Yamaha Music Mixer AW2816 User Manual

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POWER USER  
AW2816 / AW4416  
Music Production  
SETTING THE CLOCK & START POINT  
WHEN WORKING WITH A MIDI SEQUENCER  
This article will speak to clocking issues when using the AW2816 and AW4416 with an external sequencer.  
Units like the Motif keyboard workstation, RS7000 remix studio or any computer based MIDI sequencer can  
be used with great advantage with the AWs. Learning about the synchronization of the units is critical. Also  
of great use will be the lining up of the START TIMES of both units. The AWs have been taught how  
musicians keep time (Measures and Beats) and it can even provide an intelligent METRONOME to reference  
your recordings no matter how complex the time signature and tempo changes.  
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opportunity to import data from an existing  
recording. This function1 means that once you  
get to know the AW, you will be able to import  
your favorite setups from any previous  
recording sessions making working with the  
unit easier as you go along. Just select OK  
and press [ENTER]  
You can also NAME the SONG and write any  
comments about the session. If you have not  
invested in a simple serial mouse, do so. You  
will find it invaluable navigating the AW and  
do this we can “Set the START Point”… This  
will be the time at which the measure counter  
begins and the AW begins to generate MIDI  
clock (or MTC) for controlling the connected  
slave devices. We will be literally placing  
measures prior to the start command of the  
clock. If at a later time you need to overdub a  
musical part that starts at measure 1, beat 1,  
you will be glad that you have this “count-in”.  
Under the [TRACK] button select the [F4]  
MARK ADJ. screen and select the “LOCATOR  
POSITION” function. This will show you a list  
of key points within the recording. You will see  
START, END, Marker A, Marker B, and Last IN  
and Last OUT points of the SONG. Move the  
cursor to the ‘frames’ position next to the  
“START” time: Hrs:Min:Sec:Frames:sub-  
frames:  
especially  
when  
naming  
and  
writing  
comments. Best $10 you can spend!  
When working with music and musicians, you  
will find it convenient and wise to have the  
clock count MEASURES and BEATS. The AW  
can count hours, minutes, seconds, frames  
and fractions of a frame or just hours,  
minutes seconds and milliseconds, but when  
working with music and MIDI set the display  
to count in “musician language”. Press  
[SONG]/ [F2] Setting, set the DISPLAY  
parameter to “Measure”. This will increase  
your ability to “talk” music with the  
composer…most musicians know that the  
00:00:00:00.00.  
The time is always displayed here in Absolute  
time. As you begin to move the Data Wheel  
clockwise to input a new start time the measure  
counter will begin to count backwards. As you dial  
up the frames you will see the BEAT counter start  
counting according to your selected time signature  
and tempo. If, for example, your song is in 4/4  
time, you will see the BEAT counter count back  
from 4. As you scroll the time you can count how  
many measures of lead-in you are creating. For  
example, if you want a two measure count-in let it  
count backwards from 4 twice and add one extra  
tick (for good measure):  
bridge  
starts  
at  
measure  
49,  
not  
1min:32.476seconds into the song.  
Next you will want to set up the Metronome  
function. You can set the metronome by  
pressing the [TRACK] button and selecting the  
F1 TRACK VIEW screen. Use the down cursor  
to the select the “METRO” ON/OFF parameter  
and turn it ON. This is an audible metronome  
but will not be recorded to the track (unless  
you have an open microphone near your  
speakers). You can use this click as opposed  
to the click of the MIDI sequencer for all  
recording, if you wish.  
04 – 03 – 02 – 01 – 04 – 03 – 02 – 01 – 04  
You stop at the next 04 so that when you start the  
playback you get the four-count complete twice.  
Set the TEMPO MAP. Press the [SONG] button  
of [SONG]/[F4] to select the TEMPO MAP  
screen. Input the time signature and BPM of  
the song you are getting ready to record. You  
can actually create a tempo map event list,  
outlining any tempo changes or time signature  
changes that are in the song. By doing this  
ahead of time you can have the metronome  
count correctly no matter how complex the  
song. You cannot remove this “STEP 01”  
event. What you can do is affect where  
“Measure 001: beat 1” occurs. It is, generally,  
a good idea to place a few seconds in front of  
the meaningful start of the song, just in case  
you need you to build a count-in or want to  
place information in front of the main song. To  
PLAN AHEAD…  
An important part of music production on the AW  
in conjunction with a MIDI sequencer, is the  
actual project planning. There are no specific rules  
or ways to proceed. Only suggested guidelines for  
using the strongest tool for the job given the  
technology. For example, the biggest advantage  
that recording as MIDI tracks offers you, is the  
ability correct the performance data and the  
ability to control the sound of the instrument. You  
can maximize the use of the synthesizer/tone  
generator by recording tracks as MIDI, correcting  
any performance errors in the event data and  
then maximizing the sound before transferring  
that MIDI track to the AW as an audio track. This  
is only one of many possible scenarios. You might  
never commit your MIDI tracks to audio. Instead  
you could use the AW tracks to record only  
acoustic sounds (vocals, live guitars, live drums,  
acoustic piano, etc.) while keeping the MIDI  
tracks “virtual”. The word “virtual” here is used in  
1
The AW2816/4416 can recall SCENE MEMORY, TEMPO  
MAP, AUTOMIX, LIBRARY settings, and MIDI REMOTE  
setups from any other session and import them to the  
new Song session.  
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the sense that the MIDI sequencer will run along  
side the Audio Workstation tracks in perfect  
synchronization. One of the main strengths of  
MIDI is that it is repeatable time and time again  
without varying. The AW2816/4416 is capable of  
handling eight channels of “live” input (each  
channel having its own EQ and dynamics  
processors) as well as playing back sixteen  
channels of audio from the hard disk (each  
channel having its own EQ and dynamics  
processors).2 Therefore, many users will setup  
their MIDI rigs to playback live during the  
mixdown session. It really will depend on your  
music, your musical concept and your approach to  
music composition. With all the processing muscle  
you have available in the AW2816 and AW4416  
you really do have some creative options. The  
idea is to know the rules, learn the tools and write  
your own script as to how you use it. You can use  
a combination of methods. “Whatever it takes” is  
the general rule.  
Happy recording…  
Phil Clendeninn  
Senior Product Specialist  
& MIDI-Jedi  
Technology Group  
©Yamaha Corporation of America  
2
Of course, the AW2816 can be expanded to have 16  
simultaneous inputs, and the AW4416 can be expanded  
to have as many as 24 live inputs with MY8AD cards.  
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