popup window will ask you to confirm that you want to save the current song. 63 6 Overdubbing 3 3 Overdubbing Loading an existing song Here’s how to load an existing song from the hard disk. 1 In the Work Navigate section, repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page. 2 Turn the [DATA/JOG] dial to select a song. 3 Move the cursor to the LOAD button in the screen, and press the [ENTER] key. 4 Move the cursor to either YES (if you want to save the current song) or NO (if you do not want to save the current song), and press the [ENTER] key. A popup window will ask you whether you want to save the current song. The song you selected will be loaded. Note If you select NO, all changes you made after last saving the current song will be lost. 64 Chapter 7 Various types of playback This chapter explains how to use the locator and marker functions, and various other playback methods provided by the AW16G. Using the locator “Locate points” are locations you specify within a song in order to execute functions such as auto punch-in/out and A-B repeat. You can use this function to “locate” (move the current location of the song) to one of these points just by pressing a single key. On the AW16G, you can use the following locate points. ● In/out points These locate points are used to specify the region for auto punch-in/out (→ p. 59). Normally, the beginning and end of the recording you last performed will be automatically set as the In point and Out point. However, you may change these points as desired. ● A/B points These locate points are used to specify the region for the A-B Repeat function (→ p. 70). The A point and B point can be set to any point in a song, either by pressing a key or by operations in the screen. ● Start/end points These locate points normally correspond to the beginning and end of the song. When you create a new song, the Start point will initially be set to absolute time 00:00:00.000. When you record, the end of the song will automatically be set as the End point. If you record past the previously-set End point, the End point will automatically move back. If you select SEC or T.C. as the counter display format, the Start point will be the basis (the zero point) of the time and time code that are displayed. This means that if you change the Start point, the display will change as follows, depending on the counter display format. Tip! When you create an audio CD, the Start and End points can be used to specify the region of the stereo track that will be written to the audio CD (→ p. 98). Start point = 00:00:00:00.00 Counter display format ABS 00:00:00:00.00 00:00:05:00.00 00:00:10:00.00 SEC 00:00:00:00.00 00:00:05:00.00 00:00:10:00.00 T.C 00:00:00:00.00 00:00:05:00.00 00:00:10:00.00 S Start point = 00:00:05:00.00 Counter display format ABS 00:00:00:00.00 00:00:05:00.00 00:00:10:00.00 SEC –00:00:05:00.00 00:00:00:00.00 00:00:05:00.00 T.C 23:59:55:00.00 00:00:00:00.00 00:00:05:00.00 S Tip! When the AW16G transmits MTC to an external device, the Start point will be the basis (the zero point) of the time code that is generated. The Start point will also be the basis (measure 1 beat 1) for the measures displayed in the counter. ● Relative zero point This locate point stores the relative zero position. When you press the RTZ [ ] key in the transport section, you will move to this location. If the song is in the initial state, the relative zero point will be the same as absolute time 00:00:00.000, but you can change this if desired by using key operations or operations in the screen. If you select REL as the counter display format, the current location will be displayed with the Relative Zero point as 0. 65 Various types of playback The following procedure shows how to register the current location in one of the locate points, and then move the song to that locate point. 1 2 Move the song to the point that you want to register as a locate point. You can set a locate point whether the song is playing or stopped. 3 To move to a locate point you registered, press the corresponding key while the song is stopped or playing. The song will move to that location, and an icon will appear at the left side of the counter to indicate the currently selected locate point. Locator icon Hold down the [SET] key and press the key for the desired locate point. This icon will remain visible until you play or rewind/fast-forward past the previous or next locate point or marker location. Locate points that you register are displayed in the TRACK screen VIEW page or PAD page as shown below. The locate points correspond to the following keys. In point Out point Locator icon A point B point Relative Zero point [IN] key...................... In point [OUT] key .................. Out point [A] key ....................... A point [B] key........................ B point RTZ [ ] key ......... Relative Zero point Note • If you want to change the Start point or End point, use the SONG screen POINT page. These points cannot be set by key operations. • The In point and Out point will be updated automatically when you perform a recording operation. 66 Tip! • Locate point settings are stored on the hard disk as part of the song. • Locate points can be adjusted as desired (→ p. 68). Locate points other than the Start point and End point may also be erased (→ p. 69). Using markers “Markers” are symbols that you assign at desired locations in a song, so that you can move quickly to a desired point. You can assign up to 99 markers in each song. Use the [ ]/[ ] keys to find and move to markers. 1 Move to the position in the song at which you want to assign a marker. 2 Press the [MARK] key. 3 Press the [ ] key to locate to the previous marker, or press the [ ] key to locate to the next marker. You can assign a marker whether the song is playing or stopped. The song will move to that location, and an icon will appear at the left of the counter to indicate the currently selected marker number. Marker icon This icon will remain visible until you play or rewind/fast-forward past the previous or next locate point or marker location. Markers that you register are displayed in the TRACK screen VIEW page or PAD page as shown below. Register a new marker Marker icon Note Tip! • Marker settings are stored on the hard disk as part of the song. • Markers can be deleted (→ p. 69) or moved (→ p. 68) as desired. • If you press the [MARK] key at a location in which a marker has already been registered, the display will indicate “CANNOT SET MARK,” and a new marker will not be created. Markers other than the marker displayed at the left of the counter are shown as icons without a number, and indicate their approximate location. Tip! When creating an audio CD, you can use markers to divide the stereo track into the tracks that will be written to the audio CD (→ p. 98). 67 7 Various types of playback The top line of the display will briefly indicate “MARK POINT SET.” This indicates that a marker has been set. A new marker will be added each time you press the [MARK] key. Markers are automatically numbered 1–99 starting at the beginning of the song. If you register a new marker between two existing markers, subsequent markers will be automatically renumbered upward. Various types of playback Adjusting the position of a locate point or marker The format in which the position is displayed will depend on the locate point. The following table shows the display format for each locate point. Here’s how you can adjust the position of a previouslyregistered locate point or marker. 1 In the Work Navigate section, repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the POINT page. Locate point In the POINT page you can adjust the time location of each locate point and marker. 1 2 These buttons select whether the screen will show locate points or markers. The button that is currently turned on will be highlighted. 3 Time code START Time code END Time code Measure/beat IN Counter display format Measure/beat OUT Counter display format Measure/beat A Counter display format Measure/beat B Counter display format Measure/beat Measure/beat This area shows a list of the locate points or markers, depending on whether you have selected the LOCATOR button or the MARKER button. Note If you want to adjust the position of a locate point, make sure that the LOCATE button is turned on (highlighted) in the display. Changing the Start point will mean that locations already recorded in a track will move relative to the measure lines defined by the tempo map. Please be aware of this if you are using measure display for the metronome or for the quick loop sampler. When the LOCATOR button is on, the POINT page will display the positions of each locate point. 3 Move the cursor to the locate point value that you want to adjust, and turn the [DATA/ JOG] dial to change the value. Only in the case of the Start point, a “Change START Position?” popup window will ask you for confirmation when you attempt to change the value. Move the cursor to the OK button and press the [ENTER] key, and then change the value. C Locator point/marker display area 2 REL.ZERO If a locate point has not been registered, the numerical field will indicate “–”. B MARKER button 1 MEAS field Tip! 3 1 LOCATOR button 2 POSITION field 4 To adjust the location of a marker, move the cursor to the MARKER button in the display and press the [ENTER] key. When the MARKER button is on, the POINT page will list the markers that have been registered. 2 3 4 1 Locate points Shows the type of locate point and its abbreviation. 5 1 B POSITION Shows the position of each locate point as time code or the counter display format. C MEAS Shows the position of each locate point as measures/beats. This value is calculated according to the tempo and time signature of the tempo map (→ p. 142). 1 List Lists the markers that have been registered. The line that is enclosed by a dotted frame is selected for operations. B MARKER These are the marker numbers 01–99. C POSITION Shows the position of each marker, in the counter display format. 68 D MEAS Shows the position of each marker, in measure/beat units. E DELETE button To delete the currently selected marker, move the cursor to this button and press the [ENTER] key. 5 Move the cursor to the MARKER area, and turn the [DATA/JOG] dial to scroll the list so that the dotted frame encloses the marker number that you want to edit. 6 Move the cursor to the value that you want to edit, and turn the [DATA/JOG] dial to edit the value. Note You cannot change the location beyond the next or previous marker. Erasing a locate point or marker Note A locate point that you erase cannot be recovered. ■ Erasing a locate point To erase a locate point, hold down the [CANCEL] key in the Locate section, and press the corresponding locate key ([IN]/[OUT] key, [A]/[B] key). That locate point will be erased, and a message of “LOCATE POINT ERASED” will be displayed for a time. ■ Erasing a marker Various types of playback If necessary, you can erase a previously-registered locate point (except for the Relative Zero, Start, and End points) or marker. 7 You can erase a marker in one of two ways; using key operations, or in the screen. To erase a marker using key operations, locate to the marker that you want to erase. Then hold down the [CANCEL] key of the Locate section and press the [MARK] key. The corresponding marker will be erased, and a message of “MARK POINT ERASED” will be displayed for a time. To erase a marker by operations in the screen, access the list of markers in the POINT page of the SONG screen, select the marker that you want to erase, move the cursor to the DELETE button and press the [ENTER] key. 69 Various types of playback Repeatedly playing a specific region (the A-B Repeat function) The AW16G provides an “A-B Repeat” function that repeatedly plays the region between the A point and B point. This is useful when you want to repeatedly play back a certain region of the song while you adjust the mix. 1 Register the A point and B point to the locations at which you want the repeated playback to start and end. For details on how to set the A point and B point, refer to “Using markers” (→ p. 67). Tip! If you set the B point earlier than the A point, the B -> A region will play repeatedly. 2 While the transport is stopped, press the [REPEAT] key. The [REPEAT] key will light, and the A-B Repeat function will be on. The song will automatically locate to the A point. Note The A and B points must be at least one second apart. If they are closer than this, a message of “REPEAT POINTS TOO CLOSE” will appear when you press the [REPEAT] key, and repeat playback will not be possible. 3 To begin repeat playback, press the PLAY [ ] key. Playback will begin from the A point. When you reach the B point, you will automatically return to the A point and continue playback. Tip! • Playback will stop automatically when the A/B region has been repeated 99 times. • If you press the [REPEAT] key while the song is playing, repeat playback between the A and B points will begin automatically, regardless of the current position. 4 To stop playback, press the STOP [■] key. 5 To cancel repeat playback, press the [REPEAT] key. Playback will stop, but the A-B Repeat function will remain turned on. When the A-B Repeat function is on, pressing the PLAY [ ] key will immediately resume repeat playback, regardless of the current position. The [REPEAT] key will go dark, and the A-B Repeat function will be cancelled. If you cancel the A-B Repeat function during repeat playback, normal playback will occur from that point. Tip! If you perform a recording operation while the A-B Repeat function is on, the A-B Repeat function will be temporarily disabled. 70 Finding a location while you listen to the sound (the Nudge function) “Nudge” is a function that repeatedly plays a short region before or after the current location. By using the Nudge function, you can find a precise location while listening to the playback. This is useful when you need to specify a location precisely, such as when specifying the auto punch-in/out points, or when editing the contents of a track. 1 2 3 5 12 Locate to the vicinity of the point you want to find. With the transport stopped, press the [JOG ON] key. The [JOG ON] key will light, and the Nudge function will be turned on. A fixed region (referred to as the “nudge time”) starting at the current location will play repeatedly. 1 NUDGE MODE Specifies the region of sound (before or after the current location) that will be played by the Nudge function. B NUDGE TIME Specifies the duration of the region that will be played by the Nudge function. 6 Current location You can set the nudge time in a range of 25 ms – 800 ms. (Default = 500 ms). 7 Song track Nudge time Tip! Even while using the Nudge function, you can use locate points or markers to change the location, or register locate points or markers (→ p. 65). To turn off the Nudge function, press the [JOG ON] key or the transport section STOP [■] key. To change the playback duration (nudge time), move the cursor to the value of the NUDGE TIME field, and use the [DATA/JOG] dial to set the nudge time. To change the playback position (nudge mode), move the cursor to the NUDGE MODE button, and press the [ENTER] key to switch between the following two nudge modes. ● AFTER Repeatedly play for the duration of the nudge time, starting at the current location (default). ● BEFORE Repeatedly play for the duration of the nudge time, ending at the current location. NUDGE MODE: BEFORE Current location NUDGE MODE: AFTER Current location The [JOG ON] key will go dark, and the Nudge function will be turned off. Note You cannot change the nudge time or nudge mode while using the Nudge function. You must turn off the Nudge function, and change these settings while the [JOG ON] key is dark. 71 7 Various types of playback To move the current location forward, turn the [DATA/JOG] dial toward the right. To move the current location backward, turn the [DATA/JOG] dial toward the left. If time display is selected as the counter display format, you can move the current location forward or backward in millisecond units. If time code display is selected, you can move in sub-frame units. 4 If you want to change the playback duration or the playback mode, repeatedly press the Work Navigate section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys to access the PREFER page of the UTILITY screen. Various types of playback Finding a location while you view the waveform The AW16G lets you find a location while viewing the waveform of the sound recorded on the track. 1 2 3 4 D AMP By moving the cursor to this area and turning the [DATA/JOG] dial, you can expand or shrink the waveform display in the amplitude axis. The value of this field indicates the level range of the waveform displayed in the WAVE DISPLAY popup window. If you select 0 dB, the top and bottom edges of the screen will correspond to the maximum level. Locate to the vicinity of the point you want to find. Repeatedly press the Work Navigate section [TRACK] key or hold down the [TRACK] key and use the CURSOR[ ]/[ ] keys to access the VIEW page of the TRACK screen. Move the cursor to the TRACK field, and turn the [DATA/JOG] dial to select the number of the track whose waveform you want to view. E LISTEN button If you move the cursor to this button and press the [ENTER] key, the waveform in the display area of the WAVE DISPLAY popup window will be played once. During playback, the vertical line (pointer) that indicates the current location will move, and the counter value will also change. You cannot perform conventional transport operations when playing back by pressing the LISTEN button. F EXIT button If you move the cursor to this button and press the [ENTER] key, you will exit the WAVE DISPLAY popup window and return to the previous VIEW page. Move the cursor to the WAVE button and press the [ENTER] key. The WAVE DISPLAY popup window will appear. This popup window displays the waveform of the audio data recorded in the current track of the track (1–16) you selected in step 3. 1 2 Tip! Even after displaying the WAVE DISPLAY popup window, you can use the [TRACK SEL] keys to switch the track for viewing. 3 5 6 4 5 As necessary, move the cursor to the TIME/ AMP fields and turn the [DATA/JOG] dial to adjust the vertical and horizontal scale of the waveform display. 6 To specify a location within the popup window, move the cursor to the counter and turn the [DATA/JOG] dial. 1 TRACK Turning the dial toward the right will move the pointer forward, and turning the dial toward the left will move it backward. If necessary, you can use the LISTEN button to play the waveform region shown in the WAVE DISPLAY popup window, and check the location by listening. Indicates the currently selected track number. You can also move the cursor to this field and turn the [DATA/JOG] dial to switch tracks. B Counter Displays the location of the vertical line (pointer) indicating the current location in the WAVE DISPLAY popup window. You can move the cursor to this field and turn the [DATA/JOG] dial to move the current location forward or backward. Tip! • You can also change the pointer position by using the locate points or markers that are registered in the song (→ p. 65, 67). • The position displayed in the counter can be registered as a locate point or marker (→ p. 65, 67). C TIME By moving the cursor to this area and turning the [DATA/JOG] dial, you can expand or shrink the waveform display in the time axis. The value of this field indicates the length of time displayed in the WAVE DISPLAY popup window. If you select 1SEC, the distance from the left edge to the right edge of the screen will correspond to one second. Selecting SAMPLE will produce the highest magnification, and each horizontal pixel will correspond to one sample (1/44,100 second). 72 7 When you have finished specifying the location, move the cursor to the EXIT button and press the [ENTER] key. You will return to the previous VIEW page, and the location that you specified in the popup window will remain the current location. As desired, register the location as a locate point or marker. Chapter 8 Using libraries and scene memories This chapter explains how to use libraries and scene memories. About the libraries Memory areas that store settings for sections such as EQ, dynamics, and effects are called “libraries.” By recalling (loading) data from a library, you can instantly use the desired set of settings. Most types of library also let you store the current settings. The AW16G provides the following libraries. ● Input channel library EQ, dynamics, and internal effect settings can be loaded from this library into the currently selected input channel. This library is read-only, and cannot be used to store your own settings. ● EQ library EQ settings can be loaded from this library into the currently selected channel. ● Dynamics library Dynamics settings can be loaded from this library into the currently selected channel. ● Effect library Effect settings can be loaded from this library into internal effects 1/2. ● Mastering library EQ and dynamics settings can be loaded from this library into the stereo channel. This library is readonly, and cannot be used to store your own settings. ● Sample library Sets of samples can be loaded from this library into the Quick Loop Sampler. ● Channel library Major mix parameters can be loaded from this library into a channel. About scene memories On the AW16G, settings for the mix parameters of all channels and the effect parameters etc. can be stored in internal memory as a “scene” with the name you specify. Current scene When you recall one of the various libraries described above, the library settings you recall will be loaded into the settings that you are currently using (referred to as the “current scene”). You can then save the current settings as a scene memory, which will contain the settings that you loaded from a library. Libraries and scene memories are saved on the hard disk as part of the song. Input library EQ/dynamics/effects for an input channel EQ library EQ for the selected channel Dynamics library Dynamics for the selected channel The following diagram shows how libraries, scene, and the song are related to each other on the AW16G. Effect library Internal effects 1/2 Mastering library EQ/dynamics for the stereo output Sample library Sample data for the Quick Loop Sampler Channel library Mix parameters for each channel Scene memory 73 Using libraries and scene memories Basic operation for libraries and scene memories Here are the basic procedures for recalling and storing a library or scene. 2 Regardless of where the cursor is located, turning the [DATA/JOG] dial will scroll the list. Storing library or scene data Here’s how to store the current settings in a library or scene memory. Turn the [DATA/JOG] dial to scroll the list so that the dotted frame encloses the library or scene to which you want to store the data. 3 Note Move the cursor to the STORE button and press the [ENTER] key. The TITLE EDIT popup window will appear, allowing you to assign a name to the data. The input library and mastering library, and the EQ, dynamics, or effect libraries accessed from the INPUT SETTING popup window are all read-only, and therefore have no STORE button. 1 Access the desired library page or the scene memory page. For details on how to access each library or scene memory page, refer to the explanations on page 77 and following. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen. Note • If you selected read-only data (indicated by a “lock” icon) in step 2, a message of “Read Only” will appear, and it will not be possible to execute the Store operation. • Scene number 00 is read-only data used to initialize the current scene. Scene numbers 01–96 are writable data. 4 4 5 3 2 1 1 List This area lists the data stored in the library or scene memory. The line enclosed by the dotted frame indicates the data that is selected for operations. Read-only data is indicated by a “lock” icon. B RECALL button Recalls the library data or scene that is selected in the list. C STORE button Stores the current settings into the location selected in the list. D CLEAR button Deletes the library or scene that is selected in the list. E TITLE button Accesses the TITLE EDIT popup window, where you can edit the name of the library or scene selected in the list. Tip! For some libraries or scene memories, buttons other than those listed here may appear, or some of these buttons may not appear. For details, refer to the explanations on page 77 and following. 74 Assign a name to the data as desired. Then move the cursor to the OK button and press the [ENTER] key. (For details on how to assign a name → p. 24) The library or scene will be stored. Tip! You have the option of making settings so that the TITLE EDIT popup window does not appear when you perform the Store operation. For details, refer to “Overall settings for the AW16G” (→ p. 162). Recalling library or scene data Deleting library or scene data Here’s how to recall (load) settings from a library or scene. Here’s how you can delete unwanted library or scene memory data. 1 Access the desired library or scene memory page. For details on how to access each library or scene memory page, refer to the explanations on page 77 and following. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen. 2 Turn the [DATA/JOG] dial to scroll the list so that the library data or scene you want to recall is enclosed by the dotted frame. 3 Move the cursor to the RECALL button, and press the [ENTER] key. The input library and mastering library, and the EQ, dynamics, and effect libraries accessed from the INPUT SETTING popup window are all read-only, and do not have a CLEAR button. 1 Access the page for the desired library or scene memory. 2 3 Turn the [DATA/JOG] dial to scroll the list so that the library data or scene you want to delete is enclosed by the dotted frame. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen. Move the cursor to the CLEAR button and press the [ENTER] key. A popup window will appear, asking you to confirm the Delete operation. To execute the recall, move the cursor to the OK button and press the [ENTER] key. The library or scene will be recalled. Note Tip! You have the option of making settings so that the confirmation popup window does not appear when you perform the Recall operation. For details, refer to “Overall settings for the AW16G” (→ p. 162). If you selected read-only data (indicated by a “lock” icon) in step 2, a message will indicate “Read Only,” and the Delete operation will not be executed. 4 To execute the Delete operation, move the cursor to the OK button and press the [ENTER] key. The library or scene will be deleted. 75 8 Using libraries and scene memories 4 A popup window will ask you to confirm the Recall operation. Note Using libraries and scene memories Naming library or scene data Here’s how you can assign a new name to existing library or scene data. Note The input library and mastering library, and the EQ, dynamics, or effect libraries accessed from the INPUT SETTING popup window are all read-only, and therefore have no TITLE button. 1 Access the page for the desired library or scene memory. 2 3 Turn the [DATA/JOG] dial to scroll the list so that the library data or scene you want to rename is enclosed by the dotted frame. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen. Move the cursor to the TITLE button and press the [ENTER] key. The TITLE EDIT popup window will appear. Note If you selected read-only data (indicated by a “lock” icon) in step 2, a message of “Read Only” will appear, and you will be unable to edit the name. 4 Assign a name to the data. Then move the cursor to the OK button and press the [ENTER] key. (For details on assigning a name → p. 24) The edited name will be finalized. 76 Details on libraries and scene memory This section explains how to access each type of library or scene memory, and describes the functions that are unique to each of these screens. 3 Input library From this library you can recall EQ, dynamics, and internal effect settings to the currently selected input channel. Use this when you want to apply EQ, dynamics, and internal effects to the input signal that you are recording. Library numbers 00–40 are all read-only, and 00 is data for initializing an input channel. 1 Press and hold the [INPUT SEL] key for the desired input channel. The INPUT SETTING popup window will appear. The corresponding insert effect will be inserted into the input channel, and the INPUT LIBRARY popup window will appear. 1 1 EXIT button In order to use the input library, you will need to insert internal effect 1 or 2 into that input channel. ■ Recalling input library data Move the cursor to the EFF1 or EFF2 button and press the [ENTER] key. Closes the popup window and returns to the previous INPUT SETTING popup window. EQ library From this library you can recall EQ settings to the currently selected channel. Of library numbers 001–128, numbers 001–040 are read-only, and 041–128 can be written. 8 ■ Recalling EQ library data Move the cursor to the LIBRARY button and press the [ENTER] key. A popup window will ask you whether you want to insert internal effect 1 or 2 into that input channel. This popup window will change as follows, depending on how internal effects 1/2 are being used. ● If the song is in the default state Use the [INPUT SEL] keys, [TRACK SEL] keys, [STEREO SEL] key, or pads 1–4 to select the channel into which you want to recall the EQ settings. 2 Perform one of the following actions to access the LIBRARY page of the EQ screen • Press the [EQ] knob repeatedly • Hold down the [EQ] knob and press the CURSOR [ ]/[ ] keys • Hold down the [EQ] knob and turn it to left or right ● If effect 1 is already inserted into a specific input channel You can also recall EQ library data into an input channel directly from the INPUT SETTING popup window. To do so, move the cursor to the EQ button in the window and press the [ENTER] key. ● If effects 1 and 2 are already inserted into specific input channels Tip! If an effect has already been inserted into that input channel, the INPUT LIBRARY popup window will appear immediately. 77 Using libraries and scene memories 2 1 Using libraries and scene memories Dynamics library Note • The [M] symbol indicates monaural input, and [S] indicates that stereo input is supported. If an effect indicated by [M] is inserted into paired channels (such as the stereo output channel), the sense of stereo will be lost. • 019. HQ.Pitch cannot be recalled to effect 1. From this library you can recall dynamics settings to the currently selected channel. Of library numbers 001–128, numbers 001–040 are read-only, and 041–128 can be written. ■ Recalling dynamics library data 1 Use the [INPUT SEL] keys, [TRACK SEL] keys, [STEREO SEL] key, or pads 1–4 to select the channel into which you want to recall the dynamics settings. 2 Perform one of the following actions to access the LIBRARY page of the DYN screen • Press the [DYN] knob repeatedly • Hold down the [DNY] knob and press the CURSOR [ ]/[ ] keys • Hold down the [DYN] knob and turn it to left or right You can also recall dynamics library data into an input channel directly from the INPUT SETTING popup window. To do so, move the cursor to the DYN button in the window and press the [ENTER] key. Mastering library This library contains settings used to apply EQ and dynamics processing to the stereo output channel during mixdown. It contains EQ and dynamics settings suitable for processing the final mix. All library numbers 00–13 are read-only, and 00 is data for initializing the stereo output channel. ■ Recalling mastering library data 1 Repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the MIXDOWN page of the RECORD screen. 2 Move the cursor to the LIBRARY button in the screen, and press the [ENTER] key. The MASTERING LIBRARY popup window will appear. 1 Effect library 1 EXIT button This library is used by internal effects 1/2. Of library numbers 001–128, numbers 001–041 are read-only, and 042–128 can be written. ■ Recalling effect library data 1 Perform one of the following actions to access the LIBRARY page of the EFFECT 1/2 screen • Press the [EFFECT 1] or [EFFECT 2] knob repeatedly • Hold down the [EFFECT 1] or [EFFECT 2] knob and press the CURSOR [ ]/[ ] keys • Hold down the [EFFECT 1] or [EFFECT 2] knob and turn it to left or right You can also recall library data for an effect that has been inserted in the input channel directly from the INPUT SETTING popup window. To do so, move the cursor to the EFF1 or EFF2 button in the window and press the [ENTER] key. 78 Closes the popup window and returns to the previous MIXDOWN page. Sample library This library contains sets of up to sixteen samples for use with the Quick Loop Sampler. Sets of drum loop or sound-effect samples are saved on the hard disk as sample libraries. When you recall one of these, those samples will be assigned to the pads and sample banks, so you can immediately play them from the pads. Note Unlike the other libraries, the sample library data is shared by all songs. ■ Recalling sample library data ■ Recalling channel library data Repeatedly press the Quick Loop Sampler section [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the LIBRARY page of the SAMPLE screen. Repeatedly press the Selected Channel section [VIEW] key or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the CH LIB page of the VIEW screen. 1 Tip! 23 4 5 1 SORT field Use these three buttons to specify how the library data in the list will be sorted. You can choose NAME (sort alphabetically), OLD (sort by save date), or SIZE (sort by size). B LISTEN button If you move the cursor to this button, press the [ENTER] key, and then press a pad, the sample assigned to sample bank A of the library will play. C DELETE button Deletes the selected library data from the hard disk. When you move the cursor to this button and press the [ENTER] key, the Protect setting will be switched on/off for the library data selected in the list. Library data for which Protect is turned on is indicated by a “lock” icon, and cannot be edited or deleted. Scene memories Scene memories recall the effect parameter and mix parameter settings of all channels. Scene number 00 is read-only data used to initialize the current scene. Scene numbers 01–96 are writable data. ■ Recalling a scene memory In the data entry/control section, repeatedly press the [SCENE] key or hold down the [SCENE] key and use the CURSOR [ ]/[ ] keys to access the LIBRARY page of the SCENE screen. E NEW button Creates new library data on the hard disk. Channel library This library contains mix parameter settings that can be loaded into a channel. It is convenient to use this library when you want to use the settings of a specific channel for another channel. Library numbers 00–01 are readonly data for initializing a channel, and 02–64 can be written. Channel library data contains the following parameters. • • • • • • • • • • • 1 1 PROTECT button When you move the cursor to this button and press the [ENTER] key, the Protect setting will be switched on/off for the scene selected in the list. Scene data for which Protect is turned on is indicated by a “lock” icon, and cannot be edited or deleted. Channel on/off Attenuator EQ on/off EQ parameter settings Dynamics processor on/off Dynamics processor parameter settings Fader position Aux buses 1/2 pre-fader/post-fader setting Send levels to Aux buses 1/2 Effect buses 1/2 pre-fader/post-fader setting Send levels to effect buses 1/2 79 8 Using libraries and scene memories D PROTECT button • Data for parameters that do not exist in the recall-destination channel will be ignored. • If the recall-destination is the stereo output channel or a paired channel, the parameters will be the same for the L and R channels, with the exception of Phase and Pan (phase and pan settings will not change). Using libraries and scene memories Using the Recall Safe function You can specify that specific faders or specific channels will be excluded from Recall operations when the scene is changed either manually or from an external MIDI device. This function is called “Recall Safe.” For example, this is convenient if you are performing a mixdown while switching scenes, but want to control specific channels manually. 1 In the data entry/control section, repeatedly press the [SCENE] key or hold down the [SCENE] key and use the CURSOR [ ]/[ ] keys to access the RCL SAFE page of the SCENE screen. 1 2 3 1 FADER RECALL SAFE Here you can select the fader(s) for which recall safe will be enabled. The fader(s) you select here will not change even when another scene is recalled. These buttons correspond to the faders as follows. PAD 1–4..................... Pad channel 1–4 faders INPUT 1–8 ................. Input channel 1–8 faders TRACK 1–8, 9-10–15-16 ................ Track channel 1–8 and 9/10–15/16 faders B ENABLE/DISABLE button This button switches Fader Recall Safe between ENABLE and DISABLE states. Move the cursor to this button and press the [ENTER] key to switch the display between ENABLE and DISABLE. C CH RECALL SAFE Selects the channel(s) for which Recall Safe will be enabled. Mix parameters of the selected channel(s) will not change even when another scene is recalled. The buttons correspond to the following channels. PAD............................ All pad channels INPUT........................ All input channels TRACK ....................... All track channels RTN............................ Return channels 1/2 ST OUT ...................... Stereo output channel 80 2 3 Select the fader(s) or channel(s) that you want to set to Recall Safe, and turn the corresponding button(s) on (highlighted). If you selected a fader in step 2, move the cursor to the ENABLE/DISABLE button and press the [ENTER] key to switch the display to ENABLE. Fader or channel Recall Safe has now been enabled. The selected fader(s) and/or channel(s) will not be affected by scene recall operations until you change this setting. Tip! The settings of the RCL SAFE page are shared by all songs. Chapter 9 Mixdown and bounce operations This chapter explains mixdown operations, in which you mix previously-recorded tracks and record the result on the stereo track. This chapter also explains how you can use bounce (ping-pong) recording to combine multiple tracks to one or two tracks. About mixdown and bouncing “Mixdown” is the process by which the signals recorded on the recorder tracks are mixed to stereo, and recorded on the internal stereo track to complete the song. The contents of the stereo track can be used without further processing as material to create an audio CD. The diagram below shows the signal flow during mixdown. The playback of each track is sent to the stereo bus, passes through the stereo output channel, and is recorded on the stereo track. At this time you also add the signals from pad channels 1–4 and input channels 1– 8. ● Signal flow during mixdown Recorder section Track 1 Track 2 Track 3 Track 4 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC MIC/LINE INPUT jacks 1 Pad channels 1–4 2 3 Sound clip 4 Input channels 1–8 Track channels 1–16 Stereo output channel Stereo bus Mixer section 81 Mixdown and bounce operations “Bounce” is the process by which the signals recorded on multiple tracks are mixed to the stereo bus, and rerecorded on one or two other tracks. (This process is also called “ping-pong recording.”) The diagram below shows the signal flow during bouncing. This process differs from mixdown in several points; you use the L/R bus instead of the stereo bus, only the track channels are the recording sources, and that the recording-destination is one or two vacant tracks. This diagram shows an example in which the track 1–8 signals are bounced to tracks 9/10. After bouncing, you can switch the virtual tracks for tracks 1–8, and use these tracks to record other instrumental performances. ● Signal flow during bouncing Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Track 9 Track 10 Track channels Stereo output channel Stereo bus Mixer section 82 Preparing for mixdown To prepare for mixdown, select the track channels that you will mix down, and adjust the balance and tone of each track. 1 2 4 The MASTERING LIBRARY popup window will appear. Turn the [DATA/JOG] dial to select the desired library data, then move the cursor to the RECALL button and press the [ENTER] key. Lower the [STEREO] fader to the –∞ position. In the Quick Navigate section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the MIXDOWN page of the RECORD screen. The MIXDOWN page is where you can perform mixdown operations. In this page you can select the channels that will be recorded via the stereo bus onto the stereo track. 2 1 Tip! The mastering library contains data for loading EQ/ dynamics settings into the stereo output channel. (For details, refer to → p. 78) 3 5 4 If you want to use the mastering library, move the cursor to the LIBRARY button and press the [ENTER] key. If you want to adjust the pan of each track channel, repeatedly press the Selected Channel section [PAN/BAL] knob or hold down the [PAN/BAL] knob and use the CURSOR [ ]/ [ ] keys to access the PAN page of the PAN screen. In this page you can set pairing, phase, and pan for each channel. 1 1 REC button Puts the stereo track in record-ready mode. Defeats the record-ready state of the stereo track. C LIBRARY button Accesses the mastering library. D Stereo bus Indicates the on/off status of the channels being sent to the stereo bus. The numbers within the screen correspond to the following channels. INPUT 1–8................. Input channels 1–8 P1–P4......................... Pad channels 1–4 TRACK 1–16 .............. Track channels 1–16 3 Use the [INPUT SEL] keys, [TRACK SEL] keys, and pad keys 1–4 to select the channels that you want to send to the stereo bus. The screen will change as follows each time you press a key or pad repeatedly. Tip! • All channels will be turned on by default. However in order to obtain the best S/N ratio, you should turn off any channels that you are not using. • You can also add the signals of the input channels or pad channels to the mixdown (→ p. 89). 2 3 1 PAIR Indicates the paired status of adjacent odd-numbered/even-numbered channels. A heart symbol indicates channels that are paired, and a broken heart symbol indicates channels that are not paired. You can also set or defeat pairing in this page by moving the cursor to a heart symbol and pressing the [ENTER] key. Note Track channels 9/10–15/16 and pad channels 1–4 always function as paired channels. Pairing cannot be defeated for these channels. B PHASE Switches the phase of the signal of each channel between normal and reversed. Move the cursor to this location and press the [ENTER] key to switch between N (Normal) and R (Reverse) phase. C PAN Adjusts the pan (the left/right position when the signal is sent to the stereo bus or L/R bus) of each channel. 83 Mixdown and bounce operations B SAFE button 9 Mixdown and bounce operations Note • If the page is different than shown above, make sure that you have selected track channels as the object of operations. (This is indicated in the upper left of the screen.) If input channels and pad channels are selected, press any one of the [TRACK SEL] keys. • Even if channels are paired, their phase and pan are not linked. Set these parameters individually for each channel. 6 7 8 Raise the [STEREO] fader to the 0 dB position. While you play back the song, raise the track channel faders to an appropriate level. If necessary, adjust the EQ and dynamics of each track channel. You can adjust the track channel EQ/dynamics in a similar way as for the input channels; press a [TRACK SEL] key to select a track channel, and use the Selected Channel section [EQ] knob and [DYN] knob. Move the cursor to the PAN knob of each track channel, and turn the [DATA/JOG] dial to adjust the pan setting. Tip! Another way of adjusting the pan is to press a [TRACK SEL] key to select a track channel, and then turn the [PAN/BAL] knob in the Selected Channel section. This method is convenient when you want to adjust the pan without displaying a different screen. If you use the [PAN/BAL] knob to adjust the pan of track channels 9/10–15/16, moving the knob will initially cause only the pan value of one side to change. When that pan value reaches the far right or left, the other pan value will then begin to change. Using the internal effects via send/return You can use the internal effects via send/return to add effects to the mixdown. As an example, here’s how to use internal effect 1 in this way. Tip! If the page you see is different than shown above, make sure that input channels are selected as the object of your operations. (This is shown in the upper left of the screen.) If track channels are selected, press one of the [INPUT SEL] keys. ■ Internally connecting an internal effect via send/return The “Track recording” chapter explained how to insert an internal effect into an input channel by using the input library. If an insert effect has been inserted in a channel, you must first “un-insert” that effect (cancel the insertion) before you can use it in a send/return configuration. 1 2 Repeatedly press the [EFF1] knob or hold down the [EFF1] knob and use the CURSOR [ ]/[ ] keys to access the SEND page of the EFF1 screen. 1 1 EFF INSERT Inserts/cancels an insert effect for a specific channel. The display will indicate “on” for a channel into which an effect is currently inserted. Move the cursor to the EFF INSERT field of the channel into which effect 1 is inserted, and press the [ENTER] key. A popup window will ask you to confirm that you want to cancel (release) the effect insertion. Press any [INPUT SEL] key to select an input channel for operations. The SEND page of the EFF1 screen will appear. 84 3 4 Move the cursor to the OK button and press the [ENTER] key. Insertion of insert effect 1 into that channel will be cancelled, and now you are free to use this effect in the mixer section via send/return. ■ Adjusting the effect send level Here’s how to load an effect library into internal effect 1, and adjust the level (effect send level) of the signal that is sent from each channel via effect bus 1 to internal effect 1. 1 Repeatedly press the [EFF1] knob or hold down the [EFF1] knob and use the CURSOR [ ]/[ ] keys to access the LIBRARY page of the EFF1 screen. 2 Select the effect library that you want to use, and load it into internal effect 1. In this example, we will select a reverb-type library. 5 While you play back the song, move the cursor to the EFF knobs in the screen, and adjust the level of the signal that is sent from each channel to internal effect 1. Tip! Another way of adjusting the send level to internal effect 1 is to press a [TRACK SEL] key to select a track channel, and then turn the [EFF1] knob of the Selected Channel section. This method is convenient if you want to adjust the effect level without displaying a different screen. 