Owner’s Manual
Keep This Manual For Future Reference.
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PRECAUTIONS – for safe operation –
WARNING
• Do not modify the unit. Doing so is a fire and electri-
cal shock hazard.
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 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.
• 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 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.
Operation
• Do not scratch, bend, twist, pull, or heat the power
cord. A damaged power cord is a fire and electrical
shock hazard.
CAUTION
• 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.
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.
• 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 blan-
ket, melting the case, or causing fire. Use only in a
well-ventilated environment.
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.
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PRECAUTIONS
PRECAUTIONS – for correct operation –
Connector pin assignments
Interference with other electrical devices
• XLR-type connectors are wired as follows: pin 1:
ground, pin 2: hot (+), and pin 3: cold (–).
• 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
Influence on cell phone usage
• 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.
• 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.
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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 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.
Copyright Notice
Copyright and other intellectual property laws in various countries permit reproduction of copyrighted mate-
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
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.
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Contents
Contents
Adjusting the position of a locate point or
Repeatedly playing a specific region (the A-B
Finding a location while you listen to the
8 Using libraries and scene
Connect external devices and turn on the
Assigning input signals to tracks (Direct
Convenient functions during mixdown/bounce
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Adding input signals or pad performances
Using meters to check the level of each
Transmitting the AW16G’s settings via MIDI
Types of media that you can use with the CD-
Digital input settings/Checking and initializing the
15 Using the AW16G with
Importing from an audio track/stereo track to a
Synchronizing the AW16G with the
Recording/playing AW16G mix operations on
Switching AW16G scenes from the
Restoring the internal hard disk to the
TIME COMP/EXP (Time Compression/
Exporting WAV files and importing audio CD or
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Contents
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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.
■ Trademarks
• Macintosh is a registered trademark of Apple Com-
puter, Inc. USA in the United States and other coun-
tries.
• The AW16G
• Windows is a registered trademark of Microsoft Cor-
poration USA in the United States and other coun-
tries.
• AC adaptor (PA-300)
• Owner’s manual (this book)
• CD-ROM
• Cubase VST is a trademark of Steinberg Media Tech-
nologies AG.
■ Copyright
• Logic Audio is a trademark of Emagic Soft- and Hard-
ware GmbH.
This product incorporates and bundles computer pro-
grams and contents in whichYamaha 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.
• 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
■ 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.
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.
Note
A CD-RW drive (the separately sold CDRW16G) is neces-
sary in order to back up data.
Nor doesYamaha guarantee the media against any defect
that may render it unusable.
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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 opera-
tion to fail.)
G Do not press on the upper cover.
Installing the CD-RW drive
Insert the CD-RW drive into the slot.
3Insert 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.
4
Fasten the CD-RW drive with screws.
4Use the two included screws to fasten the CD-RW
drive in place (“4” in the diagram at left).
3
Push the drive here.
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.
Turn off the power of the AW16G.
safety’s sake, also unplug the AC adaptor and the
AW16G from the electrical outlet.
Turn the AW16G over on its face.
2Be 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.
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Removing the CD-RW drive
1
Remove the CD-RW drive cover.
3Remove the black screw that holds the CD-RW
drive cover in place (“3” in the diagram at left).
4
Do not lose the screw that you removed.
Pull the CD-RW drive out of the slot.
4Remove the two screws that fasten the CD-RW
drive in place, and pull out the CD-RW drive (“4” in
the diagram at left).
The cover may crack
3,5
Grasp here with your
thumb and first finger.
if you attempt to pull
out the CD-RW drive
by grasping the black
cover.
CD-RW drive cover
Turn off the power of the AW16G.
< Bottom of the CD-RW drive >
safety’s sake, also unplug the AC adaptor and the
AW16G from the electrical outlet.
• Do not lose the screws that you removed.
• Be careful not to cut yourself on any sharp metal edge.
Turn the AW16G over on its face.
2Be careful not to drop the AW16G on the floor, or
damage the components of the top panel.
Attach the CD-RW drive cover.
5Using 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.
■ 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.
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.
• When the AW16G's power is “STANDBY“
Note
• When the disc is being accessed (data is being read,
written, or erased)
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.
• 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
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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.
C IN
Turning the power on/off
You must use the following procedure to switch the
In the work navigate section located in the
1upper left of the top panel, press the [SONG]
key several times to access the following
SHUTDOWN page.
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
Press the [ENTER] key located in the middle
2right of the top panel.
B The AW16G itself
A popup window will ask you whether you want to
save the current song.
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.
Using the CURSOR [ ]/[ ] keys located in
3the 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 you turn on the power of the AW16G, an opening
screen will appear, and then the following screen will
appear.
When the “Now safe to turn off...” message
4appears, turn off the [POWER] switch located
on the rear panel.
■ Turning the power off (shut down)
In a system that includes the AW16G, turn the power of
each device off in the following order.
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.
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
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.
When turning off the power of the AW16G, you must
perform the following “shut-down” procedure.
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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.
Mixer
×2
×2
×2
×2
×2
×8
×2
Sound clip
INPUT jacks 1–8
Input channels 1–8
Track channels 1–16
Return channels 1/2
Pad channels 1–4
DIGITAL
STEREO/AUX OUT jacks
DIGITAL STEREO OUT jack
MONITOR OUT jacks
PHONES jack
STEREO IN jack
Buses L/R
AUX buses 1/2
Effect buses 1/2
Stereo buses L/R
Metronome
×8
×2
×2
Effect 1
Internal effects
Effect 2
×2
×2
Stereo output channel
×2
×2
Recorder input
patching
CD Play
×2
×16
×16
1
2
3
4
CD Write
DATA
Backup/Restore
Import/Export
Quick loop sampler
Recorder
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, 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.
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Introducing the AW16G
● Four-band EQ and dynamics processors on each
channel
■ 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.
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.
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.
■ Recorder section
● 8-track simultaneous recording/16-track simulta-
neous playback
■ CD-RW drive
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.
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.
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.
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.
● 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.
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AW16G terminology
2
■ 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.
Recorder section
■ Tracks
A location where data is recorded is called a “track.” The
AW16G’s recorder section uses the following types of
track.
■ Locate points/markers
● Audio tracks
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.
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 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.
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.
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.
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.
● 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.
Audio tracks
● Track channels 1–16
1
2
3
4
5
6
7
8
9
10 11 12 13 14 15 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.
1
2
3
4
5
6
7
8
● Return channels 1/2
These channels send the return signals from the inter-
nal effects to the stereo track and the STEREO OUT
jacks.
Stereo track
1
2
3
4
5
6
7
8
● 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.
15
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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
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.”
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.
The memories to which the samples are assigned are
called “sample banks,” and each pad provides four sam-
ple banks (A–D).
■ Pad track
■ Buses
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.”
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.)
Overall
The AW16G’s mixer section lets you use the following
buses.
■ 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.
● 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.
■ 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.
● 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.)
■ 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.
● Buses L/R
These combine the signals of track, input channels,
and send them to recorder track inputs.
■ 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.
16
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Introducing the AW16G
■ Input/output section
3
1
2
1 [GAIN] knobs 1–8
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.
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.
B [MONITOR] key
■ Work Navigate section
This key accesses the MONITOR screen, where you
can quickly select the signal to be monitored, or
switch the stereo track playback on/off.
1
3
5
2
4
6
■ Display
1
2
1 [SONG] key
This key accesses the SONG screen, where you can
save or load songs, and perform the shut-down pro-
cedure.
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.
B [CD] key
This key accesses the CD screen, where you can
write or play an audio CD, and backup or restore
data.
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.
C [TRACK] key
This key accesses theTRACK screen, where you can
check whether each track contains data, and switch
the virtual tracks that will be used for recording and
playback.
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,
D [EDIT] key
This key accesses the EDIT screen, where you can
copy or erase tracks.
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 set-
tings, and format the hard disk.
1
2
3
1 [PAD SEL] key
Hold down this key and press a pad 1–4 to select a
pad for operations.
■ Quick Navigate section
1
2
B Pads 1–4
Each of these pads plays back the sample that has
been assigned to it.
1 [RECORD] key
C [SAMPLE EDIT] 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.
This key accesses the SAMPLE screen, where you
can make settings and perform operations for the
quick loop sampler.
18
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■ Mixer section
1
2
3
2
4
5
6
1 [TRACK SEL] keys 1–8
B [TRACK SEL] keys 9/10–15/16
C [STEREO SEL] key
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.
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
C [EFF 1] knob
D [EFF 2] knob
1
2
3
4
5
6
7
8
9
J
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.
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.
F [HIGH] key
G [HI-MID] key
H [LO-MID] key
I [LOW] key
B [DYN] knob
These keys select one of the four EQ bands (HIGH,
HI-MID, LO-MID, LOW) to be adjusted.
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.
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.
19
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Introducing the AW16G
■ Data entry/control section
■ Locate section
4
1
2
3
4
1
2
3
7
8
9
5
6
5
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 can-
celled operation (Redo).
B [AUTO PUNCH] key
This key switches the audio punch-in/out function
on/off, letting you automate recording.
C [REPEAT] key
Tip!
This key switches the A-B repeat function on/off, let-
ting you repeatedly play a specified region.
• 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
D MARK SEARCH [ ]/[ ] keys
These keys search for markers placed within the
song.
B [SCENE] key
This key accesses the SCENE screen, where you can
save or recall scene memories.
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.
C [JOG ON] key
This key is an on/off switch for the Nudge function
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.
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.
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.
G [MARK] key
This key places a mark at the current location of the
song.
F [ENTER] key
Use this key to operate a button displayed in the
screen, or to execute a specific function.
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.
20
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C FF [
] key
■ Transport section
This key fast-forwards the current location. Each
time you press this key, you will alternate between
8x speed and 16x speed.
1
2
3
D STOP [■] key
2
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.
4
5
6
If you press this key during fast-forward or rewind,
normal-speed playback will begin.
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.
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.
]
]
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.
If you hold down this key and press the PLAY [
key during playback, you will switch from playback
to recording (“punch-in”).
B REW [
] 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
5
4
3
2
1
N M L K
1 MIC/LINE INPUT (XLR) jacks 1/2
J 9
8 7
C MIC/LINE INPUT jack 8 (Hi-Z)
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.
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.
1 (ground)
Male XLR connector
3 (cold)
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.
2 (hot)
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.
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
F PHONES jack
This is a 1/4" TRS phone output jack for connecting
your headphones for monitoring.
here. The pin configuration is shown below.
Tip (hot)
Ring (cold)
1/4" TRS phone plug
Sleeve (ground)
21
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Introducing the AW16G
G PHANTOM +48V switch
This switch supplies phantom power to MIC/LINE
(XLR) jacks 1/2.
Front panel
■ CD-RW drive
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.
3 2 1
• If phantom power is turned on, power will be supplied
to both the INPUT (XLR) 1/2 jacks.
1 Eject button
This switch ejects the disc tray.
H FOOT SW jack
B Eject hole
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.
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.
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
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.
22
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Basic operation on the AW16G
This section explains basic operations on the AW16G.
●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.
2
Viewing the display
The display of the AW16G shows the following informa-
tion.
1
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 correspond-
ing parameter.
5
Knob
fader
parameter display
area
1 Screen name
●Page display area
This is the name of the currently selected screen.
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.
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
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.
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)
Press the key or knob for the desired screen.
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.
1The 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
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.
• 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.
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.
23
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Introducing the AW16G
To switch pages within a screen, you can
Inputting text
2either repeatedly press the same key as in
step 1, or hold down the same key as in step
1 and use the CURSOR [ ]/[ ] keys.
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.
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.
2
1
3
4
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.
5 6 7
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.
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.
Switching a button on/off
B Text palette
Here’s how to switch a button in the screen on/off.
This displays the characters, numerals, and symbols
that can be input in the text input box.
Use the [CURSOR] keys to
1move the cursor to the
desired button in the
screen.
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
Press the [ENTER] key.
2The button will be switched on/
off.
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.
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.
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
Editing a value in the display
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.
Here’s how to edit the value of a fader, knob, or parame-
ter shown in the display.
Use the [CURSOR]
1keys to move the cur-
sor to the desired
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.
fader, knob, or param-
eter value.
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.
Turn the [DATA/JOG]
2dial to edit the value.
When you have finished inputting the name, move
the cursor to the OK button and press the [ENTER]
key to apply the new name.
24
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Using the Selected Channel sec-
tion
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.
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.
2
Use the [TRACK SEL] keys, [INPUT SEL] keys,
1[STEREO SEL] keys, or pads 1–4 to select the
channel that you want to operate.
If you want to access the screen for a param-
3eter and edit it in greater detail, press one of
the five knobs or the [VIEW] button.
When using the
Selected Channel
section, you must
first select the
channel that you
Pressing each knob or button will access the follow-
ing screens.
want to operate. The currently selected channel is
indicated in the upper left of the screen.
Press the [EQ] knob
The EQ screen will appear.
The channels correspond to each key or pad as fol-
lows.
[TRACK SEL] keys 1–8...........Track channels 1–8
Press the [DYN] knob
The DYN screen will appear.
Press the [EFF 1] knob
The EFF 1 screen will appear.
[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
Press the [EFF 2] knob
The EFF 2 screen will appear.
Press the [PAN/BAL] knob
The PAN screen will appear.
According to the parameter you want to edit,
2turn the five knobs of the Selected Channel
section.
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], [HI-
MID], [LO-MID], and [LOW] keys located at the right.
Turn the [DYN] knob
This changes the depth of dynam-
ics processing.
Move the cursor in the screen to the desired
4parameter, and use the [DATA/JOG] dial or
the [ENTER] key to operate the parameter.
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.)
Note
• If you change individual parameters in the DYN screen,
the parameter that you operate last will be assigned to
the [DYN] knob.
Turn the [EFF 2] 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.
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.)
25
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Introducing the AW16G
26
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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.
Mics
Synthesizer
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
SONG SCENE
REC
Electric guitar/
Electric bass
INPUT 8
(HI-Z)
INPUT 1
2
3–8
Rhythm machine
DAT recorder, MD
recorder, etc.
DIGITAL
STEREO OUT
00.00.00.00
DIGITAL
STEREO IN
MONITOR OUT
PHONES
VOL
VOL
Headphones
Monitor system
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/out-
put jacks of the AW16G
B The AW16G itself
C The monitor system connected to the output
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.
jacks of the AW16G
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Listening to the demo song
Loading the demo song
Here’s how to load the demo song from the hard disk.
Move the cursor to either YES (save the cur-
5rent song) or NO (don’t save the current
song), and press the [ENTER] key.
In the work navigate sec-
1tion, press the [SONG] key.
The song data will be loaded, and “Ride with me”
will become the current song.
The SONG screen will appear,
where you can save or load
songs.
Note
If you select NO, any changes that you made to the cur-
rent song since you last saved it will be lost.
Either press the [SONG] key repeatedly or
2hold 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.
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).
Turn the [DATA/JOG] dial to select the song
3“Ride with me.”
Move the cursor to the LOAD
4button 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
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Playing the demo song
Here’s how to play back the demo song you loaded, and
adjust the monitor level.
To adjust the monitor level appropriately, use
4the AW16G’s [MONITOR PHONES] knob and
the volume control of your monitor system.
Either press the [VIEW] key repeatedly or hold
1down the [VIEW] key and use the CURSOR
Tip!
[
]/[ ] keys to access the VIEW screen
3
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.
METER page.
To stop the song, press the STOP [■] key.
5
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 -
2infinity 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.
3
The demo song will begin playing, and the level of
each track channel will be displayed in the METER
page of the VIEW screen.
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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 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.
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Press the RTZ [
] key.
1
Note
The demo song will be rewound to the beginning.
In this page, pressing the [STEREO SEL] key will have no
effect.
3
Press the PLAY [ ] button.
2The demo song will begin playing.
To cancel the muted state, press the same
6[TRACK SEL] key you pressed in step 5, to
make the indicator light green.
If you want to monitor the playback of just a
7specific track, access the MONITOR screen
SOLO page by either repeatedly pressing the
[MONITOR] key or by holding down the
While listening to the demo song, try operat-
3ing 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
4specific track, access the
MONITOR screen ON/
[MONITOR] key and using the CURSOR [ ]/
[
] keys.
OFF page, either by
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.
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 of the track chan-
8nel that you want to solo.
Press the [TRACK SEL] key(s) for the track
5channel(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 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
Only one channel can be soloed at a time.
To cancel soloing, press the currently
9selected [TRACK SEL] key (lit orange) once
again.
Note
The [TRACK SEL] key you press last will always light
orange regardless of the mute status. This indicates that
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-
to temporarily prevent scenes from being recalled. (→
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Listening to the demo song
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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.
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 (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.
1/4" phone ↔ phone cable
Synthesizer/
rhythm machine
Balanced cable
Mic
(male XLR ↔ female XLR)
Preamp or effect proces-
sor with balanced output
MIC/LINE INPUT
(TRS phone) jacks
3–8
Direct box
● 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
1/4" phone ↔ phone cable
● 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.
MIC/LINE INPUT
(HI-Z) jacks 8
Electric guitar/bass
with passive pickups
1/4" TRS phone ↔ female XLR
Mic
cable
Preamp or effect proces-
sor with balanced output
Direct box
MIC/LINE INPUT
(TRS phone) jacks
3–8
Electric
guitar/bass
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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.
While you watch the level meter in the
3popup 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.)
Lower the [STEREO] fader to the –∞ position.
1Also turn down the [GAIN] knob for the MIC/
LINE INPUT jack to which your instrument/
mic is connected.
For the best audio quality, adjust the level as high as
possible without allowing the meter to clip when
the loudest volume occurs.
Press and hold the [INPUT SEL] key for the
2jack to which your instrument/mic is con-
nected.
While you play your
4instrument, raise the
[STEREO] fader to the
0 dB position.
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.
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.
2
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.
4
1
3
To exit the INPUT SETTING popup window,
5move the cursor to the EXIT button and press
the [ENTER] key.
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.
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.
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.
34
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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
4
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
SONG SCENE
REC
Metronome
MIC/LINE
INPUT jacks
Sound clip
Input
channels
Stereo output
channel
Stereo bus
Mixer section
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Recording to a sound clip
Play your instrument in time with the metro-
■ Recording a sound clip
5nome.
In the Locate section, press the [SOUND
1CLIP] key.
Tip!
The CLIP screen will appear, where you can record
and play sound clips.
• 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 (→
1 2
3 4 5
To stop recording, press the STOP [■] key.
6The display will show S and E symbols to indicate
the start point and end point.
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.
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.)
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.
• 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
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
2cursor 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,
3move 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-
In the Transport section, hold down the REC
4[●] 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.
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To execute the CLIP screen, press the
■ Playing a sound clip
5[SOUND CLIP] key.
To hear the content that you recorded in the
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.
1sound 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.
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.
In the CLIP screen, the keys of the Transport section
will have the following functions.
Key
Function
Returns to the location at which
you began recording. If the CLIP
button is on, this returns to the
Start point.
Note
4
RTZ [
REW [
FF [
] key
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.
Rewinds the current location
toward the beginning. You will
] key stop when you reach the location
at which you began recording or
the Start point.
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.
Fast-forwards the current loca-
tion. You will stop when you reach
the location at which you stopped
recording or the End point.
• The recorded contents of the sound clip are stored for
each song.
] key
Stops playback, recording, rewind,
or fast-forward.
STOP [■] key
Starts playback. Pressing this key
during playback does nothing.
PLAY [
] key
If you hold down this key while
stopped and press the PLAY [
]
REC [●] key
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.
If you want to change the playback region of
2the 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
3you 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
4button, 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-
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Recording to a sound clip
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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
Use the buttons to choose the items that will
4be carried over from the current song. Then
move the cursor to the OK button and press
the [ENTER] key.
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
The TITLE EDIT popup window will appear, allow-
ing you to assign a name to the song.
1[SONG] key repeatedly or hold down the
[SONG] key and use the CURSOR [ ]/[
keys to access the LIST page.
]
Assign a name to the song (for details on
Move the cursor to the NEW button and
To create the new song, move the cursor to
2press the [ENTER] key.
6the OK button and press the [ENTER] key.
A popup window will ask you whether you want to
save the current song.
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.
Move the cursor to either YES (if you want to
3save 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
39
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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
MIC/LINE
INPUT jacks
Input
channels
Stereo output
channel
Recorder section
Mixer section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
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■ 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.)
Synthesizer/
rhythm machine
5
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
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Track recording
Assigning input signals to tracks
(Direct recording)
Lower the [STEREO] fader to the –∞ position.
C 1-8 button
1
If you move the cursor to this button and press the
[ENTER] key, input channels 1–8 will be connected
to tracks 1–8.
Connect instruments/mics to MIC/LINE
2INPUT jacks 1–8.
D 9-16 button
In the Quick Navigate sec-
3tion, either press the
[RECORD] key repeatedly or
hold down the [RECORD]
key and use the CURSOR
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.
[
]/[ ] keys to access the
DIRECT page of the RECORD screen.
The [INPUT SEL] keys and [TRACK SEL] keys will
blink red.
Press the [INPUT SEL] key for the input chan-
4nel 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.
The screen will indicate how input channels are
connected to tracks.
1
In the screen, the
symbol
for that input channel will be
highlighted.
345 2
Tip!
1 INPUT
• You can also select an input channel by moving the cur-
Indicates the connection status of input channels 1–
8.
sor to the
pressing the [ENTER] key.
symbol of the desired input channel and
• 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.
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.
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Press the [TRACK SEL] key of the track on
Press and hold the [INPUT SEL] key for the
7recording-source input channel, to access the
INPUT SETTING popup window.
5which 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.
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
8of the signal.
For details on adjusting the input level, refer to
5
In the screen, a line will be
drawn to indicate the connec-
tion.
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.
Tip!
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.
• 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.
Raise the [STEREO] fader to the 0 dB position.
• EQ and dynamics settings will be flat for a track chan-
nel that is selected as the recording destination.
9
To monitor the signal that you are recording,
If you want to record more than one instru-
6ment or mic simultaneously, assign other
input channels to tracks in the same way.
10 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.
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.
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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 out-
put channel
Track
channels
Stereo bus
Mixer section
To adjust the pan of the
11 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.
44
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Assigning input signals to tracks
(Bus recording)
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.
1
Connect instruments/mics to MIC/LINE
2INPUT jacks 1–8.
In the Quick Navigate section, either press
3the [RECORD] key repeatedly or hold down
the [RECORD] key and use the CURSOR [ ]/
[
] keys to access the MIXED page of the
In the screen, the
symbol
RECORD screen.
5
for the corresponding input
channel will be highlighted,
and a line will appear, indicat-
ing that this channel is con-
nected to the bus.
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
2
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.
543
1 INPUT
Repeatedly press the same
5[INPUT SEL] key as in step
4, and the signal sent
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.
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.
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-
4nel 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 sig-
nal can be monitored via the track channel.
45
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Track recording
As necessary, use the same procedure to
To adjust the volume balance of each input
12 channel, repeatedly press the [VIEW] key in
6specify other input channels as recording-
sources.
the Selected Channel section to access the
FADER page.
Press the [TRACK SEL] key(s) for the record-
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.
7destination 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).
While producing sound on your instruments,
13 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!
Note
• EQ and dynamics settings will be flat for a track chan-
nel whose track has been selected as a record-destina-
tion.
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.
• If a single track is selected, the pan of the track channel
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.
Tip!
• You can also use the INPUT LEVEL knob in the INPUT
SETTING popup window to adjust the volume balance
of the input channels.
For each input channel to which you con-
8nected 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.
• 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
For details on adjusting the input level, refer to
Raise the [STEREO] fader to the 0 dB position.
9
Raise the track channel fader for the record-
10 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
11 [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
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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.
Move the cursor to the TEMPO field of the
5event, and turn the [DATA/JOG] dial to set
the tempo value.
You can set a tempo in a range of 30–250 (BPM).
In the Work Navigate section, repeatedly
1press the [TRACK] key or hold down the
If necessary, move the cursor to the METER
6field and turn the [DATA/JOG] dial to change
the time signature.
[TRACK] key and use the CURSOR [ ]/[
keys to access the VIEW page.
]
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”
• It is also possible to use the Quick Loop Sampler as a
rhythm machine, instead of the metronome. For details,
5
1 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.
Move the cursor to the metronome button
2and press the [ENTER] key.
The metronome will be turned on.
When you press the [PLAY] key to begin play-
3back, 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
4press 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 cre-
ated at the beginning of the song (measure 1, beat
1).
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Track recording
Recording on a track
Now that you have completed your preparations, let’s
record on a track.
Play your instrument in time with the metro-
3nome.
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.
In the Work Navigate section, repeatedly
1press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the VIEW screen.
]
To stop recording, press the STOP [■] key.
2 3
1
4I (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
4 5
1 Track view
6
5beginning, press the RTZ [
] key to return
the counter display to zero, and press the
PLAY [ ] key.
