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SDR SDR SDR 24 24/ 24 96
SDR SDR 24 24
Operation Guide
HIGH RESOLUTION
24 TRACK/24 BIT DIGITAL AUDIO RECORDER SDR 96 NON-LINEAR RECORDER
ERROR 44.1k 48k X2
EXT
CLOCK
TC VARI 16 BIT 24 BIT
HOURS MINUTES SECONDS FRAMES
PROJECT: Feel the Love
AVAIL: 02:27:26 on EXT
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
SELECT SELECT SELECT SELECT
POWER
DELETE TRACK PROJECT EDIT SETUP AUTO T-CODE REWIND FAST FWD STOP PLAY RECORD
LAST TAKE CHASE
ALL AUTO
LOCATE STORE LOOP PUNCH REHRSE
INP
ページ2に含まれる内容の要旨
CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN 12. Servicing — Do not attempt to service the SDR24/96. All servicing RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR should be referred to the Mackie Service Department. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK 13. Lightning — Unplug the SDR 24/96 during lightning storms or when DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE unused for long periods of time. Note that this Mackie product is not REFER SERVICING TO QUALIFIED PERSONNE
ページ3に含まれる内容の要旨
Operation Guide Contents Record ---------------------------------------------- 27 Introduction ----------------------------4 Serial 9-Pin ----------------------------------------- 27 Save your Box! -------------------------------- 4 Time Display --------------------------------------- 27 How To Use This Guide --------------------- 4 Transport Menu ----------------------------------- 27 Conventions ---------------------------------- 5 Locate Points and Looping --------------------- 30 About “Tape
ページ4に含まれる内容の要旨
Introduction Save your Box! Uncle Jeff’s Bottom Ten Reasons to Save the Box: 10. You think boxes grow on trees? 9. It’s actually a time capsule, packed with a biological code that can’t be decrypted until 2043. 8. Its festive graphics will cheer up those other boxes forgotten in your attic. 7. Impress your friends: tape it up and pretend that you actually have two SDR24/96s. 6. If you throw it away, bad people will know you have a studio in your house. 5. Someday, when paper costs more than stee
ページ5に含まれる内容の要旨
Operation Guide Conventions The SDR24/96 Operation Guide uses the following conventions to help you find information quickly: Text Conventions a) Text referring to the LCD display use medium weight (example: SETUP MENU) b) Text referring to hardware controls or connectors use heavy weight (example: STOP) Icons This icon identifies in-depth explanations of features and practical tips. Though not required reading, they do offer some choice tidbits of knowledge that will leave you wiser for the rea
ページ6に含まれる内容の要旨
Overview By combining traditional multitrack tape recording features with the power and flexibility of non-linear editing, the Mackie Designs SDR24/96 takes multitrack recording to a level never before achieved by a product in its price range. In addition to the standard battery of traditional tape-based features, the SDR24/96: • Combines the familiarity of a multitrack tape machine with the security of non-destructive recording and non-degrading recording media. • Records simultaneously on
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Operation Guide Setup & Configuration This chapter explains how to set up and configure the SDR24/96 for use in your studio. Two application examples show how to interface the SDR24/96 with analog and digital recording consoles. Required Equipment Of course, there’s more to a studio than a recorder and some musicians. At a minimum, you’ll need the following to make the SDR24/96 feel at home: • A console with a minimum of 24 tape sends (buses or direct outputs) and returns (line inputs or monit
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I/O Connections and Cables I/O connections are available in either analog or digital and can be used in any combination: Analog • Each 25-pin D-subminiature (DB25) connector provides eight balanced analog line-level inputs or outputs. These connectors are pin-for-pin compatible with the analog (not TDIF) DB25 connectors found on the TASCAM DTRS recorders (see Appendix D: Analog I/O Pinout). DB25 cables that break out to XLR or 1/4" TRS connectors for mating with your console are readily availa
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Operation Guide • MIDI IN/OUT — These standard MIDI connectors (female 5-pin DIN) can be used to send or receive MIDI Time Code (MTC) and MIDI Machine Control (MMC) when connecting to equipment with transport controls and a position display. • ADAT SYNC OUT — This 9-pin D-subminature connector connects to the SYNC IN connector on an ADAT multitrack recorder when the SDR24/96 is providing the master sample clock. Use male-to-male 9-pin D-sub (DB9) cable. • ADAT SYNC IN — This 9-pin D-submin
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The following is the recommended setup for establishing proper sample clock synchronization with the devices connected to the SDR24/96. ADAT Optical With the SDR24/96 as a master, set the receiving device(s) to derive sample clock from their ADAT optical ports if the ports are self-clocking. In this case, no word clock connection is necessary. If the ADAT optical ports on the receiving devices are not self-clocking, connect WORD CLOCK OUT of the SDR24/96 to Word Clock In on the receiving device(