6 To adjust the master level of the effect send, repeatedly press the Selected Channel section [VIEW] key or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the BUS page of the VIEW screen. The BUS page of the VIEW screen lets you use onscreen faders to adjust the master level of each bus. 3 Press the [EFF1] knob once to access the SEND page of the EFF1 screen. If insert effect 1 is connected via the mixer section send/return, the following items will be added to the SEND page of the EFF1 screen. 12 1 3 4 5 1 PEAK button 2 B PRE/POST button This selects whether the level meters of the BUS page will indicate the pre-fader level (PRE) or the post-fader level (POST). This setting is independent from the METER page of the VIEW screen. 1 EFF Adjusts the send level of the signal that is sent from each channel to insert effect 1. B PRE/POST Selects the location from which the signal from each channel will be sent to insert effect 1. Move the cursor to this area and press the [ENTER] key to switch between the following two settings. PRE (pre-fader) .......... The signal from immediately before the fader will be sent. POST (post-fader) ...... The signal from immediately after the fader will be sent. Note If the page you see is different than shown above, make sure that track channels are selected as the object of your operations. (This is shown in the upper left of the screen.) If input channels/pad channels are selected, press one of the [TRACK SEL] keys. 4 Move the cursor to the PRE/POST field in the screen, and press the [ENTER] key to specify the location from which the signal will be sent from each channel to internal effect 1. C AUX D EFF E BUS Use these faders to adjust the master levels of AUX buses 1/2, effect buses 1/2, and the L/R bus. The level of each bus is indicated by the level meters at the right of each fader. 7 Move the cursor to the fader for effect bus 1, and use the [DATA/JOG] dial to raise or lower it. Tip! You can also adjust the level of the return signal that is returned from the internal effect to the mixer section. For details, refer to “Editing the parameters of an internal effect” (→ p. 94). Select POST if you want the volume of the effect sound to be affected by the fader position. Select PRE if you want to set the volume of the effect sound independently of the fader position. 85 9 Mixdown and bounce operations This is an on/off switch for the peak hold function of the level meters. If this button is on, a peak indicator will show the level meter peaks, and will remain displayed. To reset this indicator, you can temporarily switch the PEAK button off. This setting is shared with the METER page of the VIEW screen. Mixdown and bounce operations Recording on the stereo track Here’s how to record the final mix on the stereo track. 1 In the Quick Navigate section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the MIXDOWN page of the RECORD screen. 1 ST.TRACK ON/OFF button Switches stereo track playback on/off. B Virtual track Selects the virtual track that is assigned to the stereo track. The currently selected virtual track is indicated by a “●.” Of the other virtual tracks, those that have already been recorded are indicated by “O,” and the unrecorded tracks are indicated by “-”. C Track view In this area, markers and the presence or absence of track data are displayed graphically. D PRE/POST buttons 2 The panel [STEREO] key will blink red. This blinking indicates that the stereo track is in record-ready mode. 3 These buttons select whether the level meter in the ST.TRACK page will indicate the pre-fader level (PRE) or the post-fader level (POST). This setting is shared with the BUS page of the VIEW screen. Move the cursor to the REC button of the MIXDOWN page, and press the [ENTER] key to turn the button on. Press the RTZ [ ] key to rewind the song. Then hold down the REC [●] key and press the PLAY [ ] key. E Level meter This indicates the output level of the stereo track. 6 The song will begin playing, and the playback will be recorded on the stereo track. Tip! The data that is recorded here on the stereo track will be the data that is used to create an audio CD. If you want to precisely specify the beginning or end of the song, it is convenient to use Auto Punch-in/out (→ p. 59). 4 5 To play back the stereo track, repeatedly press the Quick Navigate section [MONITOR] key or hold down the [MONITOR] key and use the CURSOR [ ]/[ ] keys to access the ST.TRACK page of the MONITOR screen. 1 2 4 86 3 5 When this button is on, the stereo track output will be sent to a point directly before the [STEREO] fader, and can be monitored from the STEREO/AUX OUT jacks or the MONITOR OUT jacks. At this time, the record-ready status of all tracks will be cancelled. Tip! Even while the stereo track is playing, you can still monitor the signals from the input channels. Note When you reach the end of the song, move the cursor to the SAFE button in the screen and press the [ENTER] key. A popup window will ask you to confirm that you want to cancel record-ready mode. Move the cursor to the OK button and press the [ENTER] key. Switch the ST.TRACK ON/OFF button ON. EQ and dynamics processing are applied to the playback of the stereo track. 7 Press the RTZ [ ] key to rewind the song, and press the PLAY [ ] key. The stereo track will be played back. Use the [STEREO] fader to adjust the monitor level. When playback ends and you want to move to a different screen, switch the ST.TRACK ON/OFF button OFF. Tip! If desired, you can use the [UNDO/REDO] button to cancel the recording that was made on the stereo track (→ p. 61), or use the ST.TRACK page to switch virtual tracks and record another take (→ p. 62). Bounce (ping-pong) recording procedure Here’s how to perform the bounce (ping-pong) recording procedure, which lets you combine multiple tracks onto one or two tracks. 1 2 3 Lower the [STEREO] fader to the –∞ position. In the Quick Navigate section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the BOUNCE page of the RECORD screen. In the upper TRACK area, select a bounce-source track, move the cursor to the symbol for that track, and press the [ENTER] key. Each time you press the [ENTER] key, the screen will change as follows. In the BOUNCE page you can select the bouncesource tracks, and record them via the L/R bus onto one or two bounce-destination tracks. 51 2 Tip! If a track channel is selected as a bounce-source, its assignment to the stereo bus will automatically be turned off. 43 1 TRACK (upper line) Selects the bounce-source tracks. The two horizontal lines indicate the L/R bus signal route. This lets you see the on/off status of the signals that are sent from the bounce-source tracks, and see the selected bounce-destination track(s). C TRACK (lower line) Select other bounce-source tracks in the same way. Use the [TRACK SEL] keys to select a bouncedestination track. The [TRACK SEL] key will blink red, indicates that the corresponding track is selected as the bouncedestination. A line will appear in the screen to indicate the connection to the track. (To cancel your selection, press the same key once again.) Here you can select the bounce-destination track(s). D SAFE button When you move the cursor to this button and press the [ENTER] key, all bounce-source and bouncedestination assignments will be cancelled. E BUS button When you move the cursor to this button and press the [ENTER] key, the right side of the screen will show a fader for adjusting the output level of the L/R bus, and a dedicated level meter for the L/R bus. You can select up to two bounce-destination tracks. If you select track 1, 3, 5, or 7, bus L will be connected. If you select track 2, 4, 6, or 8, bus R will be connected. If you select track 9/10–15/16, bus L will be connected to the odd-numbered track, and bus R will be connected to the even-numbered track. Tip! • If you move the cursor to the SAFE button and press the [ENTER] key, all connections will be cancelled. • EQ and dynamics settings will be “flat” for the track channels of the tracks you select as the recording-destination. • If you select an unpaired track, the pan of the track channel will be at the center position. If you select paired tracks, the pan of adjacent odd-numbered/evennumbered track channels will be spread to left and right respectively. 87 9 Mixdown and bounce operations B Bus L/R 4 5 Mixdown and bounce operations 6 7 Raise the [STEREO] fader and the faders of the track channel(s) you selected as the bounce-destination to the 0 dB position. While you play back the song, raise the faders of the bounce-source track channels to an appropriate level. Adjust the pan, EQ, and dynamics of each track channel as necessary. Note The bounce-destination faders will not affect the content that is recorded. However, the bounce-source faders specify the volume balance that will be recorded. 8 Press the RTZ [ ] key to rewind the song. Then hold down the REC [●] key and press the PLAY [ ] key. The song will begin playing back, and will be recorded on the bounce-destination track(s). 9 When you reach the end of the song, stop the song and press the RTZ [ ] key to rewind. 10 To check the recorded result, move the cursor to the SAFE button and press the [ENTER] key to cancel the recording settings. 11 Access the ON/OFF page of the MONITOR screen (→ p. 31), turn off all track channels other than the bounce-destination, and press the PLAY [ ] key. Tip! • If you attempt to change the screen or page without using the SAFE button, a popup window asking “Clear Current REC Setting?” will appear, asking you whether it is ok to clear the current recording settings. Move the cursor to the OK button and press the [ENTER] key. • If desired, you can use the [UNDO/REDO] button to cancel the bounce-recording operation (→ p. 61), or switch the virtual track of the bounce-destination and record another take (→ p. 62). 88 Convenient functions during mixdown/ bounce operations Here are some convenient functions that you can use during mixdown or bounce operations. 5 Adding input signals or pad performances during mixdown In the Selected Channel section, repeatedly press the [VIEW] key or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the FADER page of the VIEW screen. In the FADER page of the VIEW screen, you can use on-screen faders to adjust the faders (input level) of each channel. During mixdown, you can add signals from the input channels or pad channels. For example, you could add a performance from a workstation-type synthesizer (with built-in sequencer) that is synchronized to the AW16G song, or add sound effects that have been assigned to the pads. To do this, perform the following steps after you have completed “Preparing for mixdown” (→ p. 83). 1 2 Press the [INPUT SEL] key or pad that corresponds to the input channel or pad channel you want to use, to add that channel as a mixdown-source. In the Selected Channel section, repeatedly press the [PAN/BAL] knob or hold down the [PAN/BAL] knob and use the CURSOR [ ]/ [ ] keys to access the PAN page of the PAN screen. 2 1 ON/OFF buttons These buttons switch each channel on/off. B Faders These faders adjust the input level of each channel. 6 While you play back the song, move the cursor to the on-screen faders and turn the [DATA/JOG] dial to adjust the level of the input channels/pad channels that you want to use. 7 If necessary, adjust EQ, dynamics, and the send level to the internal effects for each input channel or pad channel. Now you have completed the preparations for adding input channel or pad channel signals to the mixdown. Record the mixdown on the stereo channel as described in “Recording on the stereo track” (→ p. 86). Note If the page you see is different than shown above, make sure that input channels/pad channels are selected as the object of your operations. (This is shown in the upper left of the screen.) If track channels are selected, press one of the [INPUT SEL] keys or pads. 4 Move the cursor to the PAN knob of the channel you want to use, and turn the [DATA/JOG] dial to adjust the pan setting. 89 9 Mixdown and bounce operations 3 In the Quick Navigate section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the MIXDOWN page of the RECORD screen. 1 Mixdown and bounce operations Using meters to check the level of each channel Viewing all parameters for a certain channel During mixdown or bouncing, you can watch meters that indicate the input levels in a single screen. To do so, repeatedly press the Selected Channel section [VIEW] key or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the METER page of the VIEW screen. Sometimes you will want to see all mix parameters for a certain channel in a single screen. To do this, repeatedly press the Selected Channel section [VIEW] key or hold down the [VIEW] key and use the CURSOR [ ]/[ ] keys to access the CH VIEW page of the VIEW screen. (Some items can also be edited from this page.) In the METER page, the display will change depending on the channel that is currently selected (shown in the upper left of the screen). Press an [INPUT SEL] key to view the meters for the input channels/pad channels, or press a [TRACK SEL] key to view the meters for the track channels. The display in the CH VIEW page will change depending on the currently selected channel (shown in the upper left of the screen). Use the [INPUT SEL] keys, pads 1–4, [TRACK SEL] keys, and [STEREO SEL] key to select the channel that you want to view. ● If a track channel is selected 2 1 ● If an input channel, pad channel, or track channel is selected 1 3 ● If an input channel/pad channel is selected 2 1 3 23 4 5 6 7 M KL ● If the stereo output channel is selected 1 PEAK button This button switches the level meter peak hold function on/off. When this button is on, a indicator will show the peaks of the level meters, and this indicator will be held. To reset the indicator, temporarily turn off the PEAK button. This setting is shared with the BUS page of the VIEW screen. B PRE/POST buttons These buttons select whether the level meters in the METER page will indicate the pre-fader levels (PRE) or the post-fader levels (POST). This setting is independent from the BUS page of the VIEW screen. C Level meters These indicate the input level of each channel. J 89 2 4 5 67 N L 1 Pairing Indicates the pairing status of adjacent odd-numbered/even-numbered channels. Paired channels are indicated by a heart-shaped symbol, and unpaired channels are indicated by a broken heart. Move the cursor here and press the [ENTER] key to switch pairing on/off. Note Pairing cannot be switched off for track channels 9/10– 15/16, pad channels 1–4, and the stereo channel. B ATT knob Move the cursor to this knob and turn the [DATA/ JOG] dial to adjust the attenuation of the signal over a range of 0 to –96 dB before it enters the EQ. This is the same function as the ATT. knob in the EDIT page of the EQ screen. C Phase (except for the stereo output channel) Move the cursor here and press the [ENTER] key to switch the phase of the signal between N (Normal) and R (Reverse). 90 D Effect insert N OUTPUT LEVEL (only for the stereo output channel) This lets you insert an internal effect into the channel. When you move the cursor here and press the [ENTER] key, a popup window will appear, allowing you to select internal effect 1 or 2. Move the cursor to this knob and turn the [DATA/ JOG] dial to adjust the output level of the signal that is sent from the stereo output channel to the STEREO/AUX OUT jacks and MONITOR OUT jacks. The range is –∞ to 0 dB. E EQ Move the cursor here and press the [ENTER] key to switch EQ on/off. Note F DYN The OUTPUT LEVEL knob will follow the operation of the panel [STEREO FADER]. However, please note that if you adjust the on-screen knob and then operate the panel fader, the value will not change until the fader passes the current value. Move the cursor here and press the [ENTER] key to switch dynamics on/off. G ON/OFF Move the cursor here and press the [ENTER] key to switch the channel on/off. H EFF1 (except for the stereo output channel) I EFF2 (except for the stereo output channel) J AUX1 (except for the stereo output channel) K AUX2 (except for the stereo output channel) Move the cursor to these knobs and turn the [DATA/ JOG] dial to adjust the send levels to effect buses 1/ 2 and AUX buses 1/2. By moving the cursor to the left of the knob and pressing the [ENTER] key, you can switch between pre-fader (send the pre-fader signal to the bus) and post-fader (send the post-fader signal to the bus). Initializing a channel The mix parameters (EQ, dynamics, pan, etc.) of a channel can be reset to their default settings in a single operation. This function lets you start mixdown or bounce operations with the track channels “zeroed,” and provides an easy way to reset the levels back to the nominal setting if you can no longer hear any sound. 1 In the Quick Navigate section, repeatedly press the [MONITOR] key or hold down the [MONITOR] key and use the CURSOR [ ]/ [ ] keys to access the INIT page. 9 L PAN/BALANCE knob In this page you can separately initialize the mix parameters of input channels 1–8, pad channels 1– 4, or track channels 1–16. M FADER knob (except for the stereo output channel) 2 Move the cursor to this knob and turn the [DATA/ JOG] dial to adjust the level of the signal that is sent from the channel to the stereo bus or L/R bus. The range is –∞ to +6 dB. Press the [INPUT SEL] key, pad, or [TRACK SEL] key for the channel that you want to initialize. When you press a key or pad, the upper line of the screen will indicate “CH.PARAMETER INITIALIZED,” and the corresponding channel will be initialized. (Channel library 00 will be recalled.) An initialized channel will have the following mix parameter settings. Note The FADER knob of a track channel will follow the operation of the corresponding panel fader 1–8 or 9/10–15/16. However, please note that if you adjust an on-screen knob and then operate the panel fader, the value will not change until the fader passes the current value. Input channel Pad channel Track channel Phase no change no change no change Attenuation 0 dB 0 dB 0 dB EQ ON ON ON EQ parameters flat flat flat Dynamics on/off OFF OFF OFF Dynamics type COMP COMP COMP Dynamics parameters no effect no effect no effect Pan If paired: L channel = L16, R channel = R16 If unpaired: center L channel = L16 R channel = R16 If paired: L channel = L16, R channel = R16 If unpaired: center Fader 0 dB* 0 dB no change* * If FADER FLIP is set to TRACK in the UTILITY screen PREFER page. 91 Mixdown and bounce operations Move the cursor to this knob and turn the [DATA/ JOG] dial to adjust the pan (or balance, in the case of the stereo output channel) of the signal that is sent from the channel to the stereo bus or L/R bus. Mixdown and bounce operations Editing the EQ parameters The chapters entitled “Track recording” and “Overdubbing” explained how to load an EQ library and use the Selected Channel section [EQ] knob to make adjustments. Here’s how you can make more detailed adjustments to the EQ parameters. 1 Press an [INPUT SEL] key, a pad 1–4, a [TRACK SEL] key, or the [STEREO SEL] key to select the channel whose EQ you want to adjust. 2 3 If desired, load library data from the EQ library. 4 5 6 2 3 4 6 To switch the HIGH band type, turn the HIGH band Q knob all the way to the left. 7 To switch the EQ on/off, press the [ENTER] key. 5 1 78 1 ON/OFF button Switches the EQ on/off. B Response curve Graphically indicates the approximate response of the EQ. C FLAT button Move the cursor to this button and press the [ENTER] key to reset the boost/cut amount of all bands to 0 dB. D ATT. (Attenuation) knob Attenuates the signal immediately before it is input to the EQ, over a range of –96 to 0 dB. This is used mainly to prevent the signal from clipping when you use the EQ to boost a specific frequency region. E Output meter Indicates the level of the signal after it has passed through the EQ. F Q knobs Specify the Q (steepness) at which each band (HIGH, HI-MID, LO-MID, LOW) will be boosted or cut. The range is 10–0.10, and higher settings will produce a steeper curve. G F (Frequency) knobs Specify the center frequency of the boost/cut, over a range of 21.2 Hz–20.0 kHz. H G (Gain) knobs Specify the amount of boost/cut, over a range of –18.0 dB to +18.0 dB. 92 To switch the LOW band type, move the cursor to the LOW band Q knob and turn the [DATA/JOG] dial toward the left. With the default EQ settings, the LOW band is a shelving type. (The value field for the Q knob will indicate “L.SHL”.) If you turn the Q knob toward the left, the Q knob value field will change to a numerical value, and will switch to the same boost/cut type as the HIMID and LO-MID bands. If you continue turning the Q knob toward the left, the Q knob value field will indicate “HPF,” and the LOW band will function as a high-pass filter. If “HPF” is selected, you can use the LOW band G knob to switch the high-pass filter on/off. Repeatedly press the Selected Channel section [EQ] knob or hold down the [EQ] knob and use the CURSOR [ ]/[ ] keys to access the EDIT page of the EQ screen. The EDIT page of the EQ screen lets you edit all of the EQ parameters. Move the cursor to the parameter that you want to edit, and use the [DATA/JOG] dial to adjust the value. With the default EQ settings, the HIGH band is a shelving type. (The value field for the Q knob will indicate “H.SHL”.) If you turn the Q knob toward the left, the Q knob value field will change to a numerical value, and will switch to the same boost/cut type as the HIMID and LO-MID bands. If you continue turning the Q knob toward the left, the Q knob value field will indicate “LPF,” and the HIGH band will function as a low-pass filter. If “LPF” is selected, you can use the HIGH band G knob to switch the low-pass filter on/off. In the EDIT page, you can press the [ENTER] key to switch the EQ on/off (except when the cursor is located at the FLAT button). Tip! • If the meter display clips because you boosted a certain band, lower the ATT. knob to attenuate the signal. • The [EQ] knob of the Selected Channel section will still operate even while the EDIT page of the EQ screen is displayed. Editing the dynamics parameters Note You can perform detailed editing of the dynamics parameters in the same way as for the EQ parameters. You will not be able to select LEFT if you have selected input channel 1, pad channel 1, track channel 1, or the stereo output channel. 1 Press an [INPUT SEL] key, a pad 1–4, a [TRACK SEL] key, or the [STEREO SEL] key to select the channel whose dynamics parameters you want to edit. 2 3 From the dynamics library, recall the settings that are closest to what you have in mind. Repeatedly press the Selected Channel section [DYN] knob or hold down the [DYN] knob and use the CURSOR [ ]/[ ] keys to access the EDIT page of the DYN screen. 2 Tip! Dynamics settings and operation are linked for paired channels and for the stereo output channel. In this case, dynamics processing will operate simultaneously for both channels if either channel exceeds the threshold level. E GR (Gain Reduction) Indicates the amount of gain reduction produced by the dynamics processor, in a range of –18 dB to 0 dB. F Output meter Indicates the level of the signal after it has passed through the dynamics processor. 4 G Parameters Here you can edit the parameters of the dynamics processor. The type of parameters and their ranges will differ depending on the dynamics processor type. For details on the types of parameter and their function, refer to the appendix. 1 3 7 56 1 ON/OFF button Switches dynamics on/off. B TYPE COMP........................ Compressor EXPAND..................... Expander GATE.......................... Gate COMPAND-H ............ Compander (hard) COMPAND-S ............. Compander (soft) DUCKING ................. Ducking Move the cursor to the parameter that you want to edit, and use the [DATA/JOG] dial to edit the value. To switch dynamics on/off, press the [ENTER] key. In the EDIT page, you can press the [ENTER] key to switch dynamics on/off regardless of the cursor location. Please be aware that if you edit even one parameter in the EDIT page of the DYN screen, the operation of the Selected Channel section [DYN] knob will change as follows for that channel. Note You cannot change the dynamics type in this page. If you want to use a different type, you must recall library settings that use the desired type. C Response curve This graph indicates the approximate response of dynamics settings. The horizontal axis of the graph is the input level, and the vertical axis is the output level. D KEYIN SOURCE Selects one of the following as the trigger signal (key-in signal) that will control dynamics processing. SELF ........................... The post-EQ signal of the currently selected channel LEFT ........................... The post-EQ signal of the adjacent channel to the left AUX1 ......................... The signal immediately before the master send level of the AUX 1 bus AUX2 ......................... The signal immediately before the master send level of the AUX 2 bus 93 9 Mixdown and bounce operations Indicates the currently selected dynamics type. The displayed indication has the following meaning. 4 5 Mixdown and bounce operations 1 Immediately after recalling a read-only library that contains dynamics settings, turning the [DYN] knob will simultaneously adjust multiple parameters to affect the dynamics processing. (The amount of change will depend on the last-recalled library.) Editing the parameters of an internal effect By using the EDIT page of the EFF1 screen or EFF2 screen, you can make detailed edits to the effect parameters of the internal effects 1 and 2. If an effect is internally connected via send/return in the mixer section, the parameters (EQ, pan, AUX send, etc.) of the return channel that processes the return signal can also be edited in this page. As an example, here’s how you can edit the settings of internal effect 1, internally connected via send/return. 1 For internal effect 1, recall an effect library that uses the desired effect type. 2 In the Selected Channel section, repeatedly press the [EFF1] knob or hold down the [EFF1] knob and use the CURSOR [ ]/[ ] keys to access the EDIT page of the EFF1 screen. You cannot change the effect type (e.g., reverb, delay) in the EDIT page. You must first recall library settings that use the desired type. The EDIT page lets you edit all of the effect parameters. 2 3 4 B For a channel for which you edited even one parameter in the EDIT page of the DYN screen, turning the [DYN] knob will adjust only the last-edited parameter. (The lastedited parameter is remembered for each channel.) 1 5 1 BYPASS ON/OFF button Switches effect bypass on/off. The effect will not be heard if this button is on. B TYPE Indicates the type of the currently selected effect. Note You cannot change the effect type in this page. If you want to use a different type, you must recall library settings that use the desired effect type. C STEREO/MONO Indicates whether the effect is stereo or monaural. A stereo-input effect is indicated by , and a monaural-input effect is indicated by . D USED AS C If you once again recall a read-only library that contains dynamics settings, turning the [DYN] knob will again simultaneously adjust multiple parameters. 94 Indicates how this effect is being used. If the effect is internally connected to the mixer section via send/return, this will indicate “EFF1” or “EFF2.” If the effect is inserted into a specific channel, this will indicate the name of the channel into which the effect is inserted (e.g., “INPUT 1”). E Parameter page/Return channel page 1 EFF2SEND In this area you can edit the various effect parameters. The content and range of the parameters will depend on the currently-used effect type. If the effect is internally connected to the mixer section via send/return, this area will show the mix parameters of the return channel, allowing you to edit them. 3 Move the cursor to the effect parameter that you want to edit, and turn the [DATA/JOG] dial to edit the value. Depending on the effect type, this area may be used to show multiple parameter pages. In this case, repeatedly press the CURSOR [ ] key to access the parameter page that contains the parameter you want to edit. For example, the illustration below shows the parameter pages for the STEREO DELAY effect type. Adjusts the level at which the signal is sent from the return channel to the other internal effect. Note You cannot send the signal from return channel 1 to insert effect 1 (since this would mean sending the signal back to the same effect itself). For this reason, the EDIT page of the EFF1 screen has no send level to effect 1. For the same reason, the EDIT page of the EFF2 screen has no send level to effect 2. B AUX1SEND C AUX2SEND These adjust the send level of the signal that is sent from the return channel to AUX buses 1/2. D EFF2 PRE/POST Switches the signal that is sent from the return channel to the other effect bus between pre-fader and post-fader. E AUX1 PRE/POST F AUX2 PRE/POST These switch the signals that are sent from the return channel to AUX buses 1/2 between pre-fader and post-fader. 1 2 3 9 MIX BAL. parameter Mixdown and bounce operations Tip! The parameter pages show the parameters that are specific to that effect type. However for all effect types, the lower right of the last parameter page will have a MIX BAL. parameter which sets the mix balance between the effect sound and the original sound. 4 To edit the mix parameters of the return channel, access the last parameter page, and then press the CURSOR [ ] key once again. If the effect is internally connected to the mixer section via send/return, you can repeatedly press the CURSOR [ ] key to access the mix parameters of the return channel. The following pages are the same for all effect types. 1 4 2 5 3 4 1 B C D E F 5 6 EQ HIGH GAIN EQ HIGH FREQ EQ HIGH Q EQ H-MID GAIN EQ H-MID FREQ EQ H-MID Q These specify the gain, frequency, and Q for the HIGH and HI-MID bands of the return channel EQ. The range of each parameter is the same as in the EDIT page of the EQ screen. 6 95 Mixdown and bounce operations 2 1 3 Inserting an effect into a track channel The chapter “Track recording” explained how to insert an internal effect into an input channel. In the same way, you can also insert an effect into a track channel or pad channel. As an example, here’s how to insert internal effect 1 into a track channel for use during mixdown or bouncing. 4 1 B C D E F 5 6 EQ L-MID GAIN EQ L-MID FREQ EQ L-MID Q EQ LOW GAIN EQ LOW FREQ EQ LOW Q 1 In the Selected Channel section, repeatedly press the [EFF1] knob or hold down the [EFF1] knob and use the CURSOR [ ]/[ ] keys to access the SEND page of the EFF1 screen. These specify the gain, frequency, and Q for the LOMID and LOW bands of the return channel EQ. The range of each parameter is the same as in the EDIT page of the EQ screen. Note If the displayed page is different than shown above, make sure that a track channel is selected as the object of operations. (This is indicated in the upper left of the screen.) If an input channel/pad channel is selected, press any one of the [TRACK SEL] keys. 1 2 3 2 1 PAN L B PAN R Move the cursor to the EFF INSERT field of the track channel into which you want to insert an effect, and press the [ENTER] key. A popup window will appear, asking whether it is ok to release internal effect 1 from the send/return connection. Independently specify the return channel panning for the L and R channels. C RETURN Adjusts the input level for return channel 1. 5 6 Access the desired return channel page, move the cursor to a parameter, and turn the [DATA/JOG] dial. To switch effect bypass on/off, press the [ENTER] key. In the EDIT page, you can press the [ENTER] key to switch bypass on/off regardless of the current location. 3 4 5 6 Move the cursor to the OK button and press the [ENTER] key. Internal effect 1 will be inserted into the selected track channel. Press the [EFF1] knob twice to access the LIBRARY page of the EFF1 screen. Select the library that you want to use for that channel. Note If you insert an internal effect into a channel, the SEND page of the EFF1 screen will no longer show return channel pages 1–4. To adjust the balance between the original sound and the effect sound, use the MIX BAL. parameter that is shown in the last parameter page. Tip! You can also insert an effect by using the effect insert field in the CH VIEW page of the VIEW screen (→ p. 91). 96 Chapter 10 Creating an audio CD This chapter explains how you can use the CD-RW drive to create an audio CD, and how to play back an audio CD. Creating an audio CD On the AW16G, you can select one or more songs on the hard disk, and write the audio data from the stereo track of each song to a CD-R/RW disc in CD-DA format. The CD-R/RW media to which you write this data can be played by the CD-RW drive or a conventional CD player in the same way as any audio CD. Note Some CD players that do not support CD-R/RW media may not be able to play back a CD you create. In order to create a CD, you must first register one or more songs in a “track list,” and then write the virtual track currently selected for the stereo track of each song (the “current track”) to the CD in the order specified by the track list. A maximum of 99 tracks (areas on CD media to which audio data can be written individually) can be written to one volume of CD-R/RW media, and each track must be at least four seconds long. The maximum length of time that can be written is approximately 74 minutes for 650 MB media, or approximately 80 minutes for 700 MB media. Types of media that you can use with the CD-RW drive The CD-RW drive of the AW16G can use two types of media: “CD-R” which lets you record and add data, and “CD-RW” which lets you erase previously-recorded data and rewrite it. Each type of media has the following characteristics. ● CD-R You can write data to this media, and add additional data later. You cannot erase and rewrite data that has already been written. Once you perform a process known as “finalizing the disc,” the audio data written to the CD-R can be played by the CD-RW drive or by most CD players. ● CD-RW In addition to writing and adding data, this media lets you erase all recorded data and rewrite it. Audio data written to a CD-RW can be played back by the CDRW or by CD players that support CD-RW media. 97 Creating an audio CD Methods of writing an audio CD There are two ways in which you can write audio data to CD-R/RW media. ● Track At Once This method writes the data in units of CD tracks. The advantage of this method is that you can add new data to media that already contains existing data. With the Track At Once method, the data from the beginning to the end of the stereo track of a song is written to the CD as one track. (Even if there is a portion during the song that contains no data, it will be written as silent audio data.) Since each track is written individually when you use this method, an interval of approximately two seconds will be created between each track. Start ● Disc At Once This method writes all tracks at once. Similarly to when using the Track At Once method, the data from the beginning to the end of the stereo track of each song is written to the CD as one track. However since writing does not stop until all data has been written, there will be no gap between the tracks. Start End Song A Marker = off Start End Song B Marker = off End Audio CD Song A Start End Track 1 Track 2 no gap Song B When using Disc At Once to write a CD, you can use the start point, end point and markers that were assigned within the AW16G song to divide a single continuous song into multiple tracks for writing. Audio CD Track 1 Track 2 interval (2 seconds) In order for a disc written using Track At Once to be playable by the CD-RW drive or a CD player, you must perform a process known as “finalizing” to write track information to the disc. Once you have finalized a disc, you cannot write any more data to it. For example, this is convenient when you have recorded a live performance as a single song, and want to assign track numbers while leaving the playback in continuous form. Start 1 2 End Song A Marker = on Start 1 2 End Song B Marker = off Audio CD Track 1 Track 2 Track 3 Track 4 Note • A track shorter than four seconds cannot be written to an audio CD. If you use start point/end point/markers to divide a song into multiple tracks, make sure that each track is at least four seconds long. • If the length of the stereo track exceeds the writable length of the media, you can create an audio CD by adjusting the start point/end point so that the region is within the allowable length. (→ p. 102) Media that you write using Disc At Once will be finalized automatically, and can be played back by a CD-RW drive or CD player that supports that type of media. However, no further data can be written to a disc that was written using Disc At Once. 98 Basic settings for the CD-RW drive Before you actually write data to a CD, you will need to make basic settings for the CD-RW drive. 1 2 In the Work Navigate section, repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the SETTING page of the CD screen. 1 2 4 5 3 6 You can select either x8 (eight times as fast as audio playback) or x4 (four times as fast as audio playback). Normally you should use x8, and drop down to x4 if errors occur during writing. 3 1 CD-RW MEDIA ERASE Erases the data that was written to CD-RW media. For details, refer to “Erasing CD-RW media” (→ p. 105). Selects the speed at which audio data will be written to CD-R/RW media. C TEST button Specifies whether a writing test will be performed when you execute writing. D WRITE button F DATA WRITE SPEED This indicates the speed at which data other than CD audio (e.g., backup data or WAV files) is written to CD-R/RW media. Normally this will indicate x8. This will indicate x4 if the media supports a maximum writing speed of x4. This field is for display only, and cannot be edited. G COMPARE button 4 If desired, set the UNDERRUN PROTECT button to ENABLE. The CD-RW drive of the AW16G has a function to prevent “buffer underrun” errors which can occur if data transfer cannot keep up with the writing speed. If you switch the UNDERRUN PROTECT button to the “ENABLE” setting, this function will be enabled, and buffer underruns will be prevented. Note If this button is set to ENABLE, the TEST button will automatically be turned off. Also, if the TEST button is turned on, this button will automatically be set to DISABLE. If this button is on, the original data will be compared with the backed-up data or the exported WAV file after a backup or export operation is performed, to check whether any errors occurred while writing the data. H MOTOR ON ACCESS/DISC IN button Selects one of the following two choices to specify how the drive will operate when CD-R/RW media is inserted. ACCESS ...................... The drive will spin only when access is required. DISC IN ..................... The drive will spin whenever media is inserted. 99 10 Creating an audio CD Enables/disables the function that prevents buffer underrun (an error that can occur when data transfer cannot keep up with writing speed). The TEST button and WRITE button specify whether a writing test and/or the actual writing operation will be performed. The combination of buttons that are on will determine the operation(s) that will occur, as follows. Depending on the media and the state of the hard disk, it is possible that an error may occur while the data is being written. (If you are using a CD-R, this will make the media unusable.) Thus, you can turn on the TEST button to check whether an error will occur before you actually write the disc. If an error occurs during the test, halt the procedure, and either lower the writing speed or set the UNDERRUN PROTECT button to ENABLE. B AUDIO WRITE SPEED E UNDERRUN PROTECT button Use the TEST button and WRITE button to select the writing operation(s). Only the TEST button on .........Only a writing test will be performed. Only the WRITE button on ......Writing will occur immediately. Both the WRITE button and TEST button on ...........First a writing test will be performed, and then the actual writing will be performed. 8 7 Specifies whether the actual writing operation will be performed. Move the cursor to the AUDIO WRITE SPEED field, and turn the [DATA/JOG] dial to select the writing speed. Creating an audio CD Writing audio data (Track At Once) Here’s how to use the Track At Once method to write stereo tracks from songs saved on the hard disk to CD-R/RW media. Use this method if you expect to be adding tracks to the disc later, or if you want a two-second gap between tracks. 1 3 A display like the following will appear. 3 Make sure that the appropriate virtual track is selected for the stereo track of the song(s) you want to write. Only the virtual track that can be played by the stereo track (i.e., the “current track”) will be written to disc. If the correct virtual track is not selected, load that song, use the ST.TRACK page of the MONITOR screen to switch to the correct virtual track, and then save the song. 2 Insert CD-R/RW media in the drive, move the cursor to the TRACK AT ONCE button, and press the [ENTER] key. Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the CD WRITE page of the CD screen. Immediately after you access this page, the following two buttons will appear in the display. 2 6 1 54 1 Song list This is a list of the songs containing stereo tracks that will be written to the CD-R/RW media. The line enclosed by a dotted frame is currently selected for operations. If no songs have been registered, this will indicate “-NO TRACK-”. If audio data has already been written to the inserted CD-R/RW media but the media has not yet been finalized, a title of “--EXIST--” will be displayed for the already-written data. 12 B FINALIZE button Finalizes the inserted media by writing track information to it. C INS button Inserts a new song in front of the song currently selected in the list. 1 TRACK AT ONCE button Creates an audio CD using the Track At Once method. D NEW button Adds a song at the end of the song list. B DISC AT ONCE button Creates an audio CD using the Disc At Once method. E DEL button Deletes the selected song from the list. F EXECUTE button Executes writing to the CD media. Tip! If you have inserted CD-RW media that contains data written using other than the Track At Once method, a popup window will appear immediately after step 3, asking whether you want to erase the data. If you want to erase the entire media, move the cursor to the OK button. If you want to cancel creation of an audio CD, move the cursor to the CANCEL button. Then press the [ENTER] key. 4 100 Move the cursor to the NEW button, and press the [ENTER] key. The song list will show information (track number/ song name/size of the stereo track) for the song that will be written to track 1 of the CD. 5 Move the cursor to the dotted frame in the song list, and turn the [DATA/JOG] dial to select the song that will be written to track 1. Note • When you turn the [DATA/JOG] dial, you will see only songs for which the current stereo track contains data. • Songs with a stereo track shorter than four seconds will not be displayed. • Songs with a stereo track longer than 324 minutes will not be displayed. 6 Repeat steps 4 and 5 to select the songs that will be written to track 2 and following. Tip! • When you move the cursor to the NEW button and press the [ENTER] key, a new song will be added at the end of the existing songs. • By using the INS button instead of the NEW button, you can insert a new song immediately before the song that is selected in the list. • You can use the DEL button to delete the currently selected song from the song list. Note When you add a song to the song list, the same song will always be initially selected. Change this as desired. 7 Move the cursor to the EXECUTE button and press the [ENTER] key. 8 To begin writing, move the cursor to the OK button and press the [ENTER] key. A popup window will ask you to confirm. 10 Creating an audio CD While data is being written to the media, a popup window will indicate “CD Writing...” When writing is completed, a popup window will ask you whether you want to finalize. Note • If an error message of “ATAPI Error!” appears while writing, it is possible that a buffer underrun has occurred. In this case, either decrease the writing speed to 4x or set the UNDERRUN PROTECT button to the ENABLE position. (→ p. 99) • If you enabled the writing test in “Basic settings for the CD-RW drive” (→ p. 99), a writing test will be performed before the data is actually written. If a problem occurs during the writing test, an error message will appear. • Copy-prohibit data will automatically be written into the CD that is created. 9 To finalize the disc, move the cursor to the OK button and press the [ENTER] key. If you do not want to finalize the disc, move the cursor to the CANCEL button and press the [ENTER] key. This completes the writing process. 101 Creating an audio CD Writing audio data (Disc At Once) Here’s how to use the Disc At Once method to write stereo tracks from songs saved on the hard disk to CD-R/RW media. Use this method if you do not want to create silence between each track of the CD, or if you want to write a single song divided into multiple tracks on the CD. C INS button 1 2 E DEL button 3 4 Make sure that the appropriate virtual track is selected for the stereo track of the song(s) you want to write. Inserts a new song in front of the song currently selected in the list. D NEW button Adds a song at the end of the song list. Deletes the selected song from the list. F EXECUTE button Executes writing to the CD media. If you want to divide the song into CD tracks at the marker locations specified within the song, check that markers have been set at the appropriate locations. Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the CD WRITE page of the CD screen. Move the cursor to DISC AT ONCE and press the [ENTER] key. Tip! If data has already been written on the CD-RW media that you insert, a popup window will appear immediately after step 3, asking whether you want to erase the data. Move the cursor to the OK button if you want to erase the entire media, or to the CANCEL button if you want to cancel execution. Then press the [ENTER] key. 5 Move the cursor to the NEW button, and press the [ENTER] key. 6 Move the cursor to the dotted frame in the song list, and turn the [DATA/JOG] dial to select the song that will be written to track 1. Note The following screen will appear. 