Graphically indicates the presence of data and
If you want to redo the recording, press the
markers in tracks 1–16, pad tracks 1–4, and the ste-
reo track.
6[UNDO/REDO] key.
The [UNDO/REDO] key will go dark, and you will
return to the state prior to recording. Repeat steps
2–5.
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).
When you finish recording, press the Quick
7Navigate Section [RECORD] key once again,
move the cursor to the SAFE button, and
press the [ENTER] key.
Note
Changing the track here will not change the track to be
recorded.
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.
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.
If you are satisfied with the recorded content,
Please be aware that the recorded content will be
lost if you turn off the power of the AW16G before
saving the song.
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
2[●] 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.
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Pairing input channels/track channels
Pad tracks 1–4 and track channels 9/10–15/16 are per-
manently paired.
To cancel pairing, press the OK button. If you
4decide not to cancel pairing, move the cursor
to the CANCEL button and press the [ENTER]
key.
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.
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.
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
1SEL] key) of one channel that you want to
pair, and then press the other [INPUT SEL]
key (or [TRACK SEL] key).
5
A popup window will appear, asking you to confirm
the pairing.
Move the cursor to one of the following but-
2tons 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]
3key (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.
49
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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.
Turn the [DATA/JOG] dial to select the
4desired input library data.
The input library data is organized into the follow-
ing categories.
Number Abbreviation
Category
Press and hold the [INPUT SEL] key of the
1input channel for which you want to use the
input library. The INPUT SETTING popup
window will appear.
Data for initializing the
input channel
00
EG
Data suitable for electric
guitar.
01–25
AG
Data suitable for acoustic
guitar.
26–30
31–35
36–40
BA
Data suitable for bass.
Data suitable for vocals
VO
Note
Move the cursor to the LIBRARY button, and
All input library data is read-only.
2press the [ENTER] key.
Select the desired data, and press the
5[ENTER] key.
A popup window will ask you to confirm the recall
operation.
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.
Move the cursor to the OK button and press
6the [ENTER] key.
Note
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.
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
3button, 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 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.
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Input library
MIC/LINE
INPUT jack
Speaker
simulator
to the bus
Internal effect
Dynamics
EQ
INPUT LEVEL
5
Input channel
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
7[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
In the same way, select input library settings
8for the other input channels.
However, a maximum of two input channels can
use the internal effects at the same time.
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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.
Move the cursor to the EXIT button and press
5the [ENTER] key.
If you want to adjust the EQ settings, press
6the [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.
Press and hold the [INPUT SEL] key of the
1input channel for which you want to use the
input library, to access the INPUT SETTING
popup window.
Note
If turning the EQ knob does not change the tone, check
whether EQ may have been turned off for that channel
Tip!
If necessary, you can also adjust the frequency and Q
parameters of each band. For details, refer to “Using
Move the cursor to the EQ button in the
2screen, and press the [ENTER] key.
1
The EQ library will appear.
2
3
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
Turn the [DATA/JOG] dial to select the library
3that 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
4the [ENTER] key.
The selected library will be loaded.
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Using the dynamics library
The dynamics library contains dynamics settings suitable
Move the cursor to the EXIT button and press
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.
5the [ENTER] key.
If you want to adjust the dynamics settings,
6turn the [DYN] knob of the Selected Channel
section.
Press and hold the [INPUT SEL] key of the
1input channel for which you want to use the
dynamics library, to access the INPUT SET-
TING popup window.
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
5
If turning the [DYN] knob does not change the tone,
check whether dynamics may have been turned off for
Move the cursor to the DYN button in the
Tip!
2screen, and press the [ENTER] key.
1
If necessary, you can also make detailed adjustments to
the individual dynamics parameters. For details, refer to
The dynamics library will appear.
2
3
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,
Turn the [DATA/JOG] dial to select the library
3that 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
4the [ENTER] key.
The selected dynamics library will be loaded.
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Track recording
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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
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
Stereooutput
channel
Stereo bus
Mixer section
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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.
Assign the input channel to which your
4instrument/mic is connected to a new track,
and adjust the level.
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.
1
Connect your instrument or mic to a MIC/
2LINE INPUT jack.
In the Work Navigate Section, repeatedly
3press 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
Turn the [DATA/JOG] dial to select an EQ
3library. Then move the cursor to the RECALL
button and press the [ENTER] key.
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.
The selected library will be loaded.
Press the [INPUT SEL] key of the input chan-
If you want to adjust the EQ settings, use the
4[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.
1nel for which you want to use a library.
The corresponding input channel will be selected
for operations.
In the Selected Channel section, press down
2the [EQ] knob and turn it.
Tip!
If necessary, you can make detailed adjustments to EQ
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.
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Instantly recalling a dynamics library
A dynamics library can be instantly recalled in the same
way as an EQ library.
Turn the [DATA/JOG] dial to select a DYN
2library. Then move the cursor to the RECALL
button and press the [ENTER] key.
In the Selected Channel section, press down
The selected library will be loaded.
1the [DYN] knob and turn it.
If you want to adjust the dynamics effect,
3turn the [DYN] knob in the Selected Channel
section.
Turn while pressing
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
6
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.
Press the [TRACK SEL] key for the recording-
4destination track channel, and use the [PAN/
BAL] knob of the Selected Channel section to
set the pan.
While you play back the song, raise the track
1channel faders for the previously-recorded
tracks to an appropriate monitoring level.
Press the track channel [TRACK SEL] key for a
2previously-recorded track, 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.
Stop the recorder, and while producing
3sound 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.
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Overdubbing
Overdubbing
Now you can overdub onto the track that you selected as
the recording-destination.
In the Work Navigate section, repeatedly
1press 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,
2and 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
3[●] key and press the PLAY [
] key.
The metronome will begin sounding, and the
counter display will advance.
While monitoring the previously-recorded
4tracks, play the instrument that you want to
overdub.
To stop recording, press the STOP [■] key.
5The [UNDO/REDO] key in the data entry / control
section will light.
To listen to the recorded performance from
6the 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-
7mance, save the song. (For details on saving
If you decide to re-do the recording, press the
[UNDO/REDO] key to cancel the recording, and
repeat steps 3–7.
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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.”
At the point where you want to stop record-
6ing, press the PLAY [
] key (or press the foot
switch).
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.
The recording-destination track will switch from
recording back to playback (“punch-out”).
To stop playback, press the STOP [■] key (or
7press the foot switch).
To listen to the newly-recorded content,
8locate to a point just before the punch-in
point, and press the PLAY [ ] key.
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 are satisfied with the newly-recorded
9content, save the song. (For details on saving
If you want to perform punch-in/out using a
1foot switch, connect a separately sold foot
switch (Yamaha FC5 or equivalent) to the
rear panel FOOT SW jack.
If you decide to re-do the recording, press the
[UNDO/REDO] key to cancel the recording, and
repeat steps 4–9.
6
The following diagram shows the manual punch-in/
out procedure.
Access the DIRECT page of the RECORD
2screen, and make sure that your instrument/
mic is assigned to the track on which you
want to punch-in.
1
2
3
4
5
At this time, the [INPUT SEL] key of the recording-
source and the [TRACK SEL] key of the recording-
destination will blink red.
16
play
record
play
Locate to a point earlier than where you want
3to punch-in.
punch-in
punch-out
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
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).
In the transport section, press the PLAY [
]
4key. (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.
Access the DIRECT page of the RECORD
1screen, and make sure that your instrument/
mic is assigned to the track on which you
want to punch-in.
At the point where you want to begin
5recording, 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.
The recording-source [INPUT SEL] key and the
recording-destination [TRACK SEL] key will blink
red.
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Overdubbing
Locate to the point at which you want to
To perform the actual auto punch-in/out,
8stop the recorder, then hold down the REC
[●] key and press the PLAY [ ] key.
2punch-in.
In the Locate section, hold down the [SET]
1 Only the PLAY [ ] key will light, and play-
3key and press the [IN] key.
back 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
4punch-out.
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”).
In the Locate section, hold down the [SET]
5key and press the [OUT] key.
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!
To check the newly-recorded content, press
9the [AUTO PUNCH] key to make it go dark,
and then press the PLAY [ ] key.
• If you want to set the In and Out points more precisely,
edly plays a short region before or after the current
p. 72) which lets you view the contents of the track as a
waveform.
If you are satisfied with the newly-recorded
10 content, save the song. (For the Save proce-
• 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.
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
6PUNCH] key.
Auto
punch-in
point
Auto
punch-out
point
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.”
Pre-roll
point
Post-roll
point
1
2
3
4
5
To rehearse the auto punch-in/out, press the
16
7PLAY [
] key.
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 recording-
destination track channel will switch from the
track playback to the input signal (recording-
source). (However, recording will not actually
occur.)
rehearsal
punch-in
punch-out
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.
actual recording
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 1–4of 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
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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.
1The UNDO LIST popup window will appear.
1
6
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
2number.
Move the cursor to the OK button and press
3the [ENTER] key.
The current song will revert to the state of the step
you selected.
Move the cursor to the EXIT button and press
4the [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.
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Overdubbing
Switching virtual tracks
Each audio track 1–16 contains eight virtual tracks. After
Move the cursor to the TRACK field, and turn
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.
5the [DATA/JOG] dial to select a track number.
Move the cursor to the NAME button and
6press the [ENTER] key.
The TITLE EDIT popup window will appear, allow-
ing you to assign a name to the virtual track.
In the Work Navigate section, repeatedly
1press 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
Assign a new name to the virtual track.
7For details on how to assign a name, refer to page
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 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
2select the virtual track number that you want
to assign to the desired track.
Press the [ENTER] key.
3The “●” 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
4track, repeatedly press the Work Navigate
[TRACK] key or hold down the [TRACK] key
and use the CURSOR [ ]/[ ] keys to access
the VIEW page.
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Saving the current song
This section explains how to save the current song to the
To save the song, move the cursor to the OK
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.
3button 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
In the Work Navigate section, repeatedly
• 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
1press 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
Tip!
• If necessary, you can change the name of the song
• 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.
6
•
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.
3
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
2press the [ENTER] key.
A popup window will ask you to confirm that you
want to save the current song.
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Overdubbing
Loading an existing song
Here’s how to load an existing song from the hard disk.
In the Work Navigate section, repeatedly
1press 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.
2
Move the cursor to the LOAD button in the
3screen, 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
4save 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.
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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
Start point
= 00:00:00:00.00
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.
Counter
display format
ABS
00:00:00:00.00
00:00:00:00.00
00:00:00:00.00
00:00:05:00.00
00:00:10:00.00
00:00:10:00.00
00:00:10:00.00
00:00:05:00.00
00:00:05:00.00
SEC
T.C
● In/out points
These locate points are used to specify the region for
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.
S
Start point = 00:00:05:00.00
Counter
display format
● A/B points
00:00:00:00.00
00:00:05:00.00
–00:00:05:00.00 00:00:00:00.00
23:59:55:00.00 00:00:00:00.00
00:00:10:00.00
00:00:05:00.00
00:00:05:00.00
ABS
SEC
T.C
These locate points are used to specify the region for
point can be set to any point in a song, either by
pressing a key or by operations in the screen.
S
● 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.
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
If you select SEC orT.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.
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.
Tip!
If you select REL as the counter display format, the
current location will be displayed with the Relative
Zero point as 0.
When you create an audio CD, the Start and End points
can be used to specify the region of the stereo track that
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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.
To move to a locate point you registered,
3press 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.
Move the song to the point that you want to
1register as a locate point.
You can set a locate point whether the song is play-
ing or stopped.
Locator icon
Hold down the [SET] key and press the key
2for 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
Tip!
Relative Zero
point
• Locate point settings are stored on the hard disk as part
of the song.
Locate points other than the Start point and End 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 automati-
cally when you perform a recording operation.
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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
Press the [ ] key to locate to the previous
3marker, or press the [
] key to locate to the
next marker.
the [
]/[
] keys to find and move to markers.
Move to the position in the song at which
1you want to assign a marker.
You can assign a marker whether the song is playing
or stopped.
Press the [MARK] key.
2
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
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.
This icon will remain visible until you play or
rewind/fast-forward past the previous or next locate
point or marker location.
7
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.
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
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!
• Marker settings are stored on the hard disk as part of
the song.
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.
Tip!
When creating an audio CD, you can use markers to
divide the stereo track into the tracks that will be written
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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.
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.
In the Work Navigate section, repeatedly
1press the [SONG] key or hold down the
[SONG] key and use the CURSOR [ ]/[
keys to access the POINT page.
Locate
POSITION field
Time code
MEAS field
point
REL.ZERO
START
END
IN
]
In the POINT page you can adjust the time location
of each locate point and marker.
Time code
Time code
Measure/beat
Measure/beat
Counter display format Measure/beat
Counter display format Measure/beat
Counter display format Measure/beat
Counter display format Measure/beat
OUT
A
B
Tip!
1 2
3
If a locate point has not been registered, the numerical
field will indicate “–”.
1 LOCATOR button
B MARKER button
Move the cursor to the locate point value
3that you want to adjust, and turn the [DATA/
JOG] dial to change the value.
These buttons select whether the screen will show
locate points or markers. The button that is currently
turned on will be highlighted.
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
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.
Note
If you want to adjust the position of a locate
2point, 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.
To adjust the location of a marker, move the
4cursor to the MARKER button in the display
and press the [ENTER] key.
1
2
3
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.
1 List
C MEAS
Lists the markers that have been registered. The line
that is enclosed by a dotted frame is selected for
operations.
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 (→
B MARKER
These are the marker numbers 01–99.
C POSITION
Shows the position of each marker, in the counter
display format.
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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
5turn 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
6to 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
7
If necessary, you can erase a previously-registered locate
point (except for the Relative Zero, Start, and End points)
or marker.
■ 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.
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.
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.
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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.
Register the A point and B point to the loca-
1tions at which you want the repeated play-
back to start and end.
For details on how to set the A point and B point,
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
2[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
3[
] 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.
4Playback 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]
5key.
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.
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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.
If you want to change the playback duration
5or 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.
12
Locate to the vicinity of the point you want
1to find.
With the transport stopped, press the [JOG
2ON] 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.
1 NUDGE MODE
Specifies the region of sound (before or after the
current location) that will be played by the Nudge
function.
To move the current location forward, turn
3the [DATA/JOG] dial toward the right. To
move the current location backward, turn
the [DATA/JOG] dial toward the left.
7
B NUDGE TIME
Specifies the duration of the region that will be
played by the Nudge function.
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.
To change the playback duration (nudge
6time), move the cursor to the value of the
NUDGE TIME field, and use the [DATA/JOG]
dial to set the nudge time.
Current
location
You can set the nudge time in a range of 25 ms –
800 ms. (Default = 500 ms).
To change the playback position (nudge
7mode), move the cursor to the NUDGE
MODE button, and press the [ENTER] key to
switch between the following two nudge
modes.
Song
track
Nudge time
●AFTER
Repeatedly play for the duration of the nudge time,
starting at the current location (default).
Tip!
Even while using the Nudge function, you can use locate
points or markers to change the location, or register
●BEFORE
Repeatedly play for the duration of the nudge time,
ending at the current location.
To turn off the Nudge function, press the
4[JOG ON] key or the transport section STOP
[■] key.
NUDGE MODE: BEFORE
NUDGE MODE: AFTER
Current location
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.
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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.
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.
Locate to the vicinity of the point you want
1to find.
Repeatedly press the Work Navigate section
2[TRACK] key or hold down the [TRACK] key
and use the CURSOR[ ]/[ ] keys to access
the VIEW page of the TRACK screen.
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.
Move the cursor to the TRACK field, and turn
3the [DATA/JOG] dial to select the number of
the track whose waveform you want to view.
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
4press 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.
Tip!
Even after displaying the WAVE DISPLAY popup window,
you can use the [TRACK SEL] keys to switch the track for
viewing.
1 2
3
As necessary, move the cursor to the TIME/
5AMP 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-
6dow, move the cursor to the counter and
turn the [DATA/JOG] dial.
5 6 4
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 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.
Tip!
• You can also change the pointer position by using the
locate points or markers that are registered in the song
C TIME
• The position displayed in the counter can be registered
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.
When you have finished specifying the loca-
7tion, move the cursor to the EXIT button and
press the [ENTER] key.
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).
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.
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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 library
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.
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.
● Input channel library
● Mastering 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 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
● EQ library
Sets of samples can be loaded from this library into
the Quick Loop Sampler.
EQ settings can be loaded from this library into the
currently selected channel.
● 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
EQ/dynamics/effects for an
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
input channel
EQ library
EQ for the selected channel
Dynamics
library
Dynamics for the selected
channel
Effect library
Internal effects 1/2
The following diagram shows how libraries, scene, and
the song are related to each other on the AW16G.
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
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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.
Turn the [DATA/JOG] dial to scroll the list so
2that 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.
Storing library or scene data
Here’s how to store the current settings in a library or
scene memory.
Move the cursor to the STORE button and
3press the [ENTER] key.
The TITLE EDIT popup window will appear, allow-
ing you to assign a name to the 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 STORE button.
Access the desired library page or the scene
1memory page.
For details on how to access each library or scene
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 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
4move the cursor to the OK button and press
the [ENTER] key. (For details on how to
The library or scene will be stored.
4 5 3 2
1
1 List
Tip!
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.
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
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 theTITLE 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.
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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.
Access the desired library or scene memory
Note
1page.
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.
For details on how to access each library or scene
and following.
The illustration below shows an example of when
you have selected the LIBRARY page of the EQ
screen.
Access the page for the desired library or
1scene 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
2that the library data or scene you want to
recall is enclosed by the dotted frame.
Turn the [DATA/JOG] dial to scroll the list so
2that the library data or scene you want to
delete is enclosed by the dotted frame.
Move the cursor to the RECALL button, and
3press the [ENTER] key.
A popup window will ask you to confirm the Recall
operation.
Move the cursor to the CLEAR button and
3press the [ENTER] key.
8
A popup window will appear, asking you to confirm
the Delete operation.
To execute the recall, move the cursor to the
4OK button and press the [ENTER] key.
The library or scene will be recalled.
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.
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
To execute the Delete operation, move the
4cursor to the OK button and press the
[ENTER] key.
The library or scene will be deleted.
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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
1scene 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
2that the library data or scene you want to
rename is enclosed by the dotted frame.
Move the cursor to the TITLE button and
3press 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
4cursor to the OK button and press the
[ENTER] key. (For details on assigning a name
The edited name will be finalized.
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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.
Move the cursor to the EFF1 or EFF2 button
3and press the [ENTER] key.
The corresponding insert effect will be inserted into
the input channel, and the INPUT LIBRARY popup
window will appear.
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.
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.
Closes the popup window and returns to the previ-
ous INPUT SETTING popup window.
■ Recalling input library data
EQ library
Press and hold the [INPUT SEL] key for the
1desired input channel.
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.
The INPUT SETTING popup window will appear.
8
■ Recalling EQ library data
Use the [INPUT SEL] keys, [TRACK SEL] keys,
1[STEREO SEL] key, or pads 1–4 to select the
channel into which you want to recall the EQ
settings.
Move the cursor to the LIBRARY button and
2press the [ENTER] key.
A popup window will ask you whether you want to
insert internal effect 1 or 2 into that input channel.
Perform one of the following actions to
2access the LIBRARY page of the EQ screen
This popup window will change as follows,
depending on how internal effects 1/2 are being
used.
• Press the [EQ] knob repeatedly
• Hold down the [EQ] knob and press the CUR-
SOR [ ]/[ ] keys
● If the song is in the default state
• 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.
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Using libraries and scene memories
Dynamics library
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.
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.
• 019. HQ.Pitch cannot be recalled to effect 1.
■ Recalling dynamics library data
Use the [INPUT SEL] keys, [TRACK SEL] keys,
1[STEREO SEL] key, or pads 1–4 to select the
channel into which you want to recall the
dynamics settings.
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.
Perform one of the following actions to
2access the LIBRARY page of the DYN screen
• Press the [DYN] knob repeatedly
• Hold down the [DNY] knob and press the CUR-
SOR [ ]/[ ] keys
■ Recalling mastering library data
• Hold down the [DYN] knob and turn it to left or
right
Repeatedly press the [RECORD] key or hold
1down 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
2screen, and press the [ENTER] key.
The MASTERING LIBRARY popup window will
appear.
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.
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.
Closes the popup window and returns to the previ-
ous MIXDOWN page.
Sample library
■ Recalling effect library data
Perform one of the following actions to
1access the LIBRARY page of the EFFECT 1/2
screen
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.
• Press the [EFFECT 1] or [EFFECT 2] knob repeat-
edly
• Hold down the [EFFECT 1] or [EFFECT 2] knob
and press the CURSOR [ ]/[ ] keys
Note
• Hold down the [EFFECT 1] or [EFFECT 2] knob
and turn it to left or right
Unlike the other libraries, the sample library data is
shared by all songs.
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.
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■ Recalling sample library data
■ Recalling channel library data
Repeatedly press the Selected Channel section [VIEW]
key or hold down the [VIEW] key and use the CURSOR
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.
[
]/[ ] keys to access the CH LIB page of the VIEW
screen.
1
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).
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).
Scene memories
B LISTEN button
Scene memories recall the effect parameter and mix
parameter settings of all channels.
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.
Scene number 00 is read-only data used to initialize the
current scene. Scene numbers 01–96 are writable data.
C DELETE button
8
Deletes the selected library data from the hard disk.
■ Recalling a scene memory
D PROTECT button
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.
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
1
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.
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.
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
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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.”
Select the fader(s) or channel(s) that you
2want to set to Recall Safe, and turn the corre-
sponding button(s) on (highlighted).
If you selected a fader in step 2, move the
3cursor to the ENABLE/DISABLE button and
press the [ENTER] key to switch the display to
ENABLE.
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
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.
1press the [SCENE] key or hold down the
[SCENE] key and use the CURSOR [ ]/[
keys to access the RCL SAFE page of the
SCENE screen.
]
Tip!
1
2
3
The settings of the RCL SAFE page are shared by all
songs.
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
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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–
8.
● Signal flow during mixdown
Recorder section
Track 1
Track 2
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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Track 3
Track 4
S
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MIC/LINE
INPUT jacks
Sound
clip
1
2
3
4
Stereo
output
channel
Pad
channels
1–4
Input
channels
1–8
Track
channels
1–16
Stereo bus
Mixer section
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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
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
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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.
If you want to use the mastering library,
4move 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.
Lower the [STEREO] fader to the –∞ position.
1
In the Quick Navigate section, repeatedly
2press 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.
Tip!
The mastering library contains data for loading EQ/
dynamics settings into the stereo output channel. (For
2 1
3
If you want to adjust the pan of each track
5channel, 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.
4
1
1 REC button
9
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
2 3
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.
Use the [INPUT SEL] keys,
3[TRACK SEL] keys, and pad
keys 1–4 to select the channels
that you want to send to the
stereo bus.
Note
The screen will change as follows
each time you press a key or pad
repeatedly.
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
Tip!
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.
• 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
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.
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Mixdown and bounce operations
Raise the [STEREO] fader to the 0 dB position.
While you play back the song, raise the track
8channel faders to an appropriate level. If nec-
essary, adjust the EQ and dynamics of each
track channel.
Note
7
• 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.
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
6track 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.
Move the cursor to the EFF INSERT field of
3the 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
1channel for operations.
Repeatedly press the [EFF1] knob or hold
2down the [EFF1] knob and use the CURSOR
[
]/[ ] keys to access the SEND page of the
EFF1 screen.
Move the cursor to the OK button and press
4the [ENTER] key.
The SEND page of the EFF1 screen will appear.
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.
1
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.
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While you play back the song, move the cur-
5sor to the EFF knobs in the screen, and adjust
the level of the signal that is sent from each
channel to internal effect 1.
■ 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.
Tip!
Repeatedly press the [EFF1] knob or hold
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.
1down 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,
To adjust the master level of the effect send,
6repeatedly 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.
2and load it into internal effect 1.
In this example, we will select a reverb-type library.
The BUS page of the VIEW screen lets you use on-
screen faders to adjust the master level of each bus.
Press the [EFF1] knob once to access the
3SEND 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 2
3
4
5
1
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
9
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
2
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.
C AUX
D EFF
E BUS
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.
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.
PRE (pre-fader) .......... The signal from immediately
before the fader will be sent.
POST (post-fader) ...... The signal from immediately after
Move the cursor to the fader for effect bus 1,
the fader will be sent.
7and use the [DATA/JOG] dial to raise or lower
it.
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.
Tip!
You can also adjust the level of the return signal that is
returned from the internal effect to the mixer section. For
Move the cursor to the PRE/POST field in the
4screen, 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.
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Mixdown and bounce operations
Recording on the stereo track
Here’s how to record the final mix on the stereo track.
1 ST.TRACK ON/OFF button
Switches stereo track playback on/off.
In the Quick Navigate section, repeatedly
1press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/[
keys to access the MIXDOWN page of the
RECORD screen.