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Operation Guide Mackie Media (Optional) The SDR24/96 emulates the tape library tradition with Mackie Media M•90 and Mackie Media PROJECT drives. Both drives come complete with a plug-in tray for quick removal and a nifty storage case for shelving and transporting the drives. The SDR24/96 can record or play directly off the M•90 so you can change sessions as quickly as changing tape on a 24-track—no backup time required. PROJECT drives are for backup only and use removable 2.2GB ORB cartridges th
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Hookups This section shows how the SDR24/96 is typically connected to both analog and digital consoles (using the Mackie Analog and Digital 8•Bus consoles as examples). These examples assume that the rest of your studio equipment (monitors, sound sources, outboard processing, etc.) is already connected, or that you know how to connect it. Before you begin, note how the three analog eight-channel I/O connectors are arranged on the SDR24/96 rear panel: 1-8 is on the left, 9-16 is in the center, an
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Operation Guide 2. Connect three break-out cables to the SDR24/96 Outputs (top connectors). Connect the plug end of the cables to the like-numbered Tape Return jacks on the 24•8 console. SDR24/96 Settings 1. Set the Sample Clock (SETUP:Sync:SClk) to Internal. 2. Set the Sample Rate and Sample Size according to your preference. Console Settings Set the 24•8 console to the nominal +4 dBu operating level by setting the five Operating Level switches in the Sub Out and Tape Return sections to the
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Digital Hookup This example describes the hookup for the D8B console equipped for digital I/O (DIO•8 or OPT•8). Cables & Hardware (3) DIO•8 or OPT•8 cards for D8B (1) Apogee Clock I/O card for D8B (if D8B is the slave) (6) ADAT optical cables (1) 75Ω BNC word clock cable Hookup 1. Connect three ADAT optical cables from the SDR24/96 DIGITAL optical outputs to the optical inputs on the corresponding D8B I/O cards. 2. Connect three ADAT optical cables from the SDR24/96 DIGITAL optical inputs to t
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Operation Guide ADAT Optical Hookup with DIO•8 ANALOG OUT 1 - 8 ANALOG OUT 9 - 16 ANALOG OUT 17 - 24 HIGH RESOLUTION SDR 96 NON-LINEAR RECORDER ANALOG IN 1 - 8 ANALOG IN 9 - 16 ANALOG IN 17 - 24 24 TRACK/24 BIT DIGITAL AUDIO RECORDER POWER DIGITAL DIGITAL DIGITAL WORD CLOCK I/O SMPTE MIDI FOOT MICRO/ ADAT SYNC IN OUT IN OUT SWITCH REMOTE 24 OUT CNTRL 1 - 8 9 - 16 17 - 24 USB IN OUT IN OUT IN OUT IN OUT ADAT SYNC IN X2 X2 X2 1-4 5-8 9-12 CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SH
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Remote 24/Micro Remote (Optional) Installing either remote is as simple as plugging in a telephone. Connect one end of the cable (supplied with the Remote) to the MICRO/REMOTE 24 CNTRL jack on SDR24/96 rear panel, and the other end to the TO HDR REMOTE JACK on the Remote 24, or to the TO SDR REMOTE JACK on the Micro Remote. It’s OK to Note: Note: Note: The Remotes Note: Note: plug or unplug either remote with the SDR24/96 powered on. duplicate nearly all of the front panel operating controls. MI
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Operation Guide Configuration Before starting a Project, you will need to configure the SDR24/96 I/O options and synchronization parameters. These parameters determine where the input signal is coming from, where the sample clock is coming from, how fast the sample clock runs, and how many bits are recorded in every sample. Some options, like sample rate and bit depth, will become “standards” that you won’t need to change very often. Others, like input-to-track assignments, you may need to chang
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3. Select 1-8. The LCD display TRK 1- 8 OUT: Direct shows you the current setting for Direct Custom Exit outputs 1-8, either Direct or Custom. 4. Select Direct for direct track-to-output playback (i.e., Track 1 to Output 1, Note: The front Track 2 to Output 2, etc.). panel display’s back- light switches off 5. Select Custom to route tracks to different output numbers. after ten minutes of New Current Track Setting Setting 6. Press the Inc (increment) and inactivity. You can Dec (decr
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Operation Guide Synchronization The Sync Options menu (under SETUP) allows you to select the sample clock source, sample rate, time code source if time code chase is enabled, frame rate, and sample size. Sample clock source, time code source, LTC output, and MTC output are global settings, and are project independent. Sample rate, frame rate, and sample size are saved in the project file. Sample Clock SETUP MENU > The Sample Clock setting Record I/O Sync Transp (SETUP:Sync:SClk) de
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Frame Rate There are four standard time code frame FRAME RATE: 30 rates, each developed for a specific << >> OK application. In addition, two of the frame rates have variations called drop-frame, mostly used by broadcasters to correct timing issues caused by the 29.97 frame rate. Use Frame Rate (SETUP:Sync:FrRate) to set the time code frame rate to one of the following settings: 24, 25, 29.97, 29.97 Drop, 30, 30 Drop. If you’re not involved with video or broadcast applications, 30