3 • When you turn the [DATA/JOG] dial, you will see only songs for which the current stereo track contains data. • Songs with a stereo track shorter than four seconds will not be displayed. • Songs with a stereo track longer than 324 minutes will not be displayed. 1 7 2 6 54 1 Song list This is a list of the songs containing stereo tracks that will be written to the CD-R/RW media. The line enclosed by a dotted frame is currently selected for operations. If no songs have been registered, this will indicate “-NO TRACK-”. B MARKER button For each stereo track, this enables or disables the markers that have been set within that song. When you move the cursor to this button and press the [ENTER] key, the start pint, end point and markers within the currently selected stereo track will be enabled. (A “flag” icon will appear at the left of the list.) If markers are enabled for a stereo track, a track number will be written to the CD at the location of each marker. Regardless of any areas of silence, the entire region from the Start point to the End point will be written. 102 The song list will show information (track number/ song name/size of the stereo track) for the song that will be written to track 1 of the CD. If you want the stereo track of the selected song to be divided into CD tracks at the location of each marker, move the cursor to the MARKER button and press the [ENTER] key. Markers will be enabled for that song, and a “flag” icon will appear at the right of the list. Tip! • Markers can be enabled/disabled independently for each song. • When you use markers to divide a stereo track, the location of the divisions will be specified in units of 1/ 75 second. Note • Note that if markers are enabled, the track numbers shown in the list will not match the number of tracks written to the CD. • A maximum of 99 tracks can be written to an audio CD. If, for example, markers are enabled for the song you write to CD track 1, and this song contains 98 markers, it will not be possible to write any more songs to that CD-R/RW media. 8 Repeat steps 5–7 to select the songs that will be written to track 2 and following. Tip! • When you move the cursor to the NEW button and press the [ENTER] key, a new song will be added at the end of the existing songs. • By using the INS button instead of the NEW button, you can insert a new song immediately before the song that is selected in the list. • You can use the DEL button to delete the currently selected song from the song list. Note When you add a song to the song list, the same song will always be initially selected. Change this as desired. 9 Move the cursor to the EXECUTE button and press the [ENTER] key. 10 To begin writing, move the cursor to the OK button and press the [ENTER] key. A popup window will ask you to confirm. While data is being written to the media, a popup window will indicate “CD Writing...” When writing is completed, the CD-R/RW media will be ejected, and the following popup window will appear. 10 Note 11 Creating an audio CD • If you enabled the writing test in “Basic settings for the CD-RW drive” (→ p. 99), a writing test will be performed before the data is actually written. If a problem occurs during the writing test, an error message will appear. • Copy-prohibit data will automatically be written into the CD that is created. If you want to create another CD with the identical contents, insert a new volume of media, and move the cursor to the OK button and press the [ENTER] key. Writing will begin again. Alternatively, you can move the cursor to the CANCEL button and press the [ENTER] key to exit the writing process. 103 Creating an audio CD Finalizing CD-R/RW media Here’s how to finalize CD-R/RW media that you wrote using Track At Once, so that the disc can be played by a CD-RW drive or a CD player. Tip! CD-R/RW media written by the AW16G using Track At Once (and not yet finalized) cannot be played by another CD-RW drive or a CD player, but it can be played by the AW16G’s CD Play function. (→ p. 106) 1 2 Insert the CD-R/RW media that you want to finalize into the CD-RW drive. 3 Move the cursor to the TRACK AT ONCE button, and press the [ENTER] key. 4 Move the cursor to the FINALIZE button, and press the [ENTER] key. 5 To finalize the disc, move the cursor to the OK button and press the [ENTER] key. Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the CD WRITE page of the CD screen. The following screen will appear, and the track list will show the content that has been written to that CD-R/RW media. Already-recorded tracks will be displayed as “--EXIST--”. A popup window will ask you to confirm the finalize operation. If you decide not to finalize the disc, move the cursor to the CANCEL button and press the [ENTER] key. Note The finalize operation cannot be halted once it has been started. Perform this operation with care. 104 Erasing CD-RW media Here’s how to erase all data that has been written to CDRW media, so that the CD-RW disc can be used as a blank disc. You will need to perform this operation on a disc that has been used to store computer data etc. if you want to use that disc on the AW16G. Tip! 3 To execute the erasure, move the cursor to the OK button. If you decide not to erase the disc, move the cursor to the CANCEL button. Then press the [ENTER] key. If you selected the OK button, erasure will begin. (This operation cannot be halted.) Since data is erased as necessary when you back up AW16G data to CD-RW media or when you write audio data to CD-RW media, you do not need to perform the following procedure each time you re-use the disc. Note The erased data cannot be recovered. Perform this operation with care. 1 In the Work Navigate section, repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the SETTING page of the CD screen. 2 Move the cursor to the CD-RW MEDIA ERASE field, and press the [ENTER] key to select the desired erasure method. Each button selects the following erasure method. 10 Creating an audio CD SIMPLY button ........... Only the TOC (Table Of Contents) data written to the CD-RW media will be erased. If you select this method, it will take only a short time to erase the CD-RW media. PERFECTLY button ..... All data written to the CD-RW media will be erased completely. Since this method erases all data from the media, it will take a longer time than SIMPLY. Move the cursor to the desired button, and press the [ENTER] key. A popup window will ask you to confirm the erasure. ● If you turn on the SIMPLY button ● If you turn on the PERFECTLY button 105 Creating an audio CD Playing an audio CD You can use the CD-RW drive to play back a conventional audio CD or CD-R/RW media to which audio data has been written. This is referred to as the CD Play function. 4 Tip! The CD Play function can also play audio data from a mixed-mode CD-ROM (only track 2 and following) or CD Extra (only the first session). 1 To play the CD tracks, press the PLAY [ key. To stop, press the STOP [■] key. During playback, the audio output of the CD-RW drive will be sent directly to the stereo output channel. Use the STEREO fader to adjust the volume. When the CD Play function is on, the keys of the transport section will have the following functions. Key PLAY [ In the Work Navigate section, repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the CD PLAY page of the CD screen. ] key REW [ Operation Play STOP [■] key In this page you can play back an audio CD inserted in the CD-RW drive. ] Stop ] key/FF [ ] key Rewind/Fast-forward [DATA/JOG] dial Select tracks [ Select tracks ] key/[ ] key Tip! • When the cursor is located in the list, you can turn the [DATA/JOG] dial to select tracks. • While an audio CD is playing, the access indicator in the display section will blink. 2 1 3 1 CD PLAY button Switches the CD Play function on/off. B INPUT CH MUTE/MIX button Use this button to specify whether the signals of input channels 1–8 will be output together with the CD playback (MIX button), or whether only the CD signal will be output (MUTE button). C List Displays the tracks of the audio CD that is inserted in the CD-RW drive. 2 3 106 Insert the audio CD that you want to play into the CD-RW drive. Move the cursor to the CD PLAY button and press the [ENTER] key. The CD Play function will be turned on, and the CD track data will be read. 5 To exit the CD Play function, move the cursor to the CD PLAY button and press the [ENTER] key. Note • The CD PLAY button can be switched on/off only while the CD is stopped. • While the CD PLAY button is on, the CD-RW drive will be locked, and it will not be possible to eject the disc. Chapter 11 Quick loop sampler This chapter explains how to use the Quick Loop Sampler section. About the quick loop sampler The AW16G contains a quick loop sampler that lets you play stereo waveforms (samples) by striking the four pads. When you strike a pad 1–4, the assigned sample will be sent via pad channel 1–4 to the stereo bus. For each pad channel, you can adjust the EQ, dynamics, and effects 1/ 2 send levels just as you can for the track channels or input channels. ● Signal flow when using the Quick Loop Sampler Each pad 1–4 has four sample banks (A–D) to which you can assign samples. By switching the sample bank for each pad, you can use up to sixteen different samples. Pad 1 Pad 2 Pad 3 Pad 4 A A A A B B B B C C C C D D D D Pads 1 2 3 4 Sample banks Pad channels Stereo output channel Stereo bus Mixer section You can load samples into the pads from the sample library (a library for the Quick Loop Sampler), load a portion of an audio track or audio CD, or load a WAV file. You can also directly sample a signal from an instrument or mic connected to the AW16G’s input jacks, and assign the sample to a pad. 107 Quick loop sampler A sample can be played back in one of two ways. “One shot mode” plays the sample once from start to end. “Loop mode” plays the sample repeatedly from start to end. In addition, you can choose either “Gate mode” which plays the sample only while you continue holding down the pad, or “Trigger mode” which plays the sample all the way to the end when you press the pad once. ● Original sample ● ONE SHOT/GATE Start playback ● ONE SHOT/TRIGGER Stop Start playback Stop Pad = dark Pad = lit ● Original sample Pad = dark Pad = lit ● LOOP/GATE ● LOOP/TRIGGER Start playback Stop Pad = lit Start playback Pad = dark Your pad operations can be recorded in an area of memory called the Pad Tracks. The pad tracks always operates in synchronization with the recorder. By recording your pad operations in the pad tracks while you listen to the song play back, you can use the pad tracks as supplementary audio track. Pad events Pad = lit Stop Pad = dark Note Be aware that the pad tracks do not record the sample or audio data itself, but merely the pad on/off data. (Each such piece of data is called a “pad event.”) The playback produced by a pad track will change if you switch to other samples after recording pad events, or if you change the playback mode. The AW16G also provides a “Slice function” that divides a sample into eight to sixteen segments, and adjusts the playback timing of each segment according to the tempo of the song. Pad track 1 Pad track 2 Pad track 3 By using the Slice function you can change only the tempo of a phrase without affecting its pitch. Pad track 4 For example, a sampled drum pattern can be played back at the tempo specified by the song’s tempo map. (For details on using the Slice function → p. 120) Attack (pad = on) Release (pad = off) Tip! The settings of the Quick Loop Sampler and the sample data assigned to each pad are saved as part of the song. 108 Using sample libraries Sample libraries contain sets of up to sixteen different samples that can be used by the Quick Loop Sampler. When the AW16G is shipped from the factory, sets of samples such as drum loops and sounds effects are stored on the hard disk as sample libraries. When you load one of these libraries, samples will be assigned to each pad/sample bank, and you can use the pads to play the samples immediately. Here’s how to load a sample library and try it out. 1 In the Quick Loop Sampler section, either repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the LIBRARY page of the SAMPLE screen. 3 2 5 7 4 2 By turning on the LISTEN button and pressing a pad 1–4, you can audition the samples that are assigned to sample bank A for each pad in that library. For details on the library contents, refer to “Appendix.” 3 1 List This area displays a list of the sample libraries saved on the hard disk. B NAME/OLD/SIZE buttons These buttons sort the sample libraries shown in the list, either alphabetically (NAME), by when they were saved (OLD), or by their size (SIZE). C LISTEN button Tip! D RECALL button This button recalls the library that is selected in the list, and assigns the samples to each pad/sample bank. E DELETE button This button deletes the library selected in the list from the hard disk. F STORE button When the popup window is open, you can move the cursor to the 1SAMPLE button and press the [ENTER] key to select and load just a single sample from the library. 4 5 Raise the [STEREO] fader to the 0 dB position. Strike pads 1–4. You can play the samples that are assigned to sample bank A of each pad. Tip! Of the sample libraries saved on the hard disk when the AW16G is shipped, most drum pattern libraries that are set to Loop mode have the Slice function turned on. If you load this type of library, you only need to press the pad, and the tempo of the drum pattern will match the tempo of the song. This lets you use the Quick Loop Sampler similarly to a drum machine. Note • If a sample is assigned to a pad, that pad will light while the sample plays when you press it. However if no sample is assigned, nothing will play and the pad will not light. You can either assign a sample to the pad, or switch the sample bank. • If the pad lights when you strike a pad but you hear no sound, access the METER page of the VIEW screen, and check whether the meter of the corresponding pad channel (P1–P4) is moving (→ p. 90). • If the meter moves when you strike a pad, make sure that the [STEREO] fader has not been lowered, and that your monitor system is connected correctly and that its volume is set appropriately. • If you hear no sound even after raising the [STEREO] fader, access the INIT page of the MONITOR screen and press that pad. This will initialize the pad channel so that it will produce sound. (→ p. 91) This button stores a library that you edited. G PROTECT button Move the cursor to this button and press the [ENTER] key to switch the Protect setting on/off for the library selected in the list. A lock icon will be displayed to indicate a library that is protected, and it will not be possible to edit or delete this library. H NEW button This button creates a new library on the hard disk. 109 11 Quick loop sampler When you move the cursor to this button and press the [ENTER] key, the button will be highlighted. If you now press a pad 1–4, the sample assigned to sample bank A of the currently selected sample library will play repeatedly. Playback will stop when you press the pad once again. Move the cursor to the RECALL button and press the [ENTER] key. A popup window will open. Move the cursor to the ALL button, and press the [ENTER] key. When the library has been loaded, the popup window will automatically close. 1 86 Move the cursor into the list, and turn the [DATA/JOG] dial to select the library that you want to load. Quick loop sampler 6 To switch the sample bank for each pad, repeatedly press the [SAMPLE EDIT] key to access the SETUP page of the SAMPLE screen. 7 Move the cursor to the bank area for the desired pad, and turn the [DATA/JOG] dial. 8 As desired, use the knobs and keys of the Selected Channel section to process the sound of pads 1–4. 1 23 The sample bank will change, and the sample name will change accordingly. EQ, dynamics, and effect send 1/2 levels can be adjusted for the pad channels in the same way as for the track channels or input channels. Press a pad 1–4 to select the pad channel that you want to control, and use the knobs and keys of the Selected Channel section. 1 One shot/loop mode An icon indicates whether the sample assigned to the pad is set to One Shot mode ( ) or Loop mode ( ). Tip! B Pad number • When you press a pad 1–4, the assigned sample will always sound. If you want to select a pad for operations without making it sound, hold down the [PAD SEL] key and press a pad 1–4. • The playback sounds of pads 1–4 are sent via pad channels 1–4 to the stereo bus. By using the MIXDOWN page of the RECORD screen, you can record your pad performance on the stereo track (→ p. 89). A recording on the stereo track can also be moved to an audio track (→ p. 128). This indicates the pad number 1–4. C Bank This selects the sample bank (A–D) used by each pad. The name of the sample assigned to that bank is displayed at the right. Tip! If no sample is assigned to the selected bank, the sample name area will indicate [-NO REC-]. Recording/playing a pad performance Here’s how you can record your pad performance (pad events) onto the pad tracks. 1 C Track status button This indicates the operating state of the track. If you move the cursor to this button and press the [ENTER] key, the following two displays will alternate. In the Quick Navigation section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the PAD page of the RECORD screen. ..............................The pad track can be recorded. ..............................The pad track can be played. Note In the PAD page you can record pad events on the pad tracks. 1 2 3 Depending on the settings in the PAD page of the TRACK screen, this may also indicate (muted). 4 D Pad track view In this area, the pad events recorded in the pad track are shown as a bar graph. Locator positions are shown as icons in the lower part of the screen. 2 1 One Shot/Loop mode An icon indicates whether the sample assigned to the pad is set to One Shot mode ( ) or Loop mode ( ). Tip! B Pad track number This shows the pad track number 1–4. At the right is shown the name of the sample for the sample bank selected for that pad. 110 Move the cursor to the track status button, and press the [ENTER] key several times to switch the button display to (ready to record). (You may select more than one pad track.) The track status button can be switched only when the recorder is stopped. 3 4 Use the track channel faders and the [STEREO] fader to set the audio tracks to an appropriate level for monitoring. Locate the song to the point at which you want to begin recording. 5 To begin recording on the pad track, press the PLAY [ ] key. 6 Play the pads while you listen to the audio tracks play back. C Track mute button This button switches muting on/off for each track. Move the cursor to this button and press the [ENTER] key to switch between the following two settings. The recording will begin running, and pad event recording will begin. Pad events will be recorded on the pad tracks. The pad events that are recorded will appear in the pad track view in realtime. Tip! Pad tracks record only the pad on/off status. 7 8 To stop recording, press the STOP [■] key. 9 Locate to the point from which you want to start playing back, and press the PLAY [ ] key. The recorder will stop. ..............................The pad track can be played. ..............................The pad track is muted. 11 Move the cursor to the track mute button for the track that you want to mute, and press the [ENTER] key to switch the button to (muted). To cancel muting, move the cursor to the track mute button and press the [ENTER] key once again. Tip! To play back the events that were recorded on the pad tracks, move the cursor to the track status button and press the [ENTER] key several times to switch the display to . If a pad track is muted and the pad is set to LOOP/TRIGGER, the pad will play if you simply press the [PLAY] key to play back the recorder. This means that you can use this feature as a rhythm machine even without recording on a pad track. The pad track(s) will play back in synchronization with the recorder. If you want to re-do the recording, repeat steps 6–9. It is also possible to re-record just a specific region of a pad track. In this case, the newly recorded pad events will overwrite the previously-recorded events. However, you need to be careful, since this will also affect any overlapping pad events before or after the re-recorded region. Tip! The contents of a recorded pad track can be edited in a variety of ways using editing commands. For details, refer to “What you can do using editing commands” (→ p. 123). Quick loop sampler 10 11 If you want to mute a specific pad track, press the Work Navigate section [TRACK] key repeatedly or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the PAD page of the TRACK screen. In the PAD page of the TRACK screen you can switch muting on/off for each pad track. 1 2 3 1 One Shot/Loop mode An icon indicates whether the sample assigned to the pad is set to One Shot mode ( ) or Loop mode ( ). B Pad track number This indicates the pad track number 1–4. At the right is displayed the name of the sample assigned to the sample bank selected for that pad. 111 Quick loop sampler Importing from an audio CD/WAV file to a pad Here’s how you can import CD audio data (CD-DA) or a WAV file from a CD-ROM/CD-R into a sample bank for pads 1–4. 1 Switch the internal settings of the AW16G to enable digital recording. 2 Insert a CD into the CD-RW drive. 1 2 3 For details on digital recording settings, refer to page 160. You can load audio data (CD-DA) or WAV files from the following types of media. ● Audio data (CD-DA) • Audio CD • CD-Extra (only the first session of CD-DA) • Mixed Mode CD (only CD-DA data of the second and later tracks) ● WAV files • ISO9660 Level 1 format CD-ROM, CD-R, CDRW* • Mixed Mode CD * The directory name and file name cannot use characters other than uppercase alphanumeric characters and the “_” (underscore) character. If you use the AW16G to export WAV files onto CDR/RW media, the data will be in ISO9660 Level 1 format, but please be aware of this restriction if you use a computer to create WAV files. 3 ● When importing from an audio CD/CD-Extra In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the CD IMPORT page of the SAMPLE screen. 5 6 7 4 1 From CD TRACK Specifies the number (01–99) of the audio track that will be imported from the source CD. B From Start Specifies the starting location of the data that will be imported, in units of minutes/seconds/frames (1/ 75th of a second). C From End Specifies the ending location of the data that will be imported, in units of minutes/seconds/frames (1/ 75th of a second). Tip! The “frames” here are the smallest unit of time used by a CD track. Do not confuse them with the frames used in MTC or SMPTE. D LISTEN button If you move the cursor to this button and press the [ENTER] key, the specified region of the currently selected CD track will be played back repeatedly. E To PAD Selects the pad number (1–4) to which the audio material will be imported. F To BANK 4 Selects the sample bank (A–D) to which the audio material will be imported. Make sure that the cursor is located at the READ CD INFO button, and press the [ENTER] key. The display will indicate “Read CD info...”, and the AW16G will begin reading the CD that is inserted in the CD-RW drive. Depending on the source from which data is read, the screen will change as follows. 112 G To NAME Indicates the name of the sample that is currently assigned to the import-destination sample bank. If nothing is assigned, this will indicate [-NO REC-]. This field is only for display, and cannot be edited. ● When importing from a WAV file 2 1 • When you move the cursor to the LISTEN button and press the [ENTER] key, there will be a slight interval of time before you hear the sound, since the data is being read from CD. 3 5 5 6 7 To move to a lower-level folder, display the ( ) icon in this area, move the cursor to the ENTER button in the screen, and press the [ENTER] key. To move to the folder above, display the ( ) in this area, move the cursor to the UP button in the screen, and press the [ENTER] key. 4 1 From WAV File Specifies the WAV file that will be imported. If the media contains folders (directories), move to the folder that contains the WAV file you want to import, and then specify the desired WAV file. The following icons will be displayed. ............................. Indicates that a WAV file is selected. ............................. Indicates that a folder in the same level is selected. ............................. Indicates that the folder for the next higher level is selected. 6 If you are importing from an audio CD or CD-Extra, use the From Start/From End fields to specify the region that you want to import. 7 Use the To PAD and To BANK fields to specify the pad/sample bank into which the data will be imported. Note B Mono/Stereo If the import destination already contains data, the existing sample will be overwritten by the newly imported sample. Be careful that you do not accidentally erase a sample that you want to keep. Indicates whether the WAV file selected for importing is monaural (M) or stereo (S). This field is only for display, and cannot be edited. C Size Indicates the size (length in msec units) of the WAV file selected for importing. This field is only for display, and cannot be edited. If you are importing a WAV file, move the cursor to the From WAVE file field, and turn the [DATA/JOG] dial to select the WAV file that you want to import. 8 When you have finished specifying the data to be imported, move the cursor to the EXEC button and press the [ENTER] key. A popup window will appear, asking you to confirm the operation. D LISTEN/ENTER/UP buttons The name and function of the button displayed here will depend on the item that you select for the From WAV File parameter. ● If WAV file ( ) is selected The LISTEN button will be displayed, allowing you to hear the WAV file repeatedly. ● If the next higher folder ( ) is selected The UP button will be displayed, allowing you to move to the folder above. E To PAD F To BANK G To NAME These have the same function as when importing from an audio CD/CD-Extra. Tip! • If a mixed mode format CD-ROM is inserted in the CDRW drive, a popup window will appear, allowing you to select AUDIO (CD-DA) or WAVE (WAV files) for importing. Move the cursor to the button for the type of data that you want to import, and press the [ENTER] key. • The only type of WAV files that can be imported are 16 bit/44.1 kHz monaural or stereo files. • If you import a monaural WAV file, the same sample will be assigned to the L and R channels. 9 Importing will begin. If you decide to cancel the import, move the cursor to the CANCEL button and press the [ENTER] key. Tip! • When you import from CD-DA, a name of “PAD_x_y” (x= pad number, y= sample bank) will automatically be assigned to the sample. You are free to change this name later (→ p. 117). • When you import a WAV file, the first eight characters (not including the extension) of that filename will be assigned as the name of the sample. • The imported sample will be saved together with the current song. Note It is not possible to import samples while the AW16G is running. 113 11 Quick loop sampler ● If a folder in the same level is selected The ENTER button will be displayed, allowing you to move into that folder. To execute the import, move the cursor to the OK button and press the [ENTER] key. Quick loop sampler Importing from an audio track/stereo track to a pad Here’s how a region of an already-recorded track of the current song can be imported into a sample bank for pads 1–4. 1 2 STEREO ......................Import stereo audio from the stereo track. Tip! Play back the song, and find the track and region that you want to import. In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the TR IMPORT page of the SAMPLE screen. 1 2 3 4 If you import monaural audio from a track 1–16, the same sample will be assigned to the left and right channels. 4 5 Move the cursor to the V.TR field, and turn the [DATA/JOG] dial to select a virtual track 1–8 as the import destination. Move the cursor to the From Start and From End fields, and turn the [DATA/JOG] dial to specify the start and end of the region that will be imported. The units by which you specify the location will depend on the current counter display method. For details on the counter display, refer to page 139. 5 6 7 6 Move the cursor to the To PAD and To BANK fields, and turn the [DATA/JOG] dial to specify the pad number and sample bank into which the data will be imported. 7 When you have finished making the settings, move the cursor to the EXEC button and press the [ENTER] key. This page contains the following items. 1 From TRACK Specifies the track from which the data will be imported. A popup window will ask you to confirm the operation. B From V.TR Specifies the virtual track from which the data will be imported. C From Start Specifies the beginning of the region that will be imported. D From End Specifies the end of the region that will be imported. E To PAD Selects the pad (1–4) to which the data will be imported. F To BANK Selects the sample bank (A–D) to which the data will be imported. G NAME Indicates the name of the sample that is currently assigned to the sample bank you specified as the import destination. If no sample is currently assigned, this will indicate [-NO REC-]. This item is for display only, and cannot be edited. 3 Move the cursor to the From TRACK field, and turn the [DATA/JOG] dial to select one of the following as the import source track. 1–16........................... Import monaural audio from a track 1–16. 1/2–15/16 .................. Import stereo audio from tracks 1/ 2–15/16. 114 8 To execute the import, move the cursor to the OK button and press the [ENTER] key. The data will begin being read from the track. If you decide to cancel the import operation, move the cursor to the CANCEL button and press the [ENTER] key. Tip! • The imported sample will be assigned the same name as the track from which the data was imported. You are free to edit this name later (→ p. 117). • The imported sample is saved together with the current song. Note • A total of up to 44 seconds (stereo) of samples can be imported into the Quick Loop Sampler. If you specify a region that exceeds this amount, an error message will be displayed, and the import operation cannot be executed. • If you import once again into the same pad and sample bank, that sample will be overwritten by the newly imported data. If you want to keep the previouslyimported sample, you must import the new data into a different pad or sample bank. • It is not possible to import samples while the AW16G is running. Sampling an external input signal You can directly sample (record) an input signal from the MIC/LINE INPUT jacks and assign it to a pad. There are two ways to do this; “manual record” in which you start and stop recording manually, and “auto record” in which recording will begin automatically when the signal reaches a specified level. 3 The input channel will be connected directly to the pad you specify. The PAD and NAME fields will change accordingly. ■ Prepare for sampling 1 2 Press the [INPUT SEL] key of the input channel to which you connected the instrument or mic, and then press the pad that you want to specify as the record-destination. Connect the instrument/mic that you want to sample to a MIC/LINE INPUT jack. In the Quick Navigate section, repeatedly press the [RECORD] key or hold down the [RECORD] key and use the CURSOR [ ]/[ ] keys to access the SAMPLE page of the RECORD screen. 1 4 Normally, one input channel will be connected to channels L and R of the pad, as shown in the above diagram. However if the input channels are paired, the odd-numbered channel will be connected to channel L of the pad, and the even-numbered channel will be connected to channel R of the pad. 5 6 Note 2 3 7 9 8 When you connect an input channel and a pad, the counter display will change. In this state it will no longer be possible to sound the pad, nor to operate the keys of the transport section or the locate section. When you move the cursor to the SAFE button and press the [ENTER] key to cancel the connection, operation will return to the normal state. J This page contains the following items. 1 INPUT Indicates the connection status of input channels 1– 8. B SAFE button When you move the cursor to this button and press the [ENTER] key, all connections will be cancelled. Indicates the connection status of pads 1–4. D PAD Indicates the record-destination pad (1–4). E BANK Indicates the record-destination sample bank (A–D). F Sample name Indicates the sample that is currently assigned to the sample bank selected in the PAD/BANK fields. G MANU REC/AUTO REC button Adjust the input level of the instrument or mic. 5 As necessary, load an input library to create the desired sound. For details on how to adjust the level, refer to page 34. For details on using an input library to modify the sound, refer to page 50. Note The sample bank will be the one that is selected in the SETUP page of the SAMPLE screen. If you record into a sample bank to which samples have already been assigned, the previous samples will be overwritten by the new samples. The procedure from this point will depend on whether you are using Manual Record or Auto Record. This buttons selects either MANU REC (manual record) or AUTO REC (auto record) as the recording method. H TRIG knob Adjusts the trigger level when using auto record. I START/STANDBY/STOP button This button starts or stops sampling. J Meter Indicates the input level of the signal that will be recorded. 115 11 Quick loop sampler C P1–P4 4 Quick loop sampler ■ Manual record ■ Auto record 1 1 2 Make sure that the MANU REC/AUTO REC button indicates MANU REC. If the button indicates AUTO REC, move the cursor to the button and press the [ENTER] key. When MANU REC is selected, the START/STANDBY button will function as the START button to start or stop sampling. To begin sampling, move the cursor to the START button in the screen, and press the [ENTER] key. Then play your instrument. The START/STANDBY button will function as the STANDBY button to standby or stop sampling. 2 To stop sampling, move the cursor to the STOP button in the screen, and press the [ENTER] key. Move the cursor to the TRIG button and turn the [DATA/JOG] dial to adjust the level at which sampling will begin. The setting is indicated by the symbol in the meter. Sampling will begin automatically when the input signal exceeds the level you specify. During sampling, the button will be displayed as STOP, and will function as the sampling stop button. 3 Move the cursor to the MANU REC/AUTO REC button and press the [ENTER] key to switch the button to AUTO REC. 3 Sampling will also end automatically when the available memory is used up. Move the cursor to the STANDBY button and press the [ENTER] key. The STANDBY button display will change to START, and you will be in record-standby mode. Tip! If you move the cursor to the START button and press the [ENTER] key, sampling will begin immediately even if the input signal has not reached the level specified by the TRIG knob. 4 Play your instrument. 5 To stop sampling, move the cursor to the STOP button in the screen, and press the [ENTER] key. Sampling will begin when the input signal reaches the level you specified in step 2. During sampling, the STANDBY button will be displayed as STOP, and will function as the sampling stop button. Sampling will also end automatically when the available memory is used up. Tip! • Immediately after sampling ends, a name of “PAD_x_y” (x= pad number/y= sample bank) will be automatically assigned to the sample. You are free to edit this name later (→ p. 117). • You can adjust the region of a sample after recording it (→ p. 118). It is a good idea to leave some extra time before and after the sound you actually want, and adjust the playback region afterward. 116 Editing the sample name Here’s how you can edit the sample name that is assigned when you import from an audio CD or WAV file, or when you sample an external signal. 1 In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use CURSOR [ ]/[ ] keys to access the SETUP page of the SAMPLE screen. 1 2 3 1 Bank Selects the sample bank that will be used for each pad. B Sample name Indicates the name of the sample that is assigned to the currently selected sample bank. C NAME button Opens the TITLE EDIT popup window, where you can edit the name of the sample. 2 Move the cursor to the Bank field, and turn the [DATA/JOG] dial to select the sample bank whose name you want to edit. The sample name is displayed at the right. 3 Move the cursor to the NAME button and press the [ENTER] key. 11 The TITLE EDIT popup window will appear. Quick loop sampler You may use only capital letters, numerals, and the underscore “_” character. 4 When you have finished editing the name, move the cursor to the OK button and press the [ENTER] key. The popup window will close, and the new name will be applied. 117 Quick loop sampler Trimming the playback region Here’s how you can view the waveform of the sample assigned to a sample bank, and adjust the playback start and end points. 1 D Waveform display Displays the waveform of the selected sample. E TIME In the Quick Sampler Section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the SETUP page of the SAMPLE screen. 1 Specifies the range of time that will be displayed for the waveform. If you select 1SEC, the distance from the left edge of the screen to the right edge will correspond to one second. If you select SAMPLE, the display will be at maximum magnification, and each pixel in the horizontal direction will correspond to one sample (1/44,100 second). 2 F AMP Specifies the range of levels that will be displayed for the waveform. If you select 0 dB, the top and bottom edges of the screen will be the maximum level. G ← button Displays the area near the Start point of the waveform. 1 Bank Selects the sample bank used for each pad. B TRIM button Accesses a popup window that displays the waveform of the sample. 2 3 Move the cursor to the bank field for the pad whose playback region you want to adjust, and select the sample bank. Move the cursor to the TRIM button for the pad whose playback region you want to adjust, and press the [ENTER] key. H → button Displays the area near the End point of the waveform. I EXIT button Applies the settings and closes the popup window. 4 If you expand or shrink the time axis of the waveform display, the movement that occurs when you turn the [DATA/JOG] dial will change accordingly. It is a good idea to start with a lower magnification, set the location approximately, and then zoom in to a higher magnification and make detailed adjustments. The WAVE DISPLAY popup window will appear. In this popup window you can view the waveform of the selected sample, and specify the start point (playback start location) and end point (playback end location). 1 2 3 5 6 Move the cursor to the Start point, and turn the [DATA/JOG] dial to adjust the playback start point of the sample. 5 In the same way, move the cursor to the end point and adjust the playback end point of the sample. Tip! The unused region before the Start point and after the End point can be deleted later if you wish. For details, refer to “Deleting an unwanted sample” (→ p. 122). 4 7 9 8 1 PAD Indicates the currently selected pad and sample bank. Use the [DATA/JOG] dial to specify whether the L or the R channel will be displayed. B Start point Specifies the start point of the sample. C End point Specifies the end point of the sample. Tip! In the WAVE DISPLAY popup window, the start point and end point are indicated by vertical dotted lines. 118 6 When you have finished making settings, move the cursor to the EXIT button and press the [ENTER] key. The popup window will close. Switching the playback mode for each pad Here’s how you can switch the playback mode for each pad between One Shot or Loop modes, and between Trigger and Gate modes. 1 In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the SETUP page of the SAMPLE screen. 2 Repeatedly press the CURSOR [ ] key to access the second page of the SETUP page. 1 2 3 Since the SETUP page contains numerous settings, it is divided into two pages. (To return to the first page, press the CURSOR [ ] key repeatedly.) The second page contains the following items. 1 One Shot/Loop mode Selects one of the following two modes to specify how the sample assigned to the pad will play back. ONE SHOT ................ The playback region of the sample will be played only once. LOOP......................... The playback region will be played repeatedly. Note 11 Quick loop sampler If you select LOOP, the playback will automatically follow the time signature and tempo that are specified in the TEMPO MAP page of the SONG screen. In this case, the way in which the sample plays back will depend on the SLICE setting. B Trigger/Gate Selects one of the following two types of operation for when the pad is pressed. GATE.......................... The sample will play only while you hold down the pad. TRIGGER ................... The sample will play to the end when you press the pad once. C Normal/Reverse Select one of the following two types of playback. NORMAL ................... The sample will play forward (start point → end point). REVERSE .................... The sample will play in reverse (end point → start point). 3 Move the cursor to the item that you want to set, and turn the [DATA/JOG] dial to select the setting. Note Playback mode settings are made for each pad. The playback mode of a pad will not change when you switch the sample bank of that pad. 119 Quick loop sampler Using the Slice function Slice is a function that divides a sample (whose playback mode is set to Loop) into eight to sixteen segments, and adjusts the timing of each segment so that it can be played at a different tempo without affecting the pitch. Here’s how you can use the Slice function to play a sampled phrase at the tempo of the current song. 2 3 Tip! In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the SETUP page of the SAMPLE screen. 1 2 Tip! • Normally when you use the Slice function, you will select the number of segments based on the shortest note value in the original phrase. For example you would use a setting of 16 if the shortest note value in the original phrase is a sixteenth note, a setting of 12 for eighth note triplets, or a setting of 8 for eighth notes. • If the Slice function is OFF, the waveform will play from the beginning of the measure without being divided. If the waveform is longer than one measure, it may not play completely. 3 1 SLICE Turns the Slice function on/off. If this is on, you can specify the number of segments into which the sample will be divided. If the playback mode is not set to Loop mode, this will be displayed as “–” and cannot be changed. B BPM Indicates the tempo calculated by considering the playback region of the sample as one measure. This field is for display only, and cannot be edited. C MONITOR TEMPO Selects the basic tempo that will be used for playing the phrase sample when the recorder is stopped. This item only affects a sample whose playback mode is set to LOOP. While the recorder is running, the tempo of the song will be used. 120 Move the cursor to the SLICE field of the pad for which you want to use the Slice function, and select one of the following as the slice setting. OFF ............................The Slice function will not be used. 8 .................................The playback region of the sample will be divided into eight equal segments. 12 ...............................The playback region of the sample will be divided into twelve equal segments. 16 ...............................The playback region of the sample will be divided into sixteen equal segments. The Slice function always handles the playback region of the sample as one measure. Before using the Slice function, you must trim the playback region of the sample so that it is one measure long. 1 Move the cursor to the bank field of the pad for which you want to use the Slice function, and select the sample bank. 4 Move the cursor to the MONITOR TEMPO field, and turn the [DATA/JOG] dial to select SONG. The MONITOR TEMPO field selects one of the following as the basic tempo at which the phrase will be played if you play the sample while the recorder is stopped. ORIGINAL..................The original tempo of the sample, shown in the BPM field SONG.........................The tempo specified by the tempo map 30–250 .......................The numerically specified tempo If you select SONG, the playback timing of each segment will be adjusted according to the tempo that is specified by the tempo map for the current location. The following diagram shows how, for a sample with an original tempo of 100 BPM, the playback timing of each segment will change at a song tempo of 120 BPM or 80 BPM. ● When song tempo = 120 ● Original sample (tempo = 100) ● When song tempo = 80 segment 5 Strike the pad to hear the result. 6 Repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the VIEW page of the TRACK screen. 7 Play back the song, and press the pad for which you turned the Slice function on. If the playback of the sample is broken in an unnatural way, go back to step 3 and try changing the number of segments into which the sample is divided. However, this may not improve the result if there is too great a difference between the tempo of the sample and the tempo of the current song. The phrase of the sample assigned to the pad will play in synchronization with the tempo of the current song. If you have input data in the tempo map to change the tempo during the song, the sample phrase will follow the change. (For details on tempo map settings → p. 142.) 11 Quick loop sampler 121 Quick loop sampler Deleting an unwanted sample Here’s how you can delete unused data (before the start point and after the end point) from a specific sample, or completely erase an individual sample. 1 In the Quick Loop Sampler section, repeatedly press the [SAMPLE EDIT] key or hold down the [SAMPLE EDIT] key and use the CURSOR [ ]/[ ] keys to access the MEMORY page of the SAMPLE screen. In this page you can delete the unused portion of a sample, or erase an unwanted sample. 12 3 4 56 The procedure after this point will depend on the function that you want to execute. ■ To erase the entire sample 1 To erase the entire selected sample, move the cursor to the ERASE button and press the [ENTER] key. A popup window will ask you to confirm that you want to erase the sample. 