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.
Move the cursor to the REC button of the
2MIXDOWN 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.
E Level meter
This indicates the output level of the stereo track.
Switch the ST.TRACK ON/OFF button ON.
Press the RTZ [
] key to rewind the song.
6When this button is on, the stereo track output will
3Then hold down the REC [●] key and press
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.
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
Tip!
Even while the stereo track is playing, you can still moni-
tor the signals from the input channels.
Note
When you reach the end of the song, move
4the cursor to the SAFE button in the screen
and press the [ENTER] key.
EQ and dynamics processing are applied to the playback
of the stereo track.
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.
Press the RTZ [
] key to rewind the song,
] key.
7and press the PLAY [
The stereo track will be played back. Use the [STE-
REO] fader to adjust the monitor level.
To play back the stereo track, repeatedly
5press 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.
When playback ends and you want to move to a
different screen, switch the ST.TRACK ON/OFF but-
ton OFF.
Tip!
2 1
3
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
4
5
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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.
In the upper TRACK area,
3select a bounce-source
track, move the cursor to
the symbol for that
track, and press the
Lower the [STEREO] fader to the –∞ position.
1
[ENTER] key.
In the Quick Navigate section, repeatedly
Each time you press the
[ENTER] key, the screen will
change as follows.
2press 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.
5 1
2
Tip!
If a track channel is selected as a bounce-source, its
assignment to the stereo bus will automatically be turned
off.
43
Select other bounce-source tracks in the
4same way.
1 TRACK (upper line)
Selects the bounce-source tracks.
Use the [TRACK SEL] keys to select a bounce-
9
5destination track.
B Bus L/R
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.)
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.
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.
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.
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.
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Mixdown and bounce operations
Raise the [STEREO] fader and the faders of
6the track channel(s) you selected as the
bounce-destination to the 0 dB position.
While you play back the song, raise the fad-
7ers 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.
8Then 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
9the song and press the RTZ [
] key to
rewind.
To check the recorded result, move the cur-
10 sor to the SAFE button and press the [ENTER]
key to cancel the recording settings.
Access the ON/OFF page of the MONITOR
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
switch the virtual track of the bounce-destination and
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Convenient functions during mixdown/
bounce operations
Here are some convenient functions that you can use
during mixdown or bounce operations.
In the Selected Channel section, repeatedly
5press the [VIEW] key or hold down the [VIEW]
key and use the CURSOR [ ]/[ ] keys to
access the FADER page of the VIEW screen.
Adding input signals or pad per-
formances during mixdown
In the FADER page of theVIEW 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
1
In the Quick Navigate section, repeatedly
1press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/[
keys to access the MIXDOWN page of the
RECORD screen.
]
2
1 ON/OFF buttons
These buttons switch each channel on/off.
Press the [INPUT SEL] key or pad that corre-
2sponds to the input channel or pad channel
you want to use, to add that channel as a
mixdown-source.
B Faders
These faders adjust the input level of each channel.
While you play back the song, move the cur-
6sor 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.
9
If necessary, adjust EQ, dynamics, and the
7send level to the internal effects for each
input channel or pad channel.
In the Selected Channel section, repeatedly
3press the [PAN/BAL] knob or hold down the
[PAN/BAL] knob and use the CURSOR [ ]/
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
[
] 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
4channel you want to use, and turn the
[DATA/JOG] dial to adjust the pan setting.
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Mixdown and bounce operations
Using meters to check the level
of each channel
Viewing all parameters for a cer-
tain 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
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 METER page of the VIEW
keys to access the CH VIEW page of the VIEW screen.
(Some items can also be edited from this page.)
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.
The display in the CHVIEW 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
● If a track channel is selected
selected
1
J89
2 1
3
● If an input channel/pad channel is selected
23 4 5 6 7 M KL
2 1
3
● If the stereo output channel is selected
1 PEAK button
2 4 5 6 7 N L
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.
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.
B PRE/POST buttons
Move the cursor here and press the [ENTER] key to
switch pairing on/off.
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.
Note
Pairing cannot be switched off for track channels 9/10–
15/16, pad channels 1–4, and the stereo channel.
C Level meters
These indicate the input level of each 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).
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D Effect insert
N OUTPUT LEVEL (only for the stereo output
channel)
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.
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.
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.
Initializing a channel
H EFF1 (except for the stereo output channel)
I EFF2 (except for the stereo output 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.
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.
In the Quick Navigate section, repeatedly
1press the [MONITOR] key or hold down the
[MONITOR] key and use the CURSOR [ ]/
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).
[
] keys to access the INIT page.
L PAN/BALANCE knob
9
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.
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)
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
2SEL] 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.)
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.
An initialized channel will have the following mix
parameter settings.
Input channel
no change
Pad channel
no change
0 dB
Track channel
no change
Phase
Attenuation
EQ
0 dB
ON
flat
0 dB
ON
ON
EQ parameters
flat
flat
Dynamics on/off OFF
OFF
OFF
Dynamics type
COMP
no effect
COMP
no effect
COMP
no effect
Dynamics
parameters
If paired: L channel = L16, L channel = L16
If paired: L channel = L16,
R channel = R16
Pan
R channel = R16
R channel = R16
If unpaired: center
If unpaired: center
*
*
Fader
0 dB
0 dB
no change
* If FADER FLIP is set to TRACK in the UTILITY screen PREFER page.
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Mixdown and bounce operations
Move the cursor to the parameter that you
4want to edit, and use the [DATA/JOG] dial to
adjust the value.
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.
To switch the LOW band type, move the cur-
5sor 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”.)
Press an [INPUT SEL] key, a pad 1–4, a
1[TRACK SEL] key, or the [STEREO SEL] key to
select the channel whose EQ you want to
adjust.
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 desired, load library data from the EQ
2library.
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 sec-
3tion [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.
To switch the HIGH band type, turn the
6HIGH 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”.)
6
2
3 4
5
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.
1 78
1 ON/OFF button
Switches the EQ on/off.
To switch the EQ on/off, press the [ENTER]
7key.
B Response curve
Graphically indicates the approximate response of
the EQ.
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).
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.
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.
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.
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Editing the dynamics parameters
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.
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
1[TRACK SEL] key, or the [STEREO SEL] key to
select the channel whose dynamics parame-
ters you want to edit.
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.
From the dynamics library, recall the settings
E GR (Gain Reduction)
2that are closest to what you have in mind.
Indicates the amount of gain reduction produced by
the dynamics processor, in a range of –18 dB to
0 dB.
Repeatedly press the Selected Channel sec-
3tion [DYN] knob or hold down the [DYN]
knob and use the CURSOR [ ]/[ ] keys to
access the EDIT page of the DYN screen.
F Output meter
Indicates the level of the signal after it has passed
through the dynamics processor.
2
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.
Move the cursor to the parameter that you
4want to edit, and use the [DATA/JOG] dial to
edit the value.
1 3
7
56
1 ON/OFF button
To switch dynamics on/off, press the [ENTER]
Switches dynamics on/off.
5key.
B TYPE
In the EDIT page, you can press the [ENTER] key to
switch dynamics on/off regardless of the cursor
location.
9
Indicates the currently selected dynamics type. The
displayed indication has the following meaning.
COMP........................ Compressor
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.
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
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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.)
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
1that 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
2press 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.
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 last-
edited 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 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
ral-input effect is indicated by
, and a monau-
.
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”).
C If you once again recall a read-only library
that contains dynamics settings, turning the
[DYN] knob will again simultaneously adjust
multiple parameters.
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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.
1 EFF2SEND
Adjusts the level at which the signal is sent from the
return channel to the other internal effect.
Note
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.
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.
Move the cursor to the effect parameter that
3you want to edit, and turn the [DATA/JOG]
dial to edit the value.
B AUX1SEND
C AUX2SEND
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.
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.
For example, the illustration below shows the
parameter pages for the STEREO DELAY effect type.
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
MIX BAL. parameter
9
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.
4
5
6
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
To edit the mix parameters of the return
4channel, 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.
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.
1
2
3
4
5
6
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Mixdown and bounce operations
Inserting an effect into a track
channel
1
2
3
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
5
6
In the Selected Channel section, repeatedly
1press the [EFF1] knob or hold down the
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
[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 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.
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
2the track channel into which you want to
insert an effect, and press the [ENTER] key.
1
2
3
1 PAN L
B PAN R
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.
Access the desired return channel page,
5move the cursor to a parameter, and turn the
[DATA/JOG] dial.
Move the cursor to the OK button and press
3the [ENTER] key.
Internal effect 1 will be inserted into the
To switch effect bypass on/off, press the
4selected track channel.
6[ENTER] key.
In the EDIT page, you can press the [ENTER] key to
switch bypass on/off regardless of the current loca-
tion.
Press the [EFF1] knob twice to access the
5LIBRARY page of the EFF1 screen.
Select the library that you want to use for
6that 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
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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
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.
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.
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.
Note
Some CD players that do not support CD-R/RW media
may not be able to play back a CD you create.
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.
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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.
● 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.
● 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.
However since writing does not stop until all data
has been written, there will be no gap between the
tracks.
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.)
Start
End
Song A
Marker = off
Since each track is written individually when you use
this method, an interval of approximately two sec-
onds will be created between each track.
Start
End
Song B
Marker = off
Start
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
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.
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.
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
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.
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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.
Move the cursor to the AUDIO WRITE SPEED
2field, and turn the [DATA/JOG] dial to select
the writing speed.
In the Work Navigate section, repeatedly
1press the [CD] key or hold down the [CD]
key and use the CURSOR [ ]/[ ] keys to
access the SETTING page of the CD screen.
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.
1
2
6
Use the TEST button and WRITE button to
3select 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.
4 5 3
8 7
Only the WRITE button on ......Writing will occur imme-
diately.
1 CD-RW MEDIA ERASE
Both the WRITE button and
Erases the data that was written to CD-RW media.
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.
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.
10
If desired, set the UNDERRUN PROTECT but-
4ton to ENABLE.
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).
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.
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.
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.
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.
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Creating an audio CD
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.
Insert CD-R/RW media in the drive, move the
3cursor to the TRACK AT ONCE button, and
press the [ENTER] key.
A display like the following will appear.
3
1
Make sure that the appropriate virtual track is
1selected 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.
2 6 54
Repeatedly press the [CD] key or hold down
1 Song list
2the [CD] key and use the CURSOR [
]/[
]
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-”.
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.
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.
12
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.
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, 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
4press 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.
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Move the cursor to the dotted frame in the
5song 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
6will 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
7press the [ENTER] key.
A popup window will ask you to confirm.
To begin writing, move the cursor to the OK
10
8button 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
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
9OK 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.
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Creating an audio CD
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.
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
Make sure that the appropriate virtual track is
1selected for the stereo track of the song(s)
you want to write.
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
2at the marker locations specified within the
song, check that markers have been set at
the appropriate locations.
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.
Repeatedly press the [CD] key or hold down
3the [CD] key and use the CURSOR [
]/[
]
keys to access the CD WRITE page of the CD
screen.
Move the cursor to the NEW button, and
5press 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
6song list, and turn the [DATA/JOG] dial to
select the song that will be written to track 1.
Move the cursor to DISC AT ONCE and press
4the [ENTER] key.
The following screen will appear.
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.
3
1
• Songs with a stereo track longer than 324 minutes will
not be displayed.
If you want the stereo track of the selected
7song 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.
2 6 54
Markers will be enabled for that song, and a “flag”
icon will appear at the right of the list.
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-”.
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.
B MARKER button
For each stereo track, this enables or disables the
markers that have been set within that song.
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.
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.
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Repeat steps 5–7 to select the songs that will
8be 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
9press the [ENTER] key.
A popup window will ask you to confirm.
To begin writing, move the cursor to the OK
10 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
10
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
11 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.
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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
Insert the CD-R/RW media that you want to
1finalize into the CD-RW drive.
Repeatedly press the [CD] key or hold down
2the [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-
3ton, 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
4press the [ENTER] key.
A popup window will ask you to confirm the final-
ize operation.
To finalize the disc, move the cursor to the
5OK 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.
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Erasing CD-RW media
Here’s how to erase all data that has been written to CD-
To execute the erasure, move the cursor to
3the OK button. If you decide not to erase the
disc, move the cursor to the CANCEL button.
Then press the [ENTER] key.
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.
If you selected the OK button, erasure will begin.
(This operation cannot be halted.)
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
1press 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
2field, 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
10
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
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Creating an audio CD
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.
To play the CD tracks, press the PLAY [
]
4key. 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.
Tip!
When the CD Play function is on, the keys of the
transport section will have the following functions.
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).
Key
] key
STOP [■] key
REW [ ] key/FF [
[DATA/JOG] dial
Operation
PLAY [
Play
In the Work Navigate section, repeatedly
1press the [CD] key or hold down the [CD]
key and use the CURSOR [ ]/[ ] keys to
access the CD PLAY page of the CD screen.
Stop
] key Rewind/Fast-forward
Select tracks
In this page you can play back an audio CD
inserted in the CD-RW drive.
[
] key/[
] key
Select tracks
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
5to the CD PLAY button and press the [ENTER]
key.
2 1
1 CD PLAY button
3
Switches the CD Play function on/off.
Note
B INPUT CH MUTE/MIX button
• 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.
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
2into the CD-RW drive.
Move the cursor to the CD PLAY button and
3press the [ENTER] key.
The CD Play function will be turned on, and the CD
track data will be read.
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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
B
A
B
A
B
A
B
Pads
C
D
C
D
C
D
C
D
1
2
3
4
Sample banks
Stereooutput
channel
Pad
channels
Stereo bus
Mixer section
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.
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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
● ONE SHOT/TRIGGER
Start playback
Stop
Start playback
Stop
Pad = dark
Pad = lit
Pad = dark
Pad = lit
● Original
● LOOP/GATE
● LOOP/TRIGGER
sample
Start playback
Stop
Start playback
Stop
Pad = lit
Pad = dark
Pad = lit
Pad = dark
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.
Pad events
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
Pad track 4
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.
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.
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Using sample libraries
Sample libraries contain sets of up to sixteen different
samples that can be used by the Quick Loop Sampler.
Move the cursor into the list, and turn the
2[DATA/JOG] dial to select the library that you
want to load.
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.
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
3press the [ENTER] key. A popup window will
open. Move the cursor to the ALL button,
and press the [ENTER] key.
In the Quick Loop Sampler section, either
1repeatedly 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.
When the library has been loaded, the popup win-
dow will automatically close.
Tip!
3
2 4
1
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.
4
Strike pads 1–4.
5You can play the samples that are assigned to sam-
ple bank A of each pad.
5 7 8 6
Tip!
1 List
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.
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
Note
11
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.
• 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
• 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.
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
• 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
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.
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Quick loop sampler
To switch the sample bank for each pad,
Move the cursor to the bank area for the
6repeatedly press the [SAMPLE EDIT] key to 7desired pad, and turn the [DATA/JOG] dial.
1 2 3
access the SETUP page of the SAMPLE screen.
The sample bank will change, and the sample name
will change accordingly.
As desired, use the knobs and keys of the
8Selected 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.
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!
• 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.
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.
• 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
on the stereo track can also be moved to an audio track
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.
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.
In the Quick Navigation section, repeatedly
1press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/[
]
..............................The pad track can be recorded.
..............................The pad track can be played.
keys to access the PAD page of the RECORD
screen.
In the PAD page you can record pad events on the
pad tracks.
Note
Depending on the settings in the PAD page of the TRACK
screen, this may also indicate
(muted).
1 2
3
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.
Move the cursor to the track status button,
2and press the [ENTER] key several times to
switch the button display to
record). (You may select more than one pad
track.)
(ready to
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
The track status button can be switched only when the
recorder is stopped.
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.
Use the track channel faders and the [STE-
3REO] fader to set the audio tracks to an
appropriate level for monitoring.
Locate the song to the point at which you
4want to begin recording.
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To begin recording on the pad track, press
C Track mute button
5the PLAY [
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.
] key.
The recording will begin running, and pad event
recording will begin.
Play the pads while you listen to the audio
..............................The pad track can be played.
..............................The pad track is muted.
6tracks 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.
Move the cursor to the track mute button for
11 the track that you want to mute, and press
the [ENTER] key to switch the button to
(muted).
Tip!
To cancel muting, move the cursor to the track mute
button and press the [ENTER] key once again.
Pad tracks record only the pad on/off status.
To stop recording, press the STOP [■] key.
7The recorder will stop.
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.
To play back the events that were recorded
8on 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
9start 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
11
If you want to mute a specific pad track,
10 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.
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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
● When importing from an audio CD/CD-Extra
WAV file from a CD-ROM/CD-R into a sample bank for
pads 1–4.
1 2 3
Switch the internal settings of the AW16G to
1enable digital recording.
For details on digital recording settings, refer to
Insert a CD into the CD-RW drive.
2You can load audio data (CD-DA) or WAV files from
the following types of media.
5
6
7
4
●Audio data (CD-DA)
1 From CD TRACK
• Audio CD
Specifies the number (01–99) of the audio track that
will be imported from the source CD.
• CD-Extra (only the first session of CD-DA)
• Mixed Mode CD (only CD-DA data of the sec-
ond and later tracks)
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).
●WAV files
• ISO9660 Level 1 format CD-ROM, CD-R, CD-
RW*
• Mixed Mode CD
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).
* 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.
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.
In the Quick Loop Sampler section, repeat-
3edly 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.
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.
Make sure that the cursor is located at the
4READ CD INFO button, and press the
[ENTER] key.
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.
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.
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• 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.
● When importing from a WAV file
2 1
3
If you are importing a WAV file, move the
5cursor 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.
5
6
7
4
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.
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.
If you are importing from an audio CD or
6CD-Extra, use the From Start/From End fields
to specify the region that you want to
import.
The following icons will be displayed.
............................. Indicates that a WAV file is
selected.
Use the To PAD and To BANK fields to specify
7the pad/sample bank into which the data will
be imported.
............................. Indicates that a folder in the same
level is selected.
............................. Indicates that the folder for the
next higher level is selected.
Note
B Mono/Stereo
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.
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
When you have finished specifying the data
8to be imported, move the cursor to the EXEC
button and press the [ENTER] key.
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.
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
11
The LISTEN button will be displayed, allowing you to
hear the WAV file repeatedly.
To execute the import, move the cursor to
9the OK button and press the [ENTER] key.
● If a folder in the same level is selected
The ENTER button will be displayed, allowing you to
move into that folder.
Importing will begin. If you decide to cancel the
import, move the cursor to the CANCEL button and
press the [ENTER] key.
● If the next higher folder ( ) is selected
The UP button will be displayed, allowing you to
move to the folder above.
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
E To PAD
F To BANK
G To NAME
• 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.
These have the same function as when importing
from an audio CD/CD-Extra.
Tip!
Note
• 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.
It is not possible to import samples while the AW16G is
running.
• 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.
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Quick loop sampler
Importing from an audio track/stereo track
to a pad
STEREO ......................Import stereo audio from the stereo
track.
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.
Tip!
Play back the song, and find the track and
If you import monaural audio from a track 1–16, the
same sample will be assigned to the left and right chan-
nels.
1region that you want to import.
In the Quick Loop Sampler section, repeat-
2edly 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.
Move the cursor to the V.TR field, and turn
4the [DATA/JOG] dial to select a virtual track
1–8 as the import destination.
Move the cursor to the From Start and From
5End fields, and turn the [DATA/JOG] dial to
specify the start and end of the region that
will be imported.
1 2
3
4
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
6fields, and turn the [DATA/JOG] dial to spec-
ify the pad number and sample bank into
which the data will be imported.
5
6
7
This page contains the following items.
When you have finished making the settings,
7move the cursor to the EXEC button and
press the [ENTER] key.
1 From TRACK
Specifies the track from which the data will be
imported.
A popup window will ask you to confirm the opera-
tion.
B From V.TR
Specifies the virtual track from which the data will
be imported.
To execute the import, move the cursor to
8the OK button and press the [ENTER] key.
C From Start
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.
Specifies the beginning of the region that will be
imported.
D From End
Specifies the end of the region that will be
imported.
Tip!
• The imported sample will be assigned the same name as
the track from which the data was imported. You are
• The imported sample is saved together with the current
song.
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.
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.
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,
3and turn the [DATA/JOG] dial to select one of
the following as the import source track.
• It is not possible to import samples while the AW16G is
running.
1–16........................... Import monaural audio from a
track 1–16.
1/2–15/16.................. Import stereo audio from tracks 1/
2–15/16.
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Sampling an external input signal
You can directly sample (record) an input signal from the
Press the [INPUT SEL] key of the input chan-
3nel to which you connected the instrument
or mic, and then press the pad that you want
to specify as the record-destination.
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.
The input channel will be connected directly to the
pad you specify. The PAD and NAME fields will
change accordingly.
■ Prepare for sampling
Connect the instrument/mic that you want
1to sample to a MIC/LINE INPUT jack.
In the Quick Navigate section, repeatedly
2press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/[
keys to access the SAMPLE page of the
RECORD screen.
]
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.
1
4 5 6
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.
2 3
7 9 8
J
This page contains the following items.
Adjust the input level of the instrument or
1 INPUT
4mic.
Indicates the connection status of input channels 1–
8.
For details on how to adjust the level, refer to page
B SAFE button
As necessary, load an input library to create
When you move the cursor to this button and press
the [ENTER] key, all connections will be cancelled.
5the desired sound.
11
For details on using an input library to modify the
C P1–P4
Indicates the connection status of pads 1–4.
Note
D PAD
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.
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.
The procedure from this point will depend on
whether you are using Manual Record or Auto
Record.
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.
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Quick loop sampler
■ Manual record
■ Auto record
Make sure that the MANU REC/AUTO REC
Move the cursor to the MANU REC/AUTO
1REC button and press the [ENTER] key to
switch the button to AUTO REC.
1button 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.
The START/STANDBY button will function as the
STANDBY button to standby or stop sampling.
Move the cursor to the TRIG button and turn
2the [DATA/JOG] dial to adjust the level at
which sampling will begin. The setting is
To begin sampling, move the cursor to the
2START button in the screen, and press the
[ENTER] key. Then play your instrument.
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 but-
ton.
Move the cursor to the STANDBY button and
3press the [ENTER] key.
To stop sampling, move the cursor to the
3STOP button in the screen, and press the
[ENTER] key.
The STANDBY button display will change to START,
and you will be in record-standby mode.
Sampling will also end automatically when the
available memory is used up.
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.
4Sampling 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
5STOP 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
• You can adjust the region of a sample after recording it
before and after the sound you actually want, and
adjust the playback region afterward.
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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-
1edly 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 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.
Move the cursor to the Bank field, and turn
2the [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
3press the [ENTER] key.
11
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,
4move the cursor to the OK button and press
the [ENTER] key.
The popup window will close, and the new name
will be applied.
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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.
D Waveform display
Displays the waveform of the selected sample.
E TIME
In the Quick Sampler Section, repeatedly
1press the [SAMPLE EDIT] key or hold down
the [SAMPLE EDIT] key and use the CURSOR
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).
[
]/[ ] keys to access the SETUP page of
the SAMPLE screen.
1
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 wave-
form.
1 Bank
Selects the sample bank used for each pad.
H → button
B TRIM button
Displays the area near the End point of the wave-
form.
Accesses a popup window that displays the wave-
form of the sample.
I EXIT button
Move the cursor to the bank field for the pad
2whose playback region you want to adjust,
and select the sample bank.
Applies the settings and closes the popup window.
Move the cursor to the Start point, and turn
4the [DATA/JOG] dial to adjust the playback
start point of the sample.
Move the cursor to the TRIM button for the
3pad whose playback region you want to
adjust, and press the [ENTER] key.
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.
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).
In the same way, move the cursor to the end
5point and adjust the playback end point of
the sample.
1
2
3
5 6
Tip!
The unused region before the Start point and after the
End point can be deleted later if you wish. For details,
When you have finished making settings,
6move the cursor to the EXIT button and press
the [ENTER] key.
4
7 9 8
1 PAD
The popup window will close.
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.
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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-
1edly 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
2access 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
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.
11
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
3set, 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.
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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.
Move the cursor to the bank field of the pad
2for which you want to use the Slice function,
and select the sample bank.
Move the cursor to the SLICE field of the pad
3for which you want to use the Slice function,
and select one of the following as the slice
setting.
Here’s how you can use the Slice function to play a sam-
pled phrase at the tempo of the current song.
Tip!
OFF ............................The Slice function will not be used.
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.
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.
In the Quick Loop Sampler section, repeat-
1edly 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.
16...............................The playback region of the sample
will be divided into sixteen equal
segments.
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
Move the cursor to the MONITOR TEMPO
4field, and turn the [DATA/JOG] dial to select
SONG.
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.
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.
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.
ORIGINAL..................The original tempo of the sample,
shown in the BPM field
SONG.........................The tempo specified by the tempo
map
C MONITOR TEMPO
30–250 .......................The numerically specified 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.