2 To execute the erasure, move the cursor to the OK button and press the [ENTER] key. If you decide to cancel, move the cursor to the CANCEL button and press the [ENTER] key. ■ To delete the unused portions of the selected sample 7 8 1 One Shot/Loop mode This icon indicates whether One Shot mode ( ) or Loop Mode ( ) is selected for the sample assigned to the pad. B Pad number Indicates the pad number 1–4. C Size This area graphically indicates the memory size of each sample. The horizontal line indicates the amount of memory used by each pad. D PAD E BANK These select the pad (1–4) and sample bank (A–D) to which the operation will apply. F Sample name Indicates the name of the sample for the pad and sample selected in 4 and 5. G ERASE button Erases the specified sample. H EXTRACT button Discards the unused portions (before the start point and after the end point) of the specified sample. Tip! For details on how to adjust the start point and end point of a sample, refer to page 118. 2 122 Move the cursor to the PAD/BANK fields, and turn the [DATA/JOG] dial to select the pad and sample bank. 1 Move the cursor to the EXTRACT button and press the [ENTER] key. 2 To execute the deletion, move the cursor to the OK button and press the [ENTER] key. A popup window will ask you to confirm that you want to delete the data. If you decide to cancel, move the cursor to the CANCEL button and press the [ENTER] key. Chapter 12 Track editing This chapter explains how you can edit the audio data recorded in an audio track, and how to edit the pad events recorded in a pad track. What you can do using editing commands The AW16G provides various editing commands for editing the recorded audio tracks and pad tracks. Editing commands are functions that let you specify a track or region, and delete or move the data of that track or region. The AW16G provides the following editing commands. ● ERASE Erases the data of the specified region. ● DELETE Deletes the data of the specified region. Any data that follows the deleted region will be moved forward by the corresponding distance. ● INSERT Inserts blank space into the specified region. ● COPY Copies the data from the specified region to the desired location of the desired track. ● MOVE Moves the data from the specified region to the desired location of the desired track. The movesource data will be erased. ● EXCHANGE Exchanges data between the specified tracks. ● TIME COMP/EXP (Time Compression/Expansion) Adjusts the length of the specified region of an audio track without affecting its pitch. ● PITCH CHANGE Adjusts the pitch of the specified region of an audio track without affecting its length. ● EXPORT Writes the specified region of an audio track (or a sample assigned to a pad) to a WAV file. Tip! The EXCHANGE, TIME COMP/EXP, PITCH CHANGE, and EXPORT commands can only be used on audio tracks. The remaining commands can be used on either audio tracks or pad tracks. Here are some ways in which you can use these editing commands. 1 Erase unwanted regions You can use the ERASE command to erase just a specific region of a specific track. For example, this provides a convenient way to erase a few wrong notes from a performance, or to eliminate noise that occurred while an instrument was not playing. B Change the structure of the tracks You can use the EXCHANGE command to exchange an entire track with another track. By using this command you can bring tracks of widely separated track numbers closer to each other for easier operation during mixdown. You can use the COPY or MOVE commands to copy/move the specified region of a track to a different track. This is convenient when you have recorded a solo part among two or more virtual tracks, and want to assemble the best parts into a single track. C Change the structure of the song You can use the DELETE or COPY commands to delete/copy entire tracks, changing the structure of the song itself. Even after all parts of the song have been recorded, you can use this method to adjust the length of the song, for example by shortening the number of measures or increasing the number of choruses. D Create special effects You can also use editing commands to create special effects. For example, you can copy a guitar or vocal solo part to another track and use the PITCH CHANGE command to slightly detune one of these tracks, creating a chorus effect without using the internal effect processor. By applying the PITCH CHANGE command to a drum track to lower the pitch, you can create a unique lo-fi effect. 123 Track editing Basic procedure for track editing Here is the basic procedure for using a track editing command. The procedure is essentially the same for all track editing commands. ■ Select the editing command 1 ■ Select the track(s) to edit After you choose an editing command, the next step is to specify the track(s) that will be edited. 3 In the Work Navigate section, repeatedly press the [EDIT] key. For any command, the TR (Track) field will appear in the lower left of the screen, allowing you to select the track(s). The EDIT screen will appear. This screen displays the following information. 1 To select the track for editing, move the cursor to the TR (Track) field in the lower left of the EDIT screen, and turn the [DATA/JOG] dial. Track number 2 In the TR field you can select the following types of data. 4 CLIP............................Sound clip 1–16 ...........................An audio track 1/2–15/16 ..................A pair of adjacent odd-numbered/ even-numbered audio tracks STEREO ......................The stereo track PAD ............................A pad track ALL .............................Audio tracks 1–16 and pad tracks 1–4 SMPL ..........................All samples of the quick loop sampler 3 1 Editing command Indicates the currently selected editing command. B Locator/marker Indicates the approximate location of the currently set locate points and markers. If the current track is selected as the virtual track to be edited, the approximate range(s) of recorded data will also be displayed. Note The data that can actually be selected will depend on the command. C Parameters Sets various parameters (track/virtual track number, editing region, etc.) required in order to execute the command. The type of parameters and the ranges of the settings will depend on the command that is selected. D EXEC button Move the cursor to this button and press the [ENTER] key to execute the editing command. 2 4 Select the virtual track or pad that you want to edit. If you selected an audio track (1–16,1/2–15/16, STEREO) in step 3, the V (V.TRACK) field will appear at the right, allowing you to select the virtual track number. Move the cursor to this field and select a virtual track number 1–8. Virtual track number Repeatedly press the [EDIT] key or hold down the [EDIT] key and use the CURSOR [ ]/[ ] keys to select the desired editing command. The EDIT screen is divided into pages for each editing command. For example, a screen like the one shown below will appear if you choose the ERASE command. If you selected PAD in step 3, a field allowing you to select pad number will appear at the right. Move the cursor to this field and select a number 1–4. Pad number Note For some commands, you will need to specify both source and destination tracks. 124 ■ Specify the editing region ■ Execute the command For most commands, you will need to set the Start (the beginning of the edited region) and End (the end of the edited region) parameters to specify the region that will be affected by the command. When you have finished setting parameters, execute the command. 5 To specify the beginning of the region to be edited, move the cursor to the desired digit of the Start field, and turn the [DATA/JOG] dial. 7 Move the cursor to the EXEC button, and press the [ENTER] key. 8 Move the cursor to the OK button to execute the command, or move the cursor to the CANCEL button to cancel without executing. Then press the [ENTER] key. A popup window will ask you to confirm the operation. The Start/End parameters are displayed at the right of the TR field. Start parameter (beginning of the region to be edited) Tip! End parameter (end of the region to be edited) You can set the Start/End parameters in terms of the counter display format (the value at the left) or in units of measures/beats (the value at the right). Move the cursor to the digit that you want to change, and turn the [DATA/JOG] dial to set the value. 6 Even after you press the [ENTER] key to execute the command, you can press the [UNDO/REDO] key to return to the state prior to executing the command. You can use this function to compare the original data with the results produced by executing the command. Note If as a result of executing a command, a track no longer contains any recorded data, the name of that track will change to “-NO REC-”. To specify the end of the region to be edited, move the cursor to the desired digit of the End field, and turn the [DATA/JOG] dial. Tip! If you move the cursor to the Start or End parameter and press the [ENTER] key, the current counter location will be input. Alternatively, you can recall a locate point or marker to move to that location in the song, and then press the [ENTER] key to input that location as the value of the Start or End parameter. Note 12 Track editing For some commands, you will also need to specify a location in the editing-destination track. In the same way as described above, move the cursor to the counter display format field or the measure/beat field, and specify the location. 125 Track editing List of editing commands This section lists all the commands that are provided in the EDIT screen, and explains their parameters. ■ Parameter list Parameter ERASE Erases the data in the specified region (between Start and End) of the specified track(s). 1 23 ● For an audio track Start 1 2 End 3 4 5 6 7 8 3 4 5 6 7 8 ERASE 1 2 ● For a pad track (loop) Start End ERASE ● For a pad track (one shot) Start End ERASE Note If you select the pad track of a pad that is set to one-shot mode, all pad events whose attack falls within the Start/ End region will be erased. 126 Explanation 1–16 A single audio track 7/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track PAD A single pad track 1 TRACK 4 5 Range ALL Tracks 1–16 + Pad tracks 1–4 2 V.TR*1 3 PAD*2 1–8 Virtual track number 1–4 Pad number 4 Start Specify a point Beginning of the edited region 5 End Specify a point End of the edited region *1. 2 V.TR can be selected only if TRACK=1–16, 1/2–15/16, *2. or STEREO. 3 PAD can be selected only if TRACK=PAD. DELETE INSERT Deletes the data from the specified region of the specified track(s). Inserts blank space into the specified region. Data following the location of the Start parameter will be moved backward to make room. This command is similar to ERASE, but differs in that the data that follows the specified region will move forward to fill the gap. 1 23 1 23 4 4 5 ● For an audio track 5 Start ● For an audio track Start 1 2 3 4 1 End 5 6 7 2 3 4 5 3 4 5 INSERT 8 1 2 6 4 5 DELETE Size 1 2 3 7 8 ● For a pad track (loop) ● For a pad track (loop) Start Start End INSERT DELETE Size ● For a pad track (one shot) Start ● For a pad track (one shot) End DELETE Start 12 INSERT Track editing Size Note If you select the pad track of a pad that is set to one-shot mode, all pad events whose attack falls within the Start/ End region will be erased. ■ Parameter list ■ Parameter list The parameters are the same as for the ERASE command. However instead of 5 End, use 5 Size to specify the region that will be inserted. The parameters are the same as for the ERASE command. 127 Track editing ● For a pad track (one shot) COPY From Start Copies the specified region of data to the specified location of the specified track. 1 23 4 From End From PAD 6 To PAD To Start COPY From PAD To PAD 8 9J K 5 LM7 ■ Parameter list Parameter ● For an audio track Range CLIP End Start From Track To Track 1 A 2 B 3 C 4 D 5 E To Track 1 A 2 B 3 4 F 7 G 8 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track PAD A single pad track ALL (OVER) Tracks 1–16 + Pad tracks 1–4 (overwrite onto the copy-destination) ALL (INS) Tracks 1–16 + Pad tracks 1–4 (insert into the copy-destination) 2 From 1–8 Copy-source virtual track number 3 1–4 Copy-source pad number 4 Specify a point Copy-source starting location Specify a point Copy-source ending location On/off (indicated by “lock” icon) Switch the measure lock function for From Start/From End H 1 To Start From Track 6 From TRACK COPY 4 5 5 6 6 F 7 G 8 H ● For a pad track (loop) From Start From End From PAD Explanation Content recorded in a sound clip (the region specified by CLIP) V.TR*1 From PAD*2 To PAD From Start To Start COPY From PAD To PAD 5 From End 6 Start Measure Lock*3 7 End Measure Lock*3 If you set 2 From TRACK to other than ALL (INS), the copy-destination track will be overwritten, and the data that follows the copied region will not be moved backward. If you set 2 From TRACK to ALL (INS), the copy-destination track will be moved backward by the size of the copied region. Note that this may cause the bar lines specified by the tempo map to change their location relative to the audio data. 128 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track PAD A single pad track 1–8 Copy-destination virtual track number J To PAD*2 1–4 Copy-destination pad number K To Start Specify a point Copy-destination starting location L To Times 1–99 Number of copies M GRID*5 ON/OFF Switch the grid function (indicated by highlighted GRID text when on) 8 To TRACK*4 9 To V.TR*1 *1. 2 From V.TR and 9 To V.TR can be selected only if From TRACK=1–16, 1/2–15/16, or STEREO. *2. 3 From PAD and J To PAD can be selected only if TRACK=PAD. *3. Measure lock function (6 Start Measure Lock, 7 End Measure Lock) “Measure lock” is a function that matches the beginning of the measure or beat included in the copy-source region with the desired location of the copy-destination. To use the measure lock function, move the cursor to the measure display field of From Start or From End, specify the measure/beat location that will be the reference point for the matching, and press the [ENTER] key. A “lock” icon will appear beside the value that you specified, and the measure lock function will be turned on for From Start or From End. (This can be turned on for either Start or End, not both.) While the measure lock function is on, the value of that measure display format setting will be fixed, and cannot be modified. In this state if you use the counter display format field to specify the From Start and From End locations, and execute the copy, the location you specified in the measure display format field will be aligned with the copy-destination To Start setting. MOVE Moves the specified region of data to the specified location of the specified track. This is similar to COPY, but differs in that the move-source data will be deleted. 1 23 8 9J Start To Track A 2 B 3 C 4 D 5 End 5 E To Start 6 F 7 G M 7 Start End From Track 1 2 3 4 5 6 7 8 To Track A B C D E F G H To Start Measure 1 K 6 ● For an audio track ● When measure lock = on From Track 4 MOVE From Track 1 2 3 4 5 6 7 8 To Track A B 4 5 6 F G H 8 H ● For a pad track (loop) From Start COPY From Track 1 2 3 4 5 6 7 8 From PAD To Track A 4 5 6 E F G H To PAD To Start To Start MOVE From PAD 12 To PAD ● For a pad track (one shot) From Start Track editing *4. The possible choices for 8 To TRACK (copy-destination track) will depend on your selection for 1 From TRACK (copy-source track). If 1 From TRACK is a single audio track 1–16, you will be able to select only a single audio track 1–16. If 1 From TRACK is CLIP, STEREO, 1/2–15/16 (a pair of adjacent audio tracks), you will be able to select only STEREO or 1/2–15/16 (a pair of adjacent audio tracks). If 1 From TRACK is PAD, you will be able to select only PAD. If 1 From TRACK is ALL (OVER) or ALL (INS), you cannot select TO TRACK. *5. Grid function (M GRID) When this function is on, the To Start location cannot be specified in counter-display format; it can be specified only in measure/beat units. By using the Grid function in conjunction with the Measure Lock function, you can easily copy measure/beatlength segments of data whose divisions do not fall precisely on the measure or beat. From End From End From PAD To PAD To Start MOVE From PAD To PAD ■ Parameter list The parameters are the same as for the COPY command. However, you cannot select CLIP for 1 From TRACK. Also, there is no L To Times setting. 129 Track editing EXCHANGE TIME COMP/EXP (Time Compression/Expansion) Exchanges data between the specified tracks. 1 2 Adjusts the length of the specified region of an audio track, without changing the pitch. 3 1 4 5 2 3 4 6 ● For an audio track 5 From Track To Track 1 A B C 2 D 3 E 4 5 6 ● If you set Ratio = 50% From Start F 1 EXCHANGE From Track A B C To Track D 1 E 2 2 From End 3 4 A B C D TIME COMP/EXP F 3 6 4 5 1 6 2 3 4 A B C D A B C D C D To END ● If you set Ratio = 200% ■ Parameter list Parameter 1 Range 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track 1–8 Exchange-source virtual track number From TRACK 2 From V.TR 3 Name 4 To TRACK*1 5 To V.TR 6 Name Up to eight Exchange-source virtual track alphanuname (display only) meric characters 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks 1–8 Exchange-destination virtual track number Up to eight Exchange-destination virtual alphanutrack name (display only) meric characters *1. The items that you can select in 4 To TRACK (copy-destination track) will depend on the 1 From TRACK (copysource track) setting. If 1 From TRACK is a single audio track 1–16, you can select only a single audio track 1–16. If 1 From TRACK is STEREO or 1/2–15/16 (a pair of adjacent audio tracks), you can select only 1/2–15/16 (a pair of adjacent audio tracks). Note The track names will not be exchanged. 130 From End From Start Explanation 1 2 3 4 TIME COMP/EXP 1 2 3 4 To END ■ Parameter list Parameter Range Explanation 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track 1–8 Virtual track number Specify a point Beginning of the edited region Specify a point End of the edited region From End 5 To End Specify a point Specify the length to which the selected region will be compressed or expanded 50–200% Specify the percentage by which the selected region will be compressed or expanded 1 From TRACK 2 From V.TR 3 From Start 4 6 To Ratio Note • To End and To Ratio are linked, so that editing one field will cause the other field to change. • You cannot set To End or To Ratio to a value that would cause the ratio to exceed 50–200 percent. • From Start value and From End value must be at least 45 msec apart. These cannot be set to a shorter interval. PITCH CHANGE EXPORT Adjusts the pitch of the specified region of an audio track, without changing the length. Writes the specified region of an audio track or all samples assigned to a pad to a WAV file. 1 2 3 4 5 From Start 6 Use this when you want to transfer audio data to your computer so that you can edit the data using a waveform editing program. For details on the parameters and procedure for the Export command, refer to “Exporting WAV files” (→ p. 132). From End PITCH CHANGE From Start From End PITCH CHANGE ■ Parameter list Parameter 1 Range 1–16 A single audio track 1/2–15/16 A pair of adjacent odd-numbered/even-numbered audio tracks STEREO The stereo track 1–8 Virtual track number Specify a point Beginning of the edited region Specify a point End of the edited region –12 to +12 semitones Specify the amount of pitch change in semitone units –50 to +50 cents Specify the amount of pitch change in one-cent units (1/ 100th of a semitone) From TRACK 2 Explanation 12 From V.TR 3 From Start From End 5 Pitch 6 Fine Track editing 4 131 Track editing Exporting WAV files and importing audio CD or WAV files This section explains how data from an AW16G audio track or from a sample assigned to a pad can be written (exported) to external media as a WAV file, and how a WAV file or CD audio data from external media can be loaded (imported) into an AW16G audio track. Exporting WAV files Any audio track of the AW16G or all sample data from memory can be written as one or more WAV files onto CD-R/RW media inserted in the CD-RW drive. This is convenient when you want to send audio data to your computer, or use waveform editing software to edit it. Parameter From TRACK 2 3 4 • In order to write WAV files, you must use CD-R/RW media to which no data has been written. • You cannot add data to CD-RW media that already contains data. You must first erase the CD-RW media. • You cannot write a single WAV file that is larger than the capacity of the media. From End 3 Repeatedly press the [EDIT] key or hold down the [EDIT] key and use the CURSOR [ ]/[ ] keys to access the EXPORT page. In the Work Navigate section, press the [EDIT] key. 5 File Name*1 4 3 4 5 5 STEREO The stereo track Tr1-16 The current track of tracks 1– 16 SMPL All samples in memory 1–8 Virtual track number Specify a point Beginning of the audio track region that will be written Specify a point End of the audio track region that will be written Up to eight Displays the name of the file alphanuto which the data will be writmeric charac- ten ters Move the cursor to the From TRACK field, and select the source data (audio track or sample) that you want to write. If you select “Tr1-16,” the current tracks of tracks 1– 16 will be written as separate monaural WAV files. If you select “1–16,” the single specified track will be written as a monaural WAV file. If you select “1/2–15/16” or STEREO, the specified pair of tracks (or the STEREO track) will be written as a stereo WAV file. If you select “SMPL,” all samples in memory will be written as individual stereo WAV files. This page shows the following information. 2 A pair of adjacent odd-numbered/even-numbered audio tracks *1. The name of the individual source track (or odd-numbered track in the case of a pair) will be assigned by default. The EDIT screen will appear. 1 1/2–15/16 From V.TR Note 1 2 Explanation A single audio track 1 From Start Insert CD-R/RW media into the CD-RW drive. Range 1–16 If you selected 1–16, 1/2–15/16, or STEREO as the source for exporting, move the cursor to the From V.TR, From Start, and From End fields, and specify the virtual track number and region that will be exported. Note If you selected Tr1-16 as the export-source, the current tracks for all sixteen tracks will be written automatically. It is not possible to specify the virtual track number for each. 132 6 If necessary, move the cursor to the NAME field, press the [ENTER] key, and input a file name in the TITLE EDIT popup window. For details on how to input a name, refer to page 24. Note • If you selected Tr1-16 as the export-source, the first six characters of the song name + track number + “.WAV” will automatically become the file name. This name cannot be changed. • In the file name you can use only uppercase alphabetical characters, numerals, and “_” (underscore). Lowercase alphabetical characters used in a song name will be converted to uppercase characters, and all symbols other than alphabetical characters and numerals will be converted to “_”. • If you selected SMPL as the export-source, the filename will automatically be “SMPL” + pad number + “_” + bank number + “.WAV.” This name cannot be changed. 7 Importing from an audio CD or WAV file CD audio data (CD-DA) or a WAV file from a CD-ROM or CD-R can be imported (loaded) into an AW16G audio track. After being imported, this data can be handled in the same way as any recorded audio track. 1 If you want to import from an audio CD, repeatedly press the Work Navigate section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys to access the D.IN • HDD page of the UTILITY screen. Immediately after the AW16G is powered-on, it will be set to prohibit digital recording from an external source or importing from a CD. Before you can import, you will need to disable this prohibition in the D.IN - HDD page of the UTILITY screen. When you have finished setting the parameters, move the cursor to the EXEC button and press the [ENTER] key. A popup window with “Execute EXPORT?” will appear, asking you to confirm the operation. 8 2 Move the cursor to the DIGITAL REC button, and press the [ENTER] key. 3 Carefully read “Copyright Notice” (→ p. 5), and if you accept these terms, move the cursor to the OK button and press the [ENTER] key. To execute the export, move the cursor to the OK button and press the [ENTER] key. Exporting will begin. If you move the cursor to the CANCEL button (instead of the OK button) and press the [ENTER] key, the export operation will be cancelled. (However, it is not possible to abort the export process once it has been started.) Only if you selected “Tr1-16” as the export-source, the maximum of sixteen WAV files can be distributed between multiple volumes of media as they are exported. (Even in this case, it is not possible to write a single WAV file that is larger than the capacity of the media.) When the “Exchange Next Media” popup window appears, exchange the media and press the [ENTER] key. The button display will change from OFF to ON, and digital recording and importing from a CD will be enabled. Note The DIGITAL REC button will return to the OFF setting each time you turn on the power. • All WAV files will be written to the root directory. • Since the AW16G does not have a concept of the realworld date and time, dummy values will be written as the file creation date and time of the WAV files. Note • If CD-R/RW media that contains no data is inserted, WAV file export will begin. • If CD-RW media that contains data is inserted, a message of “Erase CD-RW media?” will appear, suggesting that you erase the media. Move the cursor to the OK button and press the [ENTER] key to erase the media, or exchange the media. • If media other than the above is inserted, it will automatically be ejected, and a message of “Change Media, Please.” will appear. If this message appears, exchange the media. • Tracks that do not contain data in the specified region will not be exported. 133 12 Track editing Tip! A message will ask you to confirm that you will observe the applicable copyright laws. Track editing 4 Insert a CD into the CD-RW drive. ● When importing from audio CD/CD-Extra You can import data from the following types of media. 1 2 3 4 ● Audio data (CD-DA) • Audio CD • CD-Extra (only the first session of CD-DA) • Mixed Mode CD (only CD-DA data of the second and later tracks) ● WAV files • ISO9660 Level 1 format CD-ROM, CD-R, CDRW* • Mixed Mode CD *The directory name and file name cannot use characters other than uppercase alphanumeric characters and the “_” (underscore) character. If you use the AW16G to export WAV files onto CD-R/RW media, the data will be in ISO9660 Level 1 format, but please be aware of this restriction if you use a computer to create WAV files. 5 In the Work Navigate section, repeatedly press the [TRACK] key or hold down the [TRACK] key and use the CURSOR [ ]/[ ] keys to access the CD IMPORT page. The READ CD INFO button will appear in the center of the display. 5 6 7 1 From CD TRACK Specifies the audio track number (01–99) of the import-source CD. B From Start Specifies the beginning of the data that will be imported, in minutes/seconds/frames (1/75 second). C From End Specifies the end of the data that will be imported, in minutes/seconds/frames (1/75 second). Tip! The “frames” referred to here are the minimum time-axis units used in CD-DA. Do not confuse them with the frames used in MTC or SMPTE. D LISTEN button You can move the cursor to this button and press the [ENTER] key to repeatedly hear the currently selected region of the CD-DA. E To TRACK 6 Press the [ENTER] key. The display will indicate “Read CD Info...,” and information will be read from the CD inserted in the CD-RW drive. Depending on the import-source data, the screen will change as follows. Selects the track number into which the data will be imported. If the import-source is an audio CD or a stereo WAV file, you will only be able to select a pair of tracks 1/2–15/16. F To V.TR Selects the virtual track number (1–8) into which the data will be imported. G To Start Specifies the starting location (in counter-display format) of the import-destination to which the data will be imported. 134 ● When importing a WAV file 2 1 3 4 7 If you are importing a WAV file, move the cursor to the From WAVE file field, and turn the [DATA/JOG] dial to select the WAV file that you want to import. To move to a lower level, display the icon in this field, then move the cursor to the ENTER button in the screen and press the [ENTER] key. To move to the next higher level, display the icon in this area, then move the cursor to the UP button and press the [ENTER] key. 5 6 7 1 From WAVE file Selects the WAV file that will be imported. If the media contains folders (directories), move to the folder that contains the WAV file you want to import, and then specify the desired WAV file. The icons shown here have the following meaning. ............................. Indicates that a WAV file is selected. ............................. Indicates that a folder in the same level is selected. ............................. Indicates that the folder in the next higher level is selected. B Mono/stereo Indicates whether the WAV file selected for importing is monaural (M) or stereo (S). This field is for display only, and cannot be changed. 8 9 If you are importing from audio CD or CDExtra, use the From Start and From End fields to specify the region that will be imported. Use the To TRACK, To V.TR, and To Start fields to specify the track number, virtual track number, and starting location into which the data will be imported. Note If the import-destination already contains data, it will be overwritten. Be careful not to accidentally overwrite important data. 10 When you have finished making settings, move the cursor to the EXEC button and press the [ENTER] key. A popup window will ask you to confirm the operation. C Size Indicates the playback length (in msec) of the WAV file selected for importing. This field is for display only, and cannot be changed. D LISTEN/ENTER/UP button The name and function of the button displayed here will change depending on the item that is selected by the From WAVE file parameter. ● If a WAV file ( ) is selected The LISTEN button will be displayed, allowing you to hear the WAV file repeatedly. ● If the next higher folder ( ) is selected The UP button will be displayed, allowing you to move to the next higher folder. E To TRACK F To V.TR G To Start To execute the import operation, move the cursor to the OK button and press the [ENTER] key. Importing will begin. If you move the cursor to the CANCEL button and press the [ENTER] key, importing will be cancelled. Tip! Even after you press the [ENTER] key, you can press the [UNDO/REDO] key to return to the state prior to importing, as long as you have not executed any editing or recording operation since the import. Note You cannot execute the Import operation while the AW16G is running. These fields are the same as when you are importing from audio CD or CD-Extra. Note • If a Mixed Mode CD is inserted in the CD-RW drive, a popup window will appear, allowing you to select AUDIO (CD-DA) or WAVE (WAV files) to import. Move the cursor to the button for the data that you want to import, and press the [ENTER] key. • You can import only monaural or stereo WAV files that are in 16-bit/44.1 kHz format. • When you move the cursor to the LISTEN button and press the [ENTER] key, there will be a slight time lag while the data is read from the CD before you hear it. 135 12 Track editing ● If a folder in the same level ( ) is selected The ENTER button will be displayed, allowing you to move into that folder. 11 Track editing 136 Chapter 13 Song management This chapter explains how to perform song management operations such as copying, deleting, backing up, and restoring songs. About songs On the AW16G, your recorded compositions are managed in units called “songs.” When you save a song on the hard disk, the audio data, the sample data used by the quick loop sampler, scene memories, and the data for each library are all stored together. By loading a saved song, you can return it to the original condition at any time. You can store as many songs on the internal hard disk as its capacity allows. Each song can occupy a maximum of 6.4 GB. The songs stored on the hard disk consist of a setup area that stores various settings (fixed at approximately 4.3 MB) and a data area that stores the audio data (the size of this will depend on the amount of data that you recorded. ● Setup area (fixed at approximately 4.3 MB) - Recorder section settings (SONG screen, TRACK screen) - Mixer section settings (each channel and effect) - Quick Loop Sampler section settings - Libraries (except for the sample library) - REMOTE screen settings ● Song (maximum 6.4 GB for one song) ● System area - UTILITY screen settings - Sample library - Data management area Internal hard disk (approximately 20 GB maximum) ● Data area (increases or decreases according to the recorded amount) - Audio data for 16 x 8 virtual tracks - Audio data for the stereo track audio data - Pad track event data - Undo/redo data - Sample data for the Quick Loop Sampler - Sound clip audio data. Note • The data area of a song also includes undo/redo data that is not used for normal playback. You can use the Optimize operation to delete this undo/redo data. (→ p. 141). • The sound clip audio data area is allocated when you create a new song. This area is allocated according to the SOUND CLIP TIME setting in the PREFER page of the UTILITY screen (→ p. 162), and cannot be changed later. 137 Song management Editing the song name Here’s how to edit the song name that is assigned when you create a new song. Note • This setting applies only to the current song. Before you perform this procedure, load the song whose name you want to edit. • The edited name will be saved with the song data when you save the song. 1 In the Work Navigate section, press the [SONG] key. 2 Repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the SETUP page. 3 To edit the song name, move the cursor to the NAME button and press the [ENTER] key. 4 Input the new name. Then move the cursor to the OK button and press the [ENTER] key. 138 The SONG screen will appear. The TITLE EDIT popup window will appear, allowing you to edit the song name. The new name will be applied, and the popup window will close. (For details on inputting a name → p. 24) Editing various settings for the song Here’s how to make various settings for a song, such as switching protect on/off and selecting the counter display format and time code format. 4 Note In the COUNTER DISPLAY area, use the following buttons to select the display format for the counter that is shown in the center of the top line in the display. • These settings apply only to the current song. Before you perform this procedure, load the song whose settings you want to edit. • The edited settings will be saved with the song data when you save the song. 1 In the Work Navigate section, press the [SONG] key. 2 Repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the SETUP page. ABS (absolute time) ....Display the current location in hours/minutes/seconds/milliseconds, with the absolute time zero location as 0. REL (relative time) ......Display the current location in hours/minutes/seconds/milliseconds, with the relative time zero location as 0. SEC .............................Display the current location in hours/minutes/seconds/milliseconds, with the Start point as 0. T.C..............................Display the current location in time code (hours/minutes/seconds/ frames), with the Start point as 0. REMAIN .....................When this button is on, the remaining recordable time with the selected number of recording tracks will be displayed instead of the current location. The SONG screen will appear. 1 3 2 Note • The counter in the upper right of the display always shows the current location in measure/beat units, relative to the Start point. • The measure/beat display will depend on the settings in the TEMPO page of the SONG screen. For details, refer to “Creating a tempo map” (→ p. 142). This page contains the following items. 1 PROTECT button Switches protect on/off. B COUNTER DISPLAY Selects the display format for the counter that appears in the center of the top line in the display. C TIME CODE BASE Selects the format (the number of frames per second) for the time code used by the AW16G. 3 To switch the protect setting on/off, move the cursor to the PROTECT button and press the [ENTER] key. Tip! • We recommend that you turn protect on for important songs. • Even if protect is on, you can still copy the song (→ p. 140) and adjust the mixer settings. 5 To change the time code frame rate, move the cursor to one of the buttons in the TIME CODE BASE area, and press the [ENTER] key. In the TIME CODE BASE area you can choose one of the following frame rates to specify the minimum unit of time code. 24 ...............................24 frames/second 25 ...............................25 frames/second 30 ...............................30 frames/second (30 non-drop frame) 30D ............................29.97 frames/second (30 dropframe) Tip! This setting affects both the counter time code display and the MTC that the AW16G transmits and receives. If the AW16G is sending or receiving MTC to or from an external device, you must set both devices to the same frame rate. Note With the exception of COUNTER DISPLAY, the settings in the SETUP page of the SONG screen cannot be changed while the AW16G is running. 139 13 Song management Protect is a setting that prohibits any change to the song data. If protect is turned on, the PROTECT button will be highlighted, and it will not be possible to perform additional recording or editing, or to erase the song. To change the counter display format, move the cursor to one of the buttons in the COUNTER DISPLAY area and press the [ENTER] key. Song management Copying or deleting a song Here’s how to copy or delete a song in the hard disk. Note • You cannot copy or delete a song while the AW16G is running. • A deleted song will be lost forever. Use great caution when deleting a song. • You cannot delete a song for which protect is on, or delete the current song (the highlighted song). If you want to delete such a song, you must first turn off the protect setting or switch the current song. 1 In the Work Navigate section, press the [SONG] key 2 Repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page. ■ To copy a song 4 Move the cursor to the COPY button and press the [ENTER] key. A popup window will ask you to confirm the copy operation. Tip! If you have selected the current song as the song to be copied, a popup window will ask you whether you want to save the current song. Move the cursor to either the YES button (if you want to save) or the NO button (if you don’t want to save), and then press the [ENTER] key. The SONG screen will appear. 5 To execute the copy, move the cursor to the OK button and press the [ENTER] key. The song you selected in step 3 will be copied, and you will return to step 2. If you move the cursor to the CANCEL button and press the [ENTER] key, the copy operation will be cancelled. Note 1 2 When you copy a song, the hard disk will contain two songs with the identical song name and size. To avoid confusion, we recommend that you rename the song after copying it. This page contains the following items. 1 DELETE button Displays a popup window that allows you to delete a song. B COPY button Displays a popup window that allows you to copy a song. 3 ■ To delete a song 6 Following step 3, move the cursor to the DELETE button and press the [ENTER] key. 7 To delete the song, move the cursor to the OK button and press the [ENTER] key. Turn the [DATA/JOG] dial to select the song that you want to copy or delete. A popup window will ask you to confirm the delete operation. The line that is enclosed by a dotted frame indicates the selected song. The song you selected in step 3 will be deleted, and you will return to step 2. If you move the cursor to the CANCEL button and press the [ENTER] key, the delete operation will be cancelled. Note If you have selected the current song as the song to be deleted, a popup window will warn you that it is not possible to delete the current song. 140 Optimizing a song “Optimize” is an operation that deletes the undo/redo audio data maintained within the song. When you have finished recording and editing a song, you can execute the Optimize operation on that song to increase the amount of free space on the hard disk. Note The deleted undo/redo audio data will be lost forever. Use this operation with caution. 1 In the Work Navigate section, repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the LIST page of the SONG screen. 2 Turn the [DATA/JOG] dial to select the song that you want to optimize. 3 Move the cursor to the OPTIMZ button, and press the [ENTER] key. The line enclosed by the dotted frame indicates the selected song. A popup window will ask you to confirm the optimize operation. Tip! You may select the current song to be optimized. In this case, a popup window will ask you whether you want to save the current song. Move the cursor to the YES button (if you want to save) or the NO button (if you don’t want to save), and press the [ENTER] key. 4 13 Song management To execute the optimize operation, move the cursor to the OK button and press the [ENTER] key. The undo/redo audio data of the song you selected in step 2 will be deleted, and you will return to step 1. If you decide not to execute the optimize operation, move the cursor to the CANCEL button and press the [ENTER] key. 141 Song management Creating a tempo map The “tempo map” contains data to change the tempo or time signature at the beginning of the song or at any measure or beat within the song. The measure/beat display counter, the Quick Loop Sampler, the internal metronome, and the MIDI clock data generated within the AW16G are all based on this tempo map. 2 Repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the TEMPO page. In this page you can input or edit tempo map events for the current song. 2 67 The AW16G’s tempo map can also record data to switch scenes (→ p. 73) or Pad sample banks (→ p. 107). You can use this to switch scenes as the song progresses, or to switch the sounds that are played by the Quick Loop Sampler. 8 9 J K Tip! • The Start point of the song corresponds to the starting location of the tempo map. • The data (“tempo map events”) recorded in the tempo map will continue to apply until the location at which the next event of the same type has been input. Note If you modify the tempo map after recording on an audio track, the measure/beat counter display values will be affected. For this reason if you want to use MIDI clock to synchronize with an external MIDI device, or if you want to control the song in measure units, you should create the tempo map before you record. If you modify the tempo map after a track has already been recorded, a popup window will ask you for confirmation. 34 5 This page contains the following items. 1 List This area lists the tempo map events that have been input for the current song. The line enclosed by a dotted frame is the currently selected tempo map event. B LOCATE button By moving the cursor to this button and pressing the [ENTER] key, you can move the song to the location of the tempo map event currently selected in the list. ■ Editing a tempo map event When you create a new song, the following tempo map event will be input at the beginning of the tempo map (the first beat of the first measure). • Time signature: 4/4 • Tempo: 120.0 • Pad sample bank: Pad 1=A, Pad 2=A, Pad 3=A, Pad 4=A • Scene number: not assigned Here’s how to edit the values of this tempo map event. 1 In the Work Navigate section, press the [SONG] key. 1 C DELETE button To delete the tempo map event currently selected in the list, move the cursor to this button and press the [ENTER] key. D INSERT button To insert a blank event at the step preceding the tempo map event currently selected in the list, move the cursor to this button and press the [ENTER] key. E NEW button To create an event at the beginning of the measure following the last step, move the cursor to this button and press the [ENTER] key. The SONG screen will appear. F STEP Indicates the step number of the tempo map event. G MEAS Indicates the location (measure/beat) at which the tempo map event is input. H I J K METER TEMPO PAD BANK 1–4 SCENE These fields show the time signature, tempo, pad sample bank, and scene number of each tempo map event. 142 3 Move the cursor to the item that you want to edit, and turn the [DATA/JOG] dial to edit the value. If the METER, TEMPO, PAD BANK 1–4, or SCENE value is “–”, move the cursor to the item and press the [ENTER] key before you edit the value. ■ Adding a tempo map event 1 If you use the INSERT button instead of the NEW button, a blank tempo map event will be inserted before the currently selected step. However, you cannot insert an event before the tempo map event at the beginning of the song (i.e., the tempo map event that is input when you create the song). • The METER, TEMPO, and PAD BANK 1–4 at the beginning of the song cannot be set to “–”. • You cannot change the METER value to other than “–” for a step that is not located at beat 1. The range for each item is as follows. METER TEMPO PAD BANK 1–4 SCENE A blank tempo map event will be created after the last step that is currently input. Tip! Note Event Access the TEMPO page, move the cursor to the NEW button, and press the [ENTER] key. Range Content 1/4 to 8/4, – Specifies the time signature of the song. 30.0 to 250.0, – Specifies the tempo of the song. You can set the tempo in units of 0.1 over a range of 30.0–250.0 BPM. A to D, – Selects the sample bank that will be used for each pad 1–4. 00 to 96, – Switches the scene number used by the song. 2 When the cursor is located outside the list, you can turn the [DATA/JOG] dial to scroll the contents of the list. 3 Move the cursor to the MEAS field of the event that is selected in the list, and turn the [DATA/JOG] dial to specify the location of the event. You can adjust the location of a tempo map event in units of measures or beats. However, you cannot move an event past the preceding or following event. Tip! • You cannot delete the tempo map event located at the beginning of the song, or change its location. If you want to change the tempo or time signature during the song, you can insert a new event. • If you set METER, TEMPO, PAD BANK 1–4, or SCENE to a value of “–”, that event will be disabled. For example if you want to specify only the time signature and tempo, you should set the pad bank and scene to “–”. Make sure that the cursor is outside the list, and turn the [DATA/JOG] dial to select a tempo map event that you created. 4 Move the cursor to the item that you want to edit, and turn the [DATA/JOG] dial to adjust the value. If necessary, you can play back the song to check that the tempo map event works as you expect. 