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.
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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
Strike the pad to hear the result.
5If 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
6down 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
7which 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
11
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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.
The procedure after this point will depend on the func-
tion that you want to execute.
■ To erase the entire sample
In the Quick Loop Sampler section, repeat-
1edly 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.
To erase the entire selected sample, move the
1cursor to the ERASE button and press the
[ENTER] key.
A popup window will ask you to confirm that you
want to erase the sample.
In this page you can delete the unused portion of a
sample, or erase an unwanted sample.
To execute the erasure, move the cursor to
2the OK button and press the [ENTER] key.
12
3
4
56
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
1press the [ENTER] key.
7 8
A popup window will ask you to confirm that you
want to delete the data.
1 One Shot/Loop mode
To execute the deletion, move the cursor to
This icon indicates whether One Shot mode ( ) or
Loop Mode ( ) is selected for the sample assigned
to the pad.
2the OK button and press the [ENTER] key.
If you decide to cancel, move the cursor to the
CANCEL button and press the [ENTER] key.
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 4and 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
2turn the [DATA/JOG] dial to select the pad
and sample bank.
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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.
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.
● ERASE
Erases the data of the specified region.
● DELETE
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.
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.
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.
● 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.
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.
● 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
D Create special effects
Adjusts the pitch of the specified region of an audio
track without affecting its length.
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.
● 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.
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Track editing
■ 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.
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.
To select the track for editing, move the cur-
3sor to the TR (Track) field in the lower left of
the EDIT screen, and turn the [DATA/JOG]
dial.
■ Select the editing command
In the Work Navigate section, repeatedly
For any command, the TR (Track) field will appear
in the lower left of the screen, allowing you to
select the track(s).
1press the [EDIT] key.
The EDIT screen will appear. This screen displays
the following information.
Track number
1
2
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/
4
3
even-numbered audio tracks
STEREO ......................The stereo track
PAD ............................A pad track
1 Editing command
Indicates the currently selected editing command.
ALL.............................Audio tracks 1–16 and pad tracks
B Locator/marker
1–4
Indicates the approximate location of the currently
set locate points and markers.
SMPL ..........................All samples of the quick loop sam-
pler
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.
Select the virtual track or pad that you want
4to 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.
D EXEC button
Move the cursor to this button and press the
[ENTER] key to execute the editing command.
Virtual track number
Repeatedly press the [EDIT] key or hold down
2the [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.
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.
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■ Specify the editing region
■ Execute the command
When you have finished setting parameters, 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.
Move the cursor to the EXEC button, and
7press the [ENTER] key.
To specify the beginning of the region to be
5edited, move the cursor to the desired digit
of the Start field, and turn the [DATA/JOG]
dial.
A popup window will ask you to confirm the opera-
tion.
The Start/End parameters are displayed at the right
of the TR field.
Start parameter
(beginning of the region to be edited)
Move the cursor to the OK button to execute
8the 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.
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.
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,
6move 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.
12
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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
Range
1–16
Explanation
A single audio track
ERASE
7/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
Erases the data in the specified region (between Start and
End) of the specified track(s).
1TRACK
STEREO
PAD
The stereo track
1 23
4
A single pad track
Tracks 1–16 + Pad tracks 1–4
Virtual track number
Pad number
ALL
*1
2V.TR
1–8
*2
3PAD
1–4
Specify a
point
Beginning of the edited
region
4Start
5End
Specify a
point
End of the edited region
5
*1. 2V.TR can be selected only if TRACK=1–16, 1/2–15/16,
or STEREO.
● For an audio track
*2. 3PAD can be selected only if TRACK=PAD.
Start
End
End
End
1
1
2
3
3
4
5
6
7
7
8
8
ERASE
2
● For a pad track (loop)
Start
ERASE
● For a pad track (one shot)
Start
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.
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DELETE
INSERT
Deletes the data from the specified region of the speci-
fied track(s).
Inserts blank space into the specified region. Data fol-
lowing 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
4
1 23
4
5
● For an audio track
5
Start
● For an audio track
1
1
2
3
3
4
5
Start
End
End
End
INSERT
1
1
2
3
3
4
5
8
6
7
8
2
4
5
DELETE
Size
2
7
● For a pad track (loop)
● For a pad track (loop)
Start
Start
INSERT
DELETE
Size
● For a pad track (one shot)
● For a pad track (one shot)
Start
Start
DELETE
12
INSERT
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
The parameters are the same as for the ERASE command.
However instead of 5End, use 5Size to specify the
region that will be inserted.
■ Parameter list
The parameters are the same as for the ERASE command.
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Track editing
● For a pad track (one shot)
COPY
From Start
From End
Copies the specified region of data to the specified loca-
tion of the specified track.
From
PAD
1 23
4
6
To
PAD
To Start
COPY
From
PAD
To
PAD
8 9J K
5
LM7
■ Parameter list
Parameter
Range
CLIP
Explanation
● For an audio track
Content recorded in a sound
clip (the region specified by
CLIP)
Start
End
From
1
2
3
4
5
6
F
7
8
Track
1–16
A single audio track
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
To
A
B
C
D
E
G
H
Track
1
From
TRACK
To Start
STEREO
PAD
The stereo track
COPY
From
Track
A single pad track
1
2
3
4
5
5
6
6
7
8
ALL (OVER)
Tracks 1–16 + Pad tracks 1–4
(overwrite onto the copy-des-
tination)
To
A
B
4
F
G
H
Track
ALL (INS)
Tracks 1–16 + Pad tracks 1–4
(insert into the copy-destina-
tion)
● For a pad track (loop)
2From
V.TR
1–8
1–4
Copy-source virtual track
number
From Start
From End
*1
From
PAD
3
From PAD
Copy-source pad number
Copy-source starting location
Copy-source ending location
*2
4
From Start
Specify a
point
To
PAD
5
From End
Specify a
point
To Start
COPY
From
PAD
6
Start Mea-
sure Lock
7
On/off (indi- Switch the measure lock func-
cated by
tion for From Start/From End
*3
“lock” icon)
To
PAD
End Mea-
sure Lock
1–16
A single audio track
If you set 2From 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 2From 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.
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
8
To TRACK
*4
STEREO
PAD
The stereo track
A single pad track
1–8
Copy-destination virtual track
number
9To V.TR
JTo PAD
1–4
Copy-destination pad number
Specify a
point
Copy-destination starting
location
KTo Start
LTo Times 1–99
ON/OFF
Number of copies
Switch the grid function
(indicated by
highlighted
GRID text
*5
MGRID
when on)
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MOVE
*1. 2From V.TR and 9To V.TR can be selected only if
From TRACK=1–16, 1/2–15/16, or STEREO.
*2. 3From PAD and JTo PAD can be selected only if
TRACK=PAD.
*3. Measure lock function (6Start Measure Lock, 7End
Measure Lock)
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.
“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-
1 23
4
6
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.
8 9J K
5
M 7
● For an audio track
Start
End
From
Track
1
2
3
4
5
6
F
7
8
To
A
B
C
D
E
G
H
Track
● When measure lock = on
To Start
MOVE
Measure
From
Track
1
2
3
5
6
7
8
Start
End
From
Track
1
2
3
4
5
6
F
7
8
To
A
B
4
F
G
H
Track
To
● For a pad track (loop)
A
B
C
D
4
E
G
H
Track
From Start
From End
To Start
COPY
From
PAD
From
Track
1
2
3
5
6
7
8
To
To
A
4
5
6
E
F
G
H
PAD
Track
To Start
To Start
MOVE
From
PAD
*4. The possible choices for 8To TRACK (copy-destination
track) will depend on your selection for 1From TRACK
(copy-source track).
To
If 1From TRACK is a single audio track 1–16, you will be
able to select only a single audio track 1–16.
If 1From 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 1From TRACK is PAD, you will be able to select only
PAD.
12
PAD
● For a pad track (one shot)
From Start
From End
From
PAD
If 1From TRACK is ALL (OVER) or ALL (INS), you cannot
select TO TRACK.
*5. Grid function (MGRID)
To
PAD
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.
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 1From TRACK.
Also, there is no LTo Times setting.
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Track editing
EXCHANGE
TIME COMP/EXP (Time Com-
pression/Expansion)
Exchanges data between the specified tracks.
Adjusts the length of the specified region of an audio
track, without changing the pitch.
1 2
3
1 2
3 4
4 5
6
● For an audio track
5
6
From
Track
1
2
3
4
5
6
● If you set Ratio = 50%
To
A
A
B
B
C
C
D
D
E
F
From Start
From End
Track
1
1
2
3
4
A
B
C
D
D
EXCHANGE
From
Track
TIME
E
F
COMP/EXP
To
2 3 4
A
B
C
1
2
3
4
5
6
Track
To END
● If you set Ratio = 200%
■ Parameter list
From Start
From End
Parameter
Range
1–16
Explanation
A single audio track
1
1
2
3
4
A
B
C
C
D
D
1
From
TRACK
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
TIME
COMP/EXP
2
3
4
STEREO
1–8
The stereo track
To END
2
From V.TR
Exchange-source virtual track
number
■ Parameter list
Up to eight
alphanu-
meric charac-
ters
Exchange-source virtual track
name (display only)
Parameter
Range
1–16
Explanation
3Name
A single audio track
1
From
TRACK
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
1–16
A single audio track
4
To TRACK
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
*1
STEREO
1–8
The stereo track
2
From V.TR
Virtual track number
1–8
Exchange-destination virtual
track number
5To V.TR
6Name
3
From Start
Specify a
point
Beginning of the edited
region
Up to eight
alphanu-
meric charac-
ters
Exchange-destination virtual
track name (display only)
4
From End
Specify a
point
End of the edited region
Specify a
point
Specify the length to which
the selected region will be
compressed or expanded
*1. The items that you can select in 4To TRACK (copy-des-
tination track) will depend on the 1From TRACK (copy-
source track) setting.
5To End
50–200%
Specify the percentage by
which the selected region will
be compressed or expanded
If 1From TRACK is a single audio track 1–16, you can
select only a single audio track 1–16.
If 1From 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).
6To Ratio
Note
• To End and To Ratio are linked, so that editing one field
will cause the other field to change.
Note
• You cannot set To End or To Ratio to a value that would
cause the ratio to exceed 50–200 percent.
The track names will not be exchanged.
• From Start value and From End value must be at least
45 msec apart. These cannot be set to a shorter interval.
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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 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.
1 2
3 4
5
6
For details on the parameters and procedure for the
From Start
From End
PITCH
CHANGE
From Start
From End
PITCH
CHANGE
■ Parameter list
Parameter
Range
1–16
Explanation
A single audio track
1
From
TRACK
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
STEREO
1–8
The stereo track
2
From V.TR
Virtual track number
3
From Start
Specify a
point
Beginning of the edited
region
12
4
From End
Specify a
point
End of the edited region
–12 to +12
semitones
Specify the amount of pitch
change in semitone units
5Pitch
6Fine
–50 to +50
cents
Specify the amount of pitch
change in one-cent units (1/
100th of a semitone)
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Track editing
Exporting WAV files and importing audio CD
or WAV files
This section explains how data from an AW16G audio
Parameter
Range
1–16
Explanation
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.
A single audio track
1/2–15/16
A pair of adjacent odd-num-
bered/even-numbered audio
tracks
1
From
TRACK
STEREO
Tr1-16
The stereo track
Exporting WAV files
The current track of tracks 1–
16
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.
SMPL
1–8
All samples in memory
Virtual track number
2
From V.TR
3
From Start
Specify a
point
Beginning of the audio track
region that will be written
Note
4
From End
Specify a
point
End of the audio track region
that will be written
• 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.
Up to eight
alphanu-
meric charac- ten
ters
Displays the name of the file
to which the data will be writ-
5
File Name
*1
*1. The name of the individual source track (or odd-num-
bered track in the case of a pair) will be assigned by
default.
Insert CD-R/RW media into the CD-RW drive.
1
Move the cursor to the From TRACK field,
4and select the source data (audio track or
sample) that you want to write.
In the Work Navigate section, press the
2[EDIT] key.
The EDIT screen will appear.
If you select “Tr1-16,” the current tracks of tracks 1–
16 will be written as separate monaural WAV files.
Repeatedly press the [EDIT] key or hold down
3the [EDIT] key and use the CURSOR [
]/[
]
If you select “1–16,” the single specified track will
be written as a monaural WAV file.
keys to access the EXPORT page.
This page shows the following information.
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.
1 2
3 4
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
5as 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.
5
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.
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If necessary, move the cursor to the NAME
6field, press the [ENTER] key, and input a file
name in the TITLE EDIT popup window.
Importing from an audio CD or
WAV file
For details on how to input a name, refer to page
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.
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 want to import from an audio CD,
1repeatedly 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.
• 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-
7ters, 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.
Move the cursor to the DIGITAL REC button,
2and press the [ENTER] key.
A message will ask you to confirm that you will
observe the applicable copyright laws.
To execute the export, move the cursor to
8the 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.)
Carefully read “Copyright Notice” (→ p. 5),
sor to the OK button and press the [ENTER]
key.
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.
The button display will change from OFF to ON,
and digital recording and importing from a CD will
be enabled.
12
Note
The DIGITAL REC button will return to the OFF setting
each time you turn on the power.
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.
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Track editing
● When importing from audio CD/CD-Extra
Insert a CD into the CD-RW drive.
4You can import data from the following types of
1 2 3
4
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*
5 6
7
• Mixed Mode CD
1 From CD TRACK
*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.
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
In the Work Navigate section, repeatedly
Specifies the end of the data that will be imported,
in minutes/seconds/frames (1/75 second).
5press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the CD IMPORT page.
]
Tip!
The READ CD INFO button will appear in the cen-
ter of the display.
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.
Press the [ENTER] key.
6The display will indicate “Read CD Info...,” and
information will be read from the CD inserted in the
CD-RW drive.
F To V.TR
Depending on the import-source data, the screen
will change as follows.
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.
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● When importing a WAV file
If you are importing a WAV file, move the
7cursor to the From WAVE file field, and turn
the [DATA/JOG] dial to select the WAV file
that you want to import.
2
1
3 4
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
If you are importing from audio CD or CD-
8Extra, 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
9fields to specify the track number, virtual
track number, and starting location into
which the data will be imported.
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.
Note
If the import-destination already contains data, it will be
overwritten. Be careful not to accidentally overwrite
important data.
............................. Indicates that a folder in the same
level is selected.
............................. Indicates that the folder in the next
higher level is selected.
When you have finished making settings,
10 move the cursor to the EXEC button and
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.
press the [ENTER] key.
A popup window will ask you to confirm the opera-
tion.
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.
To execute the import operation, move the
11 cursor to the OK button and press the
●If a WAV file ( ) is selected
The LISTEN button will be displayed, allowing you
to hear the WAV file repeatedly.
[ENTER] key.
Importing will begin. If you move the cursor to the
CANCEL button and press the [ENTER] key, import-
ing will be cancelled.
●If a folder in the same level ( ) is selected
The ENTER button will be displayed, allowing you
to move into that folder.
12
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.
●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
Note
You cannot execute the Import operation while the
AW16G is running.
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.
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Track editing
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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.
● 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)
● 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
● System area
- Undo/redo data
- Sample data for the Quick Loop Sampler
- Sound clip audio data.
- UTILITY screen settings
- Sample library
- Data management area
Internal hard disk
(approximately 20 GB maximum)
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. (→
• 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
later.
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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.
In the Work Navigate section, press the
1[SONG] key.
The SONG screen will appear.
Repeatedly press the [SONG] key or hold
2down the [SONG] key and use the CURSOR
[
]/[ ] keys to access the SETUP page.
To edit the song name, move the cursor to
3the 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
4to 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 →
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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.
To change the counter display format, move
4the cursor to one of the buttons in the
COUNTER DISPLAY area and press the
[ENTER] key.
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 dis-
play.
ABS (absolute time)....Display the current location in
hours/minutes/seconds/millisec-
onds, with the absolute time zero
location as 0.
• 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
1[SONG] key.
REL (relative time)......Display the current location in
hours/minutes/seconds/millisec-
onds, with the relative time zero
location as 0.
The SONG screen will appear.
Repeatedly press the [SONG] key or hold
2down the [SONG] key and use the CURSOR
1
SEC.............................Display the current location in
hours/minutes/seconds/millisec-
[
]/[ ] keys to access the SETUP page.
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.
3 2
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
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.
To change the time code frame rate, move
5the cursor to one of the buttons in the TIME
CODE BASE area, and press the [ENTER] key.
C TIME CODE BASE
Selects the format (the number of frames per sec-
ond) for the time code used by the AW16G.
In the TIME CODE BASE area you can choose one
of the following frame rates to specify the minimum
unit of time code.
To switch the protect setting on/off, move
3the cursor to the PROTECT button and press
the [ENTER] key.
24...............................24 frames/second
25...............................25 frames/second
13
30...............................30 frames/second (30 non-drop
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.
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.
Tip!
• We recommend that you turn protect on for important
songs.
p. 140) and adjust the mixer settings.
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.
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Song management
Copying or deleting a song
Here’s how to copy or delete a song in the hard disk.
■ To copy a song
Move the cursor to the COPY button and
Note
4press the [ENTER] key.
• 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.
A popup window will ask you to confirm the copy
operation.
• 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.
Tip!
In the Work Navigate section, press the
1[SONG] key
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.
Repeatedly press the [SONG] key or hold
2down the [SONG] key and use the CURSOR
[
]/[ ] keys to access the LIST page.
To execute the copy, move the cursor to the
5OK 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.
■ To delete a song
Following step 3, move the cursor to the
B COPY button
6DELETE button and press the [ENTER] key.
Displays a popup window that allows you to copy a
song.
A popup window will ask you to confirm the delete
operation.
Turn the [DATA/JOG] dial to select the song
3that you want to copy or delete.
The line that is enclosed by a dotted frame indicates
the selected song.
To delete the song, move the cursor to the
7OK 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.
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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
1press 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
2that you want to optimize.
The line enclosed by the dotted frame indicates the
selected song.
Move the cursor to the OPTIMZ button, and
3press 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
4cursor to the OK button and press the
[ENTER] key.
13
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.
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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 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.
Repeatedly press the [SONG] key or hold
2down 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 6 7 8 9 J K
The AW16G’s tempo map can also record data to switch
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.
34 5
1
This page contains the following items.
1 List
Note
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.
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.
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).
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.
• Time signature: 4/4
• Tempo: 120.0
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.
• 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.
E NEW button
In the Work Navigate section, press the
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.
1[SONG] 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 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.
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Move the cursor to the item that you want to
3edit, and turn the [DATA/JOG] dial to edit the
value.
■ Adding a tempo map event
Access the TEMPO page, move the cursor to
1the NEW button, and press the [ENTER] key.
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.
A blank tempo map event will be created after the
last step that is currently input.
Tip!
Note
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).
• 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.
Make sure that the cursor is outside the list,
2and turn the [DATA/JOG] dial to select a
tempo map event that you created.
Event
METER
Range
Content
1/4 to 8/4, – Specifies the time signature of
the song.
When the cursor is located outside the list, you can
turn the [DATA/JOG] dial to scroll the contents of
the list.
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.
TEMPO
Move the cursor to the MEAS field of the
3event that is selected in the list, and turn the
[DATA/JOG] dial to specify the location of the
event.
PAD BANK
1–4
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.
SCENE
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.
Move the cursor to the item that you want to
4edit, and turn the [DATA/JOG] dial to adjust
the value.
• 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 “–”.
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-
5ton 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
1select the tempo map event that you want to
delete.
13
Move the cursor to the DELETE button and
2press the [ENTER] key.
The selected event will be deleted.
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Song management
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.
■ Importing library/scene/tempo map
data
Move the cursor to either the LIBRARY,
1SCENE, or TEMPO MAP button, and press
the [ENTER] key.
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.
A popup window will ask you to confirm the import
operation.
■ Selecting the song from which you
will import data
In the Work Navigate section, press the
1[SONG] key.
To execute the import, move the cursor to
The SONG screen will appear.
2the 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.
Repeatedly press the [SONG] key or hold
2down the [SONG] key and use the CURSOR
1 2
[
]/[ ] keys to access the IMPORT page.
■ Importing a specific track
Move the cursor to the TRACK button and
1press 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.
1 TRACK
B SCENE button
Specify the import-source track number.
Imports all scenes into the current song.
B V.TR
C TRACK button
Specify the import-source virtual track number.
Imports the audio data of a single track into the cur-
rent song.
C NAME
Displays the name of the currently selected virtual
track.
D TEMPO MAP button
Imports the tempo map into the current song.
Move the cursor to the TRACK field and V.TR
2field, and turn the [DATA/JOG] dial to specify
the track number and virtual track number.
Turn the [DATA/JOG] dial to select the song
3from which you want to import data.
The line enclosed by the dotted frame is the song
you have selected as the import-source.
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.
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Move the cursor to the OK button and press
Move the cursor to the TRACK field and V.TR
4field, and turn the [DATA/JOG] dial to specify
the track number and virtual track number
for the import-destination.
3the [ENTER] key.
A popup window will ask you to select the import-
destination track.
1
To execute the import, move the cursor to
5the 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.
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.
Insert CD-R/RW media into the CD-RW drive.
1
In the Work Navigate section, press the [CD]
2key.
B PAD button
The CD screen will appear.
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.
Repeatedly press the [CD] key or hold down
3the [CD] key and use the CURSOR [
]/[
]
keys to access the BACKUP page.
C ALL button
In this page you can back up songs or sample librar-
ies from the internal hard disk to CD-R/RW media.
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.
3
2
1
D ENABLE/DISABLE button
Selects whether an item of data will be selected for
backup (ENABLE) or not selected (DISABLE).
13
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.
5 6 4
F EXECUTE button
Executes the backup operation for the selected
song(s) or sample library(ies).
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Song management
Turn the [DATA/JOG] dial to select the song
Move the cursor to the OK button and press
4or sample library data that you want to back 6the [ENTER] key.
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.
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.
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.
Note
• You cannot execute the backup operation without
selecting data.
To execute the backup, move the cursor to
5the EXECUTE button and press the [ENTER]
key.
• 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.
A popup window will ask you to confirm the opera-
tion.
• 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.
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.
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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.
Note
You cannot operate the items in the RESTORE page until
the inserted CD-R/RW media has been read.
Insert the CD-R/RW media containing the
1backup data into the CD-RW drive.
Turn the [DATA/JOG] dial to select the data
5that you want to restore. Then move the cur-
sor to the ENABLE/DISABLE button and press
the [ENTER] key.
If the backup data occupies more than one volume
of media, insert the first volume.
In the Work Navigate section, press the [CD]
2key.
The symbol at the right will change to the ● sym-
bol, indicating that this data has been selected for
restoring.
The CD screen will appear.
Repeatedly press the [CD] key or hold down
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.
3the [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.
If you want to restore the system data, move
6the cursor to the SYSTEM button and press
the [ENTER] key.
Make sure that the cursor is located at the
4READ CD INFO button, and press the
[ENTER] key.
The button will be turned on, and the system data
will be selected for restoring.
Information will be read from the inserted CD-R/
RW media. When the information has been read, a
display like the following will appear.
To execute the restore operation, move the
7cursor to the EXECUTE button and press the
[ENTER] key.
3
2
1
A popup window will ask you to confirm the opera-
tion.
Move the cursor to the OK button if you
8want to execute the restore operation (or to
the CANCEL button if you decide not to
restore), and press the [ENTER] key.
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.
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.
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.
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.
13
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
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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.
■ Restoring AW4416/AW2816 songs
Insert CD-R/RW media containing the
1AW4416/AW2816 song backup into the
AW16G.
Note
In the Work Navigate section, press the [CD]
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.
2key.
The CD screen will appear.
Repeatedly press the [CD] key or hold down
■ 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.
3the [CD] key and use the CURSOR [
]/[
]
keys to access the RESTORE page.
Make sure that the cursor is located at the
4READ CD INFO button, and press the
[ENTER] key.
Data will be read from the inserted CD-R/RW
An AW2816 backup file can be restored into an AW2816
or an AW4416 (version 2.0 or later).
media. When the data has been read, a screen like
the following will appear.
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.
Turn the [DATA/JOG] dial to select a song
5that you want to restore.
Move the cursor to the ENABLE/DISABLE but-
6ton 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
7AW4416/AW2816 songs that you want to
restore.
To execute the restore operation, move the
8cursor 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.
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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.
Example of recording/playing scene selections and
mix parameter operations on a MIDI sequencer
(computer)
● 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.
Control changes
Program changes
MIDI IN
MIDI OUT/THRU
connector
● Remote control of the transport
MIDI IN connector
MIDI OUT
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.
AW16G
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 inter-
nal settings to their previous state. This can also be
used to copy settings between two AW16G units.