5 In the same way, use the NEW or INSERT button to add new events, and set their parameters. ■ Deleting a tempo map event Here’s how to delete an unwanted event from the tempo map. (However, you cannot delete the event that is located at the beginning of the song.) Access the TEMPO page, and scroll the list to select the tempo map event that you want to delete. Move the cursor to the DELETE button and press the [ENTER] key. The selected event will be deleted. 143 13 Song management 1 2 Song management Importing data from an existing song Here’s how selected items of data such as scenes, libraries, or individual tracks of audio data from a song saved on the hard disk can be imported into the current song. Note When you execute this import operation, the previous data (for that item) in the current song will be lost. Use this procedure with caution. ■ Importing library/scene/tempo map data 1 Move the cursor to either the LIBRARY, SCENE, or TEMPO MAP button, and press the [ENTER] key. A popup window will ask you to confirm the import operation. ■ Selecting the song from which you will import data 1 In the Work Navigate section, press the [SONG] key. 2 Repeatedly press the [SONG] key or hold down the [SONG] key and use the CURSOR [ ]/[ ] keys to access the IMPORT page. The SONG screen will appear. 1 2 2 To execute the import, move the cursor to the OK button and press the [ENTER] key. Importing will begin. When the data has been imported, you will return to the screen of step 2. ■ Importing a specific track 1 Move the cursor to the TRACK button and press the [ENTER] key. A popup window will ask you to select the track to be imported. 1 3 4 2 3 This page contains the following items. 1 LIBRARY button Imports all libraries into the current song. B SCENE button 1 TRACK Specify the import-source track number. Imports all scenes into the current song. C TRACK button Imports the audio data of a single track into the current song. B V.TR Specify the import-source virtual track number. C NAME Displays the name of the currently selected virtual track. D TEMPO MAP button Imports the tempo map into the current song. 3 Turn the [DATA/JOG] dial to select the song from which you want to import data. The line enclosed by the dotted frame is the song you have selected as the import-source. 2 Move the cursor to the TRACK field and V.TR field, and turn the [DATA/JOG] dial to specify the track number and virtual track number. The name of the selected import-source track will be displayed in the NAME field. Note You can import only one track at a time. 144 3 Move the cursor to the OK button and press the [ENTER] key. A popup window will ask you to select the importdestination track. 1 4 Move the cursor to the TRACK field and V.TR field, and turn the [DATA/JOG] dial to specify the track number and virtual track number for the import-destination. 5 To execute the import, move the cursor to the OK button and press the [ENTER] key. Importing will begin. When the track has been imported, you will return to the state of step 2. 2 3 1 TRACK Specify the import-destination track number. B V.TR Specify the import-destination virtual track number. C NAME Displays the name of the virtual track that you selected as the import-destination. Backing up songs and sample libraries Here’s how you can back up songs or sample libraries from the internal hard disk to CD-R/RW media. 1 2 3 Insert CD-R/RW media into the CD-RW drive. In the Work Navigate section, press the [CD] key. The CD screen will appear. Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the BACKUP page. In this page you can back up songs or sample libraries from the internal hard disk to CD-R/RW media. 3 2 1 This page contains the following items. 1 List This area lists the songs or sample libraries that are saved on the hard disk. The symbols at the right of the list indicate whether an item of data has been selected (●) or disabled (O) for backup. B PAD button When this button is off, the list will show the songs that are saved on the hard disk. When this button is on, the list will show the sample libraries that are saved on the hard disk. C ALL button If you turn this button on and then turn the ENABLE/ DISABLE button on, all data displayed in the list will be selected for backup. D ENABLE/DISABLE button Selects whether an item of data will be selected for backup (ENABLE) or not selected (DISABLE). 5 6 4 Backs up the audio tracks within a song in the format of an AW2816 backup file. If you turn this button on, you will be able to back up only one song at a time. The data selection symbol (●) will apply only to the selected song, and the ALL button and ENABLE/DISABLE button will be unavailable. F EXECUTE button Executes the backup operation for the selected song(s) or sample library(ies). 145 Song management E AS AW2816 button 13 Song management 4 Turn the [DATA/JOG] dial to select the song or sample library data that you want to back up. Then move the cursor to the ENABLE/ DISABLE button and press the [ENTER] key. The symbol for the selected data will change to the ● symbol, indicating that this data has been selected for backup. You can repeat this step to select multiple items of data for backup. If you turn on the ALL button and then move the cursor to the ENABLE/DISABLE button and press the [ENTER] key, you can select all data in the list in one step. Tip! If you turn on the NAME or OLD button, the data in the list will be sorted alphabetically or by the order in which it was saved. 5 To execute the backup, move the cursor to the EXECUTE button and press the [ENTER] key. A popup window will ask you to confirm the operation. Note • If previously-recorded CD-RW media is inserted in the CD-RW drive, a popup window will ask you if it is OK to erase the media first. Move the cursor to the OK button and press the [ENTER] key, and the media will be erased. • If a CD-ROM or previously-recorded CD-R media is inserted in the CD-RW drive, a popup window with a message of “Change Media, Please” will appear, and the media will be ejected. Remove the media, and replace it with writable media. 146 6 Move the cursor to the OK button and press the [ENTER] key. Writing to the CD-R/RW media will begin. If you decide to cancel the backup operation, move the cursor to the CANCEL button and press the [ENTER] key. While the backup operation is being executed, a popup window will indicate the progress. When the backup has been completed, you will return to step 3. If the backup data does not fit on a single volume of media, a message of “Note Label, Exchange Next” will appear, and the media will be ejected. Insert a new volume of media. Then move the cursor to the OK button and press the [ENTER] key. Note • You cannot execute the backup operation without selecting data. • If you execute the backup operation with the AS AW2816 button turned off, system data (the settings you make in the UTILITY screen) will be backed up on the media together with the selected data. • If you execute the backup operation with the AS AW2816 button turned on, data other than audio tracks will not be backed up. All virtual tracks for tracks 1–16 will be backed up. For the stereo track, only the current track will be backed up. • When you restore data that was backed up to more than one volume of media, you must insert the media in the order in which it was backed up. Be sure to make a note of the backup sequence on the label surface of each CD-R/RW media. Restoring songs or sample libraries Here’s how data that you backed up to CD-R/RW media can be restored to the hard disk of the AW16G. 1 Insert the CD-R/RW media containing the backup data into the CD-RW drive. 2 In the Work Navigate section, press the [CD] key. 3 Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the RESTORE page. If the backup data occupies more than one volume of media, insert the first volume. You cannot operate the items in the RESTORE page until the inserted CD-R/RW media has been read. 5 Make sure that the cursor is located at the READ CD INFO button, and press the [ENTER] key. Information will be read from the inserted CD-R/ RW media. When the information has been read, a display like the following will appear. 3 2 1 Turn the [DATA/JOG] dial to select the data that you want to restore. Then move the cursor to the ENABLE/DISABLE button and press the [ENTER] key. The symbol at the right will change to the ● symbol, indicating that this data has been selected for restoring. If you turn on the ALL button and then move the cursor to the ENABLE/DISABLE button and press the [ENTER] key, all data shown in the list will be selected in one step. The CD screen will appear. In this page, data that you backed up to CD-R/RW media can be restored to the internal hard disk. 4 Note 6 If you want to restore the system data, move the cursor to the SYSTEM button and press the [ENTER] key. The button will be turned on, and the system data will be selected for restoring. 7 To execute the restore operation, move the cursor to the EXECUTE button and press the [ENTER] key. A popup window will ask you to confirm the operation. 6 54 1 List This area lists the data that has been backed up on the CD-R/RW media. The symbols at the right of the list indicate whether an item of data has been selected (●) or disabled (O) for restore. B PAD button C ALL button You can use this button to select all the data that appears in the list. If you turn this button on and then turn the ENABLE/DISABLE button on, all data displayed in the list will be selected for restore. Move the cursor to the OK button if you want to execute the restore operation (or to the CANCEL button if you decide not to restore), and press the [ENTER] key. The current song will be saved automatically, and the restore operation will begin. A popup window will indicate the progress of the restore operation. When the operation is finished, you will return to step 3. If the backup occupied more than one volume of CD-R/RW media, a message of “Exchange Next Media #XXX” (where XXX is a number) will be displayed during the restore process. Exchange the CD-R/RW media for the media of the corresponding number. Then move the cursor to the OK button and press the [ENTER] key. D ENABLE/DISABLE button Selects whether an item of data will be selected for restore (ENABLE) or not selected (DISABLE). E SYSTEM button Selects the system data (AW16G settings you make in the UTILITY screen) for restoring. F EXECUTE button Executes the restore operation 147 13 Song management When this button is off, the list will show the songs that were backed up on the CD-R/RW media. When this button is on, the list will show the sample libraries that were backed up on the CD-R/RW media. 8 Song management Exchanging song data with the AW4416/AW2816 You can back up an AW16G song in a format that is compatible with the AW4416/AW2816. Conversely, a song that was backed up by the AW4416/2816 can be restored into the AW16G. Note Only the audio data recorded in a song can be exchanged with the AW4416/2816. Mix parameters, libraries, and system data cannot be backed-up/restored in this way. ■ Backing up an AW16G song in a format compatible with the AW4416/ AW2816 If you turn on the AS AW2816 button in the BACKUP page of the CD screen, the data will be saved in the AW2816 backup file format. ■ Restoring AW4416/AW2816 songs 1 2 Insert CD-R/RW media containing the AW4416/AW2816 song backup into the AW16G. 3 4 Repeatedly press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the RESTORE page. In the Work Navigate section, press the [CD] key. The CD screen will appear. Make sure that the cursor is located at the READ CD INFO button, and press the [ENTER] key. Data will be read from the inserted CD-R/RW media. When the data has been read, a screen like the following will appear. An AW2816 backup file can be restored into an AW2816 or an AW4416 (version 2.0 or later). For the procedure, refer to “Backing up songs or sample libraries,” earlier in this manual. Note • Backup in the AW2816 backup file format is limited to one song at a time. • When you perform a backup in the AW2816 backup file format, data other than the audio tracks will not be backed up. All virtual tracks of tracks 1–16 will be backed up. For the stereo track, only the current track will be backed up. 5 6 Turn the [DATA/JOG] dial to select a song that you want to restore. Move the cursor to the ENABLE/DISABLE button and press the [ENTER] key. The symbol at the right of the data will change to ●, and the data will be selected for restoring. Note The list will show all the songs that were backed up to CD-R/RW media, but you can execute the restore operation only for 44.1 kHz/16-bit songs. 7 8 Repeat steps 5 and 6 to select all of the AW4416/AW2816 songs that you want to restore. To execute the restore operation, move the cursor to the EXECUTE button and press the [ENTER] key. The restore operation will begin. While the song data is being loaded, a popup window will indicate the progress. 148 Chapter 14 MIDI and utility functions This chapter explains basic MIDI-related settings, functions that use MIDI, and various utility functions. What you can do using MIDI On the AW16G, you can use MIDI to do the following things. ● Synchronize operation with an external device You can synchronize an AW16G song with the playback of an external device (such as a MIDI sequencer) by exchanging synchronization messages such as MTC (MIDI Time Code) or MIDI Clock with the external device. ● Remote control of the transport You can transmit MMC (MIDI Machine Control) messages from a MIDI sequencer or other external MIDI device to the AW16G to remotely control the AW16G’s transport. Conversely, you can also transmit MMC from the AW16G to an external device to control its transport. Example of using MTC/MMC to synchronize the operation of the AW16G and a MIDI sequencer (computer) MTC MIDI OUT/THRU connector MIDI IN MMC MIDI IN connector AW16G Example of recording/playing scene selections and mix parameter operations on a MIDI sequencer (computer) Control changes Program changes MIDI OUT/THRU connector MIDI IN connector AW16G MIDI IN MIDI OUT Control changes Program changes External MIDI device (e.g., computer) ● Bulk dump The AW16G’s internal settings such as library data and scene memories can be transmitted as “bulk data” and recorded on a MIDI sequencer or other external MIDI device. The recorded bulk data can then be transmitted to the AW16G to restore its internal settings to their previous state. This can also be used to copy settings between two AW16G units. Example of recording/playing bulk data on a MIDI sequencer (computer) Bulk data MIDI OUT MIDI OUT/THRU connector External MIDI device (e.g., computer) ● Automate scene changes and mix parameter operations When you recall a scene on the AW16G or operate its mix parameters, the corresponding messages (program changes or control changes) can be transmitted from the MIDI OUT/THRU connector to an external device. If you record these messages on a MIDI sequencer that is synchronized to the AW16G song, these scene recall operations or realtime mix parameter operations can be reproduced whenever you want. MIDI IN Bulk data MIDI IN connector AW16G MIDI OUT External MIDI device (e.g., computer) ● MIDI Remote “MIDI Remote” is a function that lets you use the AW16G as a physical controller for an external device. You can assign the desired MIDI messages to the faders and [TRACK SEL] keys of the top panel, and use them to remotely control a MIDI device or computer program. Example of using the AW16G as a physical controller for a MIDI sound module Control changes System exclusive messages, etc. MIDI OUT/THRU connector AW16G MIDI IN External MIDI device (e.g., computer) 149 MIDI and utility functions Basic MIDI settings In the MIDI page of the UTILITY screen, you can make various MIDI-related settings such as selecting the MIDI messages that will be output from the MIDI OUT/THRU connector, and specifying MTC/MMC transmission and reception. To access this page, repeatedly press the Work Navigation section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys. 1 2 4 SLAVE button..............If this button is on, the AW16G will be the MTC slave, and will follow MMC commands that it receives at the MIDI IN connector. Use this setting when you want to remotely control the transport of the AW16G from an external MIDI device. Tip! 7 If you want to use the AW16G as the MMC master, make sure that the MIDI button is turned on in the MIDI OUT area. C DEV (device number) Specifies the MMC device number (1–127) that the AW16G will receive. Note 3 6 5 9 8 This page contains the following items. 1 MIDI OUT Selects the type of MIDI messages that will be output from the MIDI OUT/THRU connector. MIDI button............... If this button is on, various MIDI messages generated within the AW16G (except for MIDI Clock and MTC) will be transmitted. If you turn this button on, the THRU button will be defeated. CLK button................. If this button is on, MIDI Clock (and Start, Stop, Continue, and Song Position Pointer) messages will be transmitted while the recorder is running. If you turn this button on, the MTC button will be defeated. MTC ........................... If this button is on, MTC (MIDI Time Code) will be transmit while the recorder is running. If you turn this button on, the CLK button will be defeated. THRU button ............. If this button is on, MIDI messages received at the MIDI IN connector will be re-transmitted without change from the MIDI OUT/THRU connector, and none of the MIDI messages generated within the AW16G itself will be transmitted. If you turn this button on, the MIDI/ CLK/MTC buttons will be defeated. B MMC MODE Specifies how MMC will be transmitted/received. MASTER button.......... If this button is on, the AW16G will be the MMC master. When you operate the transport, the corresponding MMC command will be transmitted from the MIDI OUT/THRU connector. Use this setting when you want to remotely control an external MIDI device from the AW16G. 150 • The MMC device number is an identifying number used to distinguish devices that transmit and receive MMC commands. When using MMC, the AW16G and the external MIDI device must be set to the same MMC device number. • The MMC device number is displayed as a decimal number starting from one. Some devices display the MMC device number as a hexadecimal number starting from zero. In this case, the numbers will correspond as follows. AW16W display → hexadecimal display 1 → 00h 127 → 7Eh • The AW16G always transmits MMC commands using the “All” device number (7Fh in hexadecimal). D MTC MODE Specifies how the AW16G operate when synchronized with an external MIDI device using MTC (MIDI Time Code). MASTER button ..........If this button is on, the AW16G will be the MTC master. When you operate the transport of the AW16G, MTC will be transmitted from the MIDI OUT/THRU connector. Use this setting if you want to the external MIDI device to follow the AW16G, or if you are using the AW16G by itself. SLAVE button..............If this button is on, the AW16G will be an MTC slave, and will follow MTC data it receives at the MIDI IN connector. Use this setting if you want to synchronize with a second AW16G unit, or if you want to synchronize the AW16G with an external MIDI device that can function only as the MTC master. Tip! When using the AW16G as the MTC master, make sure that the MIDI button and MTC button in the MIDI OUT area are both turned on. E AVRG (Average) Select one of the following to specify how closely the AW16G will follow the incoming MTC data when functioning as an MTC slave. 0 ............. The AW16G will synchronize to the incoming MTC data at the highest precision. However if the incoming MTC has significant instability, synchronization may be interrupted or become unreliable. 1 ............. This setting allows more tolerance of MTC instability than the “0” setting. 2 ............. This setting allows the maximum tolerance. Use this setting if the MTC master is an external MIDI device that has significant instability. Tip! When the AW16G is functioning as an MTC slave and is operating in synchronization to an external MIDI device, and the accuracy of the incoming MTC becomes unstable, the AW16G will make slight adjustments in its playback pitch in an attempt to follow. The AVRG parameter specifies the range of MTC variance that will be tolerated. F OFST (Offset) 00:00:10:00.00 00:00:15:00.00 00:00:20:00.00 Time code 00:00:10:00.00 display (ABS) Song 00:00:15:00.00 00:00:20:00.00 00:00:10:00.00 00:00:15:00.00 00:00:20:00.00 Time code 00:00:15:00.00 display (ABS) Song 00:00:20:00.00 00:00:25:00.00 OFST = +00:00:05:00.00 OFST = 00:00:05:00.00 Incoming time code OFF .........Program changes will not be transmitted or received. TX............Program changes will only be transmitted. RX ...........Program change will only be received. TX-RX ......Program changes will be transmitted and received. In the SCENE screen PC TABLE page you can specify the scene number that will correspond to each program change number (→ p. 165). Note In order to actually transmit program changes, the MIDI button of the MIDI OUT area must be turned on. OFST = 00:00:00:00.00 Incoming time code Switches program change transmission and reception on/off. If program change reception is on, the AW16G will recall the corresponding scene when it receives a program change at the MIDI IN connector. If program change transmission is on, the AW16G will transmit the corresponding program change from the MIDI OUT/THRU connector when a scene is recalled on the AW16G. You can select the following choices. Tip! When using the AW16G as an MTC slave, this parameter shifts the absolute time within the AW16G forward or backward relative to the incoming MTC. The range is -24:00:00:00.00 to +24:00:00:00.00. Incoming time code H PGM CHG MODE 00:00:10:00.00 00:00:15:00.00 00:00:20:00.00 Time code 00:00:05:00.00 display (ABS) Song 00:00:10:00.00 00:00:15:00.00 Tip! The OFST setting has no effect on the MTC that is transmitted from the AW16G’s MIDI OUT/THRU connector. G MIDI CH TX ........... Selects the transmit MIDI channel, in a range of 1–16. While MIDI messages are being transmitted, the characters “TX” will be highlighted. RX ........... Selects the receive MIDI channel, in a range of 1–16 or ALL. If you select ALL, MIDI messages of all MIDI channels will be received (Omni mode). While MIDI messages are being Specifies how control changes will be transmitted and received. If control change transmission and reception are enabled, the corresponding control change will be transmitted when you operate a mix parameter (fader, pan, effect send, etc.) for track channel 1–16 on the AW16G. When a control change is received, the corresponding mix parameter will change. You can select one of the following choices. OFF .........Control changes will not be transmitted or received. 1 ..............Control changes will be transmitted and received on MIDI channels 1–16. (MIDI channels 1–16 will correspond to AW16G track channels 1–16.) 2 ..............Control changes will be transmitted and received only on the MIDI channel that is selected in the MIDI CH field. (This mapping is compatible with the AW4416/AW2816.) 3 ..............This is the same as 2 in that control changes of only one MIDI channel are received and transmitted, but the parameter mapping differs from 2. (A single MIDI channel will correspond to AW16G track channels 1–16.) Tip! • For details on the mix parameters that correspond to each control change, refer to the tables that follow. • When you operate a mix parameter of track channel 9/ 10–15/16 on the AW16G, two types of control changes will be transmitted. Note In order to actually transmit control changes, the MIDI button of the MIDI OUT area must be turned on. received, the characters “RX” will be highlighted. 151 14 MIDI and utility functions Selects the MIDI channel that will be used to transmit and receive MIDI messages such as program changes and control changes. This area contains the following two items. I CTRL CHG MODE MIDI and utility functions ● When CTRL CHG MODE = 1 MIDI CH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 CC# 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 7 10 91 93 CC# PARAMETER TRACK CHANNEL 1 TRACK CHANNEL 2 TRACK CHANNEL 3 TRACK CHANNEL 4 TRACK CHANNEL 5 TRACK CHANNEL 6 TRACK CHANNEL 7 TRACK CHANNEL 8 TRACK CHANNEL 9 TRACK CHANNEL 10 TRACK CHANNEL 11 TRACK CHANNEL 12 TRACK CHANNEL 13 TRACK CHANNEL 14 TRACK CHANNEL 15 TRACK CHANNEL 16 FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND FADER PAN EFF1 SEND EFF2 SEND ● When CTRL CHG MODE = 2 CC# 0 1 2 3 4 5 6 7 8 9 10 11 12 152 PARAMETER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN CHANNEL NO ASSIGN INPUT 1 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 INPUT 7 INPUT 8 PAD 1 PAD 2 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 PARAMETER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER ON ON ON ON ON ON ON ON ON ON ON ON ON PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN CHANNEL NO ASSIGN CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL MASTER MASTER MASTER MASTER MASTER NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER MASTER NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN CHANNEL NO ASSIGN CHANNEL NO ASSIGN CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN BALANCE NO ASSIGN NO ASSIGN PAD 3 PAD 4 RETURN 1 RETURN 2 STEREO OUT AUX 1 AUX 2 EFF 1 EFF 2 BUS 1 BUS 2 INPUT 1 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 INPUT 7 INPUT 8 PAD 1 PAD 2 PAD 3 PAD 4 STEREO OUT INPUT 1 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 INPUT 7 INPUT 8 PAD 1 L PAD 1 R PAD 2 L PAD 2 R PAD 3 L PAD 3 R PAD 4 L PAD 4 R STEREO OUT PARAMETER CC# 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND NO ASSIGN EFF1 SEND NO ASSIGN EFF1 SEND NO ASSIGN EFF1 SEND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER INPUT 1 INPUT 2 INPUT 3 INPUT 4 INPUT 5 INPUT 6 INPUT 7 INPUT 8 PAD 1 PAD 2 PAD 3 PAD 4 ● When CTRL CHG MODE = 3 CC# 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 PARAMETER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER ON ON ON ON ON NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL MASTER MASTER MASTER MASTER MASTER NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER MASTER NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 TRACK 6 TRACK 7 TRACK 8 TRACK 9 TRACK 10 TRACK 11 TRACK 12 TRACK 13 TRACK 14 TRACK 15 TRACK 16 RETURN 1 RETURN 2 STEREO OUT AUX 1 AUX 2 EFF 1 EFF 2 BUS 1 BUS 2 TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 PARAMETER ON ON ON ON ON ON ON ON ON ON ON ON PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER FADER CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN MASTER CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN BALANCE NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND EFF1 SEND NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN NO ASSIGN TRACK 6 TRACK 7 TRACK 8 TRACK 9 TRACK 10 TRACK 11 TRACK 12 TRACK 13 TRACK 14 TRACK 15 TRACK 16 STEREO OUT TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 TRACK 6 TRACK 7 TRACK 8 TRACK 9 TRACK 10 TRACK 11 TRACK 12 TRACK 13 TRACK 14 TRACK 15 TRACK 16 STEREO OUT TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 TRACK 6 TRACK 7 TRACK 8 TRACK 9 TRACK 10 TRACK 11 TRACK 12 TRACK 13 TRACK 14 TRACK 15 TRACK 16 14 MIDI and utility functions CC# 153 MIDI and utility functions Transmitting the AW16G’s settings via MIDI (Bulk Dump) In the BULK page of the UTILITY screen, you can transmit various internal settings of the AW16G (scene memories, libraries, settings of the UTILITY screen, etc.) as bulk data from the MIDI OUT/THRU connector. If you record this bulk data on a MIDI sequencer or similar device, you will then be able to restore these settings whenever desired. To access this page, repeatedly press the [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys. 1 2 9 I RX DISABLE button Selects whether bulk data sent from an external device will be received (button = on) or ignored (button = off). J REQUEST button When you move the cursor to this button and press the [ENTER] key, a bulk dump request message will be transmitted from the MIDI OUT/THRU connector. A bulk dump request message is a MIDI message that requests an AW16G to transmit the settings you selected in items 1–7. When two AW16G units are connected, you can use this to copy data such as scene memories or libraries from the other AW16G. ● Bulk dump request message transmission AW16G 34 7 5 6 8 K J This page contains the following items. 1 SCENE button Selects scene memories for bulk dumping. Use the scene number field located at the right of the button to specify the scene(s) that will actually be transmitted. MIDI OUT/THRU MIDI IN Bulk data B Scene number field Request message MIDI IN Here you can select the scene number(s) that will be transmitted. You can select from the following choices. MIDI OUT/THRU CURRENT .................. The current mixing settings (the current scene) 01–96......................... A scene number 01–96 ALL ............................ Scene numbers 01–96 + current scene C LIBRARY button AW16G Selects libraries for bulk dumping. D SYSTEM button Selects the settings in each page of the UTILITY screen for bulk dumping. E REMOTE button Selects the settings of the REMOTE screen (→ p. 155) for bulk dumping. F PC TABLE button Selects the settings of the SCENE screen PC TABLE page (→ p. 165) for bulk dumping. G ALL button Selects (in one step) all items that can be bulk dumped. H INT Specifies the interval at which bulk data will be transmitted, in a range of 0–300 ms (10 ms steps). 154 K TRANSMIT button Move the cursor to this button and press the [ENTER] key to execute the bulk dump. Tip! • The time required for bulk data to be transmitted will depend on the type of data. • An error may occur on the receiving device while bulk data is being transmitted. In this case, try increasing the INT setting. When transmitting and receiving bulk data between two AW16G units, leave the INT value at zero. Note In order to actually perform a bulk dump, you must turn on the MIDI button located in the MIDI OUT area of the MIDI page in the UTILITY screen, so that MIDI messages can be transmitted from the MIDI OUT/THRU connector (→ p. 150). Using the MIDI Remote function About the MIDI Remote function The AW16G provides a MIDI Remote function that lets you use the controls of the top panel to transmit the desired MIDI messages. By using the MIDI Remote function, you can use the AW16G as a physical controller for a computer program or MIDI tone generator. Alternatively, you can specify that a MIDI message with a fixed value is transmitted only when you press the [TRACK SEL] key to turn it on (lit). For example if you assign program change #1, the program change of that number will be transmitted each time you turn on the [TRACK SEL] key. Program change number 1 Program change number 1 transmit MIDI messages can be assigned to the following controls. transmit ● Mixer section • Faders 1–8, 9/10–15/16 • [TRACK SEL] keys 1–8, 9/10–15/16 ● Transport section • RTZ [ ] key • REW [ ] key • FF [ ] key • STOP [■] key • PLAY [ ] key • REC [●] key Of these, the MIDI messages assigned to the faders and [TRACK SEL] keys can be freely reassigned. You can assign the following types of message. ■ Messages that can be assigned to faders Control change A MIDI message whose value number 7 changes in a range of 0–127 can be assigned to each fader. For transmit example if you assign control Value = change #7 (volume) to a fader, you 127 can move the fader to control the volume of a MIDI tone generator. Value =0 ■ Messages that can be assigned to the [TRACK SEL] keys Control change number 64 (value= 127) transmit Control change number 64 (value= 0) transmit The PRESET page of the REMOTE screen provides ten different MIDI Remote presets. These presets have been created with specific devices and computer sequencer programs in mind, and assign the necessary messages to the AW16G’s faders and [TRACK SEL] keys. You can use the MIDI Remote function immediately, just by selecting a preset in this page and connecting the appropriate external MIDI device. Sequencer programs that are supported ● Windows • Logic5 5.0.1 *1 • Logic Audio Platinum 4.6 *1 • Cubase VST/32 5.1r1 • Cakewalk ProAudio 9.02 • SONAR 1.01 ● Macintosh • Logic5 5.0.1 *1 • Logic Audio Platinum 4.6 *1 • Cubase VST/32 5.1r1 *2 • Cubase VST/32 5.0 • ProTools LE 5.11 *1. Use the setting file from the included CD-ROM to map the AW16G’s faders/[TRACK SEL] keys/transport keys to the Logic key commands. Track assignments must be made within Logic as appropriate for your system. *2. The [RTZ] key will not function. To access the PRESET page of the REMOTE screen, repeatedly press the Work Navigate section [REMOTE] key or hold down the [REMOTE] key and use the CURSOR [ ]/[ ] keys. Tip! The MIDI Remote function will automatically be on while this page is displayed. The track channel faders and [TRACK SEL] keys will not perform their usual functions, but will work as specified by the preset you have selected in the PRESET page. 155 14 MIDI and utility functions A MIDI message whose value changes between the two states of 0 or 127 can be assigned to each [TRACK SEL] key. For example if you assign control change #64 (hold) to a [TRACK SEL] key and specify that the control change value alternates between 0 and 127, pressing the [TRACK SEL] key to turn it on (lit) will transmit control change #64 with a value of 127 (Hold on), and turning it off (dark) will transmit control change #64 with a value of 0 (Hold off). Using the MIDI Remote function presets MIDI and utility functions 2 3 1 ● ● ● ● • [TRACK SEL] key operations will control mute on/off operations on the sequencer software. • Fader operations will control the volume of the sequencer software tracks. You will need to install the appropriate setting file into your sequencer software, and make the necessary settings. For details, refer to the “Appendix” section “About the CD-ROM included with the AW16G” (→ p. 200). This page contains the following items. 1 List Select one of the ten presets shown in this list. The line enclosed in the dotted frame is the currently selected preset. When you turn the [DATA/JOG] dial to select another preset, the MIDI message assignments will be switched immediately. The AW16G provides the following presets. ● 00 Volume/RecTr Use this preset to control the volume of an external tone generator or the recording tracks of an external recorder. • [TRACK SEL] key operations will transmit MMC commands to select recording tracks. • Fader operations will transmit Volume control changes (CC#=07). ● 01 Volume Use this preset to control the volume of an external tone generator. • [TRACK SEL] key operations will transmit Volume control change messages (CC#=07). • When you turn a [TRACK SEL] key off (dark), volume = 0 will be transmitted. • When you turn a [TRACK SEL] key on (lit green), the volume value corresponding to the fader position will be transmitted. • When a [TRACK SEL] key is on operating the fader will transmit Volume control change messages (CC#=07). 02 Logic 03 Cubase 04 Sonar 05 ProTools These presets let you use the AW16G as a physical controller for various software sequencers. ● ● ● ● 06 XG 1-16 07 XG 17-32 08 XG 33-48 09 XG 49-64 These presets let you use the AW16G as a volume controller for an XG tone generator. Each preset will control the XG-compatible tone generator’s parts 1– 16, 17–32, 33–48, and 49–64 respectively. • [TRACK SEL] key operations will switch the part on/off. • Fader operations will control the volume of the part. If you select preset 07–09, the button indications will change as follows. ● Preset 07 1-16 button → 17-32 button 1-12 button → 17-28 button 9-16 button → 25-32 button ● Preset 08 1-16 button → 33-48 button 1-12 button → 33-44 button 9-16 button → 41-48 button ● Preset 09 1-16 button → 49-64 button 1-12 button → 49-60 button 9-16 button → 57-64 button B CH Choose one of these buttons to select the MIDI channels that will be assigned to the faders and the [TRACK SEL] keys, as shown in the following tables. 156 ● When the 1-16 button is selected Faders/[TRACK SEL] keys 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 MIDI channel 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 ● When the 1-12 button is selected Faders/[TRACK SEL] keys 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 MIDI channel 1 2 3 4 5 6 7 8 9 10 11 12 ● When the 9-16 button is selected Faders/[TRACK SEL] keys 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 MIDI channel 9 10 11 12 13 14 15 16 — — — — Tip! When the 1-16 button is on, operating a fader 9/10–15/ 16 or a [TRACK SEL] key 9/10–15/16 will transmit two channels of MIDI messages. C TRANSPORT Select one of the following to specify what will happen when you operate the keys of the transport section while using the MIDI Remote function. NORMAL button........ The transport keys will perform the same operations as normally; play, stop, or locate etc. the current song. MTC/MMC/MIDI Clock messages will be transmitted and received as specified in the MIDI page of the UTILITY screen. LOCAL button............ The transport keys will play, stop, or locate the current song. However, MTC/MMC/MIDI Clock messages will not be transmitted or received. REMOTE button ......... The transport keys will not operate the recorder, but will only transmit the MIDI messages that have been preset for each key. Using the user-defined Remote function The USER page of the REMOTE screen lets you assign your own MIDI messages to each fader and [TRACK SEL] key. To access this page, repeatedly press the Work Navigate section [REMOTE] key or hold down the [REMOTE] key and use the CURSOR [ ]/[ ] keys. Tip! The MIDI Remote function will automatically be on while this page is displayed. The track channel faders and [TRACK SEL] keys will not perform their usual functions, but will work as specified by the settings you have made in the USER page. 1 2 3 4 5 8 9 J Tip! These settings will also apply if you use a foot switch to operate the song transport. 6 7 This page contains the following items. 1 TRANSPORT Selects what will happen when you operate the keys of the transport section while using the MIDI Remote function. B Selected channel Indicates the name of the channel that is currently selected for operations. When you operate a fader 1–8 or 9/10–15/16 or a [TRACK SEL] key 1–8 or 9/10–15/16, the displayed contents of the page will change to the corresponding channel. C Fader/[TRACK SEL] key function name Displays the name that is assigned to the currently displayed fader or [TRACK SEL] key. D NAME button Edits the name that is assigned to the fader/[TRACK SEL] key. Move the cursor to the button and press the [ENTER] key, and the TITLE EDIT popup window will appear. 157 MIDI and utility functions Tip! 14 MIDI and utility functions E ALL INIT button J MIDI message Resets all MIDI messages assigned to the faders/ [TRACK SEL] keys to the initial settings. To initialize, move the cursor to this button and press the [ENTER] key. F FADER button If you turn this button on, the MIDI message assigned to the fader of the currently selected channel will be displayed. This button will automatically be turned on when you operate the fader of a track channel. G SEL SW button If you turn this button on, the MIDI message assigned to the [TRACK SEL] key of the currently selected channel will be displayed. This button will automatically be turned on when you operate the [TRACK SEL] key of a track channel. H LATCH/UNLATCH button Selects how the [TRACK SEL] key of a track channel will operate when pressed. LATCH ....................... The setting will alternate on/off each time you press the [TRACK SEL] key. MIDI data transmitted (SW=7F) off MIDI data transmitted (SW=00) on off UNLATCH.................. The setting will be on while you hold down the [TRACK SEL] key, and will turn off when you release the key. MIDI data transmitted (SW=7F) off on MIDI data transmitted (SW=00) off I LEARN button When this button is on, the MIDI message received from the MIDI IN connector will be assigned to the currently selected fader or [TRACK SEL] key. This is a convenient way to assign MIDI messages quickly. Tip! • If two or more MIDI messages are received while the LEARN button is on, the last-received MIDI message will be input in the MIDI message field. • If a system exclusive message longer than sixteen bytes is received, the first sixteen bytes will be displayed. 158 This area displays (in hexadecimal form) the MIDI message that is assigned to the currently selected fader or [TRACK SEL] key. You can move the cursor to each numeric box and turn the [DATA/JOG] dial to edit the value of each byte (two-digital hexadecimal number). You can select the following values. 00–FF (hexadecimal) ..Corresponds to the actual value of the MIDI message that is transmitted. END............................Indicates the end of the MIDI message. When you operate a fader or [TRACK SEL] key, the MIDI message starting with the first byte and ending with the byte that precedes END will be transmitted. SW ([TRACK SEL] key only) ...........................Indicates the on/off status of the [TRACK SEL] key. The byte you specify as SW will be transmitted as 7F (hexadecimal) when the key is turned on, or 00 (hexadecimal) when the key is turned off. FAD ............................Indicates the current position of the fader. If the message is assigned to a fader, the byte you specify as FAD will be transmitted as a value of 00–7F (hexadecimal) corresponding to the fader position when you operate the fader. If the message is assigned to a [TRACK SEL] key, this byte will be transmitted as a value corresponding to the current position of the fader when the [TRACK SEL] key is turned on, and will be transmitted as a value of 00 (hexadecimal) when the [TRACK SEL] key is turned off. Tip! • The MIDI message assigned to a single fader or key cannot be longer than sixteen bytes. • If a SW byte is not assigned to a [TRACK SEL] key, the MIDI message you input will be transmitted only when you turn the key on. (In this case you will normally use the UNLATCH setting.) • When you use the LEARN button to assign a control change to a fader, the END byte will automatically be input at the end of the MIDI message. • When you use the LEARN button to assign a control change to a fader, the FAD byte will be automatically input as the variable value. Note • If you assign a MIDI message manually, be sure to input END at the end of the MIDI message. • When you assign a MIDI message to a fader, FAD must be input for one of the bytes. If FAD is not input, operating the fader will not do anything. • If you input the values manually, it is possible that an invalid MIDI message will be input. For this reason, you should use the 9 LEARN button to assign MIDI messages whenever possible. Using the test tone oscillator The OSC page of the UTILITY screen lets you send the signal of the AW16G’s built-in test oscillator (the test tone oscillator) to the desired bus. To access this page, repeatedly press the Work Navigate section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys. 1 2 B LEVEL knob Adjusts the output level of the oscillator. C AUX 1/2 buttons Send the oscillator output to AUX buses 1/2. D EFF 1/2 buttons Send the oscillator output to effect buses 1/2. 34 E BUS L R button Sends the oscillator output to the L/R bus. F STEREO L R button Sends the oscillator output to the stereo bus. G Level meter Indicates the output level of AUX 1/2, effect bus 1/ 2, and the L/R bus. 6 5 7 This page contains the following items. 1 WAVEFORM Selects one of the following signals for output from the oscillator. Note Sine waves and white noise have a higher sound pressure than they perceptually appear. These signals may damage your speakers if played at a high volume, so please use caution. OFF button ................ Oscillator is off 100Hz button ............ 100 Hz sine wave 440Hz button ............ 440 Hz sine wave 1kHz button............... 1 kHz sine wave 10 kHz button............ 10 kHz sine wave NOISE button ............ White noise When you turn on a button, the oscillator output will immediately be sent to the specified bus. Use the 3–6 buttons to specify the bus to which the signal will be sent. Tip! If the LEVEL knob is raised when you output the oscillator signal, a high volume level may be produced suddenly. Be sure to lower the LEVEL knob before you switch on the oscillator. 14 MIDI and utility functions 159 MIDI and utility functions Digital input settings/Checking and initializing the internal hard disk In the D.IN HDD page of the UTILITY screen you can make settings for digital input, and check and initialize the internal hard disk. To access this page, repeatedly press the Work Navigation section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys. 1 2 3 4 6 5 7 This page contains the following items. 