Example of using MTC/MMC to synchronize the
operation of the AW16G and a MIDI sequencer
(computer)
MTC
Example of recording/playing bulk data on a MIDI
sequencer (computer)
MIDI OUT/THRU
connector
MIDI IN
MMC
Bulk data
MIDI IN connector
MIDI OUT
MIDI IN
MIDI OUT/THRU
connector
AW16G
External MIDI device
(e.g., computer)
Bulk data
MIDI OUT
MIDI IN connector
● Automate scene changes and mix parameter opera-
tions
AW16G
External MIDI device
(e.g., computer)
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.
● 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.
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 using the AW16G as a physical control-
ler for a MIDI sound module
Control changes
System exclusive
messages, etc.
MIDI IN
MIDI OUT/THRU
connector
AW16G
External MIDI device
(e.g., computer)
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MIDI and utility functions
Basic MIDI settings
SLAVE button..............If this button is on, the AW16G
will be the MTC slave, and will fol-
low MMC commands that it
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.
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.
To access this page, repeatedly press the Work Naviga-
tion section [UTILITY] key or hold down the [UTILITY]
key and use the CURSOR [ ]/[ ] keys.
Tip!
1
2
4
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
• 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.
3
6
5 9 8
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.
AW16W display → hexadecimal display
1 → 00h
127 → 7Eh
• The AW16G always transmits MMC commands using
the “All” device number (7Fh in hexadecimal).
CLK button................. If this button is on, MIDI Clock
(and Start, Stop, Continue, and
Song Position Pointer) messages
will be transmitted while the
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
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.
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
THRU button ............. If this button is on, MIDI messages
received at the MIDI IN connector
will be re-transmitted without
using the AW16G by itself.
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.
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.
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
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.
OUT/THRU connector. Use this
setting when you want to remotely
control an external MIDI device
from the AW16G.
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.
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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.
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.
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.
You can select the following choices.
OFF .........Program changes will not be transmitted or
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.
received.
TX............Program changes will only be transmitted.
RX ...........Program change will only be received.
TX-RX......Program changes will be transmitted and
received.
F OFST (Offset)
Tip!
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.
In the SCENE screen PC TABLE page you can specify the
scene number that will correspond to each program
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
00:00:10:00.00
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
I CTRL CHG MODE
time code
Specifies how control changes will be transmitted
and received.
Time code
display (ABS)
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.
Song
OFST = +00:00:05:00.00
Incoming
time code
00:00:10:00.00
00:00:15:00.00
00:00:20:00.00
00:00:20:00.00
00:00:25:00.00
When a control change is received, the correspond-
ing mix parameter will change.
Time code
display (ABS)
Song
00:00:15:00.00
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.)
OFST = 00:00:05:00.00
Incoming
00:00:10:00.00
time code
00:00:15:00.00
00:00:10:00.00
00:00:20:00.00
00:00:15:00.00
Time code
display (ABS)
00:00:05:00.00
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.)
Song
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!
The OFST setting has no effect on the MTC that is trans-
mitted from the AW16G’s MIDI OUT/THRU connector.
14
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.
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
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.
In order to actually transmit control changes, the MIDI
button of the MIDI OUT area must be turned on.
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MIDI and utility functions
● When CTRL CHG MODE = 1
CC#
PARAMETER
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
FADER
FADER
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
MASTER
PAD 3
PAD 4
MIDI CH
CC#
PARAMETER
7
FADER
PAN
10
91
93
7
1
TRACK CHANNEL 1
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
2
3
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
EFF1 SEND
EFF2 SEND
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
RETURN 1
RETURN 2
STEREO OUT
AUX 1
10
91
93
7
PAN
MASTER
EFF1 SEND
EFF2 SEND
FADER
MASTER
AUX 2
MASTER
EFF 1
MASTER
EFF 2
10
91
93
7
PAN
4
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
5
EFF1 SEND
EFF2 SEND
FADER
FADER
FADER
BUS 1
BUS 2
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
10
91
93
7
PAN
6
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
7
EFF1 SEND
EFF2 SEND
FADER
ON
ON
ON
ON
ON
ON
ON
ON
ON
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
PAD 1
10
91
93
7
PAN
8
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
9
EFF1 SEND
EFF2 SEND
FADER
ON
ON
ON
PAD 2
PAD 3
PAD 4
10
91
93
7
PAN
10
11
12
13
14
15
16
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
EFF1 SEND
EFF2 SEND
FADER
ON
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
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
10
91
93
7
PAN
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
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
PAN
EFF1 SEND
EFF2 SEND
FADER
10
91
93
PAN
EFF1 SEND
EFF2 SEND
● When CTRL CHG MODE = 2
CC#
PARAMETER
0
1
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
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
2
3
4
5
6
7
8
9
PAN
STEREO OUT
10
11
12
NO ASSIGN
NO ASSIGN
FADER
PAD 2
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CC#
PARAMETER
CC#
PARAMETER
95
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
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
TRACK 6
TRACK 7
96
97
48
TRACK 8
98
49
TRACK 9
99
50
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
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
51
52
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
53
54
55
56
57
58
59
60
61
62
FADER
FADER
FADER
PAD 2
PAD 3
PAD 4
63
ON
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
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
64
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
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
● When CTRL CHG MODE = 3
CC#
81
PARAMETER
82
0
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
83
1
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
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
84
2
85
3
86
4
87
5
88
6
89
7
90
8
91
9
92
PAN
STEREO OUT
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
93
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
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
FADER
FADER
FADER
FADER
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
FADER
FADER
FADER
FADER
FADER
FADER
FADER
RETURN 1
RETURN 2
STEREO OUT
AUX 1
MASTER
MASTER
AUX 2
MASTER
EFF 1
14
MASTER
EFF 2
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
FADER
FADER
BUS 1
BUS 2
MASTER
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
ON
ON
ON
ON
ON
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
153
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MIDI and utility functions
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.
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.
To access this page, repeatedly press the [UTILITY] key
or hold down the [UTILITY] key and use the CURSOR
[
]/[ ] keys.
A bulk dump request message is a MIDI message
that requests an AW16G to transmit the settings you
selected in items 1–7.
1
2
9
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 transmit-
ted.
MIDI OUT/THRU
Bulk data
MIDI IN
MIDI IN
Request message
MIDI OUT/THRU
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
AW16G
Selects libraries for bulk dumping.
K TRANSMIT button
D SYSTEM button
Move the cursor to this button and press the
[ENTER] key to execute the bulk dump.
Selects the settings in each page of the UTILITY
screen for bulk dumping.
E REMOTE button
Tip!
Selects the settings of the REMOTE screen (→
• 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.
F PC TABLE button
Selects the settings of the SCENE screen PC TABLE
G ALL button
Note
Selects (in one step) all items that can be bulk
dumped.
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
H INT
Specifies the interval at which bulk data will be
transmitted, in a range of 0–300 ms (10 ms steps).
154
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Using the MIDI Remote function
Alternatively, you can specify that a MIDI message with a
About the MIDI Remote function
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.
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.
Program change
number 1
Program change
number 1
transmit
transmit
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
Using the MIDI Remote function
presets
• FF [
] key
• STOP [■] key
• REC [●] key
• PLAY [ ] 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.
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.
■ Messages that can be assigned to
faders
Control change
number 7
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.
transmit
Sequencer programs that are supported
Value =
127
● Windows
*1
• Logic5 5.0.1
*1
• Logic Audio Platinum 4.6
• Cubase VST/32 5.1r1
• Cakewalk ProAudio 9.02
• SONAR 1.01
● Macintosh
*1
• Logic5 5.0.1
Value =0
*1
• Logic Audio Platinum 4.6
*2
■ Messages that can be assigned to
• Cubase VST/32 5.1r1
the [TRACK SEL] keys
• 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.
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).
14
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.
Control change
number 64 (value= 127)
Control change
number 64 (value= 0)
transmit
transmit
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
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MIDI and utility functions
● 02 Logic
● 03 Cubase
2 3
1
● 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.
This page contains the following items.
1 List
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-
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.
● 06 XG 1-16
● 07 XG 17-32
● 08 XG 33-48
● 09 XG 49-64
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.
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 transmit MMC
commands to select recording tracks.
• Fader operations will transmit Volume control
changes (CC#=07).
• [TRACK SEL] key operations will switch the part
on/off.
• Fader operations will control the volume of the
part.
● 01 Volume
Use this preset to control the volume of an external
tone generator.
If you select preset 07–09, the button indications will
change as follows.
• [TRACK SEL] key operations will transmit Vol-
ume control change messages (CC#=07).
●Preset 07
1-16 button → 17-32 button
• When you turn a [TRACK SEL] key off (dark),
volume = 0 will be transmitted.
1-12 button → 17-28 button
9-16 button → 25-32 button
• When you turn a [TRACK SEL] key on (lit green),
the volume value corresponding to the fader
position will be transmitted.
●Preset 08
1-16 button → 33-48 button
• When a [TRACK SEL] key is on operating the
fader will transmit Volume control change mes-
sages (CC#=07).
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.
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● When the 1-16 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9/10 11/12 13/14 15/16
9/10 11/12 13/14 15/16
● When the 1-12 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9/10 11/12 13/14 15/16
9
10
11
12
● When the 9-16 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
9
2
3
4
5
6
7
8
9/10 11/12 13/14 15/16
10
11
12
13
14
15
16
—
—
—
—
Using the user-defined Remote
function
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.
The USER page of the REMOTE screen lets you assign
your own MIDI messages to each fader and [TRACK SEL]
key.
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
To access this page, repeatedly press the Work Navigate
section [REMOTE] key or hold down the [REMOTE] key
and use the CURSOR [ ]/[ ] keys.
Tip!
song. MTC/MMC/MIDI Clock mes-
sages will be transmitted and
received as specified in the MIDI
page of the UTILITY screen.
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.
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.
1
2 3 4 5
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.
6
7
8 9 J
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.
14
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.
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MIDI and utility functions
E ALL INIT button
J MIDI message
Resets all MIDI messages assigned to the faders/
This area displays (in hexadecimal form) the MIDI
message that is assigned to the currently selected
fader or [TRACK SEL] key.
[TRACK SEL] keys to the initial settings. To initialize,
move the cursor to this button and press the
[ENTER] 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.
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.
00–FF (hexadecimal) ..Corresponds to the actual value of
the MIDI message that is transmit-
ted.
This button will automatically be turned on when
you operate the fader of a track channel.
END............................Indicates the end of the MIDI mes-
sage. When you operate a fader or
[TRACK SEL] key, the MIDI mes-
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.
sage starting with the first byte and
ending with the byte that precedes
END will be transmitted.
This button will automatically be turned on when
you operate the [TRACK SEL] key of a track chan-
nel.
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.
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.
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.
MIDI data transmitted
(SW=7F)
MIDI data transmitted
(SW=00)
off
on
off
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
UNLATCH.................. The setting will be on while you
hold down the [TRACK SEL] key,
and will turn off when you release
the key.
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.)
MIDI data transmitted
(SW=7F)
MIDI data transmitted
(SW=00)
off
on
off
• 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.
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.
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 9LEARN button to assign MIDI mes-
sages whenever possible.
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.
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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.
B LEVEL knob
Adjusts the output level of the oscillator.
C AUX 1/2 buttons
To access this page, repeatedly press the Work Navigate
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
Send the oscillator output to AUX buses 1/2.
D EFF 1/2 buttons
Send the oscillator output to effect buses 1/2.
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
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.
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 3–6buttons 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.
14
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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.
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.
To access this page, repeatedly press the Work Naviga-
tion section [UTILITY] key or hold down the [UTILITY]
key and use the CURSOR [ ]/[ ] keys.
When you switch this setting ON, the following
message will be displayed.
1
4
6
OBSERVE Copyright Notice
Written in Owner’s Manual?
[Cancel] [OK]
[OK], recording and importing of digital audio data
will be enabled.
Tip!
2
3 5
7
The DIGITAL REC ON/OFF button is always set to OFF
when you turn on the power.
This page contains the following items.
D VARI PITCH ON/OFF button
1 DIGITAL IN PATCH
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.
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.
E VARI PITCH knob
Adjusts the sampling frequency of the current song
in a range of –5.97 to +6.00%.
Note
STEREO BUS.............. The signal will be sent to the stereo
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.
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.
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.
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.
If no problems are found, a popup window indicat-
ing “No Error” will appear.
B ATT knob
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
Adjusts the level of the signal that is sent from the
DIGITAL STEREO IN jack to the stereo bus.
Tip!
could not be read from the hard
The ATT knob is meaningful only if DIGITAL IN PATCH is
set to STEREO BUS.
disk. It is possible that the hard
disk has been physically damaged.
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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.
14
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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.
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).
To access this page, repeatedly press the Work Navigate
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
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.
12
6 78
Note
Even if you select INPUT, the function of the [TRACK
SEL] keys will not be affected.
F NUDGE MODE
354
J9
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
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.
specified by the NUDGE TIME.
BEFORE ......................Play back repeatedly, ending at the
current location, for the duration
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.
specified by the NUDGE TIME.
NUDGE MODE: BEFORE
NUDGE MODE: AFTER
Current location
Current location
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.
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.
●When copy protect is enabled
H SOUND CLIP TIME
Selects the recording time for the Sound Clip func-
tion.
AW16G
D.OUT COPYRIGHT= ON
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
DIGITAL STEREO OUT jack
Digital recording
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
Digital recording
DAT or MD, etc.
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.
not possible
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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).
● Example settings for synchronization using MTC
and MMC
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.
In the Work Navigate section, use the
5[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
1the AW16G to your workstation synthesizer.
MTC
M
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MIDI OUT
MIDI IN
S
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Tip!
MIDI IN
MIDI OUT
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.
Synthesizer with
built-in sequencer
MMC
AW16G
In the Work Navigate section, use the [UTIL-
2ITY] 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.
Set your workstation synth to function as
6MMC 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.
The AW16G will be set to function as MMC slave
and MTC master.
Play back the sequencer (of your workstation
Move the cursor to the DEV field, and set the
3value to match the device number of your
workstation synthesizer.
7synth).
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.
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.
At the same time, the AW16G will transmit MTC to
your workstation synth, and the sequencer will run
in synchronization with it.
In the MIDI OUT field, turn on the MIDI but-
Tip!
4ton and MTC button.
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.”
Now when the AW16G runs, MTC will be transmit-
ted from the MIDI OUT/THRU connector.
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Using the AW16G with external devices
Make settings on your workstation synth so
4that its built-in sequencer will follow external
MIDI Clock messages. Also set the sequencer
to record-ready mode.
Recording/playing AW16G mix
operations on the workstation’s
sequencer
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 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.
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
1shown in the following diagram.
Play back the AW16G song from the begin-
MIDI Clock
5ning.
Control change
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.
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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MIDI OUT
MIDI IN
MIDI IN
S
O
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G
S
C
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N
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REC
MIDI OUT
Synthesizer with
built-in sequencer
Control
change
AW16G
Operate the AW16G’s mix parameters such
6as fader and pan.
The control changes assigned to each parameter
will be recorded on the sequencer.
In the Work Navigate section, use the [UTIL-
2ITY] 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.
The type of mix parameters that can be recorded
will depend on the setting of the CTRL CHG MODE
When you are finished recording, stop the
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.
7AW16G song.
Switch the workstation’s sequencer to play-
8back-ready mode, and play back the AW16G
song from the beginning.
● Example settings for synchronization using
The recorded control changes will be transmitted to
the AW16G, and the corresponding mix parameters
will change.
MIDI Clock and Start/Stop/Continue
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.
Move the cursor to the CTRL CHG MODE
3area, 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
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.
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Repeat steps 3–4 to assign the desired scenes
Switching AW16G scenes from
the workstation’s sequencer
4to other program change numbers.
Tip!
Here’s how you can transmit program changes from the
built-in sequencer of your workstation to switch scenes
on the AW16G.
If you want to reset the scene assignments to the initial
setting, move the cursor to the INITIALIZE button and
press the [ENTER] key.
■ Assign scenes to program changes
■ Transmit program changes to switch
scenes
In the Control section, use the [SCENE] key
1to access the PC TABLE page of the SCENE
screen.
Connect the AW16G and your workstation
1synth as shown in the diagram below.
This page lets you assign a scene number to each
program change.
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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MIDI IN
MIDI OUT
Synthesizer with
built-in sequencer
Program
change
AW16G
In the Work Navigate section, use the [UTIL-
2ITY] key to access the MIDI page of the UTIL-
ITY screen.
4
2
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
Set the PGM CHG MODE field to RX.
3With this setting, the AW16G will receive program
changes.
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.
Move the cursor to RX in the MIDI CH area,
4and select the MIDI channel on which MIDI
messages will be received.
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.
Transmit a program change message from
5your workstation synth to the AW16G on the
MIDI channel that you selected.
D INITIALIZE button
Returns the program change assignments to the ini-
tial state.
The scene assigned to that program change number
will be recalled.
Tip!
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).
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.
Move the cursor to the program change
2number, and turn the [DATA/JOG] dial to
select the program change number whose
assignment you want to change.
15
Move the cursor to the scene in the list, and
3turn the [DATA/JOG] dial to select the scene
that you want to assign to the corresponding
program change number.
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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.
Connect the AW16G to your tone generator
1module as shown in the following diagram.
Control changes
MIDI OUT
MIDI IN
Tone genera-
tor module
AW16G
Use the Work Navigate section [REMOTE] key
2to 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
Turn the [DATA/JOG] dial to select the preset
3that 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
4to 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
Operate the faders and [TRACK SEL] keys of
5the 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,
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Using external effects
As an alternative to using the internal effects, you can use
Press the [PAN/BAL] knob twice to access the
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.
5AUX page of the PAN screen.
21
Lower the [STEREO] fader to the –∞ position.
1
In the Selected Channel section, repeatedly
2press the [PAN/BAL] knob or hold down the
[PAN/BAL] knob and use the CURSOR [ ]/
[
] keys to access the AUX OUT page of the
34
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
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
3press 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.
PRE (pre-fader)...........The signal immediately before the
fader will be sent.
POST (post-fader).......The signal immediately after the
fader will be sent.
As shown in the following diagram, connect
C AUX2 knobs
4your external effect processor to the AW16G.
Adjust the send level of the signals that are sent
from each channel to AUX bus 2.
Effect processor
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.
MIC/LINE
INPUT 3/4
STEREO/
AUX OUT (L)
Raise the AUX knob 1 of each channel to an
6appropriate level, and switch the PRE/POST
setting in the upper line as desired.
MONITOR
OUT
AW16G
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.
Note
If you make the above connection with the [STEREO]
fader raised before performing steps 2 and 3, oscillation
may occur. Please use caution.
Use the Quick Navigate section [RECORD]
7key to access the MIXDOWN page of the
RECORD screen, and make the settings
shown below.
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 MON-
ITOR OUT jacks.
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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
Stereo
output
channel
Input
channels
Track
channels
AUX bus 1
master
AUX bus
Stereo bus
Mixer section
In the Selected Channel section, repeatedly
Raise the [STEREO] fader to the 0 dB position,
8press the [PAN/BAL] knob to access the PAN 9and while playing back the song, adjust the
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.
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, cre-
ating oscillation.
In the MIXDOWN page of the RECORD
10 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.
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Connecting an MD recorder
By connecting an MD recorder to the AW16G’s DIGITAL
Use the Quick Navigation section [RECORD]
3key to access the MIXDOWN page of the
RECORD screen, and select the channels that
you want to send to the stereo bus.
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.
Raise the [STEREO] fader to the 0 dB position,
4and while you play back the song, adjust the
level, pan, EQ, and dynamics for each track
channel.
Lower the [STEREO] fader to the –∞ position.
If desired, you can also use the mastering library.
1
When you have finished adjusting the sound
5and the levels, put your MD recorder in
record mode, then play the AW16G from the
beginning and perform the mixdown.
As shown in the diagram below, use an opti-
2cal cable to connect the AW16G to your MD
recorder.
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 the mixdown, stop
6the AW16G and your MD recorder.
DIGITAL
STEREO IN
DIGITAL
STEREO OUT
MONITOR
OUT
AW16G
● Signal flow when mixing down to an MD recorder
Recorder section
MD recorder
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
15
Track
channels
Stereo output
channel
Stereo bus
Mixer section
169
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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.
As shown in the diagram below, connect
2your MD recorder to the AW16G.
MD recorder
If you want to hear the result that was
7recorded 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
Use the [UTILITY] key to access the D.IN •
3HDD page of the UTILITY screen.
Move the cursor to the DIGITAL REC ON/OFF
8button, and press the [ENTER] key.
Move the cursor to the DIGITAL REC ON/OFF
4button, and press the [ENTER] key.
A message will ask you to confirm your observance
of copyright laws. If you accept the conditions
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.
A message will ask you to confirm your observance
of copyright laws. If you accept the conditions
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
9field, and turn the [DATA/JOG] dial to select
“STEREO BUS” as the destination for the
input signal from the DIGITAL STEREO IN
jack.
Move the cursor to the DIGITAL PATCH IN
5field, 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.
With this setting, the input signal from the DIGITAL
STEREO IN jack will be connected directly to the
stereo bus.
Note
If necessary, use the INIT page of the MONITOR screen
to initialize the input channels.
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.
Use the Quick Navigation section [RECORD]
6key to access the DIRECT page of the
RECORD screen, and connect input channels
1/2 directly to tracks 1/2.
Raise the [STEREO] fader to the 0 dB position,
10 and play back your MD recorder.
Recording audio data from an
MD recorder
Raise the [STEREO] fader, play back your MD
7recorder, and check the recording level and
monitor level.
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.
Note
1
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
8the AW16G in record mode, and play back
your MD recorder.
170
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Appendix
Input library list
No.
00
Name
Effect Type
Description
Initial Data
Initialize to a default state in which EQ, DYN, and EFFECT are not applied
EG: Electric guitar
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
Multi Drive
Light Crunch
Studio Lead
Clean Lead
Hard Blues
Melody Drive
Pop Ryhthm
Heavy Rock
Stack Lead
Funk Cut
AmpSimulate
AmpSimulate
Dist->Delay
Rev->Sympho
AmpSimulate
Dist->Delay
Mono Delay
AmpSimulate
AmpSimulate
Dyna.Phaser
AmpSimulate
Dist->Delay
Delay+Rev
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
Trad Blues
NeoRockabily
Air Clean
Rockabilly sound using a short delay, warped by adding distortion
Clean sound with a sense of air
City Lead
Mod.Delay
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
Pop Chorus
Fuzzy Drive
Jazzy Night
Retro Phase
Mistic Chord
Drive Amp
Smooth Lead
Chorus
AmpSimulate
Reverb Room
Phaser
Comp sound that lets you express nuances by your picking dynamics
Simulation of a classic compact phaser
Dual Pitch
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
AmpSimulate
AmpSimulate
Crunch sound with a nice amount of distortion, usable for anything from backing
to lead
22
Crunch Box
AmpSimulate
23
24
25
Double Drive
Comp Driver
Rotary
Dist->Delay
AmpSimulate
Rotary
Heavy distortion with doubling
Overdrive with compressor to bring out the nuances of your picking
The familiar rotary speaker sound, optimized for guitar
AG: Acoustic guitar
26
27
28
29
30
Arppegio
Chorus
Lead
Rev+Sympho
Chorus
Graceful arpeggio sound with good definition
Deep chorus sound usable in any situation
Mod.Delay
ReverbRoom
Symphonic
Light modulation sound, suitable for lead guitar
Suitable for finger strumming or walking-bass phrases
Symphonic sound effective on single-note melodic playing
Finger Cut
Stroke
BA: Bass
31
32
33
34
35
Pick Drive
AmpSimulate
AmpSimulate
AmpSimulate
AmpSimulate
Rev->Chorus
A sound ideal for root-note picking
Finger Pick
Rock Boost
Best Slap
Melody
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
VO: Vocal
36
37
38
39
40
Pop Vocal
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
Rock Vocal
Delay Vocal
Ballad Vocal
ROBOT
Vocal effect with symphonic, effective on ballades etc.
SFX sound for vocal and speech, also usable as a sound-effect
Speaker simulation
01
02
03
04
05
SMALL TYPE
REAL FEEL
—
—
—
—
—
Small cabinet simulation
Creates realism (picking produces grit)
Cabinet with boosted highs
HIGH RANGE
STACK TYPE
MID RANGE
Large cabinet simulation
Simulation of a cabinet with distinctive mid-range
171
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Appendix
Mastering library list
No.
00
Name
Description
Initial Data
Initialize to a state in which EQ and DYN are not applied
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.
01
02
03
VITAL MIX
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.
SOFT COMP
Limiter that emphasizes the attacks and produces an overall “flattened” feel. Ideal for
songs that emphasize the rhythm.
HARD ATTACKY
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.
04
05
06
LO-FI
Limiter that produces a “lo-fi” character.
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.)
DARK/SOFT
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.)
07
DARK/HARD
08
09
10
11
12
13
BRIGHT
Compressor that produces a boosted high range.