1 DIGITAL IN PATCH Selects one of the following as the destination to which the signal from the DIGITAL IN jack will be sent. DISABLE .................... The DIGITAL STEREO IN jack will be disabled. INPUT 1/2–7/8 .......... The signal will be sent to input channels 1/2–7/8. If you select this setting, the MIC/LINE input jacks for the corresponding input channels will be disabled. STEREO BUS .............. The signal will be sent to the stereo bus. Tip! If you select DISABLE, the AW16G will operate using its own internal clock. If you select any other setting, the AW16G will synchronize to the clock contained in the input signal from the DIGITAL STEREO IN jack. However when playing an audio CD, the AW16G always operates using its own clock. Note • You cannot switch this setting while the recorder is running. • If you select a setting other than DISABLE, a message of “((((WRONG WORD CLOCK!!))))” will be displayed if appropriate clock data is not being sent to the DIGITAL STEREO IN jack. While this message is displayed, all channels will be muted and the recorder section will not operate. To make the AW16G operate, you must either input the correct clock signal or switch the DIGITAL IN PATCH setting to DISABLE. B ATT knob Adjusts the level of the signal that is sent from the DIGITAL STEREO IN jack to the stereo bus. Tip! The ATT knob is meaningful only if DIGITAL IN PATCH is set to STEREO BUS. 160 C DIGITAL REC ON/OFF button Enables (ON) or disables (OFF) digital recording from the DIGITAL IN jack, and importing of digital audio data from an audio CD or WAV file inserted in the CD-RW drive. When you switch this setting ON, the following message will be displayed. OBSERVE Copyright Notice Written in Owner’s Manual? [Cancel] [OK] If you agree to the conditions described in “Copyright Notice” (→ p. 5), select [OK]. When you select [OK], recording and importing of digital audio data will be enabled. Tip! The DIGITAL REC ON/OFF button is always set to OFF when you turn on the power. D VARI PITCH ON/OFF button Selects whether the sampling frequency will be adjustable (Vari-pitch function) when DIGITAL IN PATCH is set to DISABLE. If you turn this button on, vari-pitch will be enabled, and you can use the VARI PITCH knob to adjust the sampling frequency. E VARI PITCH knob Adjusts the sampling frequency of the current song in a range of –5.97 to +6.00%. Note Vari-pitch is not available if DIGITAL IN PATCH is set to other than DISABLE, or if you have selected MTC Slave in the MIDI page of the UTILITY screen. F CHECK button Checks the state of the internal hard disk. When you move the cursor to this button and press the [ENTER] key, a popup window will ask you for confirmation. If you move the cursor to the OK button and press the [ENTER] key, the current song will be saved automatically, and the check will be executed. A popup window will appear while checking is in progress, but you can abort the check by pressing the [ENTER] key. If no problems are found, a popup window indicating “No Error” will appear. If a problem is found, one of the following messages will appear. Read Error ..................The display will indicate the number of locations for which data could not be read from the hard disk. It is possible that the hard disk has been physically damaged. Data Error.................. The display will indicate the number of locations for which there is an inconsistency in the data that was read from the hard disk. It is possible that song operations cannot be performed correctly. Link Error................... The display will indicate the number of locations for which the data recorded on the hard disk is not connected correctly. It is possible that noise may be present in the song playback, or that song operations cannot be performed correctly. Tip! This operation does not fix errors on the hard disk. We recommend that you make backups of important song data. If an error message is displayed when you execute this operation, please format the hard disk. If the AW16G still does not function correctly after you have formatted the hard disk, please contact your dealer. G FORMAT button Formats the internal hard disk. When you move the cursor to this button and press the [ENTER] key, the hard disk will be formatted. During execution, a popup window will indicate the progress. When formatting has been completed, the popup window will close automatically. Note • Executing the Format operation will erase all data from the internal hard disk, and the data cannot be recovered. Use this operation with caution. • You cannot abort the Format operation once it has been started. • Never turn off or disconnect the power during formatting, since this may damage the hard disk and cause malfunctions. 14 MIDI and utility functions 161 MIDI and utility functions Overall settings for the AW16G In the PREFER page of the UTILITY screen, you can make settings that affect the overall operation of the AW16G, such as specifying whether or not popup windows will appear, and switching copy protect on/off. To access this page, repeatedly press the Work Navigate section [UTILITY] key or hold down the [UTILITY] key and use the CURSOR [ ]/[ ] keys. 12 6 78 D PARAM DISP TIME Adjusts the duration for which the value will be displayed in the upper right of the screen when you use the knobs of the Selected Channel section to edit a parameter. This setting has a range of 0–9 (seconds). E FADER FLIP Specifies whether faders 1–8 and 9/10–15/16 will adjust the track channel levels (TRACK) or the input channel/pad levels (INPUT). When the power is turned on, this setting will always return to TRACK. Note Even if you select INPUT, the function of the [TRACK SEL] keys will not be affected. F NUDGE MODE 354 J9 This page contains the following items. 1 STORE CONFIRM ON/OFF button Specifies whether the TITLE EDIT popup window (allowing you to assign a name) will appear when you store a scene/library. B RECALL CONFIRM ON/OFF button Specifies whether a popup window will ask you to confirm the operation when you recall a scene or library. C D.OUT COPYRIGHT ON/OFF button Specifies whether SCMS (Serial Copy Management System) copy protect flags will be written into the digital signal that is output from the DIGITAL STEREO OUT jack. Protect is enabled if the button is on, and disabled if the button is off. If copy protect is enabled, you will be able to copy the signal from the DIGITAL STEREO OUT jack on an MD or DAT recorder, but it will not be possible to make a second-generation digital copy from that data. ● When copy protect is enabled AW16G D.OUT COPYRIGHT= ON Selects the playback method that will be used by the Nudge function (a function that lets you use the [JOG ON] key and [JOG/DATA] dial to search for a location). AFTER.........................Play back repeatedly, starting at the current location, for the duration specified by the NUDGE TIME. BEFORE ......................Play back repeatedly, ending at the current location, for the duration specified by the NUDGE TIME. NUDGE MODE: BEFORE Current location NUDGE MODE: AFTER Current location G NUDGE TIME Specifies the duration (Nudge Time) that will be played repeatedly by the Nudge function. The nudge time can be set in a range of 25–800 ms in 1 ms (millisecond) steps. H SOUND CLIP TIME Selects the recording time for the Sound Clip function. This can be set in a range of 30 sec–180 sec, in 30 sec (second) steps. Note The SOUND CLIP TIME setting is used when you create a new song. You cannot change the recording time for the sound clip function after the song has been created. DIGITAL STEREO OUT jack DAT or MD, etc. 162 I PREROLL TIME Digital recording possible Digital recording not possible Specifies the duration (preroll time) that will be played back before the punch-in point when you use Auto Punch-in. This can be set in a range of 0–5 seconds. J POSTROLL TIME Specifies the duration (postroll time) that will be played back after the punch-out point when you use Auto Punch-in. This can be set in a range of 0–5 seconds. Chapter 15 Using the AW16G with external devices This chapter describes various examples of how you can use the AW16G in conjunction with external devices. Using the AW16G with a “workstation synth” ● Example settings for synchronization using MTC and MMC There are numerous ways in which you can use the AW16G together with a workstation synthesizer (a synthesizer that has a built-in sequencer). Synchronizing the AW16G with the workstation’s sequencer Here’s how you can use MTC to synchronize the AW16G song with the sequencer built into your workstation synth. In this example we will also use MMC to remotely control the transport of the AW16G from your workstation synth. 1 5 In the Work Navigate section, use the [SONG] key to access the SETUP page of the SONG screen, and select a frame rate in the TIME CODE BASE area. Refer to the following diagram, and connect the AW16G to your workstation synthesizer. MTC MIDI OUT MIDI IN MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC MIDI IN AW16G 2 Tip! MIDI OUT MMC In the Work Navigate section, use the [UTILITY] key to access the MIDI page of the UTILITY screen. Turn on the SLAVE button in the MMC MODE field, and turn on the MASTER button in the MTC MODE field. The AW16G will be set to function as MMC slave and MTC master. 3 Move the cursor to the DEV field, and set the value to match the device number of your workstation synthesizer. When using MMC, you must set the AW16G and the external MIDI device to the same MMC device number. For details on the device numbers that your workstation synth can use, refer to its owner’s manual. 4 The frame rate you specify here will affect not only synchronization with the external device, but also the time code that is displayed in the counter, etc. Synthesizer with built-in sequencer In the MIDI OUT field, turn on the MIDI button and MTC button. Now when the AW16G runs, MTC will be transmitted from the MIDI OUT/THRU connector. 6 Set your workstation synth to function as MMC master and MTC slave, and set its MMC device number and MTC frame rate to the same settings as the AW16G. For details on how to make these settings, refer to the manual for your workstation synth. 7 Play back the sequencer (of your workstation synth). When you play back the sequencer of your workstation synth, the corresponding MMC commands will be sent to the AW16G, and the AW16G will begin running. At the same time, the AW16G will transmit MTC to your workstation synth, and the sequencer will run in synchronization with it. Tip! You can synchronize using MIDI Clock and Start/Stop/ Continue messages instead of using MTC and MMC. For details on the settings in this case, refer to the section that follows, “Recording/playing AW16G mix operations on your sequencer.” 163 Using the AW16G with external devices Recording/playing AW16G mix operations on the workstation’s sequencer 4 For details on how to make these settings, refer to the manual for your workstation synth. Here’s how you can synchronize the AW16G and the built-in sequencer of your workstation synth, and use the sequencer to record/play the fader and pan operations you perform on the AW16G. Note If your workstation synth has a function by which MIDI messages received at its MIDI IN connector are retransmitted from its MIDI OUT connector (a function called “MIDI Echo” or “MIDI Thru”), you must turn it off. If this function is turned on while you are recording, the control change messages transmitted when you operate the AW16G will be immediately returned to the AW16G, causing malfunctions. Since operating the AW16G’s mix parameters will cause a large number of control change messages to be transmitted, we will use MIDI Clock (which uses less data) as the synchronization signal rather than MTC. 1 Connect the AW16G and your workstation as shown in the following diagram. MIDI Clock Control change MIDI OUT MIDI IN 5 Play back the AW16G song from the beginning. 6 Operate the AW16G’s mix parameters such as fader and pan. 7 8 When you are finished recording, stop the AW16G song. MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC MIDI IN AW16G 2 MIDI OUT Control change Synthesizer with built-in sequencer In the Work Navigate section, use the [UTILITY] key to access the MIDI page of the UTILITY screen. Turn on the MASTER button in the MTC MODE area, and turn on the MIDI button and CLK button in the MIDI OUT area. With these settings, the AW16G will transmit MIDI Clock, Start/Stop/Continue, and Song Position Pointer messages from its MIDI OUT/THRU connector when it is running. ● Example settings for synchronization using MIDI Clock and Start/Stop/Continue Make settings on your workstation synth so that its built-in sequencer will follow external MIDI Clock messages. Also set the sequencer to record-ready mode. When the AW16G begins playing, it will transmit a Start message and MIDI Clock messages to the sequencer, and the sequencer will begin running in synchronization with the AW16G. The control changes assigned to each parameter will be recorded on the sequencer. The type of mix parameters that can be recorded will depend on the setting of the CTRL CHG MODE field (→ p. 151). Switch the workstation’s sequencer to playback-ready mode, and play back the AW16G song from the beginning. The recorded control changes will be transmitted to the AW16G, and the corresponding mix parameters will change. If necessary, you can use the editing functionality of your sequencer to edit the values and timing of the control changes that were recorded. Note 3 Move the cursor to the CTRL CHG MODE area, and turn the [DATA/JOG] dial to select 1 out of the possible range of 1–3. The CTRL CHG MODE lets you choose one of three combinations (1–3) that specify how control changes will correspond to the mix parameters of the AW16G. (For details on the contents of each choice, refer to page 152.) If you want to divide your operations into a separate MIDI channel for each of the AW16G’s track channels, choose 1. If you want all track channels to be controlled on a single MIDI channel, choose 2 or 3. If you chose 2 or 3, you will also need to set the MIDI CH field to specify the MIDI channel that will be used to transmit and receive the control changes. 164 If you set CTRL CHG MODE to 1, operating track channels 1–16 will transmit control changes on the corresponding MIDI channel 1–16. For this reason, you should normally record operations only for a single channel at a time, unless your sequencer is able to record multiple MIDI channels simultaneously. Switching AW16G scenes from the workstation’s sequencer 4 Tip! Here’s how you can transmit program changes from the built-in sequencer of your workstation to switch scenes on the AW16G. ■ Assign scenes to program changes 1 In the Control section, use the [SCENE] key to access the PC TABLE page of the SCENE screen. This page lets you assign a scene number to each program change. Repeat steps 3–4 to assign the desired scenes to other program change numbers. If you want to reset the scene assignments to the initial setting, move the cursor to the INITIALIZE button and press the [ENTER] key. ■ Transmit program changes to switch scenes 1 Connect the AW16G and your workstation synth as shown in the diagram below. 1 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SONG SCENE REC MIDI IN AW16G 4 2 MIDI OUT Program change Synthesizer with built-in sequencer 2 In the Work Navigate section, use the [UTILITY] key to access the MIDI page of the UTILITY screen. 3 4 5 Set the PGM CHG MODE field to RX. 3 1 List This lists the scenes of the current song. The line enclosed by a dotted frame is the scene currently selected for operations. B Program change number This indicates the program change number 001– 128. Move the cursor to this number and turn the [DATA/JOG] dial to scroll the list upward or downward. C Scene D INITIALIZE button Move the cursor to RX in the MIDI CH area, and select the MIDI channel on which MIDI messages will be received. Transmit a program change message from your workstation synth to the AW16G on the MIDI channel that you selected. Returns the program change assignments to the initial state. The scene assigned to that program change number will be recalled. Tip! Tip! With the initial settings, program changes 1–96 correspond to scenes 1–96, and program changes 97–128 are set to NO ASSIGN (no assignment). 2 Move the cursor to the program change number, and turn the [DATA/JOG] dial to select the program change number whose assignment you want to change. 3 Move the cursor to the scene in the list, and turn the [DATA/JOG] dial to select the scene that you want to assign to the corresponding program change number. If you insert program changes into the appropriate locations of your sequencer track, scenes will be recalled automatically as the AW16G and your sequencer run in synchronization. Using the AW16G with external devices Move the cursor to this area and turn the [DATA/ JOG] dial to select the scene that you want to assign to the corresponding program number. With this setting, the AW16G will receive program changes. 15 165 Using the AW16G with external devices Remotely controlling a tone generator module Here’s how you can use the AW16G’s MIDI Remote function to remotely control a tone generator module. 1 Connect the AW16G to your tone generator module as shown in the following diagram. Control changes MIDI OUT MIDI IN Tone generator module AW16G 2 Use the Work Navigate section [REMOTE] key to access the PRESET page of the REMOTE screen. The Remote function will be enabled. Tip! • While the REMOTE screen is displayed, the functions of the faders and [TRACK SEL] keys will be disabled; the faders and keys will function as controllers that transmit MIDI messages. • The MIDI Remote function is enabled whenever the REMOTE screen is displayed. However, MIDI messages will not be output if the MIDI button is turned off in the MIDI page (→ p. 150). 3 Turn the [DATA/JOG] dial to select the preset that you want to use. 4 If necessary, use the buttons in the CH area to select the MIDI channels to which the faders and [TRACK SEL] keys will correspond. For example if you select preset 06 (XG 1-16), the AW16G’s faders will control the volume of parts 1– 16 of your XG tone generator, and [TRACK SEL] keys 1–16 will control the on/off status of parts 1– 16. The buttons in the CH area select the combination of MIDI channels that are assigned to the faders and [TRACK SEL] keys. For the combination of MIDI channels used when each button is on, refer to “MIDI and utility functions” (→ p. 149). 5 Operate the faders and [TRACK SEL] keys of the AW16G. The messages assigned to the faders and [TRACK SEL] keys will be transmitted from the MIDI OUT/ THRU connector, and the parameters of your tone generator module will change accordingly. Tip! It is also possible to assign your own MIDI messages to the AW16G’s faders and [TRACK SEL] keys. For details, refer to “MIDI and utility functions” (→ p. 149). 166 Using external effects As an alternative to using the internal effects, you can use an external effect processor connected to the STEREO/ AUX OUT jacks. As an example, here’s how you can use AUX bus 1 to apply a mono-in stereo-out reverb to the track channels during mixdown. 1 2 21 In the Selected Channel section, repeatedly press the [PAN/BAL] knob or hold down the [PAN/BAL] knob and use the CURSOR [ ]/ [ ] keys to access the AUX OUT page of the PAN screen. STEREO...................... Stereo bus (default) AUX 1/2..................... AUX bus 1/2 4 Press the [PAN/BAL] knob twice to access the AUX page of the PAN screen. Lower the [STEREO] fader to the –∞ position. In this page you can select one of the following as the signal that will be output from the STEREO/AUX OUT jacks. 3 5 34 1 AUX 1 knobs Adjust the send level of the signals that are sent from each channel to AUX bus 1. B PRE/POST (upper line) Select the location from which the signal is sent from each channel to AUX bus 1. Move the cursor to the desired channel and press the [ENTER] key to switch between the following two settings. Move the cursor to the AUX 1/2 button and press the [ENTER] key. The AUX bus 1 signal will be output from the L channel of the STEREO/AUX OUT jacks, and the AUX bus 2 signal will be output from the R channel of the STEREO/AUX OUT jacks. As shown in the following diagram, connect your external effect processor to the AW16G. Effect processor MIC/LINE INPUT 3/4 PRE (pre-fader) ...........The signal immediately before the fader will be sent. POST (post-fader).......The signal immediately after the fader will be sent. C AUX2 knobs Adjust the send level of the signals that are sent from each channel to AUX bus 2. D PRE/POST (lower line) MONITOR OUT 6 AW16G With the settings so far, the signal from the track channel will be sent from AUX bus 1 via the STEREO/AUX OUT jack to the internal effect. Note If you make the above connection with the [STEREO] fader raised before performing steps 2 and 3, oscillation may occur. Please use caution. Raise the AUX knob 1 of each channel to an appropriate level, and switch the PRE/POST setting in the upper line as desired. 7 Use the Quick Navigate section [RECORD] key to access the MIXDOWN page of the RECORD screen, and make the settings shown below. Using the AW16G with external devices Select the location from which the signal is sent from each channel to AUX bus 2. Move the cursor and press the [ENTER] key to switch between PRE and POST. STEREO/ AUX OUT (L) 15 With these settings, the unprocessed sound of track channels 1–16 and the effect sound returned to input channels 3/4 will be sent to the stereo bus and mixed. You can monitor these signals via the MONITOR OUT jacks. 167 Using the AW16G with external devices ● Signal flow when using an external effect processor Recorder section Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Effect processor Input channels Track channels AUX bus 1 master Stereo output channel AUX bus Stereo bus Mixer section 8 In the Selected Channel section, repeatedly press the [PAN/BAL] knob to access the PAN page of the PAN screen, and spread apart the pan settings of input channels 3/4. 9 The effect sound will be heard in stereo. If desired, you can specify input channels 3/4 as a pair. Raise the [STEREO] fader to the 0 dB position, and while playing back the song, adjust the input level of your external effect processor and use the [GAIN] knobs to adjust the input level of input channels 3/4. If desired, return to step 5 and readjust the send level to AUX bus 1 for each track channel. If you want to adjust the AUX bus 1 master level, use the BUS page of the VIEW screen (or the AUX OUT page of the PAN screen). Note If you use these settings, leave the AUX 1 knob and AUX 2 knob of input channels 3/4 set all the way to the left (–∞ dB). If you raise these levels, the signal will loop, creating oscillation. 10 In the MIXDOWN page of the RECORD screen, switch the REC button on, and perform the mixdown. Note When you are finished with the mixdown, turn the PAN screen AUX OUT page setting back to its original setting of STEREO. 168 Connecting an MD recorder By connecting an MD recorder to the AW16G’s DIGITAL STEREO IN or DIGITAL STEREO OUT jack, you can mixdown to the MD recorder while keeping the signal in the digital domain, or record an audio signal from the MD recorder into the AW16G. 3 Use the Quick Navigation section [RECORD] key to access the MIXDOWN page of the RECORD screen, and select the channels that you want to send to the stereo bus. 4 Raise the [STEREO] fader to the 0 dB position, and while you play back the song, adjust the level, pan, EQ, and dynamics for each track channel. Mixing down to an MD recorder Here’s how you can connect an MD recorder to the AW16G’s DIGITAL STEREO OUT jack and mix down. The DIGITAL STEREO OUT jack always outputs the same signal as is recorded on the stereo track. This means that the procedure is essentially the same as for normal mixdown. 1 2 Lower the [STEREO] fader to the –∞ position. As shown in the diagram below, use an optical cable to connect the AW16G to your MD recorder. If desired, you can also use the mastering library. 5 You do not need to turn on the REC button in the MIXDOWN page at this time. MD recorder DIGITAL STEREO OUT DIGITAL STEREO IN When you have finished adjusting the sound and the levels, put your MD recorder in record mode, then play the AW16G from the beginning and perform the mixdown. 6 DIGITAL STEREO IN DIGITAL STEREO OUT When you have finished the mixdown, stop the AW16G and your MD recorder. MONITOR OUT ● Signal flow when mixing down to an MD recorder AW16G MD recorder Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Track channels Using the AW16G with external devices Recorder section 15 Stereo output channel Stereo bus Mixer section 169 Using the AW16G with external devices To play back your MD recorder and listen to the recorded result, connect the DIGITAL STEREO OUT jack of your MD recorder to the AW16G’s DIGITAL STEREO IN jack, and perform the following steps. 7 2 As shown in the diagram below, connect your MD recorder to the AW16G. MD recorder If you want to hear the result that was recorded on the MD recorder, lower the [STEREO] fader to the –∞ position, and use the [UTILITY] key to access the D.IN - HDD page of the UTILITY screen. DIGITAL STEREO OUT DIGITAL STEREO IN MONITOR OUT AW16G 8 9 Move the cursor to the DIGITAL REC ON/OFF button, and press the [ENTER] key. A message will ask you to confirm your observance of copyright laws. If you accept the conditions described in “Copyright Notice” (→ p. 5), move the cursor to the OK button and press the [ENTER] key. The DIGITAL REC ON/OFF button will be switched ON, and digital audio data input will be enabled. Move the cursor to the DIGITAL PATCH IN field, and turn the [DATA/JOG] dial to select “STEREO BUS” as the destination for the input signal from the DIGITAL STEREO IN jack. Use the [UTILITY] key to access the D.IN • HDD page of the UTILITY screen. 5 Move the cursor to the DIGITAL PATCH IN field, and turn the [DATA/JOG] dial to select “1/2” (input channels 1/2) as the destination for the input signal from the DIGITAL STEREO IN jack. Move the cursor to the DIGITAL REC ON/OFF button, and press the [ENTER] key. A message will ask you to confirm your observance of copyright laws. If you accept the conditions described in “Copyright Notice” (→ p. 5), move the cursor to the OK button and press the [ENTER] key. The DIGITAL REC ON/OFF button will be switched ON, and digital audio data input will be enabled. With this setting, the input signal from the DIGITAL STEREO IN jack will be connected directly to the stereo bus. Note Note If necessary, use the INIT page of the MONITOR screen to initialize the input channels. Please note that the EQ and dynamics settings you made for the stereo output channel during mixdown are still valid at this point. If necessary, turn off EQ and dynamics. 10 3 4 6 Use the Quick Navigation section [RECORD] key to access the DIRECT page of the RECORD screen, and connect input channels 1/2 directly to tracks 1/2. 7 Raise the [STEREO] fader, play back your MD recorder, and check the recording level and monitor level. Raise the [STEREO] fader to the 0 dB position, and play back your MD recorder. Recording audio data from an MD recorder Here’s how the signal from an MD recorder connected to the DIGITAL STEREO IN jack can be recorded on an AW16G track while still in the digital domain. 1 Lower the [STEREO] fader to the –∞ position. Note If you want to lower the recording level, access the FADER page of the VIEW screen and lower the on-screen faders for input channels 1/2. (The [GAIN] knobs have no effect on input signals from the DIGITAL STEREO INPUT jack.) 8 170 When you are finished setting the levels, put the AW16G in record mode, and play back your MD recorder. Appendix Input library list No. Name Effect Type 00 Initial Data EG: Electric guitar 01 Multi Drive 02 Light Crunch 03 Studio Lead 04 Clean Lead 05 Hard Blues 06 Melody Drive 07 Pop Ryhthm 08 Heavy Rock 09 Stack Lead 10 Funk Cut 11 Trad Blues 12 NeoRockabily 13 Air Clean 14 City Lead 15 Pop Chorus 16 Fuzzy Drive 17 Jazzy Night 18 Retro Phase 19 Mistic Chord 20 Drive Amp 21 Smooth Lead AmpSimulate AmpSimulate Dist->Delay Rev->Sympho AmpSimulate Dist->Delay Mono Delay AmpSimulate AmpSimulate Dyna.Phaser AmpSimulate Dist->Delay Delay+Rev Mod.Delay Chorus AmpSimulate Reverb Room Phaser Dual Pitch AmpSimulate AmpSimulate 22 AmpSimulate Crunch Box 23 Double Drive 24 Comp Driver 25 Rotary AG: Acoustic guitar 26 Arppegio 27 Chorus 28 Lead 29 Finger Cut 30 Stroke BA: Bass 31 Pick Drive 32 Finger Pick 33 Rock Boost 34 Best Slap 35 Melody VO: Vocal 36 Pop Vocal 37 Rock Vocal 38 Delay Vocal 39 Ballad Vocal 40 ROBOT Speaker simulation 01 SMALL TYPE 02 REAL FEEL 03 HIGH RANGE 04 STACK TYPE 05 MID RANGE Description Initialize to a default state in which EQ, DYN, and EFFECT are not applied Dist->Delay AmpSimulate Rotary Drive sound usable in a wide range of situations from backing to lead Light crunch sound suitable for chords (that are allowed to ring) Lead with delay sound, with an amp-like character Clean and transparent sound Hard blues sound with rich distortion Long sustaining sound suitable for melodies or ballades Clean backing sound with doubling Heavy rock sound with all frequency ranges distorted Sound that simulates an old amp stack Phase sound that adds an effect to the picking attack Simulation of a traditional blues guitar sound Rockabilly sound using a short delay, warped by adding distortion Clean sound with a sense of air Combination sound with lightly applied modulation and delay Chorus sound suitable for a wide range of uses, from chording to arpeggios A useful and original fuzz sound Comp sound that lets you express nuances by your picking dynamics Simulation of a classic compact phaser SFX sound that produces a mystical effect from chords or harmonics Natural-sounding overdrive that simulates overdriving a combo amp Smooth distortion lead with a smooth playing feel Crunch sound with a nice amount of distortion, usable for anything from backing to lead Heavy distortion with doubling Overdrive with compressor to bring out the nuances of your picking The familiar rotary speaker sound, optimized for guitar Rev+Sympho Chorus Mod.Delay ReverbRoom Symphonic Graceful arpeggio sound with good definition Deep chorus sound usable in any situation Light modulation sound, suitable for lead guitar Suitable for finger strumming or walking-bass phrases Symphonic sound effective on single-note melodic playing AmpSimulate AmpSimulate AmpSimulate AmpSimulate Rev->Chorus A sound ideal for root-note picking Sound suitable for finger-picking, with emphasis on response Heavy and solid distortion sound Slap bass sound for everyone (reminiscent of when slap became fashionable) Sweet-toned sound for lead melodies ReverbPlate MonoDelay MonoDelay Symphonic RingMod Clear and transparent effect for vocal, that cuts the low range Effect for rock vocal that uses doubling to create depth Vocal effect that uses a basic delay Vocal effect with symphonic, effective on ballades etc. SFX sound for vocal and speech, also usable as a sound-effect — — — — — Small cabinet simulation Creates realism (picking produces grit) Cabinet with boosted highs Large cabinet simulation Simulation of a cabinet with distinctive mid-range 171 Appendix Mastering library list No. 172 Name Description 00 Initial Data Initialize to a state in which EQ and DYN are not applied 01 VITAL MIX Standard mastering effect that enhances the overall loudness, creating a mix with extended low and high ranges. Use on the two-track mix for any type of song. 02 SOFT COMP Soft compressor that enhances the overall loudness without greatly changing the original nuances (dynamics). Ideal for songs in which the mid and low ranges are important. 03 HARD ATTACKY Limiter that emphasizes the attacks and produces an overall “flattened” feel. Ideal for songs that emphasize the rhythm. 04 SOFT ATTACKY Soft compressor that enhances the overall loudness and emphasizes the attacks without greatly changing the original nuances (dynamics). Ideal for songs in which the low and mid ranges are important, and that emphasize the rhythm. 05 LO-FI Limiter that produces a “lo-fi” character. 06 DARK/SOFT Soft limiter that produces the slightly flattened feel characteristic of the 60’s and 70’s. (Ideal for Beatles-type rock of the 60’s and 70’s, or more recently for a Vincent Gallo feel.) 07 DARK/HARD Hard limiter that produces a strongly flattened feel characteristic of the 60’s and 70’s. (Ideal when you want to make the song sound like 60’s or 70’s rock such as the Beatles.) 08 BRIGHT Compressor that produces a boosted high range. 09 LO BOOST Compressor that produces a boosted low range. 10 HARD LIMIT Limiter that produces an extremely flattened feel. Ideal for hard-edged songs. 11 LIMITER Limiter without EQ. Ideal when you need only limiting. 12 NARROW Limiter that produces a sound like that of a small AM radio. 13 DIST Limiter that distorts the sound within the effect. EQ library list These are the preset equalizer settings provided by the library. No Name Description No Name Description 025 Male Vocal 1 Use as a template for male vocal. Adjust the HIGH or H-MID setting according to the voice quality. 001 Bass Drum 1 Emphasizes the low range of the bass drum and the attack created by the beater. 002 Bass Drum 2 Creates a peak around 80Hz, producing a tight, stiff sound. 026 Male Vocal 2 This is a variation on program 025. 003 Snare Drum 1 Emphasizes snapping and rimshot sounds. 027 Female Vo. 1 Use as a template for female vocal. Adjust the HIGH or H-MID setting according to the voice quality. 004 Snare Drum 2 Emphasizes the ranges of that classic rock snare drum sound. 028 Female Vo. 2 This is a variation on program 027. 029 Tom-tom 1 Emphasizes the attack of tomtoms, and creates a long, “leathery” decay. Chorus& Harmo Use as a template for a chorus. It makes the entire chorus much brighter. 030 Total EQ 1 Cymbal Emphasizes the attack of crash cymbals, extending the “sparkling” decay. Use on the STEREO bus during mixdown. For more effect, try it with a compressor. 031 Total EQ 2 This is a variation on program 030. 007 High Hat Use on a tight high-hat, emphasizing the mid to high range. 032 Total EQ 3 008 Percussion Emphasizes the attack and clarifies the high-range of instruments, such as shakers, cabasas, and congas. This is a variation on program 030. Also use these programs for stereo inputs or external effect returns. 033 Bass Drum 3 This is a variation on program 001. The low and mid range is removed. 009 E.Bass 1 Makes a tight electric bass sound by cutting very low frequencies. 034 Snare Drum 3 This is a variation on program 003. It creates rather thick sound. 010 E.Bass 2 Unlike program 009, this emphasizes the low range of the electric bass. 035 Tom-tom 2 This is a variation on program 005. Emphasizes the mid and high range. 011 Syn.Bass 1 Use on a synth bass with emphasized low range. 036 Piano 3 This is a variation on program 013. 012 Syn.Bass 2 Emphasizes the attack that is peculiar to a synth bass. 037 Piano Low Use for the low range of the piano sound when it is recorded in stereo. Use with program 038. 013 Piano 1 This is used to make a piano sound brighter. 038 Piano High 014 Piano 2 Emphasize the attack and low range of the piano sound by using a compressor. Use for the high range of the piano sound when it is recorded in stereo. Use with program 037. 039 Fine-EQ Cass Use for recording to or from cassette tape to make the sound clearer. 040 Narrator Use for recording a voice reading a text. –128 [ No Data! ] 041–128 are the user area. 005 006 E.G.Clean Use for line-recording an electric guitar or semi-acoustic guitar to get a slightly hard sound. 016 E.G.Crunch 1 Adjusts the tonal quality of a slightly distorted guitar sound. 017 E.G.Crunch 2 This is a variation on program 016. 018 E.G.Dist 1 Makes a heavily distorted guitar sound clearer. 019 E.G.Dist 2 This is a variation on program 018. 020 A.G.Stroke 1 Emphasizes the bright tones of an acoustic guitar. 021 A.G.Stroke 2 This is a variation on program 020. You can also use it for the electric gut guitar. 022 A.G.Arpeg. 1 Corrects arpeggio technique of an acoustic guitar. 023 A.G.Arpeg. 2 This is a variation on program 022. 024 BrassSection Use with trumpets, trombones, or sax. With one instrument, adjust the HIGH or H-MID frequency. Tip! The EQ programs were programmed for recording acoustic musical instruments. If you are using them for a sampler, synthesizer, or rhythm machine, adjust the parameters accordingly. Appendix 015 173 Appendix Dynamics Parameters Dynamics processors are generally used to correct or control signal levels. However, you can also use them creatively to shape the volume envelope of a sound. The AW16G features comprehensive dynamics processors for all the input channels, tape returns, and the bus and stereo outputs. These processors allow you to compress, expand, compress-expand (compand), gate, or duck the signals passing through the mixer, giving you unparalleled sonic quality and flexibility. ■ Compressor Threshold determines the level of input signal required to trigger the compressor. Signals at a level below the threshold pass through unaffected. Signals at and above the threshold level are compressed by the amount specified using the Ratio parameter. The trigger signal is determined using the KEY IN parameter. dB +20 +10 Compression ratio = 2:1 Output Level 0 –10 Threshold = –20dB –20 –30 Knee = hard –40 –50 –60 –70 dB –70 –60 –50 –40 –30 –20 –10 0 +10 +20 Input Level A compressor provides a form of automatic level control. By attenuating high levels, thus effectively reducing the dynamic range, the compressor makes it much easier to control signals and set appropriate fader levels. Reducing the dynamic range also means that recording levels can be set higher, therefore improving the signal-to-noise performance. Compressor (CMP) parameters: Parameter Value Threshold (dB) –54 to 0 (55 points) Ratio 1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0, 10, 20, ∞ (16 points) Attack (ms) 0 to 120 (121 points) Outgain (dB) 0 to +18 (36 points) Knee hard,1,2,3,4,5 (6 points) Release (ms) 6 ms to 46.1 sec (160 points) 174 Ratio controls the amount of compression-the change in output signal level relative to change in input signal level. With a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. For a 5:1 ratio, a 10 dB change in input level (above the threshold) results in a 2 dB change in output level. Attack controls how soon the signal is compressed once the compressor has been triggered. With a fast attack time, the signal is compressed almost immediately. With a slow attack time, the initial transient of a sound passes through unaffected. Out Gain sets the compressor's output signal level. Compression tends to reduce the average signal level. Out Gain can be used to counter this level reduction and set an appropriate level for the next stage in the audio path. Knee sets the transition of the signal at the threshold. With a hard knee, the transition between uncompressed and compressed signal is immediate. With the softest knee, knee5, the transition starts before the signal reaches the threshold and gradually ends above the threshold. Release determines how soon the compressor returns to its normal gain once the trigger signal level drops below the threshold. If the release time is too short, the gain will recover too quickly causing level pumping-noticeable gain fluctuations. If it is set too long, the compressor may not have time to recover before the next high level signal appears, and it will be compressed incorrectly. ■ Expander ■ Compander dB dB +20 +10 +20 Expansion ratio = 2:1 +10 Width Knee = knee5 0 –10 –20 Output Level Output Level 0 Threshold = –10dB –30 –40 –50 –10 –20 Threshold –30 –40 –50 –60 –60 –70 –70 dB –70 –60 –50 –40 –30 –20 –10 0 dB +10 +20 –70 –60 –50 –40 –30 –20 –10 Input Level +10 +20 Input Level An expander is another form of automatic level control. By attenuating the signal below the threshold, the expander reduces low-level noise and effectively increases the dynamic range of the recorded material. Expander (EXP) parameters: Parameter 0 Value Threshold (dB) –54 to 0 (55 points) Ratio 1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0, 10, 20, ∞ (16 points) Attack (ms) 0 to 120 (121 points) Outgain (dB) 0 to +18 (36 points) Knee hard,1,2,3,4,5 (6 points) Release (ms) 6 ms to 46.1 sec (160 points) Threshold determines the level of input signal required to trigger the expander. Signals above the threshold pass through unaffected. Signals at and below the threshold level are attenuated by the amount specified using the Ratio parameter. The trigger signal is determined using the KEY IN parameter. Ratio controls the amount of expansion-the change in output signal level relative to change in input signal level. With a 1:2 ratio, for example, a 5 dB change in input level (below the threshold) results in a 10 dB change in output level. For a 1:5 ratio, a 2 dB change in input level (below the threshold) results in a 10 dB change in output level. Attack controls how soon the signal is expanded once the expander has been triggered. With a fast attack time, the signal is expanded almost immediately. With a slow attack time, the initial transient of a sound passes through unaffected. Out Gain sets the expander's output signal level. Knee sets the transition of the signal at the threshold. With a hard knee, the transition between unexpanded and expanded signal is immediate. With the softest knee, knee5, the transition starts before the signal reaches the threshold and gradually ends above the threshold. Release determines how soon the expander returns to its normal gain once the trigger signal level drops below the threshold. A compander is a compressor-expander-a combination of signal compression and expansion. The compander attenuates the input signal above the threshold as well as the level below the width. For very dynamic material, this program allows you to retain the dynamic range without having to be concerned with excessive output signal levels and clipping. CompanderH (CPH) and CompanderS (CPS) parameters: Parameter Value Threshold (dB) –54 to 0 (55 points) Ratio 1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0, 6.0, 8.0, 10, 20 (15 points) Attack (ms) 0 to 120 (121 points) Outgain (dB) –18 to 0 (36 points) Width (dB) 1 to 90 (90 points) Release (ms) 6 ms to 46.1 sec (160 points) Threshold determines the level of input signal required to trigger the compander. Signals above the threshold pass through unaffected. Signals at and below the threshold level are attenuated by the amount specified using the Ratio parameter. The trigger signal is determined using the KEY IN parameter. Ratio controls the amount of companding-the change in output signal level relative to change in input signal level. With a 2:1 ratio, for example, a 10 dB change in input level (above the threshold) results in a 5 dB change in output level. The hard compander (CPH) has a fixed ratio of 5:1 for expansion and the soft compander (CPS) has a fixed ratio of 1.5:1 for expansion. Attack controls how soon the signal is companded once the compander has been triggered. With a fast attack time, the signal is companded almost immediately. With a slow attack time, the initial transient of a sound passes through unaffected. Out Gain sets the compander's output signal level. Width is used to determine the distance, in decibels, between the expander and the compressor. With a width of 90 dB, the expander is effectively switched off and the compander is simply a compressor-limiter. With a smaller width (30dB) and a high threshold (0dB), the compander is an expander-compressor-limiter. 175 Appendix Release determines how soon the compander returns to its normal gain once the trigger signal level drops below the threshold. Appendix ■ Gate and Ducking Gate (GAT) and Ducking (DUK) parameters: Parameter dB +10 Output Level 0 –20 –30 Range = –30dB –40 –50 –60 Range = –70dB –70 dB –70 –60 –50 –40 –30 –20 –10 0 +10 +20 Input Level +20 +10 0 to 120 (121 points) Hold (ms) 0.02 ms to 2.14 sec (216 points) Decay (ms) 6 ms to 46.1 sec (160 points) Threshold sets the level at which the gate closes, cutting off the signal. Signals above the threshold level pass through unaffected. Signals at or below the threshold cause the gate to close. The trigger signal is determined using the KEY IN parameter. 0 Output Level –70 to 0 (71 points) Attack (ms) For ducking, trigger signal levels at and above the threshold level activate ducking, and the signal level is reduced to a level set by the Range parameter. dB Threshold = –20dB –20 –30 –40 –50 –60 Range (dB) Threshold = –10dB –10 –10 Value Threshold (dB) –54 to 0 (55 points) +20 Range = –30dB –70 dB –70 –60 –50 –40 –30 –20 –10 0 +10 +20 Input Level A gate, or noise gate is an audio switch used to mute signals below a set threshold level. It can be used to suppress background noise and hiss from valve (tube) amps, effects pedals, and microphones. Ducking is used to automatically reduce the levels of one signal when the level of a source signal exceeds a specified threshold. It is used for voice-over applications where, for example, level of background music is automatically reduced, allowing an announcer to be heard clearly. Range controls the level to which the gate closes. It can be used to reduce the signal level rather than cut it completely. At a setting of –70 dB, the gate closes completely when the input signal falls below the threshold. At a setting of –30 dB, the gate only closes so far allowing an attenuated signal through. At a setting of 0 dB, the gate has no effect. When signals are gated abruptly, the sudden cutoff can sound odd. For ducking, a setting of –70 dB causes the signal to be virtually cutoff. At a setting of –30 dB the signal is ducked by 30 dB. At a setting of 0 dB, the duck has no effect. Attack determines how fast the gate opens when the signal exceeds the threshold level. Slow attack times can be used to remove the initial transient edge of percussive sounds. Too slow an attack time makes some signals sound backwards. For ducking, this controls how soon the signal is ducked once the duck has been triggered. With a fast attack time, the signal is ducked almost immediately. With a slow attack time, ducking fades the signal. Too fast an attack time may sound abrupt. Hold sets how long the gate stays open or the ducking remains active once the trigger signal has fallen below the threshold level. Decay controls how fast the gate closes once the hold time has expired. A longer decay time produces a more natural gating effect, allowing the natural decay of an instrument to pass through. For ducking, this determines how soon the ducker returns to its normal gain after the hold time has expired. 176 Dynamics library list These are the preset dynamics settings provided by the AW16G. For details on the function of each parameter, refer to page 174. 001 A.Dr.BD "CMP 002 A.Dr.BD "EXP 003 A.Dr.BD "GAT 004 A.Dr.BD "CPH Use these presets to apply CMP, EXP, GAT, or CPH respectively to the bass drum of an acoustic drum kit. 005 A.Dr.SN "CMP 006 A.Dr.SN "EXP 007 A.Dr.SN "GAT 008 A.Dr.SN "CPS These presets modify preset programs 1—4 for use with a snare drum. 009 A.Dr.Tom "EXP Expander for acoustic toms automatically reduces the volume when the toms are not played, helping to differentiate the bass and snare drums clearly. 010 A.Dr.OverTop "CPS Soft compander to emphasize the attack and ambience of cymbals using overhead microphones. It automatically reduces the volume when the cymbals are not played, helping differentiate the bass and snare drums clearly. 011 E.B.finger "CMP Compressor to equalize the attack and volume level of a finger-picked electric bass guitar. 012 E.B.slap "CMP Compressor to equalize the attack and volume level of a slap electric bass guitar. 013 Syn.Bass "CMP Compressor to adjust and/or emphasize the level of a synth bass. 014 Piano1 "CMP 015 Piano2 "CMP Piano1 brightens the sound to make it stand out slightly. Piano2 uses a deeper threshold setting, producing a more consistent overall level and sense of attack. 016 E.Guitar "CMP Suitable for electric guitar chording or arpeggios. Try various adjustments depending on your tone or playing style. 017 A.Guitar "CMP Compressor intended for acoustic guitar playing rhythm chords or arpeggios. 023 SamplingPerc "CPS 024 Sampling BD "CMP 025 Sampling SN "CMP 026 Hip Comp "CPS It is effective to apply these programs to sampled sounds (such as from a CD-ROM) that are used among acoustic instruments, so that they will not seem to lack power and clarity. Four variations are provided; for Perc, BD, SN, and for looped materials (Hip Comp). 027 Solo Vocal1 "CMP 028 Solo Vocal2 "CMP These are variations that are suitable for solo vocal sources. 029 Chorus "CMP This variation of Vocal is suitable for choruses. 030 Compander(H) "CPH 031 Compander(S) "CPS A template for the compander program. 032 Click Erase "EXP Expander to remove click track sounds that may bleed out of the monitor headphones the musicians are using. 033 Announcer "CPH Hard compander reduces the level during the interval between the words, making the voice sound even. 034 Easy Gate "GAT A template for the gate program. 035 BGM Ducking "DUK Ducking background music for voiceovers, typically keyed from the announcer’s channel. 036 Limiter1 "CMP 037 Limiter2 "CMP A limiter template. 1 has a slow release, and 2 is a peak stopping type. 038 Total Comp1 "CMP 039 Total Comp2 "CMP 040 Total Comp3 "CMP Since these presets are effective in restraining the overall level or improving the overall definition, it is useful to apply them to the stereo output during mixdown. You can apply theses presets to a stereo source, and adjust them to create interesting effects. Appendix 018 Strings1 "CMP 019 Strings2 "CMP 020 Strings3 "CMP Compressor suitable for strings. Numbers 19 and 20 can also be used on low-range instruments (cello, contrabass). 022 Syn.Pad "CMP This has a restraining effect on sounds that tend to become diffuse. For example, this is ideal for some richsounding synth pads that conversely lack definition. 021 BrassSection "CMP Compressor intended for brass sounds with fast and strong attack. 177 Appendix Effects library list The following table lists the preset effects programs. See “Effects Parameters” (→ p. 180) for detailed parameter information. Effects programs that use the HQ. PITCH effect can be used only with Effect 2. ■ Reverb-type Effects # Title Type Description 01 Reverb Hall REVERB HALL Reverb simulating a large space such as a concert hall. 02 Reverb Room REVERB ROOM Reverb simulating the acoustics of a smaller space (room) than REVERB HALL. 03 Reverb Stage REVERB STAGE Reverb designed with vocals in mind. 04 Reverb Plate REVERB PLATE Simulation of a metal-plate reverb unit, producing a feeling of hard-edged reverberation. 05 Early Ref. EARLY REF. An effect which isolates only the early reflection (ER) component from reverberation. A flashier effect than reverb is produced. 06 Gate Reverb GATE REVERB A type of ER designed for use as gated reverb. 07 Reverse Gate REVERSE GATE A reverse-playback type ER. ■ Delays # Title Type Description 08 Mono Delay MONO DELAY Mono delay with simple operation. Use when you don't need to use complex parameter settings. 09 Stereo Delay STEREO DELAY Stereo delay with independent left and right. 10 Mod.delay MOD.DELAY Mono delay with modulation. 11 Delay LCR DELAY LCR Three-tap delay (L, C, R). 12 Echo ECHO Stereo delay with additional parameters for more detailed control. The signal can be fed back from left to right, and right to left. ■ Modulation-type Effects # Title Type Description 13 Chorus CHORUS Three-phase stereo chorus. 14 Flange FLANGE The well-known flanging effect. 15 Symphonic SYMPHONIC A Yamaha proprietary effect that produces a richer and more complex modulation than chorus. 16 Phaser PHASER Stereo phaser with 2–16 stages of phase shift. 17 Auto Pan AUTO PAN An effect which cyclically moves the sound between left and right. 18 Tremolo TREMOLO Tremolo 19 HQ.Pitch HQ.PITCH (Effect 2 only) Only one note is pitch-shifted, but a stable effect is produced. 20 Dual Pitch DUAL PITCH Stereo pitch shift with left and right pitches set independently. 21 Rotary ROTARY Simulation of a rotary speaker. 22 Ring Mod. RING MOD. An effect that modifies the pitch by applying amplitude modulation to the frequency of the input. On the AW16G, even the modulation frequency can be controlled by modulation. 23 Mod.Filter MOD.FILTER An effect which uses an LFO to modulate the frequency of the filter. ■ Distortion-type Effects # Title Type Description 24 Distortion DISTORTION Distortion 25 Amp Simulate AMP SIMULATE Guitar Amp Simulator 178 ■ Dynamic Effects # Title Type Description 26 Dyna.Filter DYNA.FILTER Dynamically controlled filter. Responds to MIDI Note On velocity when SOURCE set to MIDI. 27 Dyna.Flange DYNA.FLANGE Dynamically controlled flanger. Responds to MIDI Note On velocity when SOURCE set to MIDI. 28 Dyna.Phaser DYNA.PHASER Dynamically controlled phase shifter. Responds to MIDI Note On velocity when SOURCE set to MIDI. ■ Combined Effects # Title Type Description 29 Rev+Chorus REV+CHORUS Reverb and chorus in parallel 30 Rev->Chorus REV->CHORUS Reverb and chorus in series 31 Rev+Flange REV+FLANGE Reverb and flanger in parallel 32 Rev->Flange REV->FLANGE Reverb and flanger in series 33 Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel 34 Rev->Sympho. REV->SYMPHO. Reverb and symphonic in series 35 Rev->Pan REV->PAN Reverb and auto-pan in parallel 36 Delay+ER. DELAY+ER. Delay and early reflections in parallel 37 Delay->ER. DELAY->ER. Delay and early reflections in series 38 Delay+Rev DELAY+REV Delay and reverb in parallel 39 Delay->Rev DELAY->REV Delay and reverb in series 40 Dist->Delay DIST->DELAY Distortion and delay in series ■ Other Effects # 41 Title Multi.Filter Type MULTI.FILTER Description Three-band parallel filter (24 dB/octave). Appendix 179 Appendix Effects Parameters ■ REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE Hall, room, stage, and plate simulations, all with gates. Parameter REV TIME Range Description 0.3–99.0 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio LO.RATIO 0.1–2.4 Low-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density E/R DLY 0.0–100.0 ms Delay between early reflections and reverb E/R BAL. 0–100% Balance of early reflections and reverb (0% = ER, 100% = reverb) HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency GATE LVL OFF, –60 to 0 dB Level at which gate kicks in ATTACK 0–120 ms Gate opening speed HOLD 0.02 ms–2.13 s Gate open time DECAY 6.0 ms–46.0 s Gate closing speed MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ EARLY REF. Early reflections. Parameter Range Description TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI.DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections FB.GAIN –99 to +99% Feedback gain HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ GATE REVERB, REVERSE GATE Early reflections with gate, and early reflections with reverse gate. Parameter Range Description TYPE Type-A, Type-B Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI.DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections FB.GAIN –99 to +99% Feedback gain HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 180 ■ MONO DELAY Basic repeat delay. Parameter Range Description DELAY 0.0–2730.0 ms Delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ STEREO DELAY Basic stereo delay. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time FB.G L –99 to +99% Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1350.0 ms Right channel delay time FB.G R –99 to +99% Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ MOD.DELAY Basic repeat delay with modulation. Parameter Range Description DELAY 0.0–2725.0 ms Delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri Modulation waveform HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DELAY LCR Three-tap delay (left, center, right). Parameter Range Description 0.0–2730.0 ms Left channel delay time DELAY C 0.0–2730.0 ms Center channel delay time DELAY R 0.0–2730.0 ms Right channel delay time LEVEL L –100 to +100% Left channel delay level LEVEL C –100 to +100% Center channel delay level LEVEL R –100 to +100% Right channel delay level FB.DLY 0.0–2730.0 ms Feedback delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds Appendix DELAY L 181 Appendix ■ ECHO Stereo delay with crossed feedback loop. Parameter Range Description DELAY L 0.0–1350.0 ms Left channel delay time FB.DLY L 0.0–1350.0 ms Left channel feedback delay time FB.G L –99 to +99% Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1350.0 ms Right channel delay time FB.DLY R 0.0–1350.0 ms Right channel feedback delay time FB.G R –99 to +99% Right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) L->R FBG –99 to +99% Left to right channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) R->L FBG –99 to +99% Right to left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ CHORUS Chorus effect. Parameter Range Description FREQ. 0.05–40.00 Hz PM DEP. 0–100% Modulation speed Pitch modulation depth AM DEP. 0–100% Amp modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ FLANGE Flange effect. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 182 ■ SYMPHONIC Symphonic efect. Parameter FREQ. Range 0.05–40.00 Hz Description Modulation speed DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ PHASER 16-stage phaser. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ AUTOPAN Auto-panner. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DIR. *1 Panning direction WAVE Sine, Tri, Square Modulation waveform LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds *1. L<->R, L—>R, L<—R, Turn L, Turn R Appendix 183 Appendix ■ TREMOLO Tremolo effect. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth WAVE Sine, Tri, Square Modulation waveform LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ HQ.PITCH (Effect 2 only) High-quality pitch shifter. Parameter Range Description PITCH –12 to +12 semitones Pitch shift FINE –50 to +50 cents Pitch shift fine DELAY 0.0–1000.0 ms Delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) MODE 1–10 Pitch shift precision MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DUAL PITCH Twin-voice pitch shifter. Parameter Range Description PITCH 1 –24 to +24 semitones Channel 1 pitch shift FINE 1 –50 to +50 cents Channel 1 pitch shift fine PAN 1 L16–1, C, R1–16 Channel 1 panpot DELAY 1 0.0–1000.0 ms Channel 1 delay time FB.G 1 –99 to +99% Channel 1 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LEVEL 1 –100 to +100% Channel 1 level (plus values for normal phase, minus values for reverse phase) PITCH 2 –24 to +24 semitones Channel 2 pitch shift FINE 2 –50 to +50 cents Channel 2 pitch shift fine PAN 2 L16–1, C, R1–16 Channel 2 panpot DELAY 2 0.0–1000.0 ms Channel 2 delay time FB.G 2 –99 to +99% Channel 2 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) LEVEL 2 –100 to +100% Channel 2 level (plus values for normal phase, minus values for reverse phase) MODE 1–10 Pitch shift precision MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 184 ■ ROTARY Rotary speaker simulator. Parameter Range Description ROTATE STOP, START Rotation stop, start SPEED SLOW, FAST Rotation speed (see SLOW and FAST parameters) DRIVE 0–100 Overdrive level ACCEL 0–10 Accelation at speed changes LOW 0–100 Low-frequency filter HIGH 0–100 High-frequency filter SLOW 0.05–10.00 Hz SLOW rotation speed FAST 0.05–10.00 Hz FAST rotation speed MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ RING MOD. Ring modulator. Parameter Range Description SOURCE OSC, SELF Modulation source: oscillator or input signal OSC FREQ 0.0–5000.0 Hz Oscillator frequency FM FREQ 0.05–40.00 Hz Oscillator frequency modulation speed FM DEPTH 0–100% Oscillator frequency modulation depth MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ MOD.FILTER LFO modulation-type filter. Parameter Range Description FREQ. 0.05–40.00 Hz DEPTH 0–100% Modulation speed Modulation depth TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass OFFSET 0–100 Filter frequency offset RESO. 0–20 Filter resonance PHASE 0.00–354.38° Left-channel modulation and right-channel modulation phase difference LEVEL 0–100 Output level MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DISTORTION Distortion effect. Parameter DST TYPE Range DST1, DST2, OVD1, OVD2, CRUNCH Description Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone N.GATE 0–20 Noise reduction MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds Appendix 185 Appendix ■ AMP SIMULATE Guitar Amp Simulator. Parameter Range Description AMP TYPE *1 Guitar amp simulation type DST TYPE DST1, DST2, OVD1, OVD2, CRUNCH Distortion type (DST = distortion, OVD = overdrive) N.GATE 0–20 Noise reduction DRIVE 0–100 Distortion drive MASTER 0–100 Master volume CAB DEP 0–100% Speaker cabinet simulation depth BASS 0–100 Bass tone control MIDDLE 0–100 Middle tone control TREBLE 0–100 High tone control EQ F 99–8.0 kHz Parametric equalizer frequency EQ G –12 to +12 dB Parametric equalizer gain EQ Q 10.0–0.10 Parametric equalizer bandwidth MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds *1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT ■ DYNA.FILTER Dynamically controlled filter. Parameter Range Description SOURCE INPUT, MIDI SENSE 0–100 Control source: input signal or MIDI note on velocity Sensitivity TYPE LPF, HPF, BPF Filter type OFFSET 0–100 Filter frequency offset RESO. 0–20 Filter resonance DIR. UP, DOWN Upward or downward frequency change DECAY 6.0 ms–46.0 s Filter frequency change decay speed LEVEL 0–100 Output Level MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DYNA.FLANGE Dynamically controlled flanger. Parameter SOURCE Range INPUT, MIDI Description Control source: input signal or MIDI note on velocity SENSE 0–100 Sensitivity FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Delay time offset DIR. UP, DOWN Upward or downward frequency change DECAY 6.0 ms–46.0 s Decay speed LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain EQ F 100–8.00 k [Hz] Parametric equalizer center frequency EQ G –12 to +12 [dB] Parametric equalizer gain EQ Q 10–0.10 Parametric equalizer band width HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 186 ■ DYNA.PHASER Dynamically controlled phaser. Parameter SOURCE Range INPUT, MIDI Description Control source: input signal or MIDI note on velocity SENSE 0–100 Sensitivity FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages DIR. UP, DOWN Upward or downward frequency change DECAY 6.0 ms–46.0 s Decay speed LSH F 21.2–8.00 k [Hz] Low-shelving filter frequency LSH G –12 to +12 [dB] Low-shelving filter gain HSH F 50.0–16.0 k [Hz] High-shelving filter frequency HSH G –12 to +12 [dB] High-shelving filter gain MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ REV+CHORUS Reverb and chorus effects in parallel. Parameter REV TIME Range Description 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed PM DEP. 0–100% Pitch modulation depth AM DEP. 0–100% Amp modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform REV/CHO 0–100% Reverb and chorus balance (0% = chorus, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ REV->CHORUS Reverb and chorus effects in series. Parameter REV TIME Range Description 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed PM DEP. 0–100% Pitch modulation depth AM DEP. 0–100% Amp modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time Sine, Tri Modulation waveform 0–100% Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds Appendix WAVE REV.BAL 187 Appendix ■ REV+FLANGE Reverb and flanger effects in parallel. Parameter REV TIME Range Description 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform REV/FLG 0–100% Reverb and flange balance (0% = flange, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ REV->FLANGE Reverb and flanger effects in series. Parameter Range Description REV TIME 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) WAVE Sine, Tri Modulation waveform REV.BAL 0–100% Reverb and flanged reverb balance (0% = flanged reverb, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ REV+SYMPHO. Reverb and symphonic effects in parallel. Parameter REV TIME Range Description 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform REV/SYM 0–100% Reverb and symphonic balance (0% = symphonic, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 188 ■ REV->SYMPHO. Reverb and symphonic effects in series. Parameter REV TIME Range Description 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth MOD.DLY 0.0–500.0 ms Modulation delay time WAVE Sine, Tri Modulation waveform REV.BAL 0–100% Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ REV->PAN Reverb and auto-pan effects in parallel. Parameter Range Description REV TIME 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins HI.RATIO 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DIR. *1 Panning direction WAVE Sine, Tri, Square Modulation waveform REV BAL. 0–100% Reverb and panned reverb balance (0% = panned reverb, 100% = reverb) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds *1. L<->R, L—>R, L<—R, Turn L, Turn R ■ DELAY+ER. Delay and early reflections effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB.DLY 0.0–1000.0 ms Feedback delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI.DLY 0.0–500.0 ms Initial delay before reverb begins 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency DLY/ER 0–100% Delay and early reflections balance (0% = early reflections, 100% = delay) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds Appendix DIFF. 189 Appendix ■ DELAY->ER. Delay and early reflections effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB.DLY 0.0–1000.0 ms Feedback delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio TYPE S-Hall, L-Hall, Random, Revers, Plate, Spring Type of early reflection simulation ROOMSIZE 0.1–20.0 Reflection spacing LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) INI.DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density ER NUM. 1–19 Number of early reflections HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency DLY.BAL 0–100% Delay and early reflected delay balance (0% = early reflected delay, 100% = delay) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DELAY+REV Delay and reverb effects in parallel. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB.DLY 0.0–1000.0 ms Feedback delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio REV TIME 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins REV HI 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency DLY/REV 0–100% Delay and reverb balance (0% = reverb, 100% = delay) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds 190 ■ DELAY->REV Delay and reverb effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB.DLY 0.0–1000.0 ms Feedback delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY HI 0.1–1.0 Delay high-frequency feedback ratio REV TIME 0.3–99.9 s Reverb time INI.DLY 0.0–500.0 ms Initial delay before reverb begins REV HI 0.1–1.0 High-frequency reverb time ratio DIFF. 0–10 Reverb diffusion (left-right reverb spreed) DENSITY 0–100% Reverb density HPF Thru, 21.2 Hz–8.0 kHz High-pass filter cutoff frequency LPF 50 Hz–16.0 kHz, Thru Low-pass filter cutoff frequency DLY.BAL 0–100% Delay and delayed reverb balance (0% = delayed reverb, 100% = delay) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ DIST->DELAY Distortion and delay effects in series. Parameter DST TYPE Range DST1, DST2, OVD1, OVD2, CRUNCH Description Distortion type (DST = distortion, OVD = overdrive) DRIVE 0–100 Distortion drive MASTER 0–100 Master volume TONE –10 to +10 Tone control N.GATE 0–20 Noise reduction DELAY 0.0–2725.0 ms Delay time FB.GAIN –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) HI.RATIO 0.1–1.0 High-frequency feedback ratio FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DLY BAL 0–100% Distortion and delay balance (0% = distortion, 100% = delayed distortion) MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds ■ MULTI FILTER Three-band parallel filter (24 dB/octave) Parameter Range Description HPF, LPF, BPF Filter 1 type: low pass, high pass, band pass TYPE 2 HPF, LPF, BPF Filter 2 type: low pass, high pass, band pass TYPE 3 HPF, LPF, BPF Filter 3 type: low pass, high pass, band pass FREQ. 1 28 Hz–16.0 kHz Filter 1 frequency FREQ. 2 28 Hz–16.0 kHz Filter 2 frequency FREQ. 3 28 Hz–16.0 kHz Filter 3 frequency LEVEL 1 0–100 Filter 1 level LEVEL 2 0–100 Filter 2 level LEVEL 3 0–100 Filter 3 level RESO. 1 0–20 Filter 1 resonance RESO. 2 0–20 Filter 2 resonance RESO. 3 0–20 Filter 3 resonance MIX BAL. 0–100 [%] Mix balance of the effects and dry sounds Appendix TYPE 1 191 Appendix Sample library list This is a list of the sample libraries that are installed on the internal hard disk when the AW16G is shipped from the factory. The list is printed here in the order as sorted by the OLD button. Name Normal8_120 PAD1 PAD2 PAD3 PAD4 A B C D A B C D A B C D A B C D L L – – L L – – L L – – O O – – Normal8_60 L L – – L L – – L L – – O O – – Normal16_120 L L – – L L – – L L – – O O – – Normal16_60 L L – – L L – – L L – – O O – – NormShffl120 L L – – L L – – L L – – O O – – NormShffl_60 L L – – L L – – L L – – O O – – Med8_110 L L – – L L – – L L – – O O – – MedFast8_140 L L – – L L – – L L – – O O – – MedSlow8_90 L L – – L L – – L L – – O O – – Fast8_170 L L – – L L – – L L – – O O – – Simple8_125 L L – – L L – – L L – – O O – – Simple16_114 L L – – L L – – L L – – O O – – Bounce8_93 L L – – L L – – L L – – O O – – LatinRock126 L L – – L L – – L L – – O O – – Syncopatn_89 L L – – L L – – L L – – O O – – Triplet_65 L L – – L L – – L L – – O O – – Shuffle8_130 L L – – L L – – L L – – O O – – Shffle16_127 L L – – L L – – L L – – O O – – Southern_93 L L – – L L – – L L – – O O – – Funk1_108 L L – – L L – – L L – – O O – – Funk2_108 L L – – L L – – L L – – O O – – NJS_110 L L – – L L – – L L – – O O – – Hip_96 L L – – L L – – L L – – O O – – HipFunk_106 L L – – L L – – L L – – O O – – OldSkool_106 L L – – L L – – L L – – O O – – LoudFunk_118 L L – – L L – – L L – – O O – – Detoroit_129 L L – – L L – – L L – – O – – – BreakRock106 L L – – L L – – L L – – L L – – Gangsta_94 L L – – L L – – L L – – O O – – GarageHs_128 L L – – L L – – L L – – O O – – 2Step_135 L L – – L L – – L L – – L L – – R&BSmooth_64 L L – – L L – – L L – – O O – – TrncHouse135 L L – – L L – – L L – – L L – – TecLectro134 L L – – L L – – L L – – L L – – OldSkol2_102 L L – – L L – – L L – – L L – – FlipHop_128 L L – – L L – – L L – – O – – – BigBeat_126 L L – – L L – – L L – – O O – – Drumn'Bs_147 L L – – L L – – L L – – L L – – Techno_140 L L – – L L – – L L – – O O – – Ibiza_135 L L – – L L – – L L – – L L – – SambaEns_137 L L – – L L – – L L – – L L – – Latin16_80 L – – – L – – – L – – – L – – – Latin8_130 L L – – L L – – L L – – O O – – 192 Name PAD1 A B C PAD2 D A B C PAD3 D A B C PAD4 D A B C D LatinSwng154 L L – – L L – – L L – – O O – – Scratch1 O O – – O O – – O O – – O O – – Scratch2 O O – – O O – – O O – – O O – – SE_Analog O O – – O O – – O O – – O O – – SE_Beep O O – – O O – – O O – – O O – – SE_SFX O O – – O O – – O O – – O O – – Robot_Voice O O – – O O – – O O – – O O – – Female_Wet O O – – O O – – O O – – O O – – Female_Dry O O – – O O – – O O – – O O – – Male_Dry O O – – O O – – O O – – O O – – City_Noise L L – – L L – – O O – – O O – – Car_Action O O – – O O – – O O – – O O – – Other_Rides O O – – O O – – O O – – O O – – Door_Action O O – – O O – – O O – – O O – – Guns O O – – O O – – O O – – O O – – Laser&Buzz O O – – O O – – O O – – O O – – Bang&Explosn O O – – O O – – O O – – O O – – Bell&Beep O O – – O O – – O O – – O O – – Human_Action O O – – O O – – O O – – O O – – Punch&Swish O O – – O O – – O O – – O O – – Hit&Swish O O – – O O – – O O – – O O – – Fire L – – – L – – – L – – – L – – – Rain1 L – – – L – – – L – – – L – – – Rain2 L – – – L – – – L – – – O – – – Storm L L – – L L – – L L – – L L – – River L L – – L L – – L L – – L L – – Sea O O – – L L – – O O – – L L – – Jungle_Amb L – – – L - – – L – – – L – – – Night_Amb O O – – L L – – L – – – L – – – Birds L L – – L L – – O O – – O O – – Dog&Cat O O – – O O – – O O – – O O – – Stock_Farm O O – – O O – – O O – – O O – – For_Demo L L – – L L – – L L – – O O – – L: LOOP O: ONESHOT –: No assigns Appendix 193 Appendix Troubleshooting If the AW16G does not operate as you expect, or if you suspect a problem, please refer to the following points and take the appropriate action. ■ Power does not turn on • Is the AC adaptor connected to an AC outlet of the correct voltage? • Is the POWER switch turned ON? • If the power still does not turn on, please contact your Yamaha dealer. ■ LCD display is dim or dark • Use the contrast knob located at the lower right of the screen to adjust the contrast. ■ Can’t use the [DATA/JOG] dial to control on-screen parameters • The [JOG ON] key may be on. • Some parameters cannot be operated in certain states, such as while the recorder is running. No sound ■ • • • • • • • • No sound, or sound is too faint Are speakers or headphones connected correctly? Is your amp and other external devices turned on? Does the stereo output channel meter move? Is the stereo output channel fader raised? Is it turned on? The EQ gain may be set to an extremely low value. The dynamics processor may be set to an extreme threshold or ratio. If you are connecting an electric guitar, is it connected to the Hi-Z jack? Is the attenuator of the EQ screen or VIEW screen raised? * Check the level (meter movement) in the METER page of the VIEW screen. * If you press the [SEL] key in the MONITOR screen INIT page, that channel will be initialized to default values that allow sound to be output. * If DIGITAL IN is set to other than DISABLE in the UTILITY screen D.IN HDD page, and no signal is being input to the DIGITAL INPUT jack, a message of “WRONG WORD CLOCK” will appear, and sound will not be output. ■ Input sound is not output • Is the signal from the external device being input? • The connection cable from the external device may be broken. • Is the [GAIN] control set to an appropriate level? • Is the input channel fader raised? Is it turned on? • The input channel may have been set to DIGITAL IN. • When recording, is the recording-destination track fader (which adjusts the monitor level) raised? * If you are recording, the sound of that input channel will not be heard during playback. 194 ■ • • • Recorded sound is not output Has audio data been recorded on the recorder? Is the virtual track set to the track that was recorded? A recorded region shorter than 10 msec will not be played back. • Tracks 1–16 will not play back if the AW16G is in Stereo Track, Sound Clip, or Audio CD playback mode. ■ Can’t play back the STEREO track • Is the stereo track turned on in the MONITOR screen ST.TRACK page? ■ Metronome cannot be heard • The metronome sound is normally sent only to the MONITOR OUT and headphones. • The metronome will not sound while the recorder is stopped. • In Sound Clip mode, the metronome will sound only during recording. Can’t record, something is wrong with the recorded sound ■ Can’t record • Is there sufficient free space on the internal hard disk? * You can check the remaining recordable time by setting the counter display to REMAIN in the SONG screen SETUP page. • The song may be protected. • The stereo track may be in playback mode. • Is the input signal routed appropriately to the recorder? • Check the recording-source and recording-destination in the QUICK NAVIGATE page RECORD screen? • DIGITAL REC may have been turned OFF in the UTILITY screen PREFER page. • Please read and understand the copyright warning (→ p. 5) before using digital input signals. ■ Can’t record on the STEREO track • It is not possible to record on the STEREO track while recording on other tracks. ■ Noise is present in the recorded signal • The oscillator may be functioning. • Does the word clock setting match for the AW16G and the external device(s)? • Go to the QUICK NAVIGATE screen RECORD page and check the recording-source and recording-destination. Something wrong with the sound ■ Signal from the INPUT 8 jack is too loud • A conventional line-level signal may be connected to the Hi-Z jack. ■ Sound is distorted • Is the [GAIN] control set correctly? • The connection cable from the external device may be broken. • The fader of the input channel or monitor channel may be raised excessively. • The stereo output channel fader may be raised excessively. • The stereo output channel attenuator may be raised excessively. • The EQ or dynamics processor may have been set to produce an extreme gain boost. • Did you record at an appropriate level? • Is the word clock setting correct for both the AW16G and the external device(s)? • An effect such as Distortion or Amp Simulate may be in use. * Go to the VIEW screen METER page and check the level (meter movement). ■ The volume of a particular channel increases or decreases • Are the dynamics processor settings appropriate? • A scene recall may be specified in the SONG screen TEMPO MAP. ■ Can’t store a scene • The store-destination scene may be protected. • A scene cannot be stored in scene number 00. ■ Can’t reproduce a scene • One or more channels may be set to Recall Safe. ■ Can’t save to a library • It is not possible to save to the factory-preset libraries. ■ Meters move even though the faders are lowered • The meter display may be set to PRE FADER. ■ Moving a fader does not change the level • In the [VIEW] screen FADER page, check whether the display moves in correspondence with fader operations. * You cannot control the level until the panel fader position matches the position shown in the display. • In the UTILITY screen PREFER page, is FADER FLIP set appropriately? * When the power is turned on, FADER FLIP will be set to TRACK. • The fader may be set to PRE FADE in AUX. ■ Pairing was specified, but the signal is monaural • Is the odd-numbered channel panned far left and the even-numbered channel panned far right? ■ Signal is delayed • An effect such as delay may be inserted. ■ Playback pitch is wrong • VARI may be selected. • Is the synchronized external device operating on the same sampling frequency (44.1 kHz)? • Is the master device operating in a stable way? • You may have executed the EDIT screen PITCH command. • Is an effect such as HQ.Pitch or Dual Pitch selected for a monitor channel? Recorder operations ■ When you press the [PLAY] key it blinks, and playback does not occur • Is the AW16G set to MTC SLAVE? * Access the UTILITY screen MIDI page, and check the setting. ■ Something goes wrong with the sound when you use the [FF] key or [REW] key • Differences in the number of simultaneously played tracks will affect the way in which the sound is heard when these controls are operated. ■ Can’t edit a recorded track • The song may be protected. • Have you selected the virtual track that you recorded? ■ Editing results are not heard in the sound • Have you selected the virtual track that you recorded? • Are you using the appropriate editing command? * * For details on editing commands, refer to “EDIT screen.” ■ Counter display is not 0 when you return to the beginning of the song • The display mode may be set to REMAIN (remaining recording time). • If the display mode is set to REL (relative time), the start point may be specified. * Go to the SONG screen SETUP, POINT page and check the settings. ■ Display indicates DISK FULL, MEMORY FULL, or TOO MANY REGIONS, and you cannot record or edit • There is insufficient free space, or too many recording regions. Erase unneeded tracks and then perform the Optimize operation to obtain more free space. ■ The display indicates DISK BUSY during playback • It is possible that the recorded data has become fragmented, so that it cannot be read fast enough. You can try measures such as re-recording, deleting tracks, or backing up the data and then formatting the hard disk. 195 Appendix ■ Pairing was specified, but the signal phase does not match • Even when channels are paired, the phase setting is not linked. ■ Can’t use the internal effects • Effect BYPASS may be turned ON. • The effect may have been inserted into a different channel. • Are the level of EFF.RTN 1, 2 faders raised? • 019. HQ. Pitch can be used only with EFFECT 2. • These do not affect the stereo track, sound clip, or audio CD playback. Appendix Sampler operations ■ When you press a pad there is no sound, or the wrong bank is heard • Have you selected a bank to which the waveform is assigned? • A bank change may have been specified in the SONG screen TEMPO MAP page. ■ The sound is not what you loaded, or the sound is different depending on whether you are stopped or playing • If the playback mode is set to LOOP, the sound will play according to the monitor tempo specified in the SAMPLE screen SETUP page while the recorder is stopped, and will play according to the song tempo while the recorder is playing. ■ The sound you loaded only plays part of the way • Have you made trim settings to shorten the Start–End region? • If the playback mode is set to GATE, the sample will play only while you continue pressing the pad. • If the playback mode is set to LOOP and Slice is turned off, the sample will play only for the length of a measure. ■ The display indicates MEMORY FULL, and you can’t sample or import • Access the SAMPLE screen MEMORY page, and check the amount of used memory. Execute ERASE or EXTRACT to increase the amount of free memory. MIDI operations ■ • • • Can’t exchange MIDI data Are the MIDI cables connected correctly? A MIDI cable may be broken. Is the power turned on for the transmitting and receiving devices? • Do the channel settings match for the transmitted and receiving devices? • Have the appropriate settings been made in the UTILITY screen MIDI page? * MIDI data cannot be transmitted or received unless the MIDI button is turned on. • Is a scene assigned to the program change number being transmitted? ■ MTC messages are not transmitted • In the UTILITY screen MIDI page, has the MTC button been turned on? • Is MTC SYNC set to MASTER? ■ The AW16G does not synchronize to incoming MTC messages • Is the MIDI cable connected to the MIDI IN connector? • In the UTILITY screen MIDI page, has MTC Sync been set to SLAVE? * MIDI data cannot be transmitted or received unless the MIDI button is turned on. 196 ■ MTC synchronization drifts • Is a large amount of MIDI data (notes etc.) being received together with the MTC messages? • Does the frame rate match between the AW16G and the external device? • SYNC OFFSET may have been set. • If jumps occur in the synchronized time, change the SYNC AVE. setting in the UTILITY screen MIDI page, and try again. ■ MMC messages is not transmitted • Is the MIDI cable connected to the MIDI OUT connector? • In the UTILITY screen MIDI page, has MMC been set to MASTER? Does the DEVICE NO. match? ■ Can’t receive MMC messages • Is the MIDI cable connected to the MIDI IN connector? • In the UTILITY screen MIDI page, has MMC been set to SLAVE? Does the DEVICE NO. match? ■ Can’t use the preset remote settings. • Depending on the sequencer that you want to control, you may need to make settings on the sequencer. For details, refer to page 200. • MIDI data cannot be transmitted unless the MIDI button is turned on in the MIDI page of the UTILITY screen. Song operations ■ Can’t save a file • Is there sufficient space on the internal hard disk? • Did you perform the correct shut-down procedure when you last turned off the power? * * Disconnecting the power without performing the shutdown operation will shorten the lifespan of the hard disk and CD-RW drive, may damage the hard disk and CD-RW drive and disc, and may result in loss of data. ■ Song file size is unnaturally large • Even after you use recorder editing operations to erase a track or other data, that sound file will remain on the disk. Execute the Optimize command in the SONG screen LIST page. CD operations ■ CD-RW drive is not recognized • Is the CD-RW drive connected correctly? ■ Can’t create an audio CD • Is the CD-RW drive installed correctly? Have the attaching screws come loose? • Is CD-R/RW media inserted? • The inserted CD-R may have already been finalized. • Is a signal recorded on the stereo track? • The stereo track must be at least four seconds long. • Have you saved a song in which a stereo track has been recorded? • Does the display indicate DISK FULL? • Create sufficient space on the hard disk. • Erase unneeded tracks and then execute Optimize to increase the available space. ■ An audio CD you created does not play back on a conventional player • An audio CD you created you not play back on a conventional player unless the disc has been finalized. ■ Audio recorded on CD-RW media does not play back on some players • In order for audio data recorded on CD-RW media to be played back, the player must support CD-RW. Contact the manufacturer of the player regarding CDRW support. ■ The sound skips while playing an audio CD that you created • Depending on the CD-R media you use, there may be differences in the quality of the completed CD. Appendix 197 Appendix Display message list ■ Messages A/B POINTS NOT FOUND Repeat Playback cannot be performed because A/B points are not specified. BULK: BYTE COUNT MISMATCH! The data length specified within the received system exclusive data did not match the length of the data that was actually received. BULK: CHECK SUM MISMATCH! The check sum of the received system exclusive is incorrect. BULK: MEMORY PROTECTED! The scene memory you attempted to receive is protected. CANNOT REDO Redo (re-execution of an operation) is not possible. CANNOT SET MARK It is not possible to specify a mark at an already-specified position. CANNOT UNDO Undo (cancellation of an operation) is not possible. CD PLAY MODE NOW Since the AW16G is in CD Play mode, this operation is not possible. CH. PARAMETER INITIALIZED The mixer parameters of the channel have been initialized. DIFFERENT TC FRAME TYPE MTC of a different frame type than the internal setting is being received. DIGITAL-ST-IN REC PROHIBIT. Recording is prohibited for the signal being input from DIGITAL STEREO IN. DISK BUSY!! The reading speed of the internal hard disk is not fast enough, or the reading speed has slowed down because the recorded data has become fragmented. DISK FULL!! There is insufficient space on the internal hard disk. IN/OUT POINTS NOT FOUND Auto-punch recording cannot be performed because in/out points are not specified. IN/OUT POINTS TOO CLOSE The auto punch-in/out interval is too short. It cannot be set less than approximately 100 msec. LOCATE POINT ERASED The locate point has been erased. LOCATE POINT SET The locate point has been set. MARK POINT ERASED The mark has been erased. MARK POINT SET The mark has been set. MEMORY FULL!! The song has no more free space. One song can use a maximum of 6.4 GB. MIDI BULK RECEIVED A bulk data dump was received. MIDI IN: DATA FRAMING ERROR! Invalid data may have been received at the MIDI IN connector. MIDI IN: DATA OVERRUN! Invalid data may have been received at the MIDI IN connector. MIDI: RX BUFFER FULL! Receiving more MIDI data than it can handle. MIDI: TX BUFFER FULL! Attempting to transmit more MIDI data than it can handle. MTC SLAVE MODE NOW This operation cannot be performed because the AW16G is in MTC Slave mode. NO MARK LEFT The allowable number of marks has been exceeded. NO MEDIA!! Media has not been inserted. RECORDER BUSY The operation cannot be executed because the recorder is operating. RECORDER RUNNING The operation cannot be executed because the recorder is recording or playing. RECORD TRACK NOT SELECTED Recording cannot be performed because you have not selected a record track. REDO COMPLETE Redo (re-execution of the previous operation) has been completed. REPEAT POINTS TOO CLOSE The repeat interval is too short. It cannot be set to less than one second. SOUND CLIP MODE NOW Since you are in Sound Clip mode, this operation cannot be executed. STEREO TRACK PLAYBACK MODE Since you are in Stereo Track Playback mode, this operation cannot be executed. SYSTEM ERROR!! An internal system error has occurred. THIS SONG IS PROTECTED. This song is protected, and cannot be edited or recorded. TOO MANY REGIONS! There are too many recorded regions. TRIGGER LIST RECORDING A sampling pad trigger list is being recorded. UNDO COMPLETE Undo (cancellation of the previous operation) has been executed. WRONG WORD CLOCK!! An inappropriate word clock is being received from the connected device to which you are synchronizing. 198 ■ Popup messages ATAPI Error! A problem occurred while communicating with the CD-RW drive. Can't Select Current Song! The current song cannot be selected. CD Size Full! Data exceeding the recordable length of the CD cannot be added. CD Track Over! The maximum number of tracks has been reached, and further addition is not possible. CD-RW Drive Error! A problem occurred with the CD-RW drive. CD-RW Drive Not Found! No CD-RW drive is installed. CD Write Error! The data could not be written correctly to the CD. Change Media, Invalid Order. Please exchange the media. The order of media volumes is incorrect. Change Media, Not 1st Media. Please exchange the media. This is not the first media volume. Change Media, Please. The media is an incorrect type. Please exchange it. Compare Error! The data was not written correctly. Disk Full! The disk has no free capacity. End Range Over! The operation could not be executed, since the end of the song would be later than 24 hours. Exchange Next Media. Please insert the next volume of media. File Number Full! No more songs can be created or restored, since this would exceed the maximum number of files. File System Error! An error has occurred in the file system of the internal hard disk. For Effect2 Only! This cannot be recalled because it is only for use with EFFECT 2. HDD Error! A problem occurred with the internal hard disk. IDE Error! A problem occurred while communicating with the internal hard disk. Invalid Parameter! The parameter setting exceeds the allowable range. Media Error! A problem has occurred on the media. Media Full! The media has no free space. Memory Full! The song has no more free space. One song can use a maximum of 6.4 GB. Memory Full! There is no more free space in sampling pad memory. No Data to Backup! You have not selected data to back up. No Data to Restore! You have not selected data to restore. No Data! The selected region does not contain data. No Data! Since no data has been saved, you cannot recall, erase, or edit the title. No Media! Media has not been inserted. No Song to Write! No songs to write to the CD have been selected. No Stereo Track! There is no song that includes a master track longer than four seconds. Not 44.1kHz/16bit Song! The song cannot be restored since it is not a 44.1 kHz/16-bit song. Prohibit CD Import! Can’t import from a CD because DIGITAL REC is prohibited. Protected! Can’t save, erase, or edit the title because the song is protected. Read Only! Can’t save, erase, or edit the title because the song is read-only. Recognized AW2816- Formatted Media! This is AW2816 format media. Recognized AW4416- Formatted Media! This is AW4416 format media. No more songs can be created or restored, since this would exceed the maximum number of songs. System Error! An internal system error has occurred. Too Small File! WAVE files shorter than 200 msec cannot be imported. Too Small Region! Time compression/expansion cannot be executed because the region is too short. Track Length Too Short! Since the song length divided by the markers would be less than four seconds, you cannot divide it with a marker. Track Not Recorded! The track you selected does not contain any recorded data. 199 Appendix Song Number Full! Appendix About the CD-ROM included with the AW16G Caution • This disk is a CD-ROM. Do not attempt to play the disk on an audio CD player. Doing so may result in irreparable damage to your audio CD player. • All copyrights to this software are the property of Yamaha Corporation. • Copying or modification of this software in part or in whole is forbidden. • Yamaha Corporation takes no responsibility for any results or damages that may result from your use of this software. • Cubase VST is a trademark of Steinberg Media Technologies AG. • Logic Audio is a trademark of Emagic Soft- und Hardware Gmbh. • Cakewalk is a registered trademark of Twelve Tone Systems, Inc. • ProTools is a trademark or registered trademark of Avid Technology, Inc. or its related companies. • Windows is a registered trademark of Microsoft Corporation USA in the United States and other countries. • Macintosh is a registered trademark of Apple Computer, Inc. USA in the United States and other countries. • Other company names and product names in this document are the trademarks or registered trademarks of their respective corporate owners. Contents of the CD-ROM The included CD-ROM contains a backup file that you can use to restore the AW16G to its factory-set condition, and setting files that let you use the AW16G’s MIDI Remote function with various software sequencers. Folder name Remote Software name Contents Cubase remote file Setting file for remotely controlling the Cubase sequencer software from the AW16G. Logic remote file Setting file for remotely controlling the Logic sequencer software from the AW16G. SONAR 2/CakewalkProAudio remote file (Windows only) Setting file for remotely controlling the SONAR 2/ CakewalkProAudio sequencer software from the AW16G. When you view this CD-ROM in Windows, a file named Aw_00000.16g will appear in the root directory. This is a backup file of the demo song and sample library that is installed in the internal hard disk when the AW16G is shipped from the factory. This file cannot be opened from Windows or Macintosh. Restoring the internal hard disk to the factory-set condition In order to restore the internal hard disk to the factory-set condition, you will need to perform the following two procedures. 1) Initialize the internal hard disk 2) Load the demo song and sample library Since this procedure will erase all data from the internal hard disk, be sure to create a backup of any important data before you perform this procedure. ■ Initializing the internal hard disk Initialize the internal hard disk. (→ p. 160) When you initialize the internal hard disk, the system settings will return to their factory-set state. 200 ■ Loading the demo song and sample library Installing a remote file 1 2 3 Please be aware that the menu names and screens that appear in the explanation below may differ depending on the software you are using. Insert the included CD-ROM into the CD-RW drive of the AW16G. In the Work Navigate section, repeatedly press the [CD] key to access the RESTORE page. Make sure that the cursor is located at the READ CD INFO button, and press the [ENTER] key. Loading from the CD-ROM will begin. When loading is finished, the contents of the display will change as follows. Move the cursor to the DISABLE button and press the [ENTER] key. 5 Move the cursor to the PAD button and press the [ENTER] key. 8 9 In order to use a remote file, the corresponding software must be installed. Installing the Cubase remote setup file 1 2 3 Start up Cubase. In the menu bar, click [Option] → [Remote Setup] → [Setup]. The VST Remote window will appear. Make the following settings and click the [OK] button. Remote: Generic Remote 4 6 7 ■ Windows users Input: (the MIDI device you are using) The DISABLE button will change to ENABLE, and the symbol at the right of the list will change to ●. Output: (the MIDI device you are using) Once again, loading from the CD-ROM will begin. When loading is finished, the contents of the display will change as follows. Move the cursor to the ALL button and press the [ENTER] key. Note The content that is shown for “Input” and “Output” will depend on the MIDI device(s) you are using. For details, refer to the owner’s manual for the MIDI device(s) you are using. 