LO BOOST
HARD LIMIT
LIMITER
NARROW
DIST
Compressor that produces a boosted low range.
Limiter that produces an extremely flattened feel. Ideal for hard-edged songs.
Limiter without EQ. Ideal when you need only limiting.
Limiter that produces a sound like that of a small AM radio.
Limiter that distorts the sound within the effect.
172
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EQ library list
These are the preset equalizer settings provided by the library.
No
025
026
027
028
029
Name
Description
No
Name
Description
Use as a template for male vocal.
Emphasizes the low range of the
bass drum and the attack created
by the beater.
Male Vocal 1 Adjust the HIGH or H-MID setting
001
Bass Drum 1
according to the voice quality.
Male Vocal 2 This is a variation on program 025.
Creates a peak around 80Hz, pro-
ducing a tight, stiff sound.
002
003
004
Bass Drum 2
Snare Drum 1
Snare Drum 2
Use as a template for female vocal.
Female Vo. 1 Adjust the HIGH or H-MID setting
according to the voice quality.
Emphasizes snapping and rimshot
sounds.
Female Vo. 2 This is a variation on program 027.
Emphasizes the ranges of that clas-
sic rock snare drum sound.
Use as a template for a chorus. It
makes the entire chorus much
Chorus&
Harmo
Emphasizes the attack of tom-
toms, and creates a long, “leath-
ery” decay.
brighter.
005
Tom-tom 1
Use on the STEREO bus during
030
031
032
Total EQ 1
Total EQ 2
Total EQ 3
mixdown. For more effect, try it
with a compressor.
Emphasizes the attack of crash
cymbals, extending the “spar-
kling” decay.
006
007
Cymbal
This is a variation on program 030.
Use on a tight high-hat, emphasiz-
ing the mid to high range.
This is a variation on program 030.
Also use these programs for stereo
inputs or external effect returns.
High Hat
Emphasizes the attack and clarifies
the high-range of instruments,
such as shakers, cabasas, and con-
gas.
This is a variation on program 001.
The low and mid range is
removed.
008
Percussion
033
034
Bass Drum 3
Makes a tight electric bass sound
by cutting very low frequencies.
This is a variation on program 003.
It creates rather thick sound.
009
010
E.Bass 1
E.Bass 2
Snare Drum 3
Unlike program 009, this empha-
sizes the low range of the electric
bass.
This is a variation on program 005.
Emphasizes the mid and high
range.
035
036
037
Tom-tom 2
Piano 3
Use on a synth bass with empha-
sized low range.
This is a variation on program 013.
011
012
013
Syn.Bass 1
Syn.Bass 2
Piano 1
Use for the low range of the piano
sound when it is recorded in ste-
reo. Use with program 038.
Emphasizes the attack that is pecu-
liar to a synth bass.
Piano Low
This is used to make a piano sound
brighter.
Use for the high range of the piano
sound when it is recorded in ste-
reo. Use with program 037.
038
Piano High
Emphasize the attack and low
range of the piano sound by using
a compressor.
014
015
Piano 2
Use for recording to or from cas-
039
040
Fine-EQ Cass sette tape to make the sound
clearer.
Use for line-recording an electric
guitar or semi-acoustic guitar to
get a slightly hard sound.
E.G.Clean
Use for recording a voice reading a
text.
Narrator
Adjusts the tonal quality of a
slightly distorted guitar sound.
–128 [ No Data! ] 041–128 are the user area.
016
017
018
019
020
E.G.Crunch 1
E.G.Crunch 2 This is a variation on program 016.
Tip!
Makes a heavily distorted guitar
sound clearer.
E.G.Dist 1
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.
E.G.Dist 2
This is a variation on program 018.
Emphasizes the bright tones of an
acoustic guitar.
A.G.Stroke 1
This is a variation on program 020.
You can also use it for the electric
gut guitar.
021
A.G.Stroke 2
A.G.Arpeg. 1
Corrects arpeggio technique of an
acoustic guitar.
022
023
A.G.Arpeg. 2 This is a variation on program 022.
Use with trumpets, trombones, or
024
BrassSection
sax. With one instrument, adjust
the HIGH or H-MID frequency.
173
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Appendix
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.
Threshold determines the level of input signal required to
■ Compressor
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.
dB
+20
+10
0
Compression ratio = 2:1
–10
–20
–30
–40
–50
–60
–70
Threshold = –20dB
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.
Knee = hard
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
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.
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.
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.
Compressor (CMP) parameters:
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.
Parameter
Value
Threshold (dB) –54 to 0 (55 points)
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)
Ratio
Attack (ms)
Outgain (dB)
Knee
0 to 120 (121 points)
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.
0 to +18 (36 points)
hard,1,2,3,4,5 (6 points)
6 ms to 46.1 sec (160 points)
Release (ms)
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■ Expander
■ Compander
dB
dB
+20
+10
0
+20
+10
0
Expansion ratio = 2:1
Knee = knee5
Width
–10
–20
–30
–40
–50
–60
–70
–10
–20
–30
–40
–50
–60
–70
Threshold = –10dB
Threshold
dB
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
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.
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.
Expander (EXP) parameters:
Parameter
Value
Threshold (dB) –54 to 0 (55 points)
CompanderH (CPH) and CompanderS (CPS) parameters:
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)
Parameter
Value
Ratio
Threshold (dB) –54 to 0 (55 points)
Attack (ms)
Outgain (dB)
Knee
0 to 120 (121 points)
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)
0 to +18 (36 points)
Ratio
hard,1,2,3,4,5 (6 points)
6 ms to 46.1 sec (160 points)
Attack (ms)
Outgain (dB)
Width (dB)
Release (ms)
0 to 120 (121 points)
Release (ms)
–18 to 0 (36 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.
1 to 90 (90 points)
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 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.
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 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.
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 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.
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 expander returns to its
normal gain once the trigger signal level drops below the
threshold.
Release determines how soon the compander returns to
its normal gain once the trigger signal level drops below
the threshold.
175
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Appendix
Gate (GAT) and Ducking (DUK) parameters:
■ Gate and Ducking
Parameter
Value
dB
+20
+10
0
Threshold (dB) –54 to 0 (55 points)
Range (dB)
Attack (ms)
Hold (ms)
–70 to 0 (71 points)
Threshold = –10dB
Range = –30dB
0 to 120 (121 points)
–10
–20
–30
–40
–50
–60
–70
0.02 ms to 2.14 sec (216 points)
6 ms to 46.1 sec (160 points)
Decay (ms)
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.
Range = –70dB
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
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.
dB
+20
+10
0
The trigger signal is determined using the KEY IN param-
eter.
–10
–20
–30
–40
–50
–60
–70
Threshold = –20dB
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.
Range = –30dB
dB
–70 –60 –50 –40 –30 –20 –10
Input Level
0
+10 +20
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.
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.
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.
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.
176
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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
022 Syn.Pad "CMP
002 A.Dr.BD "EXP
003 A.Dr.BD "GAT
004 A.Dr.BD "CPH
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.
Use these presets to apply CMP, EXP, GAT, or CPH
respectively to the bass drum of an acoustic drum kit.
023 SamplingPerc "CPS
024 Sampling BD "CMP
005 A.Dr.SN "CMP
025 Sampling SN "CMP
006 A.Dr.SN "EXP
026 Hip Comp "CPS
007 A.Dr.SN "GAT
008 A.Dr.SN "CPS
These presets modify preset programs 1—4 for use with a
snare drum.
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).
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.
027 Solo Vocal1 "CMP
028 Solo Vocal2 "CMP
These are variations that are suitable for solo vocal
sources.
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.
029 Chorus "CMP
This variation of Vocal is suitable for choruses.
030 Compander(H) "CPH
031 Compander(S) "CPS
011 E.B.finger "CMP
A template for the compander program.
Compressor to equalize the attack and volume level of a
finger-picked electric bass guitar.
032 Click Erase "EXP
Expander to remove click track sounds that may bleed
out of the monitor headphones the musicians are using.
012 E.B.slap "CMP
Compressor to equalize the attack and volume level of a
slap electric bass guitar.
033 Announcer "CPH
Hard compander reduces the level during the interval
between the words, making the voice sound even.
013 Syn.Bass "CMP
Compressor to adjust and/or emphasize the level of a
synth bass.
034 Easy Gate "GAT
A template for the gate program.
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.
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.
016 E.Guitar "CMP
Suitable for electric guitar chording or arpeggios. Try var-
ious adjustments depending on your tone or playing
style.
038 Total Comp1 "CMP
039 Total Comp2 "CMP
040 Total Comp3 "CMP
017 A.Guitar "CMP
Compressor intended for acoustic guitar playing rhythm
chords or arpeggios.
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.
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.
177
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Appendix
Effects library list
The following table lists the preset effects programs. See “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 Room
Reverb Stage
REVERB HALL
REVERB ROOM
REVERB STAGE
Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a smaller space (room) than REVERB HALL.
Reverb designed with vocals in mind.
02
03
Simulation of a metal-plate reverb unit, producing a feeling of hard-edged rever-
beration.
04
05
Reverb Plate
Early Ref.
REVERB PLATE
EARLY REF.
An effect which isolates only the early reflection (ER) component from reverbera-
tion. A flashier effect than reverb is produced.
06
07
Gate Reverb
Reverse Gate
GATE REVERB
REVERSE GATE
A type of ER designed for use as gated reverb.
A reverse-playback type ER.
■ Delays
#
Title
Type
Description
Mono delay with simple operation. Use when you don't need to use complex
parameter settings.
08
Mono Delay
MONO DELAY
09
10
11
Stereo Delay
Mod.delay
Delay LCR
STEREO DELAY
MOD.DELAY
DELAY LCR
Stereo delay with independent left and right.
Mono delay with modulation.
Three-tap delay (L, C, R).
Stereo delay with additional parameters for more detailed control. The signal can
be fed back from left to right, and right to left.
12
Echo
ECHO
■ Modulation-type Effects
#
Title
Chorus
Type
CHORUS
Description
Three-phase stereo chorus.
13
14
Flange
FLANGE
The well-known flanging effect.
A Yamaha proprietary effect that produces a richer and more complex modulation
than chorus.
15
Symphonic
SYMPHONIC
16
17
18
Phaser
PHASER
Stereo phaser with 2–16 stages of phase shift.
An effect which cyclically moves the sound between left and right.
Tremolo
Auto Pan
Tremolo
AUTO PAN
TREMOLO
HQ.PITCH
(Effect 2 only)
Only one note is pitch-shifted, but a stable effect is produced.
19
HQ.Pitch
20
21
Dual Pitch
Rotary
DUAL PITCH
ROTARY
Stereo pitch shift with left and right pitches set independently.
Simulation of a rotary speaker.
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.
22
23
Ring Mod.
Mod.Filter
RING MOD.
MOD.FILTER
An effect which uses an LFO to modulate the frequency of the filter.
■ Distortion-type Effects
#
Title
Distortion
Type
Description
24
DISTORTION
AMP SIMULATE
Distortion
25
Amp Simulate
Guitar Amp Simulator
178
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■ Dynamic Effects
#
Title
Type
Description
Dynamically controlled filter. Responds to MIDI Note On velocity when SOURCE
set to MIDI.
26
Dyna.Filter
DYNA.FILTER
Dynamically controlled flanger. Responds to MIDI Note On velocity when SOURCE
set to MIDI.
27
28
Dyna.Flange
Dyna.Phaser
DYNA.FLANGE
DYNA.PHASER
Dynamically controlled phase shifter. Responds to MIDI Note On velocity when
SOURCE set to MIDI.
■ Combined Effects
#
Title
Rev+Chorus
Rev->Chorus
Rev+Flange
Rev->Flange
Rev+Sympho.
Rev->Sympho.
Rev->Pan
Type
Description
Reverb and chorus in parallel
Reverb and chorus in series
29
REV+CHORUS
REV->CHORUS
REV+FLANGE
REV->FLANGE
REV+SYMPHO.
REV->SYMPHO.
REV->PAN
30
31
32
33
34
35
36
37
38
39
40
Reverb and flanger in parallel
Reverb and flanger in series
Reverb and symphonic in parallel
Reverb and symphonic in series
Reverb and auto-pan in parallel
Delay and early reflections in parallel
Delay and early reflections in series
Delay and reverb in parallel
Delay+ER.
DELAY+ER.
Delay->ER.
Delay+Rev
DELAY->ER.
DELAY+REV
DELAY->REV
DIST->DELAY
Delay->Rev
Dist->Delay
Delay and reverb in series
Distortion and delay in series
■ Other Effects
#
Title
Type
Description
41
Multi.Filter
MULTI.FILTER
Three-band parallel filter (24 dB/octave).
179
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Appendix
Effects Parameters
■ REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE
Hall, room, stage, and plate simulations, all with gates.
Parameter
REV TIME
INI.DLY
HI.RATIO
LO.RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Low-frequency reverb time ratio
0.1–2.4
0–10
Reverb diffusion (left–right reverb spread)
Reverb density
DENSITY
E/R DLY
E/R BAL.
HPF
0–100%
0.0–100.0 ms
0–100%
Delay between early reflections and reverb
Balance of early reflections and reverb (0% = ER, 100% = reverb)
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Level at which gate kicks in
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
OFF, –60 to 0 dB
0–120 ms
LPF
GATE LVL
ATTACK
HOLD
Gate opening speed
Gate open time
0.02 ms–2.13 s
6.0 ms–46.0 s
0–100 [%]
DECAY
Gate closing speed
MIX BAL.
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
LIVENESS
INI.DLY
DIFF.
0.1–20.0
Reflection spacing
0–10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
Reverb diffusion (left–right reverb spread)
Reverb density
0.0–500.0 ms
0–10
DENSITY
ER NUM.
FB.GAIN
HI.RATIO
HPF
0–100%
1–19
Number of early reflections
–99 to +99%
0.1–1.0
Feedback gain
High-frequency feedback ratio
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
LPF
MIX BAL.
■ GATE REVERB, REVERSE GATE
Early reflections with gate, and early reflections with reverse gate.
Parameter
TYPE
Range
Type-A, Type-B
0.1–20.0
Description
Type of early reflection simulation
Reflection spacing
ROOMSIZE
LIVENESS
INI.DLY
DIFF.
0–10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
Reverb diffusion (left–right reverb spread)
Reverb density
0.0–500.0 ms
0–10
DENSITY
ER NUM.
FB.GAIN
HI.RATIO
HPF
0–100%
1–19
Number of early reflections
–99 to +99%
0.1–1.0
Feedback gain
High-frequency feedback ratio
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
LPF
MIX BAL.
180
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■ MONO DELAY
Basic repeat delay.
Parameter
Range
Description
DELAY
0.0–2730.0 ms
–99 to +99%
Delay time
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
HPF
0.1–1.0
High-frequency feedback ratio
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ STEREO DELAY
Basic stereo delay.
Parameter
DELAY L
Range
Description
0.0–1350.0 ms
–99 to +99%
Left channel delay time
FB.G L
Left channel feedback (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
DELAY R
FB.G R
0.0–1350.0 ms
–99 to +99%
Right channel delay time
Right channel feedback (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
HI.RATIO
HPF
0.1–1.0
High-frequency feedback ratio
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ MOD.DELAY
Basic repeat delay with modulation.
Parameter
DELAY
Range
0.0–2725.0 ms
–99 to +99%
Description
Delay time
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
FREQ.
DEPTH
WAVE
HPF
0.1–1.0
High-frequency feedback ratio
Modulation speed
0.05–40.00 Hz
0–100%
Modulation depth
Sine, Tri
Modulation waveform
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ DELAY LCR
Three-tap delay (left, center, right).
Parameter
DELAY L
DELAY C
DELAY R
LEVEL L
Range
0.0–2730.0 ms
0.0–2730.0 ms
0.0–2730.0 ms
–100 to +100%
–100 to +100%
–100 to +100%
0.0–2730.0 ms
–99 to +99%
Description
Left channel delay time
Center channel delay time
Right channel delay time
Left channel delay level
LEVEL C
LEVEL R
Center channel delay level
Right channel delay level
FB.DLY
Feedback delay time
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
HPF
0.1–1.0
High-frequency feedback ratio
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
181
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Appendix
■ ECHO
Stereo delay with crossed feedback loop.
Parameter
DELAY L
Range
0.0–1350.0 ms
0.0–1350.0 ms
–99 to +99%
Description
Left channel delay time
FB.DLY L
FB.G L
Left channel feedback delay time
Left channel feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
DELAY R
FB.DLY R
FB.G R
0.0–1350.0 ms
0.0–1350.0 ms
–99 to +99%
Right channel delay time
Right channel feedback delay time
Right channel feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
L->R FBG
R->L FBG
–99 to +99%
–99 to +99%
Left to right channel feedback gain (plus values for normal-phase feedback, minus val-
ues for reverse-phase feedback)
Right to left channel feedback gain (plus values for normal-phase feedback, minus val-
ues for reverse-phase feedback)
HI.RATIO
HPF
0.1–1.0
High-frequency feedback ratio
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ CHORUS
Chorus effect.
Parameter
Range
0.05–40.00 Hz
Description
Modulation speed
FREQ.
PM DEP.
AM DEP.
MOD.DLY
WAVE
0–100%
0–100%
Pitch modulation depth
Amp modulation depth
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
LSH F
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
Low-shelving filter frequency
Low-shelving filter gain
LSH G
EQ F
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
HSH G
MIX BAL.
Mix balance of the effects and dry sounds
■ FLANGE
Flange effect.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
DEPTH
Modulation depth
MOD.DLY
FB.GAIN
0.0–500.0 ms
–99 to +99%
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
WAVE
LSH F
LSH G
EQ F
Sine, Tri
Modulation waveform
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
HSH G
MIX BAL.
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Mix balance of the effects and dry sounds
182
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■ SYMPHONIC
Symphonic efect.
Parameter
Range
Description
FREQ.
DEPTH
MOD.DLY
WAVE
0.05–40.00 Hz
0–100%
Modulation speed
Modulation depth
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
Low-shelving filter frequency
Low-shelving filter gain
LSH F
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
LSH G
EQ F
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
HSH G
MIX BAL.
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Mix balance of the effects and dry sounds
■ PHASER
16-stage phaser.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
Modulation depth
DEPTH
FB.GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
OFFSET
STAGE
LSH F
0–100
Lowest phase-shifted frequency offset
2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages
21.2–8.00 k [Hz]
–12 to +12 [dB]
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Low-shelving filter frequency
Low-shelving filter gain
LSH G
HSH F
High-shelving filter frequency
High-shelving filter gain
HSH G
MIX BAL.
Mix balance of the effects and dry sounds
■ AUTOPAN
Auto-panner.
Parameter
Range
0.05–40.00 Hz
Description
FREQ.
DEPTH
DIR.
Modulation speed
0–100%
*1
Modulation depth
Panning direction
WAVE
LSH F
LSH G
EQ F
Sine, Tri, Square
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
Modulation waveform
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
EQ G
EQ Q
HSH F
HSH G
MIX BAL.
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Mix balance of the effects and dry sounds
*1. L<->R, L—>R, L<—R, Turn L, Turn R
183
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Appendix
■ TREMOLO
Tremolo effect.
Parameter
FREQ.
Range
0.05–40.00 Hz
Description
Modulation speed
DEPTH
WAVE
0–100%
Modulation depth
Sine, Tri, Square
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
Modulation waveform
Low-shelving filter frequency
Low-shelving filter gain
LSH F
LSH G
EQ F
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
HSH G
MIX BAL.
Mix balance of the effects and dry sounds
■ HQ.PITCH (Effect 2 only)
High-quality pitch shifter.
Parameter
PITCH
Range
–12 to +12 semitones
–50 to +50 cents
0.0–1000.0 ms
Description
Pitch shift
FINE
Pitch shift fine
Delay time
DELAY
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
Channel 1 pitch shift
PITCH 1
FINE 1
PAN 1
–24 to +24 semitones
–50 to +50 cents
L16–1, C, R1–16
0.0–1000.0 ms
Channel 1 pitch shift fine
Channel 1 panpot
DELAY 1
FB.G 1
Channel 1 delay time
–99 to +99%
Channel 1 feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
LEVEL 1
PITCH 2
FINE 2
–100 to +100%
–24 to +24 semitones
–50 to +50 cents
L16–1, C, R1–16
0.0–1000.0 ms
–99 to +99%
Channel 1 level (plus values for normal phase, minus values for reverse phase)
Channel 2 pitch shift
Channel 2 pitch shift fine
Channel 2 panpot
PAN 2
DELAY 2
FB.G 2
Channel 2 delay time
Channel 2 feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
LEVEL 2
MODE
–100 to +100%
1–10
Channel 2 level (plus values for normal phase, minus values for reverse phase)
Pitch shift precision
MIX BAL.
0–100 [%]
Mix balance of the effects and dry sounds
184
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■ ROTARY
Rotary speaker simulator.
Parameter
ROTATE
SPEED
Range
Description
STOP, START
SLOW, FAST
0–100
Rotation stop, start
Rotation speed (see SLOW and FAST parameters)
Overdrive level
DRIVE
ACCEL
LOW
0–10
Accelation at speed changes
Low-frequency filter
0–100
HIGH
0–100
High-frequency filter
SLOW
0.05–10.00 Hz
0.05–10.00 Hz
0–100 [%]
SLOW rotation speed
FAST
FAST rotation speed
MIX BAL.
Mix balance of the effects and dry sounds
■ RING MOD.
Ring modulator.
Parameter
Range
Description
Modulation source: oscillator or input signal
Oscillator frequency
SOURCE
OSC, SELF
0.0–5000.0 Hz
OSC FREQ
FM FREQ
FM DEPTH
MIX BAL.
0.05–40.00 Hz
0–100%
Oscillator frequency modulation speed
Oscillator frequency modulation depth
Mix balance of the effects and dry sounds
0–100 [%]
■ MOD.FILTER
LFO modulation-type filter.
Parameter
FREQ.
Range
Description
Modulation speed
0.05–40.00 Hz
0–100%
DEPTH
TYPE
Modulation depth
LPF, HPF, BPF
0–100
Filter type: low pass, high pass, band pass
Filter frequency offset
OFFSET
RESO.
0–20
Filter resonance
PHASE
0.00–354.38°
0–100
Left-channel modulation and right-channel modulation phase difference
Output level
LEVEL
MIX BAL.
0–100 [%]
Mix balance of the effects and dry sounds
■ DISTORTION
Distortion effect.
Parameter
Range
Description
DST TYPE
DST1, DST2, OVD1,
OVD2, CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
DRIVE
0–100
Distortion drive
MASTER
TONE
0–100
Master volume
–10 to +10
0–20
Tone
N.GATE
MIX BAL.
Noise reduction
0–100 [%]
Mix balance of the effects and dry sounds
185
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Appendix
■ AMP SIMULATE
Guitar Amp Simulator.
Parameter
Range
Description
*1
AMP TYPE
Guitar amp simulation type
DST TYPE
DST1, DST2, OVD1,
OVD2, CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
N.GATE
DRIVE
0–20
Noise reduction
0–100
Distortion drive
MASTER
CAB DEP
BASS
0–100
Master volume
0–100%
0–100
Speaker cabinet simulation depth
Bass tone control
MIDDLE
TREBLE
EQ F
0–100
Middle tone control
0–100
High tone control
99–8.0 kHz
–12 to +12 dB
10.0–0.10
0–100 [%]
Parametric equalizer frequency
Parametric equalizer gain
Parametric equalizer bandwidth
Mix balance of the effects and dry sounds
EQ G
EQ Q
MIX BAL.
*1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT
■ DYNA.FILTER
Dynamically controlled filter.
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
Description
Control source: input signal or MIDI note on velocity
Sensitivity
0–100
TYPE
LPF, HPF, BPF
0–100
Filter type
OFFSET
RESO.
Filter frequency offset
0–20
Filter resonance
DIR.
UP, DOWN
6.0 ms–46.0 s
0–100
Upward or downward frequency change
Filter frequency change decay speed
Output Level
DECAY
LEVEL
MIX BAL.
0–100 [%]
Mix balance of the effects and dry sounds
■ DYNA.FLANGE
Dynamically controlled flanger.
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
Description
Control source: input signal or MIDI note on velocity
Sensitivity
0–100
FB.GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
OFFSET
DIR.
0–100
Delay time offset
UP, DOWN
Upward or downward frequency change
Decay speed
DECAY
LSH F
LSH G
EQ F
6.0 ms–46.0 s
21.2–8.00 k [Hz]
–12 to +12 [dB]
100–8.00 k [Hz]
–12 to +12 [dB]
10–0.10
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
HSH G
MIX BAL.
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Mix balance of the effects and dry sounds
186
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■ DYNA.PHASER
Dynamically controlled phaser.
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
Description
Control source: input signal or MIDI note on velocity
Sensitivity
0–100
FB.GAIN
–99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
OFFSET
STAGE
DIR.