4 5 The Generic Remote window will appear. Click the [EDIT] button. 6 A dialog box like the following will appear. Select the Cubase remote setup file (Yamaha AW16G Remote.xml) from the included CDROM, and click the [Open] button. 7 Close the Generic Remote Setup window. The Generic Remote Setup window will appear. Click the [Import] button. Move the cursor to the DISABLE button and press the [ENTER] key. The DISPLAY button will change to ENABLE, and all symbols at the right of the list will change to ●. This selects all songs and sample libraries. Move the cursor to the EXECUTE button and press the [ENTER] key. A popup window will ask you for confirmation, so move the cursor to the OK button or CANCEL button, and press the [ENTER] key. While the Restore operation is being executed, the state of progress will be shown in a popup window. When this popup window closes, the operation has been completed. Appendix 201 Appendix Installing the Logic preference file 1 2 3 4 Start up Logic. In the menu bar, click [Option] → [Settings] → [Key Commands...]. The Key Commands window will open. In the menu bar, click [Option] → [Import Key Commands...]. A dialog box will appear. Select the Logic preference file (Logic32.prf) from the included CD-ROM, and click the [Open] button. SONAR 2/CakewalkProAudio template (Loading the template) 1 2 Start up SONAR 2/CakewalkProAudio. If you are using SONAR 2: In the menu bar, click [File] → [Open]. If you are using Cakewalk: In the menu bar, click [File] → [New]. 3 When you import the file, the following settings will be made. If you are using SONAR 2: The “Open file” dialog box will appear. Choose Cakewalk template files as the type of file to be loaded. From the list in the dialog box, choose Yamaha AW16G Remote and click the [OK] button. If you are using Cakewalk: The “New Project File” dialog box will appear. From the list in the dialog box, choose Yamaha AW16G Remote, and click the [OK] button. The template will be loaded, and three windows will appear; the Track window, Control window, and Panel window. 4 5 Please note that all the previously-specified key commands will be initialized. If you do not want to change your existing user key command settings, you can manually make the MIDI channel and CC# settings shown above. SONAR 2/CakewalkProAudio template (Installation/settings) 1 2 3 4 Copy the template to the folder in which SONAR 2/CakewalkProAudio is installed. Start up SONAR 2/CakewalkProAudio. In the menu bar, click [Option] → [Audio]. The Cakewalk DirectShow Audio dialog box will appear. Change the “Number of Aux Busses” (from the default value of 2) to [3], and click the [OK] button. This completes preparations for the template. In the menu bar, click [Option] → [MIDI Devices]. The MIDI Ports window will open. In the Input Ports field, assign the MIDI device that you are using. This completes preparations for controlling SONAR 2/ CakewalkProAudio from the AW16G. ● If you changed the track structure from the default settings of the template ... With the Yamaha AW16G Remote template started, click the [CONFIG] button in the panel window. A cluster will open at the right. Drag the [SET MIDI First Track] knob to the first track number of the MIDI tracks. * If you use this template, you will not be able to control the tracks correctly from the AW16G unless the MIDI tracks are continuous from 1—16. * If you set the value to an invalid track (an unused track), the panel knobs, buttons, or sliders may be shaded. If this occurs, set the value back to the correct track. Pro Tools software You can remotely control the Pro Tools software from the AW16G. No special setting file is required. The setting procedure is the same as for the Mac version. Refer to “Macintosh users” → “Pro Tools software” (→ p. 203). 202 ■ Macintosh users In order to use a remote file, the corresponding software must be installed. Installing the Cubase remote setup file For Cubase, the procedure is the same as for the Windows version. Refer to “Windows users” → “Installing the Cubase remote setup file” (→ p. 201). Installing the Logic preference file 1 2 3 4 Start up Logic. Click [Option] → [Settings] → [Key Commands...]. The Key Commands window will open. In the Key Commands window, click [Option] → [Import Key Commands]. A dialog box will appear. Select the Logic preference file (Logic Preferences) from the included CD-ROM, and click the [Open] button. Pro Tools softwares You can remotely control the Pro Tools software from the AW16G. No special setting file is required. Use the following procedure to make settings. 1 2 In the menu bar, click [Setup] → [Peripherals...]. The Peripherals window will open. Click the [MIDI Controllers] button. In the MIDI Controllers window, make the following settings. In the Receive From field and the Send to field, specify the MIDI device you are using. #1 Type Receive From Send to #ch’s CS-10 (the MIDI device you are using) (the MIDI device you are using) 16 This completes preparations for using the AW16G’s MIDI Remote function to control the Pro Tools software. When you import the file, the following settings will be made. Please note that all the previously-specified key commands will be initialized. If you do not want to change your existing user key command settings, you can manually make the MIDI channel and CC# settings shown above. Appendix 203 Appendix MIDI data format 1. Functions 1.1. Scene Change The settings of the [MIDI PROGRAM CHANGE TABLE] specify the scene that is recalled when a Program Change message is received. The settings of the [MIDI PROGRAM CHANGE TABLE] specify the program number that is transmitted when a scene is recalled. If more than one program number has been assigned to that scene memory number, the lowest-numbered program number will be transmitted. 2. MIDI data flow diagram MTC SLAVE MIDI IN MTC (MTC Slave) EFF MIDI NOTE ON/OFF (Effect Control) PGM CHG PROGRAM CHANGE (Scene Recall) CTRL CHG CONTROL CHANGE (Parameter Edit) RX DISABLE BULK DUMP / BULK DUMP Request MMC SLAVE MMC (Transport Control) LEARN Channel Message / Exclusive Message (MIDI REMOTE Learn) 1.2. MMC Control These messages allow basic recorder operations such as STOP/PLAY/ REC/LOCATE. If you select the MIDI SETUP menu item MMC MASTER, MMC commands will be transmitted according to the operation of the transport. If you select MMC SLAVE, the internal recorder will operate according to the received MMC commands. MIDI OUT (THRU) PGM CHG SW1 MIDI OUT (MIDI) PROGRAM CHANGE MIDI OUT CTRL CHG CONTROL CHANGE TRANSMIT/REQUEST BULK DUMP / BULK DUMP Request SW2 REMOTE Transport SW3 REMOTE Fader/Sel 1.3. Effect Control Depending on the type of effect, note-on/off messages can be used for control. These settings are made for the parameters of each effect. 1.4. MIDI Clock transmission If you set MIDI OUT to MIDI CLOCK, MIDI clock messages can be transmitted during playback or recording. In MIDI Clock transmission mode, Song Position Pointer and Start/ Stop/Continue commands will also be issued, and during playback or recording, MIDI Clock will be transmitted according to the MIDI Tempo Map. MMC MASTER SW4 MIDI OUT (MTC) SW4 MMC MTC MIDI OUT (CLK) MIDI CLOCK SW1 REMOTE OFF SW2 REMOTE ON(Remote) SW3 REMOTE ON SW4 REMOTE OFF or REMOTE ON(Normal) 3. AW16G settings and operation 3.1. MIDI Setup 1.5. MTC transmission (MTC Master) Set basic MIDI operation. If you set MIDI OUT to MTC, MTC can be transmitted during playback or recording. 3.1.1. MIDI OUT Specify the function of the MIDI OUT connector. 1.6. MTC reception (MTC Slave) If you set MTC MODE to SLAVE, the internal recorder will operate in synchronization with MTC messages received from the MIDI IN connector. 3.1.2. MMC MODE 1.7. Realtime control of parameters Specify the ID number that will be used when transmitting or receiving MMC commands. Control changes can be used to send/receive internal parameters in realtime. Select whether the AW16G will be the MMC MASTER or SLAVE. 3.1.3. MMC Dev. 3.1.4. MTC SYNC MODE 1.8. Transmission of scene memories or data Select whether the AW16G will be the MTC MASTER or SLAVE. The bulk dump function can be used to send data to another device, or copy settings from another device to the AW16G. 3.1.5. MTC SYNC AVERAGE 1.9. MIDI Remote The faders, SEL keys, and RTZ / FF / REW / STOP / PLAY / REC keys can be used to control an external MIDI device. In PRESET mode, operating the above controllers will transmit MIDI data according to the preset settings of the AW16G. In USER mode, operating the above controllers will transmit the MIDI data that you specify. When the AW16G is functioning as a MTC SLAVE, this setting specifies how it will follow the MTC data. Set this to 0 if the incoming MTC data has a highly accurate timing; set this to 1 or 2 if the timing of the incoming MTC data is not as accurate (such as when receiving MTC from a software sequencer). 3.1.6. MTC SYNC OFFSET When the AW16G is functioning as a MTC SLAVE, this setting adds an offset to the received MTC data. The received time code value shifted by this amount will correspond to the location indicated by the internal time code of the AW16G. 3.1.7. MIDI Tx Ch This sets the MIDI channel that will normally be used. However, transmission in response to a request will occur on the Receive Channel, in order to specify the device that transmitted the request. 3.1.8. MIDI Rx Ch This sets the MIDI channel that will be used for reception. If this is set to ALL, data of all MIDI channels will be receive d. 204 3.1.9. Program Change Mode 4. MIDI format list Enable/disable reception and transmission. If MIDI Rx Ch is set to ALL, these messages will be received regardless of their MIDI channel. 4.1. CHANNEL MESSAGE 3.1.10. Control Change Mode If this is enabled, you can specify the correspondence between control numbers and operations of the mixer section. For mode 1, transmission and reception will occur without regard to the MIDI Tx Ch and MIDI Rx Ch settings. For modes 2 and 3, reception will occur without regard to MIDI channel if you set MIDI Rx Ch to ALL. Command Rx/Tx function 8n NOTE OFF Rx Control the internal effect 9n NOTE ON Rx Control the internal effect Bn CONTROL CHANGE Rx/Tx Edit parameters Cn PROGRAM CHANGE Rx/Tx Switch scene memories 4.2. SYSTEM COMMON MESSAGE Command Rx/Tx function 3.2. MIDI BULK DUMP F1 MIDI TIME CODE Rx/Tx MTC transmission Controls transmission of Bulk Dump and Bulk Dump Request. F2 SONG POSITION POINTER Tx Song position transmission 3.2.1. BULK DUMP Category 4.3. SYSTEM REALTIME MESSAGE Selects the type of parameters for Dump or Dump Request. 3.2.1.1. SCENE Mixer scene settings. E.BUF is the current state, 01-96 are stored scenes. ALL selects all scenes. 3.2.1.2. LIBRARY All memory settings for all libraries (EQ / EFFECT / DYNAMICS / CHANNEL). 3.2.1.3. SYSTEM Settings that apply to the entire AW16G. Command Rx/Tx function F8 TIMING CLOCK Tx MIDI Clock transmission FA START Tx Start command transmission FB CONTINUE Tx Continue command transmission FC STOP Tx Stop command transmit FE ACTIVE SENSING Rx Check MIDI cable connections FF RESET Rx Clear running status 4.4. SYSTEM EXCLUSIVE MESSAGE 4.4.1. REALTIME SYSTEM EXCLUSIVE 4.4.1.1. MMC Command Rx/Tx function 3.2.1.4. REMOTE 01 STOP Rx/Tx Transport stop Settings for the MIDI Remote function. 02 PLAY Rx Transport play 03 DEFERRED PLAY Rx/Tx Transport play 04 FAST FORWARD Rx/TX Transport fast-forward 05 REWIND Rx/Tx Transport rewind 06 RECORD STROBE Rx Transport punch-in record 07 RECORD EXIT Rx Transport punch-out 0F RESET Rx/Tx MMC reset 44 LOCATE Rx/Tx Transport locate 3.2.1.5. PROGRAM CHANGE TABLE This is the Program Change Table. 3.2.1.6. ALL All of the above settings. 3.2.2. INTERVAL Specifies the interval at which consecutive Bulk Dump or Bulk Dump Request messages will be transmitted. Increase this setting if the receiving device fails to receive all of the bulk data. 3.2.3. RX DISABLE If RX Disable is turned on, no Bulk Dump or Bulk Dump Request messages will be received. 3.2.4. REQUEST Transmits the selected Bulk Dump Request. 4.4.2. BULK DUMP / BULK DUMP REQUEST Data Name 'M' Rx/Tx Rx/Tx function Scene Memory & Request 'S' Rx/Tx System Memory & Request 'R' Rx/Tx Remote Memory & Request 'Q' Rx/Tx Equalizer Library & Request 'Y' Rx/Tx Dynamics Library & Request 'E' Rx/Tx Effect Library & Request 'H' Rx/Tx Channel Library & Request 'P' Rx/Tx Program Change Table & Request 3.2.5. TRANSMIT Transmits the selected Bulk Dump. 3.3. MIDI PROGRAM CHANGE TABLE This table allows you to freely specify the correspondence between Program Change No. and Scene No. This table is used for conversion for both transmission and reception. Appendix 205 Appendix 5. MIDI format details 5.5. MIDI TIME CODE QUARTER FRAME (F1) < Transmission > 5.1. NOTE OFF (8n) < Reception > If [MIDI OUT] is set to MTC, Quarter Frame messages will be transmitted according to the time code movements of the recorder when the recorder is playing or recording. Received when [Rx CH] matches. Used to control effects. Refer NOTE ON for details. STATUS DATA 1000nnnn 8n Note Off Message 0nnnnnnn nn Note No. 0vvvvvvv vv Velocity ( ignored) 5.2. NOTE ON (9n) < Reception > Received when [Rx CH] matches. Used to control effects. Refer below for details. Velocity of 0x00 is equivalent to Note-Off. STATUS DATA 1001nnnn 9n Note On Message 0nnnnnnn nn Note No. 0vvvvvvv vv Velocity ( 1-127:On, 0:off) < Reception > This message is received if [MTC SYNC MODE] is set to SLAVE. Quarter Frame messages received in realtime are internally assembled into time code that controls the recorder. STATUS DATA 11110001 F1 Quarter Frame Message 0nnndddd dd nnn = message type (0-7) dddd = data 5.6. SONG POSITION POINTER (F2) < Transmission > If [MIDI OUT] is set to CLK, a song position message will be transmitted when STOP or LOCATE is performed on the recorder, to indicate the song position from which the song should start at the next START or CONTINUE message. 11110010 F2 Song Position Pointer 0ddddddd dd0 data( H) high 7 bits of 14 bits data 0ddddddd dd1 data( L) low 7 bits of 14 bits data * Effect control by Note 1: Dynamic Flange/Dynamic Phase/Dynamic Filter When the SOURCE parameter is set to MIDI, the note velocity (both note-on and note-off) is used to control the Modulation frequency width. STATUS DATA 5.3. CONTROL CHANGE (Bn) < Reception > If [MIDI CLK] is ON, this message is transmitted according to the MIDI Tempo Map from when the recorder begins playing or recording, until it stops. Control change messages will be received if the [Control Change Mode] is RX or TX/RX and the [MIDI Rx Ch] matches. However if [MIDI Rx Ch] is ALL, this message is received regardless of the channel. < Transmission > If [Control Change Mode] is TX or TX/RX, control change messages will be transmitted on the [MIDI Tx Ch] channel when you operate a parameter. STATUS DATA 1011nnnn Bn Control Change 0ccccccc cc Control No. (0-95, 102-119) 0vvvvvvv vv Control Value (0-127) 5.7. TIMING CLOCK (F8) < Transmission > STATUS 11111000 F8 Timing Clock 5.8. START (FA) < Transmission > If [MIDI CLK] is ON, this message is transmitted when the recorder begins playing or recording at a location other than the first measure. STATUS 11111010 FA Start 5.9. CONTINUE (FB) < Transmission > The control value is converted into a parameter value according to the following equation. S= total number of steps in the parameter’s variable range 128 / S = X remainder Y INT((Y+1)/2) = Z If (MIDI DATA - Z) < 0, then Value = 0 If ((MIDI DATA - Z)/X) > MAX, then Value = MAX Otherwise, Value = INT ((MIDI DATA -Z)/X) If [MIDI CLK] is ON, this message is transmitted when the recorder begins playing or recording at a location other than the first measure. 5.4. PROGRAM CHANGE (Cn) < Reception > STATUS Program change messages will be received if the [Program Change Mode] is RX or TX/RX and the [MIDI Rx Ch] matches. However if [MIDI Rx Ch] is ALL, this message is received regardless of the channel. A scene memory will be recalled according to the [PROGRAM CHANGE TABLE] settings. STATUS 11111011 FB Continue 5.10. STOP (FC) < Transmission > If [MIDI CLK] is ON, this message is transmitted when the recorder stops. 11111100 FC Stop 5.11. ACTIVE SENSING (FE) < Reception > Once this message is received, subsequent failure to receive any message for a period of 300 ms will cause Running Status to be cleared, and MIDI communications to be initialized. STATUS 11111110 FE Active Sensing < Transmission > If [Program Change Mode] is TX or TX/RX, a program change will be transmitted on the [MIDI Tx Ch] according to the [PROGRAM CHANGE TABLE] settings when you recall a memory number. If the recalled memory number has been assigned to more than one program number, the lowest-numbered program number will be transmitted. STATUS DATA 1100nnnn Cn Program Change 0nnnnnnn nn Program No. ( 0-127) 5.12. RESET (FF) < Reception > When a Reset message is received, MIDI communications will be initialized by clearing Running Status etc. STATUS 11111111 FF Reset 5.13. EXCLUSIVE MESSAGE (F0-F7) 5.13.1. MMC 5.13.1.1. MMC STOP < Transmission > When the STOP key is pressed, this message is transmitted with a device number of 7F. 206 < Reception > If the AW16G is operating as an MMC Slave, the transport will stop when this message is received with a matching device number or a device number of 7F. STATUS ID No. Device ID Command EOX 11110000 01111111 0ddddddd 00000110 00000001 11110111 F0 7F dd 06 01 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Stop(MCS) End Of Exclusive 5.13.1.2. MMC PLAY < Reception > EOX 11110000 01111111 0ddddddd 00000110 00000010 11110111 F0 7F dd 06 02 F7 This message is received if the AW16G is operating as an MMC Slave and the device number matches or is 7F. If the transport is stopped, then recording will begin. If the transport is playing, then punch-in will occur. STATUS ID No. Device ID Command EOX If the AW16G is operating as an MMC Slave, the transport will begin playback when this message is received with a matching device number or a device number of 7F. STATUS ID No. Device ID Command 5.13.1.6. MMC RECORD STROBE < Reception > System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Play(MCS) End Of Exclusive 11110000 01111111 0ddddddd 00000110 00000110 11110111 F0 7F dd 06 06 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Record strobe End Of Exclusive 5.13.1.7. MMC RECORD EXIT < Reception > This message is received if theAW16G is operating as an MMC Slave and the device number matches or is 7F. If the transport is recording, then punch-out will occur. STATUS ID No. Device ID Command 11110000 01111111 0ddddddd 00000110 00000111 11110111 F0 7F dd 06 07 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Record Exit 5.13.1.3. MMC DEFERED PLAY < Transmission > EOX This message is transmitted with a device number of 7F when the PLAY key is pressed. 5.13.1.8. MMC RESET < Transmission > < Reception > This message is transmitted with a device number of 7F when song loading is finished. If the AW16G is operating as an MMC Slave, the transport will begin playback when this message is received with a matching device number or a device number of 7F. STATUS ID No. Device ID Command EOX 11110000 01111111 0ddddddd 00000110 00000011 11110111 F0 7F dd 06 03 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Deferred play(MCS) End Of Exclusive 5.13.1.4. MMC FAST FORWARD < Transmission > This message is transmitted with a device number of 7F when the FF key is pressed or when the Shuttle is rotated toward the right to enter Cue mode. < Reception > If the AW16G is operating as an MMC Slave, the transport will begin fast-forward when this message is received with a matching device number or a device number of 7F. STATUS ID No. Device ID Command EOX 11110000 01111111 0ddddddd 00000110 00000110 11110111 F0 7F dd 06 04 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Fast Forward(MCS) End Of Exclusive 5.13.1.5. MMC REWIND < Transmission > < Reception > This message is received if the AW16G is operating as an MMC Slave and the device number matches or is 7F. MMC-related internal settings will be reset to the power-on state. STATUS ID No. Device ID Command EOX F0 7F dd 06 05 F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Reset End Of Exclusive < Reception > This message is received if the AW16Gis operating as an MMC Slave and the device number matches. The transport will locate to the time code position specified within the command data. STATUS ID No. Device ID Command EOX 11110000 01111111 0ddddddd 00000110 01000100 00000110 00000001 0hhhhhhh 0mmmmmmm 0sssssss 0fffffff 0sssssss 11110111 F0 7F dd 06 44 06 01 hh mm ss ff ss F7 System Exclusive Message Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Locate byte count "target" sub command hour (Standard Time Code) minute second frame sub-frame End Of Exclusive System Exclusive Message Appendix EOX 11110000 01111111 0ddddddd 00000110 00000101 11110111 F0 7F dd 06 0D F7 This message is transmitted with a device number of 7F when a locate-related key such as MARK SEARCH/IN/OUT is pressed, a FF/ REW/shuttle operation is performed, when the transport returns to the auto-punch pre-roll point, or when repeating. < Reception > STATUS ID No. Device ID Command 11110000 01111111 0ddddddd 00000110 00001101 11110111 5.13.1.9. MMC LOCATE (TARGET) < Transmission > This message is transmitted with a device number of 7F when the REWIND key is pressed or when the Shuttle is rotated toward the left to enter Review mode. If the AW16G is operating as an MMC Slave, the transport will begin rewind when this message is received with a matching device number or a device number of 7F. End Of Exclusive Real Time System Exclusive Destination (00-7E, 7F:all call) Machine Control Command(mcc) sub-id Rewind(MCS) End Of Exclusive 207 Appendix 5.13.2. BULK DUMP / BULK DUMP REQUEST This message inputs/outputs the contents of various internal memories. The unique header is used to distinguish whether the data belongs to the AW16G. The check sum is calculated by adding the bytes starting after BYTE COUNT (LOW) and ending before CHECK SUM, then inverting the bits and adding 1 (binary complement), and setting bit 7 to 0. CHECK SUM = ( -sum) & 0x7F < Reception > 5.13.2.3. System Memory Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) 5.13.2.1. Scene Memory Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) DATA NAME 11110000 01000011 0000nnnn 01111110 00111111 F0 43 0n 7E 3F 0111110 3E 01001100 01001101 00100000 00100000 00111000 01000011 00110011 00110110 01001101 0mmmmmmm 4C 4D 20 20 38 43 37 35 4D mm System Exclusive Message n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 8126(8116+10)bytes 'L' 00000000 00 4C 4D 20 20 38 43 37 35 53 20 ds 'L' EOX 11110111 F7 End Of Exclusive 'M' '' '' '8' 'C' '7' '5' 'S' '' Setup Memory(59*2bytes) 7Fh All data is divided into 4 bit units. 5.13.2.4. System Memory Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. '8' 'C' '7' '5' 'M' m=0-96,97(Scene Memory No.0-96, Current Scene) Receive is effective No.1-96,97 CHECK SUM EOX 7Fh 11110111 F7 End Of Exclusive All data is divided into 4 bit units. 5.13.2.2. Scene Memory Bulk Dump Request Format EOX 128(118+10)bytes CHECK SUM '' : : DATA NAME Universal Bulk Dump : : '' 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND F0 43 2n 7E 4C 4D 20 20 38 43 37 35 4D mm n=0-15(MIDI Channel No.1-16) 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND 'M' 0ddddddd ds Scene Memory((4058*2) bytes) 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01001101 0mmmmmmm Manufacturer's ID No.(YAMAHA) Manufacturer's ID No.(YAMAHA) DATA STATUS ID No. SUB STATUS FORMAT No. System Exclusive Message DATA DATA NAME Bulk Dump messages are transmitted on the [Tx CH] in response to key operations in the [MIDI BULK DUMP] screen. Bulk Dump messages are transmitted on the received MIDI channel in response to a Bulk Dump Request. F0 43 0n 7E 01 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010011 00100000 0ddddddd This message is received if [RX DISABLE] is off, and the [MIDI Rx Ch] matches the MIDI channel included in the Sub Status. When a bulk dump is received, it is immediately written into the specified memory. When a bulk dump request is received, a bulk dump will be transmitted immediately. System Memory Bulk Dump is not received while the recorder is running. < Transmission > 11110000 01000011 0000nnnn 01111110 00000001 DATA NAME EOX STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' '8' 'C' '7' '5' 'S' '' End Of Exclusive 11110000 01000011 0000nnnn 01111110 00001111 F0 43 0n 7E 0F System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 1962(1952+10)bytes 00101010 2A CHECK SUM 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND EOX 11110111 F7 End Of Exclusive Universal Bulk Dump 'L' 'M' '' '' DATA NAME 'C' '5' 'M' 4C 4D 20 20 38 43 37 35 52 20 ds 'L' DATA n=0-15(MIDI Channel No.1-16) m=0-96,97(Scene Memory No.0-96, Current Scene) 11110111 F7 End Of Exclusive System Exclusive Message 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010010 00100000 0ddddddd Manufacturer's ID (YAMAHA) '7' F0 43 2n 7E 4C 4D 20 20 38 43 37 35 53 20 F7 5.13.2.5. Remote Memory Bulk Dump Format System Exclusive Message '8' 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010011 00100000 11110111 'M' '' '' '8' 'C' '7' '5' 'R' '' Remote(Internal Parameter) Memory(976*2bytes) : : 7Fh All data is divided into 4 bit units. 208 5.13.2.6. Remote Memory Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010010 00100000 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 37 35 52 20 F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' 5.13.2.9. Dynamics Library Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) '' '8' 'C' '7' '5' 'R' '' End Of Exclusive DATA NAME 5.13.2.7. Equalizer Library Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) DATA NAME 11110000 01000011 0000nnnn 01111110 00000000 F0 43 0n 7E 00 System Exclusive Message 4C 4D 20 20 38 43 37 35 51 mm Manufacturer's ID No.(YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 94(84+10)bytes 01011110 5E 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01011001 0mmmmmmm 4C 4D 20 20 38 43 37 35 59 mm 'L' 'M' '' '' '8' 'C' '7' '5' 'Y' m= 0-127 (Dynamics Library No.1-128) Receive is effective No.41-128 0ddddddd ds Dynamics Library Memory(42*2 bytes) CHECK SUM 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND EOX 11110111 F7 End Of Exclusive : : n=0-15(MIDI Channel No.1-16) Universal Bulk Dump System Exclusive Message DATA 7Fh 110(100+10)bytes All data is divided into 4 bit units. 'L' 'M' '' '' '8' 'C' '7' 5.13.2.10. Dynamics Library Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. '5' 'Q' m= 0-127 (Equalizer Library No.1-128) Receive is effective No.41-128 DATA F0 43 0n 7E 00 Manufacturer's ID No.(YAMAHA) 01101110 6E 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010001 0mmmmmmm 11110000 01000011 0000nnnn 01111110 00000000 0ddddddd ds Equalizer Library Memory(48*2bytes) : : CHECK SUM 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND EOX 7Fh 11110111 F7 End Of Exclusive DATA NAME 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01011001 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 37 35 59 mm F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' '8' 'C' '7' '5' 'Y' m= 0-127 (Dynamics Library No.1-128) End Of Exclusive All data is divided into 4 bit units. EOX 5.13.2.8. Equalizer Library Bulk Dump Request Format 5.13.2.11. Effect Library Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010001 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 37 35 51 mm F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) '' '8' 'C' '7' '5' 'Q' m= 0-127 (Equalizer Library No.1-128) End Of Exclusive DATA NAME 11110000 01000011 0000nnnn 01111110 00000001 F0 43 0n 7E 01 System Exclusive Message Manufacturer's ID No.(YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 142(132+10)bytes 00001110 0E 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01000101 0mmmmmmm 4C 4D 20 20 38 43 37 35 45 mm 'L' 'M' '' '' '8' 'C' '7' '5' 'E' m= 0-127 (Effect Library No.1-128) Receive is effective 42-128 0ddddddd ds Effect Library Memory(66*2bytes) CHECK SUM 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND EOX 11110111 F7 End Of Exclusive : : 7Fh All data is divided into 4 bit units. 209 Appendix DATA Appendix 5.13.2.12. Effect Library Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01000101 0mmmmmmm 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 37 35 45 mm F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' DATA NAME 11110000 01000011 0000nnnn 01111110 00000001 F0 43 0n 7E 01 4C 4D 20 20 38 43 37 35 48 mm DATA NAME 'M' '' '' '8' 'C' '7' '5' 'P' '' Program Change Table(128bytes) All data is divided into 7 bit units. 'L' 'M' '' '' '8' 'C' '7' 5.13.2.16. Program Change Table Bulk Dump Request Format STATUS ID No. SUB STATUS FORMAT No. '5' 'H' m= 0-64 (Channel Library No.0-64) 11110111 F7 End Of Exclusive 7Fh All data is divided into 4 bit units. 5.13.2.14. Channel Library Bulk Dump Request Format 210 'L' 7Fh 226(216+10)bytes EOX EOX 4C 4D 20 20 38 43 37 35 50 20 ds : : n=0-15(MIDI Channel No.1-16) CHECK SUM DATA NAME 138(128+10)bytes 00001010 0A Manufacturer's ID No.(YAMAHA) 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND F0 43 2n 7E 4C 4D 20 20 38 43 37 35 48 mm F7 Universal Bulk Dump 11110111 F7 End Of Exclusive End Of Exclusive 0ddddddd ds Effect Library Memory(108*2 bytes) 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01001000 0mmmmmmm 11110111 n=0-15(MIDI Channel No.1-16) EOX m= 0-127 (Effect Library No.1-128) : : STATUS ID No. SUB STATUS FORMAT No. Manufacturer's ID No.(YAMAHA) CHECK SUM 'E' Universal Bulk Dump System Exclusive Message 0ddddddd de 0eeeeeee ee ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND '5' Receive is effective No.2-64 DATA F0 43 0n 7E 01 DATA '7' System Exclusive Message 11110000 01000011 0000nnnn 01111110 00000001 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010000 00100000 0ddddddd 'C' 01100010 62 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01001000 0mmmmmmm STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) '8' 5.13.2.13. Channel Library Bulk Dump Format STATUS ID No. SUB STATUS FORMAT No. BYTE COUNT (HIGH) BYTE COUNT (LOW) 5.13.2.15. Program Change Table Bulk Dump Format System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' '8' 'C' '7' '5' 'H' m= 0-64 (Channel Library No.0-64) End Of Exclusive DATA NAME EOX 11110000 01000011 0010nnnn 01111110 01001100 01001101 00100000 00100000 00111000 01000011 00110111 00110101 01010000 00100000 11110111 F0 43 2n 7E 4C 4D 20 20 38 43 37 35 50 20 F7 System Exclusive Message Manufacturer's ID (YAMAHA) n=0-15(MIDI Channel No.1-16) Universal Bulk Dump 'L' 'M' '' '' '8' 'C' '7' '5' 'P' '' End Of Exclusive YAMAHA [PROFESSIONAL AUDIO WORKSTATION] Model: AW16G Date: Jan 30, 2002 Implementation Chart MIDIMIDI Implementation ChartVersion: Function... 1.0 Transmitted Recognized Remarks Basic Channel Default Changed 1–16 1–16 1–16 1–16 Memorized Memorized Default Messages Altered X X ************** OMNI off/OMNI on X X Memorized Mode :True Voice X ************** 0–127 X Note Number Velocity Note On Note Off X X X X After Touch Key’s Ch’s X X X X X X O O Assignable 0–127 ************** 0–127 0–96 Assignable O O *1 Pitch Bend Control Change Prog Change 0-95,102-119 :True# System Exclusive System Common :Song Pos :Song Sel :Tune O X X X X X *2 System Real Time :Clock :Commands O O X X *2 *2 Aux Messages :Local ON/OFF :All Notes OFF :Active Sense :Reset X X X X X X O O quarter frame message is transmitted. quarter frame message is recognized.(When MTC Sync mode) Bulk Dump/Request, MMC When MCLK Sync mode MIDI remote, ALL messages canbe transmitted. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO O: Yes X: No 211 Appendix Notes MTC MTC *1: *2: For Appendix Specifications ■ General Specifications Number of tracks 144 tracks (16 tracks + stereo tracks) × 8 virtual Fader 13 × 45 mm MIDI MTC (Master/Slave), MIDI Clock (Master), MMC (Master/Slave), Program Change, Control Change, Bulk Dump Memory Scene memory, EQ library, dynamics library, effect library, channel library, sample library Dynamic range (Maximum level to Noise level) IHF-A 109 dB typ. DA converter (STEREO OUT) 103 dB min. DA converter (STEREO OUT) 103 dB typ. AD + DA (LINE IN to STEREO OUT) 97 dB min. AD + DA (LINE IN to STEREO OUT) AC adaptor PA-300 AD converter 24-bit linear, 64-times oversampling Weight DA converter 24-bit linear, 128-times oversampling Internal processing 32-bit Frequency Response 0 +1/–3 dB, 20 Hz–20 kHz (MIC/LINE IN – STEREO OUT) Total harmonic distortion (Nominal input/Output level) 20 kHz LPF Less than 0.03% 1 kHz (LINE IN to STEREO OUT) Less than 0.2% 1 kHz (MIC IN to STEREO OUT) 2 channels (stereo × 1) 2 channels (stereo × 1) 2 channels (stereo × 1) 2 channels (optical stereo × 1) Mixer section Total 36 channels MIC/LINE INPUT 8 channels Internal effect return 4 channels (stereo × 2) Recorder monitor 16 channels Quick loop sampler 8 channels (stereo × 4) Internal effects section Multi-effects × 2 Bus AUX STEREO Effect Total 8 buses 2 (L/R) 2 (1/2) 2 (L/R) 2 (1/2) Internal HDD 20 GB 2.5" IDE Maximum capacity per one song: 6.4 GB Maximum songs 1,000 songs Recorder resolution 16 bit linear (non-compressed) Maximum tracks of recording/playback simultaneously 8 tracks, Recording & 16 tracks, playback 212 4.4 kg (9.7 lbs) Operating temperature range 5° to 35° C Footswitch FC5, CD-RW Drive CDRW16G ■ Mixer section ● Input/output 8 channels 2 channels (optical stereo × 1) Audio output section MONITOR OUT PHONES STEREO/AUX OUT DIGITAL OUT Bus section Dimensions (W × H × D) 425.0 × 98.8 × 321.5 mm (16.7 × 3.9 × 12.6 inches) Options Sampling frequency Internal 44.1 kHz (±6%) External 44.1 kHz (±6%) Audio input section MIC/LINE DIGITAL IN Power requirements U.S.A. & Canada 110–120 V, 50/60 Hz Europe 220–240 V, 50/60 Hz MIC/LINE input channel 1, 2 (balanced, XLR-type) +48 V ±3 V DC phantom powering Input impedance 3 kΩ Nominal input level –46 dB to +4 dB Minimum input level –52 dB Maximum input level +18 dB MIC/LINE input channel 3–8 (balanced, TRS phone jack) Input impedance 3 kΩ Nominal input level –46 dB to +4 dB Minimum input level –52 dB Maximum input level +18 dB MIC/LINE input (Hi-Z) channel 8 (unbalanced, phone jack) Input impedance 500 kΩ Nominal input level –46 dB to +4 dB Minimum input level –52 dB Maximum input level +18 dB STEREO/AUX OUT L, R (unbalanced, phone jack) Output impedance 150Ω Nominal load impedance 10 kΩ Nominal output level –10 dBV Maximum output level +4 dBV MONITOR OUT L, R (unbalanced, TRS phone jack) Output impedance 150Ω Nominal load impedance 10 kΩ Nominal output level –10 dB Maximum output level +4 dB PHONES (unbalanced, TRS phone jack) Nominal load impedance 8–40Ω Maximum output level 100 mW + 100 mW (40 Ω load) DIGITAL STEREO I/O Optical * 0 dB= 0.775 Vrms, 0 dBV= 1.0 Vrms ● Digital mixer Input channel (INPUT 1–8, TRACK 1–16, PAD 1–4) Attenuator, Phase (normal, reverse), EQ (4-band PEQ), Dynamics, On/Off, Pan Internal effects return EQ (4-band PEQ), On/Off, Pan Bus Stereo L, R Attenuator, EQ (4-band PEQ), Dynamics, On/Off, Balance Bus L, R Aux 1–2 EFF 1–2 ■ Controls ANALOG SECTION INPUT [CH1-8] LINE/MIC VR INPUT [CH1-2] PHANTOM +48V SW ON/OFF OUTPUT LEVEL MONITOR/PHONES VR MIXER SECTION WORK NAVIGATE SONG/CD/TRACK/EDIT/UTILITY/REMOTE QUICK NAVIGATE RECORD/MONITOR CHANNEL SELECT INPUT1-8/TRACK 1-8/TRACK [9/10]-[15/16]/STEREO MIXER SCENE/VIEW/[PAN/BAL]/EFF1/ EFF2 EQ EQ/DYN/HIGH/HI-MID/LO-MID/ LOW FADER TRACK 1-8/TRACK [9/10]-[15/16]/ STEREO SAMPLER SECTION QUICK LOOP SAMPLER SELECT/PAD 1-4/EDIT RECORDER SECTION LOCATE / /IN/OUT/A/B/RTZ/MARK/ SET/CANCEL/AUTO PUNCH/ REPEAT TRANSPORT REW/FF/STOP/PLAY/REC ■ Recorder section ● Edit Song edit Optimize, Delete, Copy, Import Track edit Erase, Delete, Insert, Copy, Move, Exchange, Time Compression/ Expansion, Pitch Change, Export, CD import COMMON SECTION DATA ENTRY / / / /ENTER UNDO/REDO SOUND CLIP JOG ON ENCORDER DATA/JOG DISPLAYS 240 × 64 dot GRAPHIC LCD (contrast control pot.) Locate Quick locate: RTZ, A/B, Last REC In/Out Mark: 1–99 ■ Control I/O Punch I/O Manual Punch I/O, Auto Punch I/ O MIDI IN 5-pin DIN MIDI OUT/THRU 5-pin DIN Foot switch Phone jack ● Others ■ Quick loop sampler POLYPHONY RECORDABLE TIME Edit function 4 voices (stereo) Total 44 seconds (stereo) NAME, TRIM, PLAYBACK, MODE, ERASE, EXTRACT, CD IMPORT, TRACK IMPORT Appendix 213 Appendix Dimensions 88.8 8.5 98.8 425 313 321.5 5 Unit: mm Specifications and external appearance subject to change without notice. For European Model Purchaser/User Information specified in EN55103-1 and EN55103-2. Inrush Current: 70A Conformed Environment: E1, E2, E3 and E4 214 Index A C A/B key 20 A/B point 65 A-B Repeat 70 Access indicator 18, 22 Accessing a screen/page/ channel 23 Adjusting the input level 34 AMP 72 Assigning input signals (Bus recording) 45 Assigning input signals (Direct recording) 42 ATT knob 160 audio CD 97 Basic settings 99 Disc At Once 98 Erasing 105 Finalizing 104 Methods 98 Playing 106 Track At Once 98 AUDIO WRITE SPEED 99 AUTO PUNCH key 20 Auto punch-in/out 59 rehearse 60 AVRG (Average) 150 CANCEL key 20 CD key 18 CD PLAY button 106 CD Play function 106 CD-R/RW drive Cautions for handling 5 Handling the media 4 CD-ROM included with the AW16G 200 CD-RW drive 10, 22 Access indicator 22 Basic settings 99 Disc At Once 98 Eject button 22 Eject hole 22 Handling 10 Installing 10 media 97 Methods 98 Removing 11 Track At Once 98 Using 11 CD-RW MEDIA ERASE 99 CH RECALL SAFE 80 Channel library 79 Recall 79 Compander 175 COMPARE button 99 Compressor 174 Connect external devices 27 Connecting instrument or mic 33 Connecting the AC adaptor 12 DC IN connector 22 control change 151 controlling a tone generator module 166 Copyright 9 Notice 5 Counter 23 COUNTER DISPLAY 139 COUNTER DISPLAY 139 Creating a new song 39 Current song 28 CURSOR key 20 B D D.OUT COPYRIGHT ON/ OFF button 162 DATA WRITE SPEED 99 DATA/JOG dial 20 DC IN connector 22 E Edit 92, 93, 94 dynamics parameters 93 EQ parameters 92 parameters of an internal effect 94 Edit command COPY 128 DELETE 127 ERASE 126 EXCHANGE 130 EXPORT 131 INSERT 127 MOVE 129 PITCH CHANGE 131 TIME COMP/EXP (Time Compression/Expansion) 130 EDIT key 18 Editing a value in the display 24 Editing command 123 List 126 EFF 1 knob 19, 25 EFF 2 knob 19, 25 effect 96 BYPASS 94 USED AS 94 Effect library 78 Effect Parameters 180 library list 178 Recall 78 Eject button 22 Eject hole 22 ENTER key 20 EQ 50 EQ button 52 EQ knob 19, 25 EQ library 52, 56, 77 library list 173 Recall 77 example of connections 27 Expander 175 Exporting WAV files and importing audio CD or WAV files 132 external devices 163 external effects 167 MD recorder 169 tone generator module 166 workstation synth 163 external effects 167 F Fader 19 FADER FLIP 162 FADER RECALL SAFE 80 Features 13 CD-RW drive 14 Mixer section 13 Quick Loop Sampler section 14 Recorder section 14 FF key 21 Finalizing 98, 104 FOOT SW jack 22, 59 foot switch 59 FORMAT button 161 free space on the hard disk 141 Front panel 22 G GAIN knob 18 Gate 176 Gate mode 108 Grounding terminal 22 H Appendix Back up 145 balance 57 PAN/BALANCE knob 91 Basic operation 23 Accessing a screen/ page/channel 23 Editing a value in the display 24 Inputting text 24 Switching a button on/ off 24 Using the Selected Channel section 25 Viewing the display 23 Block diagram 218 bounce 81 Convenient functions 89 bounce recording 87 BPM 120 buck up Responsibility 9 Bulk dump 149, 154 Bus terminology 16 Bus recording 41 demo song 28 Loading 28 Mixing 30 Playing 29 DIGITAL IN jack DIGITAL IN PATCH 160 DIGITAL IN PATCH 160 Digital input setting 160 DIGITAL REC ON/OFF button 160 DIGITAL STEREO IN/OUT jack 22 Dimensions 214 Direct recording 40 Disc At Once 98 Writing 102 Display message list 198 Ducking 176 DYN button 53 DYN knob 19, 25 Dynamics 50 Dynamics library 53, 57, 78 library list 177 Recall 57, 78 Dynamics parameter 174 KEYIN SOURCE 93 HIGH key 19 HI-MID key 19 215 Appendix I IN/OUT key 20 In/out point 65 included items 9 Index 215 Initializing a channel 91 INPUT CH MUTE/MIX button 106 INPUT LEVEL knob 34 Input library 50, 77 library list 171 INPUT LIBRARY popup window 77 INPUT SEL key 18 INPUT SETTING popup window 34, 77 Inputting text 24 internal effect 50, 84 EFF 85 PRE/POST 85 J JOG ON key 20, 71 L LATCH button 158 LEARN button 158 Level meter 34, 90 PRE/POST buttons 90 library 73 Basic operation 74 Channel library 79 Delete 75 Details 77 Dynamics library 57, 78 Effect library 78 EQ library 56, 77 Input library 77 Mastering library 78 Naming 76 Recall 75 Sample library 78 Storing 74 terminology 16 LIBRARY button 50 LISTEN button 72 Loading a song 64 Locate points 68 locator 65 A/B point 65 Adjusting the position 68 Erasing 69 icon 66 In/out point 65 Locate points 68 LOCATOR button 68 Locator point/marker display area 68 marker 67 MARKER button 68 216 POSITION 68 Relative zero point 65 Start/end point 65 LOCATOR button 68 Locator point/marker display area 68 LO-MID key 19 Loop mode 108, 119 LOW key 19 M Manual punch-in/out 59 MARK key 20 MARK SEARCH key 20 marker 67 Adjusting the position 68 Erasing 69 icon 67 List 68 Locate points 68 LOCATOR button 68 Locator point/marker display area 68 MARKER 68 MARKER button 68 MEAS 69 POSITION 68 MARKER button 68 Mastering library 78 library list 172 Recall 78 MASTERING LIBRARY popup window 78 MD recorder 169 MEAS 68 media 97 Erasing 105 message list 198 metronome 47 Metronome button 36, 47 Metronome knob 36 MIC/LINE INPUT jack 21, 33 MIC/LINE INPUT jack (HiZ) 21, 33 MIDI 149 Basic 150 Bulk dump 154 CTRL CHG MODE 151 DEV (device number) 150 MIDI CH 151 MIDI data format 204 MIDI OUT 150 MIDI Remote 155 MMC MODE 150 MTC MODE 150 PGM CHG MODE 151 settings 150 MIDI data format 204 MIDI IN connector 22 MIDI OUT/THRU connector 22 MIDI Remote 149, 155 user-defined Remote function 157 mix balance 57 mixdown 81 check the level 90 Convenient functions 89 Preparing 83 Recording 86 Viewing all parameters 90 MMC device number 150 MMC MODE 150 MONITOR key 18 MONITOR OUT jack 21 MONITOR TEMPO 120 MONITOR/PHONES knob 18 MOTOR ON ACCESS/ DISC IN button 99 MTC MODE 150 AVRG (Average) 150 OFST (Offset) 151 N Nudge function 71 NUDGE MODE 71, 162 NUDGE TIME 71, 162 O OFST (Offset) 151 One shot mode 108, 119 OPTIMZ button 141 Overall setting 162 Overdubbing 55, 58 Assigning the input signal 56 Auto punch-in/out 59 Manual punch-in/out 59 Virtual track 62 P pad 107, 112 playback mode 119 PAD SEL key 18 Pad track 108 terminology 16 Pads 1-4 18 Pair 49, 83 Paired channels terminology 16 Pan 57, 83 PAN/BAL knob 19, 25 PARAM DISP TIME 162 PERFECTLY button 105 PHANTOM +48V switch 22 PHASE 83 PHONES jack 21 ping-pong recording 81, 87 PLAY key 21 playback 65 A-B Repeat 70 popup window INPUT LIBRARY popup window 77 INPUT SETTING popup window 77 POSITION 68 POSTROLL TIME 162 POWER switch 22 PRECAUTIONS 3 PREROLL TIME 162 program change 151 PROTECT button 139 Punch-in/out 59 Q Quick loop sampler 14, 107 an audio CD 112 Delete 122 Editing the sample name 117 Gate 119 Gate mode 108 Importing 112 Importing from an audio track/stereo track 114 Loop mode 108, 119 One shot mode 108, 119 Pad Track 108 Slice function 120 Switching the playback mode 119 Trigger 119 Trigger mode 108 WAV file 112 R Rear panel 21 REC key 21 RECALL CONFIRM ON/ OFF button 162 Recall Safe 80 RECORD key 18 Recording on a track 48 Recording/playing a sound clip 35 Relative zero point 65 REMOTE key 18 REPEAT key 20 Responsibility for loss of data 4, 9 REW key 21 RTZ key 21 S T Tempo map Tempo map event 47 terminology 16 Tempo map event 47, 142 terminology 15 Bus 16 Channel 15 Library 16 Locate point/marker 15 Pad track 16 Paired channels 16 Paired tracks 15 Sample bank and sample 16 Scene and scene memory 16 Song 16 System data 16 Tempo map 16 Tracks 15 TEST button 99 test tone 159 Text input box 24 Text palette 24 TIME 72 TIME CODE BASE 139 tone generator module 166 Top panel 17 Data entry/control section 20 Display 18 Input/output section 18 Locate section 20 Mixer section 19 Quick Loop Sampler section 18 Selected Channel section 19 Transport section 21 Work Navigate section 18 Track At Once 98 Writing 100 Track editing 123 Basic procedure 124 TRACK field 48 TRACK key 18 Track recording 39 Bus recording 41 Creating a new song 39 Direct recording 40 NAME button 48 Pairing 49 TRACK field 48 Track name 48 Track view 48 V.TR field 48 WAVE button 48 TRACK SEL key 19 Trigger mode 108 Troubleshooting 194 Turning the power on/off 12 POWER switch 22 W WAVE button 48 WAVE DISPLAY popup window 72 waveform 72 website 9 workstation synth 163 WRITE button 99 U UNDERRUN PROTECT button 99 Undo function 61 Undo List 61 UNDO LIST popup window 61 UNDO/REDO key 20 UNLATCH button 158 utility functions 149 Checking 160 D.OUT COPYRIGHT ON/OFF button 162 Digital input settings 160 FADER FLIP 162 initializing the internal hard disk 160 internal hard disk 160 NUDGE MODE 162 NUDGE TIME 162 PARAM DISP TIME 162 POSTROLL TIME 162 PREROLL TIME 162 RECALL CONFIRM ON/ OFF button 162 SOUND CLIP TIME 162 STORE CONFIRM ON/ OFF button 162 test tone 159 UTILITY key 18 V VARI PITCH knob 160 VARI PITCH ON/OFF button 160 VIEW key 19 Viewing the display 23 Virtual track 62 Switching 62 terminology 15 Appendix Sample bank 107 Sample bank and sample terminology 16 SAMPLE EDIT key 18 Sample library 78, 109 Back up 145 library list 192 Recall 79 Restoring 147 Sampling 115 Editing the sample name 117 Trimming 118 Sampling an external input signal 115 Saving the current song 63 scene Naming 76 PROTECT button 79 Recall Safe function 80 SCENE key 20 scene memory 73, 79 About 73 Basic operation 74 Details 77 Recall 79 Storing 74 terminology 16 Selected channel 23 Selected Channel section 25 SET key 20 shut down 12 SHUTDOWN page 12 SIMPLY button 105 SLICE 120 Slice function 120 Song 137 AW2816 148 AW4416 148 Back up 145 Copy 140 Delete 140 Editing settings 139 Editing the song name 138 Importing data 144 management 137 Optimizing 141 Restoring 147 tempo map 142 terminology 16 song Loading 64 Saving 63 SONG key 18 SORT field 28 Sound Clip 14 Sound clip 33 Recording/playing 35 SOUND CLIP key 20 SOUND CLIP TIME 162 Specifications 212 Start/end point 65 Stereo bus assign switch 34 STEREO fader 19 STEREO SEL key 19 STEREO/AUX OUT jack 21 STOP key 21 STORE CONFIRM ON/ OFF button 162 Switching a button on/off 24 System data terminology 16 217 Appendix Block diagram 218 V905320 XXXIPXXX.X-XXC0 220 Printed in Taiwan M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2002 Yamaha Corporation