0–100
Lowest phase-shifted frequency offset
2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages
UP, DOWN
Upward or downward frequency change
DECAY
LSH F
6.0 ms–46.0 s
21.2–8.00 k [Hz]
–12 to +12 [dB]
50.0–16.0 k [Hz]
–12 to +12 [dB]
0–100 [%]
Decay speed
Low-shelving filter frequency
Low-shelving filter gain
LSH G
HSH F
HSH G
MIX BAL.
High-shelving filter frequency
High-shelving filter gain
Mix balance of the effects and dry sounds
■ REV+CHORUS
Reverb and chorus effects in parallel.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
PM DEP.
AM DEP.
MOD.DLY
WAVE
Pitch modulation depth
0–100%
Amp modulation depth
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV/CHO
MIX BAL.
0–100%
Reverb and chorus balance (0% = chorus, 100% = reverb)
Mix balance of the effects and dry sounds
0–100 [%]
■ REV->CHORUS
Reverb and chorus effects in series.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
PM DEP.
AM DEP.
MOD.DLY
WAVE
Pitch modulation depth
0–100%
Amp modulation depth
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV.BAL
MIX BAL.
0–100%
Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0–100 [%]
187
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Appendix
■ REV+FLANGE
Reverb and flanger effects in parallel.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
0–10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
Modulation depth
MOD.DLY
FB.GAIN
0.0–500.0 ms
–99 to +99%
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
WAVE
Sine, Tri
Modulation waveform
REV/FLG
MIX BAL.
0–100%
0–100 [%]
Reverb and flange balance (0% = flange, 100% = reverb)
Mix balance of the effects and dry sounds
■ REV->FLANGE
Reverb and flanger effects in series.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
Modulation depth
MOD.DLY
FB.GAIN
0.0–500.0 ms
–99 to +99%
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
WAVE
Sine, Tri
Modulation waveform
REV.BAL
MIX BAL.
0–100%
0–100 [%]
Reverb and flanged reverb balance (0% = flanged reverb, 100% = reverb)
Mix balance of the effects and dry sounds
■ REV+SYMPHO.
Reverb and symphonic effects in parallel.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
Modulation depth
MOD.DLY
WAVE
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV/SYM
MIX BAL.
0–100%
Reverb and symphonic balance (0% = symphonic, 100% = reverb)
Mix balance of the effects and dry sounds
0–100 [%]
188
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■ REV->SYMPHO.
Reverb and symphonic effects in series.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
0–10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
Modulation depth
MOD.DLY
WAVE
0.0–500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV.BAL
MIX BAL.
0–100%
Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0–100 [%]
■ REV->PAN
Reverb and auto-pan effects in parallel.
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3–99.9 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0.05–40.00 Hz
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
DIR.
0–100%
*1
Modulation depth
Panning direction
WAVE
Sine, Tri, Square
0–100%
Modulation waveform
REV BAL.
MIX BAL.
Reverb and panned reverb balance (0% = panned reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0–100 [%]
*1. L<->R, L—>R, L<—R, Turn L, Turn R
■ DELAY+ER.
Delay and early reflections effects in parallel.
Parameter
DELAY L
Range
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
–99 to +99%
Description
Left channel delay time
Right channel delay time
Feedback delay time
DELAY R
FB.DLY
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
TYPE
0.1–1.0
High-frequency feedback ratio
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection simulation
ROOMSIZE
LIVENESS
INI.DLY
DIFF.
0.1–20.0
Reflection spacing
0–10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
0.0–500.0 ms
0–10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
ER NUM.
HPF
0–100%
1–19
Number of early reflections
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY/ER
MIX BAL.
Delay and early reflections balance (0% = early reflections, 100% = delay)
Mix balance of the effects and dry sounds
0–100 [%]
189
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Appendix
■ DELAY->ER.
Delay and early reflections effects in series.
Parameter
DELAY L
Range
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
–99 to +99%
Description
Left channel delay time
Right channel delay time
Feedback delay time
DELAY R
FB.DLY
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
TYPE
0.1–1.0
High-frequency feedback ratio
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection simulation
ROOMSIZE
LIVENESS
INI.DLY
DIFF.
0.1–20.0
Reflection spacing
0–10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
0.0–500.0 ms
0–10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
ER NUM.
HPF
0–100%
1–19
Number of early reflections
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY.BAL
MIX BAL.
Delay and early reflected delay balance (0% = early reflected delay, 100% = delay)
Mix balance of the effects and dry sounds
0–100 [%]
■ DELAY+REV
Delay and reverb effects in parallel.
Parameter
DELAY L
Range
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
–99 to +99%
Description
Left channel delay time
DELAY R
FB.DLY
Right channel delay time
Feedback delay time
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
DELAY HI
REV TIME
INI.DLY
REV HI
DIFF.
0.1–1.0
Delay high-frequency feedback ratio
Reverb time
0.3–99.9 s
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Delay and reverb balance (0% = reverb, 100% = delay)
Mix balance of the effects and dry sounds
LPF
DLY/REV
MIX BAL.
0–100 [%]
190
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■ DELAY->REV
Delay and reverb effects in series.
Parameter
DELAY L
Range
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
–99 to +99%
Description
Left channel delay time
Right channel delay time
Feedback delay time
DELAY R
FB.DLY
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
DELAY HI
REV TIME
INI.DLY
REV HI
DIFF.
0.1–1.0
Delay high-frequency feedback ratio
Reverb time
0.3–99.9 s
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0–10
DENSITY
HPF
0–100%
Thru, 21.2 Hz–8.0 kHz
50 Hz–16.0 kHz, Thru
0–100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
LPF
DLY.BAL
MIX BAL.
Delay and delayed reverb balance (0% = delayed reverb, 100% = delay)
Mix balance of the effects and dry sounds
0–100 [%]
■ DIST->DELAY
Distortion and delay effects in series.
Parameter
Range
Description
DST TYPE
DST1, DST2, OVD1,
OVD2, CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
DRIVE
0–100
Distortion drive
Master volume
Tone control
MASTER
TONE
0–100
–10 to +10
0–20
N.GATE
DELAY
Noise reduction
Delay time
0.0–2725.0 ms
–99 to +99%
FB.GAIN
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
FREQ.
0.1–1.0
High-frequency feedback ratio
0.05–40.00 Hz
0–100%
Modulation speed
DEPTH
Modulation depth
DLY BAL
MIX BAL.
0–100%
Distortion and delay balance (0% = distortion, 100% = delayed distortion)
Mix balance of the effects and dry sounds
0–100 [%]
■ MULTI FILTER
Three-band parallel filter (24 dB/octave)
Parameter
TYPE 1
Range
HPF, LPF, BPF
Description
Filter 1 type: low pass, high pass, band pass
Filter 2 type: low pass, high pass, band pass
Filter 3 type: low pass, high pass, band pass
Filter 1 frequency
TYPE 2
HPF, LPF, BPF
HPF, LPF, BPF
28 Hz–16.0 kHz
28 Hz–16.0 kHz
28 Hz–16.0 kHz
0–100
TYPE 3
FREQ. 1
FREQ. 2
FREQ. 3
LEVEL 1
LEVEL 2
LEVEL 3
RESO. 1
RESO. 2
RESO. 3
MIX BAL.
Filter 2 frequency
Filter 3 frequency
Filter 1 level
0–100
Filter 2 level
0–100
Filter 3 level
0–20
Filter 1 resonance
0–20
Filter 2 resonance
0–20
Filter 3 resonance
0–100 [%]
Mix balance of the effects and dry sounds
191
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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.
PAD1
PAD2
PAD3
PAD4
Name
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Normal8_120
Normal8_60
Normal16_120
Normal16_60
NormShffl120
NormShffl_60
Med8_110
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
–
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
–
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
–
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
–
MedFast8_140
MedSlow8_90
Fast8_170
Simple8_125
Simple16_114
Bounce8_93
LatinRock126
Syncopatn_89
Triplet_65
Shuffle8_130
Shffle16_127
Southern_93
Funk1_108
Funk2_108
NJS_110
Hip_96
HipFunk_106
OldSkool_106
LoudFunk_118
Detoroit_129
BreakRock106
Gangsta_94
GarageHs_128
2Step_135
L
O
O
L
O
O
L
R&BSmooth_64
TrncHouse135
TecLectro134
OldSkol2_102
FlipHop_128
BigBeat_126
Drumn'Bs_147
Techno_140
Ibiza_135
O
L
O
L
L
L
L
L
O
O
L
–
O
L
O
L
O
L
SambaEns_137
Latin16_80
L
L
L
–
Latin8_130
O
O
192
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PAD1
PAD2
PAD3
PAD4
Name
A
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
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–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
B
C
–
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–
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–
–
–
–
–
–
–
–
–
–
–
–
–
–
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–
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–
–
–
–
–
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–
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–
D
–
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–
–
–
–
–
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–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
L
B
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
LatinSwng154
Scratch1
L
L
O
O
O
O
O
O
O
O
O
L
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
–
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
–
Scratch2
SE_Analog
SE_Beep
SE_SFX
Robot_Voice
Female_Wet
Female_Dry
Male_Dry
City_Noise
Car_Action
Other_Rides
Door_Action
Guns
O
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
O
–
O
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
O
–
Laser&Buzz
Bang&Explosn
Bell&Beep
Human_Action
Punch&Swish
Hit&Swish
Fire
Rain1
L
–
L
–
L
–
L
–
Rain2
L
–
L
–
L
–
O
L
–
Storm
L
L
L
L
L
L
L
River
L
L
L
L
L
L
L
L
Sea
O
L
O
–
L
L
O
L
O
–
L
L
Jungle_Amb
Night_Amb
Birds
L
-
L
–
O
L
O
L
L
L
L
–
L
–
L
L
O
O
O
L
O
O
O
L
O
O
O
O
O
O
O
O
Dog&Cat
Stock_Farm
For_Demo
O
O
L
O
O
L
O
O
L
O
O
L
L: LOOP
O: ONESHOT
–: No assigns
193
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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 appropri-
ate action.
■ Power does not turn on
• Is the AC adaptor connected to an AC outlet of the
■ Recorded sound is not output
• Has audio data been recorded on the recorder?
correct voltage?
• Is the virtual track set to the track that was recorded?
• Is the POWER switch turned ON?
• A recorded region shorter than 10 msec will not be
played back.
• If the power still does not turn on, please contact
your Yamaha dealer.
• Tracks 1–16 will not play back if the AW16G is in
Stereo Track, Sound Clip, or Audio CD playback
mode.
■ LCD display is dim or dark
• Use the contrast knob located at the lower right of
the screen to adjust the contrast.
■ Can’t play back the STEREO track
• Is the stereo track turned on in the MONITOR screen
ST.TRACK page?
■ Can’t use the [DATA/JOG] dial to control on-screen
parameters
• The [JOG ON] key may be on.
■ Metronome cannot be heard
• Some parameters cannot be operated in certain
states, such as while the recorder is running.
• The metronome sound is normally sent only to the
MONITOR OUT and headphones.
• The metronome will not sound while the recorder is
stopped.
No sound
• In Sound Clip mode, the metronome will sound only
during recording.
■ 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?
Can’t record, something is wrong with
the recorded sound
• Is the stereo output channel fader raised? Is it turned
on?
■ Can’t record
• Is there sufficient free space on the internal hard disk?
• The EQ gain may be set to an extremely low value.
* You can check the remaining recordable time by setting
the counter display to REMAIN in the SONG screen
SETUP page.
• 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?
• The song may be protected.
• The stereo track may be in playback mode.
• Is the attenuator of the EQ screen or VIEW screen
raised?
• Is the input signal routed appropriately to the
recorder?
* 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.
•
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.
■ Can’t record on the STEREO track
• It is not possible to record on the STEREO track while
recording on other tracks.
■ Input sound is not output
• Is the signal from the external device being input?
• The connection cable from the external device may
be broken.
■ Noise is present in the recorded signal
• The oscillator may be functioning.
• 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.
• 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.
• 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
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■ Can’t use the internal effects
• Effect BYPASS may be turned ON.
Something wrong with the sound
• The effect may have been inserted into a different
channel.
■ Signal from the INPUT 8 jack is too loud
• A conventional line-level signal may be connected to
the Hi-Z jack.
• Are the level of EFF.RTN 1, 2 faders raised?
• 019. HQ. Pitch can be used only with EFFECT 2.
■ Sound is distorted
• Is the [GAIN] control set correctly?
• These do not affect the stereo track, sound clip, or
audio CD playback.
• The connection cable from the external device may
be broken.
■ Playback pitch is wrong
• The fader of the input channel or monitor channel
may be raised excessively.
• VARI may be selected.
• Is the synchronized external device operating on the
same sampling frequency (44.1 kHz)?
• The stereo output channel fader may be raised exces-
sively.
• Is the master device operating in a stable way?
• The stereo output channel attenuator may be raised
excessively.
• You may have executed the EDIT screen PITCH com-
mand.
• The EQ or dynamics processor may have been set to
produce an extreme gain boost.
• Is an effect such as HQ.Pitch or Dual Pitch selected
for a monitor channel?
• Did you record at an appropriate level?
• Is the word clock setting correct for both the AW16G
and the external device(s)?
Recorder operations
• An effect such as Distortion or Amp Simulate may be
in use.
■ When you press the [PLAY] key it blinks, and play-
back does not occur
• Is the AW16G set to MTC SLAVE?
* Go to the VIEW screen METER page and check the level
(meter movement).
* Access the UTILITY screen MIDI page, and check the
setting.
■ The volume of a particular channel increases or
decreases
• Are the dynamics processor settings appropriate?
■ 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.
• A scene recall may be specified in the SONG screen
TEMPO MAP.
■ Can’t store a scene
• The store-destination scene may be protected.
■ Can’t edit a recorded track
• The song may be protected.
• A scene cannot be stored in scene number 00.
• Have you selected the virtual track that you
recorded?
■ Can’t reproduce a scene
• One or more channels may be set to Recall Safe.
■ Editing results are not heard in the sound
• Have you selected the virtual track that you
recorded?
■ Can’t save to a library
• It is not possible to save to the factory-preset libraries.
• Are you using the appropriate editing command? *
■ Meters move even though the faders are lowered
* For details on editing commands, refer to “EDIT
screen.”
• 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?
■ 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.
* When the power is turned on, FADER FLIP will be set to
TRACK.
• The fader may be set to PRE FADE in AUX.
■ 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.
■ 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
■ 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.
match
• Even when channels are paired, the phase setting is
not linked.
■ Signal is delayed
• An effect such as delay may be inserted.
195
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Appendix
■ MTC synchronization drifts
• Is a large amount of MIDI data (notes etc.) being
received together with the MTC messages?
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?
• Does the frame rate match between the AW16G and
the external device?
• SYNC OFFSET may have been set.
• A bank change may have been specified in the
SONG screen TEMPO MAP page.
• If jumps occur in the synchronized time, change the
SYNC AVE. setting in the UTILITY screen MIDI page,
and try again.
■ 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.
■ 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?
■ The sound you loaded only plays part of the way
• Have you made trim settings to shorten the Start–End
region?
• In the UTILITY screen MIDI page, has MMC been set
to SLAVE? Does the DEVICE NO. match?
• If the playback mode is set to GATE, the sample will
play only while you continue pressing the pad.
■ 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.
• If the playback mode is set to LOOP and Slice is
turned off, the sample will play only for the length of
a measure.
• MIDI data cannot be transmitted unless the MIDI but-
ton is turned on in the MIDI page of the UTILITY
screen.
■ 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.
Song operations
■ Can’t save a file
• Is there sufficient space on the internal hard disk?
MIDI operations
• Did you perform the correct shut-down procedure
when you last turned off the power? *
■ Can’t exchange MIDI data
• Are the MIDI cables connected correctly?
* 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.
• 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?
■ 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.
• 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?
CD operations
■ CD-RW drive is not recognized
• Is the CD-RW drive connected correctly?
■ MTC messages are not transmitted
• In the UTILITY screen MIDI page, has the MTC but-
ton been turned on?
■ Can’t create an audio CD
• Is the CD-RW drive installed correctly? Have the
attaching screws come loose?
• Is MTC SYNC set to MASTER?
■ The AW16G does not synchronize to incoming MTC
• Is CD-R/RW media inserted?
messages
• Is the MIDI cable connected to the MIDI IN connec-
tor?
• 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.
• In the UTILITY screen MIDI page, has MTC Sync
been set to SLAVE?
• Have you saved a song in which a stereo track has
been recorded?
* MIDI data cannot be transmitted or received unless the
MIDI button is turned on.
• 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.
196
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■ 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.
197
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Appendix
Display message list
■ Messages
Repeat Playback cannot be performed because A/B points are not specified.
A/B POINTS NOT FOUND
The data length specified within the received system exclusive data did not
match the length of the data that was actually received.
BULK: BYTE COUNT MISMATCH!
The check sum of the received system exclusive is incorrect.
The scene memory you attempted to receive is protected.
Redo (re-execution of an operation) is not possible.
BULK: CHECK SUM MISMATCH!
BULK: MEMORY PROTECTED!
CANNOT REDO
It is not possible to specify a mark at an already-specified position.
Undo (cancellation of an operation) is not possible.
CANNOT SET MARK
CANNOT UNDO
Since the AW16G is in CD Play mode, this operation is not possible.
The mixer parameters of the channel have been initialized.
MTC of a different frame type than the internal setting is being received.
Recording is prohibited for the signal being input from DIGITAL STEREO IN.
CD PLAY MODE NOW
CH. PARAMETER INITIALIZED
DIFFERENT TC FRAME TYPE
DIGITAL-ST-IN REC PROHIBIT.
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.
There is insufficient space on the internal hard disk.
DISK FULL!!
Auto-punch recording cannot be performed because in/out points are not speci-
fied.
IN/OUT POINTS NOT FOUND
The auto punch-in/out interval is too short. It cannot be set less than approxi-
mately 100 msec.
IN/OUT POINTS TOO CLOSE
The locate point has been erased.
LOCATE POINT ERASED
LOCATE POINT SET
The locate point has been set.
The mark has been erased.
MARK POINT ERASED
MARK POINT SET
The mark has been set.
The song has no more free space. One song can use a maximum of 6.4 GB.
A bulk data dump was received.
MEMORY FULL!!
MIDI BULK RECEIVED
MIDI IN: DATA FRAMING ERROR!
MIDI IN: DATA OVERRUN!
MIDI: RX BUFFER FULL!
MIDI: TX BUFFER FULL!
MTC SLAVE MODE NOW
NO MARK LEFT
Invalid data may have been received at the MIDI IN connector.
Invalid data may have been received at the MIDI IN connector.
Receiving more MIDI data than it can handle.
Attempting to transmit more MIDI data than it can handle.
This operation cannot be performed because the AW16G is in MTC Slave mode.
The allowable number of marks has been exceeded.
Media has not been inserted.
NO MEDIA!!
The operation cannot be executed because the recorder is operating.
The operation cannot be executed because the recorder is recording or playing.
Recording cannot be performed because you have not selected a record track.
Redo (re-execution of the previous operation) has been completed.
The repeat interval is too short. It cannot be set to less than one second.
Since you are in Sound Clip mode, this operation cannot be executed.
Since you are in Stereo Track Playback mode, this operation cannot be executed.
An internal system error has occurred.
RECORDER BUSY
RECORDER RUNNING
RECORD TRACK NOT SELECTED
REDO COMPLETE
REPEAT POINTS TOO CLOSE
SOUND CLIP MODE NOW
STEREO TRACK PLAYBACK MODE
SYSTEM ERROR!!
This song is protected, and cannot be edited or recorded.
There are too many recorded regions.
THIS SONG IS PROTECTED.
TOO MANY REGIONS!
TRIGGER LIST RECORDING
UNDO COMPLETE
A sampling pad trigger list is being recorded.
Undo (cancellation of the previous operation) has been executed.
An inappropriate word clock is being received from the connected device to
which you are synchronizing.
WRONG WORD CLOCK!!
198
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■ Popup messages
ATAPI Error!
A problem occurred while communicating with the CD-RW drive.
The current song cannot be selected.
Can't Select Current Song!
CD Size Full!
Data exceeding the recordable length of the CD cannot be added.
The maximum number of tracks has been reached, and further addition is
not possible.
CD Track Over!
A problem occurred with the CD-RW drive.
No CD-RW drive is installed.
CD-RW Drive Error!
CD-RW Drive Not Found!
CD Write Error!
The data could not be written correctly to the CD.
Please exchange the media. The order of media volumes is incorrect.
Please exchange the media. This is not the first media volume.
The media is an incorrect type. Please exchange it.
The data was not written correctly.
Change Media, Invalid Order.
Change Media, Not 1st Media.
Change Media, Please.
Compare Error!
The disk has no free capacity.
Disk Full!
The operation could not be executed, since the end of the song would be
later than 24 hours.
End Range Over!
Please insert the next volume of media.
Exchange Next Media.
File Number Full!
No more songs can be created or restored, since this would exceed the
maximum number of files.
An error has occurred in the file system of the internal hard disk.
This cannot be recalled because it is only for use with EFFECT 2.
A problem occurred with the internal hard disk.
A problem occurred while communicating with the internal hard disk.
The parameter setting exceeds the allowable range.
A problem has occurred on the media.
File System Error!
For Effect2 Only!
HDD Error!
IDE Error!
Invalid Parameter!
Media Error!
Media Full!
The media has no free space.
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.
You have not selected data to back up.
Memory Full!
No Data to Backup!
No Data to Restore!
No Data!
You have not selected data to restore.
The selected region does not contain data.
Since no data has been saved, you cannot recall, erase, or edit the title.
Media has not been inserted.
No Data!
No Media!
No songs to write to the CD have been selected.
There is no song that includes a master track longer than four seconds.
The song cannot be restored since it is not a 44.1 kHz/16-bit song.
Can’t import from a CD because DIGITAL REC is prohibited.
Can’t save, erase, or edit the title because the song is protected.
Can’t save, erase, or edit the title because the song is read-only.
This is AW2816 format media.
No Song to Write!
No Stereo Track!
Not 44.1kHz/16bit Song!
Prohibit CD Import!
Protected!
Read Only!
Recognized AW2816- Formatted Media!
Recognized AW4416- Formatted Media!
Song Number Full!
This is AW4416 format media.
No more songs can be created or restored, since this would exceed the
maximum number of songs.
An internal system error has occurred.
System Error!
WAVE files shorter than 200 msec cannot be imported.
Too Small File!
Too Small Region!
Time compression/expansion cannot be executed because the region is
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 Length Too Short!
Track Not Recorded!
The track you selected does not contain any recorded data.
199
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Appendix
About the CD-ROM included with the AW16G
Caution
Contents of the CD-ROM
• 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.
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.
• All copyrights to this software are the property of
Yamaha Corporation.
Folder
name
Software name
Contents
• Copying or modification of this software in part or in
whole is forbidden.
Setting file for remotely
controlling the Cubase
sequencer software from
the AW16G.
• Yamaha Corporation takes no responsibility for any
results or damages that may result from your use of
this software.
Cubase remote
file
• Cubase VST is a trademark of Steinberg Media Tech-
nologies AG.
Setting file for remotely
controlling the Logic
sequencer software from
the AW16G.
Logic remote file
Remote
• Logic Audio is a trademark of Emagic Soft- und Hard-
ware Gmbh.
Setting file for remotely
controlling the SONAR 2/
CakewalkProAudio
sequencer software from
the AW16G.
• Cakewalk is a registered trademark of Twelve Tone
Systems, Inc.
SONAR 2/Cake-
walkProAudio
remote file (Win-
dows only)
• 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.
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.
• 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.
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
When you initialize the internal hard disk, the system
settings will return to their factory-set state.
200
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■ Loading the demo song and sample
Installing a remote file
library
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
1drive of the AW16G.
In the Work Navigate section, repeatedly
2press the [CD] key to access the RESTORE
page.
■ Windows users
In order to use a remote file, the corresponding software
must be installed.
Make sure that the cursor is located at the
3READ CD INFO button, and press the
[ENTER] key.
Installing the Cubase remote setup file
Start up Cubase.
Loading from the CD-ROM will begin. When load-
ing is finished, the contents of the display will
change as follows.
1
In the menu bar, click [Option] → [Remote
2Setup] → [Setup].
The VST Remote window will appear. Make
3the following settings and click the [OK] but-
ton.
Remote: Generic
Remote
Move the cursor to the DISABLE button and
4press the [ENTER] key.
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)
Move the cursor to the PAD button and press
5the [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.
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.
4Click the [EDIT] button.
The Generic Remote Setup window will
5appear. Click the [Import] button.
Move the cursor to the ALL button and press
6the [ENTER] key.
Move the cursor to the DISABLE button and
7press the [ENTER] key.
The DISPLAY button will change to ENABLE, and all
symbols at the right of the list will change to ●.
A dialog box like the following will appear.
6Select the Cubase remote setup file (Yamaha
AW16G Remote.xml) from the included CD-
ROM, and click the [Open] button.
This selects all songs and sample libraries.
Move the cursor to the EXECUTE button and
8press the [ENTER] key.
A popup window will ask you for confirma-
9tion, 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.
Close the Generic Remote Setup window.
7
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Appendix
Installing the Logic preference file
SONAR 2/CakewalkProAudio template (Loading the
template)
Start up Logic.
Start up SONAR 2/CakewalkProAudio.
1
1
In the menu bar, click [Option] → [Settings]
If you are using SONAR 2:
2→ [Key Commands...].
2In the menu bar, click [File] → [Open].
The Key Commands window will open. In
3the menu bar, click [Option] → [Import Key
Commands...].
If you are using Cakewalk:
In the menu bar, click [File] → [New].
A dialog box will appear. Select the Logic
4preference file (Logic32.prf) from the
included CD-ROM, and click the [Open] but-
ton.
If you are using SONAR 2:
3The “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.
When you import the file, the following settings will
be made.
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
4Devices].
The MIDI Ports window will open. In the
5Input Ports field, assign the MIDI device that
you are using.
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.
This completes preparations for controlling SONAR 2/
CakewalkProAudio from the AW16G.
● If you changed the track structure from the default
settings of the template ...
SONAR 2/CakewalkProAudio template (Installation/set-
tings)
With the Yamaha AW16G Remote template started,
click the [CONFIG] button in the panel window.
Copy the template to the folder in which
A cluster will open at the right.
1SONAR 2/CakewalkProAudio is installed.
Drag the [SET MIDI First Track] knob to the first track
number of the MIDI tracks.
Start up SONAR 2/CakewalkProAudio.
2
3
* 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.
In the menu bar, click [Option] → [Audio].
The Cakewalk DirectShow Audio dialog box
4will appear. Change the “Number of Aux
Busses” (from the default value of 2) to [3],
and click the [OK] button.
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.
This completes preparations for the template.
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Pro Tools softwares
■ Macintosh users
In order to use a remote file, the corresponding software
must be installed.
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.
Installing the Cubase remote setup file
In the menu bar, click [Setup] → [Peripher-
For Cubase, the procedure is the same as for the Win-
dows version. Refer to “Windows users” → “Installing the
1als...].
The Peripherals window will open. Click the
2[MIDI Controllers] button.
Installing the Logic preference file
In the MIDI Controllers window, make the follow-
ing settings.
Start up Logic.
1
In the Receive From field and the Send to field,
specify the MIDI device you are using.
Click [Option] → [Settings] → [Key Com-
2mands...].
Type Receive From
Send to
#ch’s
(the MIDI
(the MIDI
The Key Commands window will open. In
3the Key Commands window, click [Option]
→ [Import Key Commands].
#1 CS-10 device you are deviceyouare
using) using)
16
This completes preparations for using the AW16G’s
MIDI Remote function to control the Pro Tools soft-
ware.
A dialog box will appear. Select the Logic
4preference 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.
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Appendix
MIDI data format
1. Functions
2. MIDI data flow diagram
MTC SLAVE
1.1. Scene Change
MIDI IN
MTC (MTC Slave)
EFF MIDI
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.
NOTE ON/OFF (Effect Control)
PROGRAM CHANGE (Scene Recall)
CONTROL CHANGE (Parameter Edit)
BULK DUMP / BULK DUMP Request
MMC (Transport Control)
PGM CHG
CTRL CHG
RX DISABLE
MMC SLAVE
LEARN
Channel Message / Exclusive Message
(MIDI REMOTE Learn)
1.2. MMC Control
MIDI OUT (THRU)
PGM CHG
CTRL CHG
SW1
MIDI OUT (MIDI)
These messages allow basic recorder operations such as STOP/PLAY/
REC/LOCATE.
MIDI OUT
PROGRAM CHANGE
CONTROL CHANGE
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.
TRANSMIT/REQUEST
BULK DUMP /
BULK DUMP Request
SW2
SW3
SW4
REMOTE Transport
REMOTE Fader/Sel
MMC
MMC MASTER
1.3. Effect Control
Depending on the type of effect, note-on/off messages can be used
for control.
SW4
MIDI OUT (MTC)
MIDI OUT (CLK)
MTC
MIDI CLOCK
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.
SW1 REMOTE OFF
SW2 REMOTE ON(Remote)
SW3 REMOTE ON
SW4 REMOTE OFF or REMOTE ON(Normal)
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.
3. AW16G settings and operation
3.1. MIDI Setup
1.5. MTC transmission (MTC Master)
If you set MIDI OUT to MTC, MTC can be transmitted during play-
back or recording.
Set basic MIDI operation.
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
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.
1.7. Realtime control of parameters
Control changes can be used to send/receive internal parameters in
realtime.
3.1.4. MTC SYNC MODE
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.
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).
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.
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.
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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.
4. MIDI format list
4.1. CHANNEL MESSAGE
Command
Rx/Tx
function
Control the internal effect
Control the internal effect
Edit parameters
8n NOTE OFF
Rx
3.1.10. Control Change Mode
9n NOTE ON
Rx
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.
Bn CONTROL CHANGE
Cn PROGRAM CHANGE
Rx/Tx
Rx/Tx
Switch scene memories
4.2. SYSTEM COMMON MESSAGE
Command
Rx/Tx
function
MTC transmission
Song position transmission
F1 MIDI TIME CODE
Rx/Tx
3.2. MIDI BULK DUMP
Controls transmission of Bulk Dump and Bulk Dump Request.
F2 SONG POSITION POINTER Tx
3.2.1. BULK DUMP Category
Selects the type of parameters for Dump or Dump Request.
4.3. SYSTEM REALTIME MESSAGE
Command
Rx/Tx
function
F8 TIMING CLOCK
Tx
MIDI Clock transmission
Start command transmission
Continue command transmission
Stop command transmit
Check MIDI cable connections
Clear running status
3.2.1.1. SCENE
FA START
Tx
Tx
Tx
Rx
Rx
Mixer scene settings. E.BUF is the current state, 01-96 are stored
scenes. ALL selects all scenes.
FB CONTINUE
FC STOP
FE ACTIVE SENSING
FF RESET
3.2.1.2. LIBRARY
All memory settings for all libraries (EQ / EFFECT / DYNAMICS /
CHANNEL).
4.4. SYSTEM EXCLUSIVE MESSAGE
4.4.1. REALTIME SYSTEM EXCLUSIVE
4.4.1.1. MMC
3.2.1.3. SYSTEM
Settings that apply to the entire AW16G.
Command
Rx/Tx
Rx/Tx
Rx
function
3.2.1.4. REMOTE
Settings for the MIDI Remote function.
01 STOP
02 PLAY
Transport stop
Transport play
03 DEFERRED PLAY
04 FAST FORWARD
05 REWIND
Rx/Tx
Rx/TX
Rx/Tx
Rx
Transport play
3.2.1.5. PROGRAM CHANGE TABLE
Transport fast-forward
Transport rewind
Transport punch-in record
Transport punch-out
MMC reset
This is the Program Change Table.
06 RECORD STROBE
07 RECORD EXIT
0F RESET
3.2.1.6. ALL
All of the above settings.
Rx
Rx/Tx
Rx/Tx
44 LOCATE
Transport locate
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.
4.4.2. BULK DUMP / BULK DUMP REQUEST
Data Name
Rx/Tx
function
Scene Memory & Request
System Memory & Request
Remote Memory & Request
Equalizer Library & Request
Dynamics Library & Request
Effect Library & Request
'M'
Rx/Tx
'S'
'R'
'Q'
'Y'
'E'
Rx/Tx
Rx/Tx
Rx/Tx
Rx/Tx
Rx/Tx
Rx/Tx
Rx/Tx
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.
'H'
'P'
Channel Library & Request
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 recep-
tion.
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Appendix
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.
5. MIDI format details
5.1. NOTE OFF (8n)
< Reception >
Received when [Rx CH] matches.
Used to control effects. Refer NOTE ON for details.
< 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.
Note Off Message
Note No.
STATUS
DATA
1000nnnn 8n
0nnnnnnn nn
0vvvvvvv vv
Velocity ( ignored)
Quarter Frame Message
STATUS
DATA
11110001 F1
0nnndddd dd
nnn = message type (0-7) dddd = data
5.2. NOTE ON (9n)
< Reception >
5.6. SONG POSITION POINTER (F2)
Received when [Rx CH] matches.
< Transmission >
Used to control effects. Refer below for details.
Velocity of 0x00 is equivalent to Note-Off.
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.
Note On Message
Note No.
STATUS
DATA
1001nnnn 9n
0nnnnnnn nn
0vvvvvvv vv
Velocity ( 1-127:On, 0:off)
Song Position Pointer
STATUS
DATA
11110010 F2
0ddddddd dd0
0ddddddd dd1
* Effect control by Note
data( H) high 7 bits of 14 bits data
data( L) low 7 bits of 14 bits data
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.
5.7. 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.
5.3. 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.
Timing Clock
11111000 F8
STATUS
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.
< 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.
Start
11111010 FA
STATUS
Control Change
STATUS
DATA
1011nnnn Bn
0ccccccc cc
0vvvvvvv vv
Control No. (0-95, 102-119)
Control Value (0-127)
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.
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
Continue
11111011 FB
STATUS
INT((Y+1)/2) = Z
5.10. STOP (FC)
< Transmission >
If [MIDI CLK] is ON, this message is transmitted when the recorder
stops.
If (MIDI DATA - Z) < 0, then Value = 0
If ((MIDI DATA - Z)/X) > MAX, then Value = MAX
Otherwise, Value = INT ((MIDI DATA -Z)/X)
Stop
11111100 FC
STATUS
5.4. PROGRAM CHANGE (Cn)
< Reception >
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.
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.
Active Sensing
11111110 FE
STATUS
< Transmission >
5.12. RESET (FF)
< Reception >
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.
When a Reset message is received, MIDI communications will be ini-
tialized by clearing Running Status etc.
Reset
11111111 FF
STATUS
Program Change
STATUS
DATA
1100nnnn Cn
0nnnnnnn nn
5.13. EXCLUSIVE MESSAGE (F0-F7)
5.13.1. MMC
Program No. ( 0-127)
5.13.1.1. MMC STOP
< Transmission >
When the STOP key is pressed, this message is transmitted with a
device number of 7F.
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< 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.
5.13.1.6. 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.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Stop(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Record strobe
STATUS
ID No.
11110000 F0
01111111 7F
Command
00000110 06
00000001 01
11110111 F7
Device ID 0ddddddd dd
End Of Exclusive
EOX
Command
00000110 06
00000110 06
11110111 F7
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.
End Of Exclusive
EOX
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.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Play(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Record Exit
STATUS
ID No.
11110000 F0
01111111 7F
Command
00000110 06
00000010 02
11110111 F7
Device ID 0ddddddd dd
End Of Exclusive
EOX
Command
00000110 06
00000111 07
11110111 F7
5.13.1.3. MMC DEFERED PLAY
End Of Exclusive
EOX
< Transmission >
5.13.1.8. MMC RESET
< 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.
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.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Deferred play(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Reset
STATUS
ID No.
11110000 F0
01111111 7F
Command
00000110 06
00000011 03
11110111 F7
Device ID 0ddddddd dd
End Of Exclusive
EOX
Command
00000110 06
00001101 0D
11110111 F7
5.13.1.4. MMC FAST FORWARD
End Of Exclusive
EOX
< 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.
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 >
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.
< 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.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Fast Forward(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
00000110 06
00000110 04
11110111 F7
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Locate
STATUS
ID No.
11110000 F0
01111111 7F
End Of Exclusive
EOX
Device ID 0ddddddd dd
Command
00000110 06
01000100 44
00000110 06
00000001 01
0hhhhhhh hh
0mmmmmmm mm
0sssssss ss
0fffffff ff
0sssssss ss
11110111 F7
5.13.1.5. MMC REWIND
byte count
< Transmission >
"target" sub command
hour (Standard Time Code)
minute
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.
second
< Reception >
frame
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.
sub-frame
End Of Exclusive
EOX
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(mcc) sub-id
Rewind(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
00000110 06
00000101 05
11110111 F7
End Of Exclusive
EOX
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Appendix
5.13.2. BULK DUMP / BULK DUMP REQUEST
5.13.2.3. System Memory Bulk Dump Format
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
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
128(118+10)bytes
BYTE COUNT 00000001 01
(HIGH)
BYTE COUNT 00000000 00
(LOW)
< Reception >
'L'
01001100 4C
01001101 4D
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.
'M'
' '
00100000 20
' '
00100000 20
'8'
00111000 38
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.
'C'
01000011 43
'7'
00110111 37
'5'
00110101 35
'S'
DATA NAME 01010011 53
00100000 20
< 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.
Setup Memory(59*2bytes)
: :
DATA
0ddddddd ds
0ddddddd de
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
5.13.2.1. Scene Memory Bulk Dump Format
End Of Exclusive
11110111 F7
EOX
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
All data is divided into 4 bit units.
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
5.13.2.4. System Memory Bulk Dump Request
Format
8126(8116+10)bytes
BYTE COUNT 00111111 3F
(HIGH)
System Exclusive Message
STATUS
ID No.
11110000 F0
01000011 43
Manufacturer's ID (YAMAHA)
BYTE COUNT 0111110 3E
(LOW)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
'L'
01001100 4C
01001101 4D
Universal Bulk Dump
'M'
' '
'L'
00100000 20
'M'
01001101 4D
' '
00100000 20
' '
00100000 20
'8'
'C'
'7'
'5'
'M'
00111000 38
' '
00100000 20
01000011 43
'8'
00111000 38
00110011 37
'C'
01000011 43
00110110 35
'7'
00110111 37
DATA NAME 01001101 4D
0mmmmmmm mm
'5'
00110101 35
m=0-96,97(Scene Memory No.0-96, Current
Scene)
'S'
DATA NAME 01010011 53
00100000 20
' '
Receive is effective No.1-96,97
Scene Memory((4058*2) bytes)
: :
End Of Exclusive
11110111 F7
EOX
DATA
0ddddddd ds
0ddddddd de
5.13.2.5. Remote Memory Bulk Dump Format
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
CHECK SUM 0eeeeeee ee
STATUS
ID No.
11110000 F0
01000011 43
End Of Exclusive
11110111 F7
EOX
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
All data is divided into 4 bit units.
1962(1952+10)bytes
BYTE COUNT 00001111 0F
(HIGH)
5.13.2.2. Scene Memory Bulk Dump Request
Format
BYTE COUNT 00101010 2A
(LOW)
System Exclusive Message
'L'
'M'
' '
STATUS
ID No.
11110000 F0
01000011 43
01001100 4C
01001101 4D
Manufacturer's ID (YAMAHA)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
00100000 20
Universal Bulk Dump
' '
00100000 20
'L'
'8'
'C'
'7'
'5'
'R'
' '
00111000 38
'M'
' '
01001101 4D
01000011 43
00100000 20
00110111 37
' '
00100000 20
00110101 35
'8'
'C'
'7'
'5'
'M'
00111000 38
DATA NAME 01010010 52
00100000 20
01000011 43
Remote(Internal Parameter)
Memory(976*2bytes)
00110111 37
DATA
0ddddddd ds
00110101 35
: :
DATA NAME 01001101 4D
0mmmmmmm mm
0ddddddd de
m=0-96,97(Scene Memory No.0-96, Current
Scene)
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
End Of Exclusive
11110111 F7
EOX
End Of Exclusive
11110111 F7
EOX
All data is divided into 4 bit units.
208
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5.13.2.6. Remote Memory Bulk Dump Request
Format
5.13.2.9. Dynamics Library Bulk Dump Format
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
System Exclusive Message
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
Manufacturer's ID (YAMAHA)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
94(84+10)bytes
BYTE COUNT 00000000 00
(HIGH)
Universal Bulk Dump
'L'
BYTE COUNT 01011110 5E
(LOW)
'M'
01001101 4D
' '
00100000 20
'L'
01001100 4C
01001101 4D
' '
00100000 20
'M'
'8'
00111000 38
' '
00100000 20
'C'
01000011 43
' '
00100000 20
'7'
00110111 37
'8'
00111000 38
'5'
00110101 35
'C'
01000011 43
'R'
DATA NAME 01010010 52
00100000 20
'7'
00110111 37
' '
'5'
00110101 35
End Of Exclusive
11110111 F7
EOX
'Y'
DATA NAME 01011001 59
0mmmmmmm mm
m= 0-127 (Dynamics Library No.1-128)
Receive is effective No.41-128
Dynamics Library Memory(42*2 bytes)
: :
5.13.2.7. Equalizer Library Bulk Dump Format
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
DATA
0ddddddd ds
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
0ddddddd de
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
110(100+10)bytes
BYTE COUNT 00000000 00
(HIGH)
End Of Exclusive
11110111 F7
EOX
BYTE COUNT 01101110 6E
(LOW)
All data is divided into 4 bit units.
'L'
01001100 4C
01001101 4D
5.13.2.10. Dynamics Library Bulk Dump
Request Format
'M'
' '
00100000 20
' '
System Exclusive Message
00100000 20
STATUS
ID No.
11110000 F0
01000011 43
'8'
Manufacturer's ID (YAMAHA)
00111000 38
'C'
n=0-15(MIDI Channel No.1-16)
01000011 43
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
'7'
Universal Bulk Dump
00110111 37
'5'
'L'
00110101 35
'Q'
'M'
DATA NAME 01010001 51
0mmmmmmm mm
01001101 4D
m= 0-127 (Equalizer Library No.1-128)
Receive is effective No.41-128
Equalizer Library Memory(48*2bytes)
: :
' '
00100000 20
' '
00100000 20
'8'
DATA
0ddddddd ds
0ddddddd de
00111000 38
'C'
01000011 43
'7'
00110111 37
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
'5'
CHECK SUM 0eeeeeee ee
00110101 35
'Y'
DATA NAME 01011001 59
0mmmmmmm mm
End Of Exclusive
11110111 F7
EOX
m= 0-127 (Dynamics Library No.1-128)
End Of Exclusive
11110111 F7
EOX
All data is divided into 4 bit units.
5.13.2.8. Equalizer Library Bulk Dump Request
Format
5.13.2.11. Effect Library Bulk Dump Format
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
System Exclusive Message
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
Manufacturer's ID (YAMAHA)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
142(132+10)bytes
BYTE COUNT 00000001 01
(HIGH)
Universal Bulk Dump
'L'
BYTE COUNT 00001110 0E
(LOW)
'M'
01001101 4D
' '
00100000 20
'L'
01001100 4C
01001101 4D
' '
00100000 20
'M'
'8'
00111000 38
' '
00100000 20
'C'
01000011 43
' '
00100000 20
'7'
00110111 37
'8'
00111000 38
'5'
00110101 35
'C'
01000011 43
'Q'
DATA NAME 01010001 51
0mmmmmmm mm
'7'
00110111 37
m= 0-127 (Equalizer Library No.1-128)
End Of Exclusive
11110111 F7
'5'
00110101 35
EOX
'E'
DATA NAME 01000101 45
0mmmmmmm mm
m= 0-127 (Effect Library No.1-128)
Receive is effective 42-128
Effect Library Memory(66*2bytes)
: :
DATA
0ddddddd ds
0ddddddd de
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
End Of Exclusive
11110111 F7
EOX
All data is divided into 4 bit units.
209
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Appendix
5.13.2.12. Effect Library Bulk Dump Request
Format
5.13.2.15. Program Change Table Bulk Dump
Format
System Exclusive Message
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
STATUS
ID No.
11110000 F0
01000011 43
Manufacturer's ID (YAMAHA)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
Universal Bulk Dump
'L'
138(128+10)bytes
BYTE COUNT 00000001 01
(HIGH)
'M'
01001101 4D
BYTE COUNT 00001010 0A
(LOW)
' '
00100000 20
' '
00100000 20
'L'
01001100 4C
01001101 4D
'8'
00111000 38
'M'
'C'
01000011 43
' '
00100000 20
'7'
00110111 37
' '
00100000 20
'5'
00110101 35
'8'
00111000 38
'E'
DATA NAME 01000101 45
0mmmmmmm mm
'C'
01000011 43
m= 0-127 (Effect Library No.1-128)
End Of Exclusive
11110111 F7
'7'
00110111 37
EOX
'5'
00110101 35
'P'
DATA NAME 01010000 50
00100000 20
5.13.2.13. Channel Library Bulk Dump Format
' '
System Exclusive Message
Manufacturer's ID No.(YAMAHA)
n=0-15(MIDI Channel No.1-16)
Universal Bulk Dump
STATUS
ID No.
11110000 F0
01000011 43
Program Change Table(128bytes)
: :
DATA
0ddddddd ds
SUB STATUS 0000nnnn 0n
FORMAT No. 01111110 7E
0ddddddd de
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
226(216+10)bytes
BYTE COUNT 00000001 01
(HIGH)
End Of Exclusive
11110111 F7
EOX
BYTE COUNT 01100010 62
(LOW)
All data is divided into 7 bit units.
'L'
01001100 4C
01001101 4D
5.13.2.16. Program Change Table Bulk Dump
Request Format
'M'
' '
00100000 20
' '
00100000 20
System Exclusive Message
STATUS
ID No.
11110000 F0
01000011 43
'8'
00111000 38
Manufacturer's ID (YAMAHA)
'C'
01000011 43
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
'7'
00110111 37
Universal Bulk Dump
'5'
00110101 35
'L'
'H'
DATA NAME 01001000 48
0mmmmmmm mm
'M'
01001101 4D
m= 0-64 (Channel Library No.0-64)
Receive is effective No.2-64
Effect Library Memory(108*2 bytes)
: :
' '
00100000 20
' '
00100000 20
DATA
0ddddddd ds
0ddddddd de
'8'
00111000 38
'C'
01000011 43
'7'
00110111 37
ee=(INVERT('L'+'M'+...+ds+...+de)+1) AND
7Fh
CHECK SUM 0eeeeeee ee
'5'
00110101 35
'P'
DATA NAME 01010000 50
00100000 20
End Of Exclusive
11110111 F7
EOX
' '
All data is divided into 4 bit units.
End Of Exclusive
11110111 F7
EOX
5.13.2.14. Channel Library Bulk Dump Request
Format
System Exclusive Message
STATUS
ID No.
11110000 F0
01000011 43
Manufacturer's ID (YAMAHA)
n=0-15(MIDI Channel No.1-16)
SUB STATUS 0010nnnn 2n
FORMAT No. 01111110 7E
01001100 4C
Universal Bulk Dump
'L'
'M'
01001101 4D
' '
00100000 20
' '
00100000 20
'8'
00111000 38
'C'
01000011 43
'7'
00110111 37
'5'
00110101 35
'H'
DATA NAME 01001000 48
0mmmmmmm mm
m= 0-64 (Channel Library No.0-64)
End Of Exclusive
11110111 F7
EOX
210
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YAMAHA [PROFESSIONAL AUDIO WORKSTATION]
Model: AW16G
Date: Jan 30, 2002
Version: 1.0
MIDIImplementationChart
Function...
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
Memorized
Mode
X
X
**************
Note
Number
X
0–127
X
:True Voice
**************
Note On
Note Off
X
X
X
X
Velocity
After
Touch
Key’s
Ch’s
X
X
X
X
Pitch Bend
X
X
Control
Change
0-95,102-119
O
O
Assignable
Prog
Change
0–127
**************
0–127
0–96
Assignable
:True#
System Exclusive
O
O
*1
*2
:Song Pos
O
X
X
X
X
X
System
Common
:Song Sel
:Tune
System
Real Time :Commands
:Clock
O
O
X
X
*2
*2
:Local ON/OFF
X
X
X
X
X
X
O
O
Aux
Messages
:AllNotesOFF
:Active Sense
:Reset
MTC quarter frame message is transmitted.
MTCquarterframemessageisrecognized.(WhenMTCSyncmode)
*1: Bulk Dump/Request, MMC
Notes
*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
211
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Appendix
Specifications
Number of tracks
144 tracks (16 tracks + stereo
tracks) × 8 virtual
■ General Specifications
Frequency Response
Fader
13 × 45 mm
0 +1/–3 dB, 20 Hz–20 kHz
(MIC/LINE IN – STEREO OUT)
MIDI
MTC (Master/Slave), MIDI Clock
(Master), MMC (Master/Slave), Pro-
gram Change, Control Change,
Bulk Dump
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)
Memory
Scene memory, EQ library, dynam-
ics library, effect library, channel
library, sample library
Dynamic range
(Maximum level to Noise level) IHF-A
AC adaptor
PA-300
Power requirements U.S.A. & Canada 110–120 V,
50/60 Hz
109 dB typ.
103 dB min.
103 dB typ.
DA converter (STEREO OUT)
DA converter (STEREO OUT)
AD + DA (LINE IN to STEREO
OUT)
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)
97 dB min.
AD converter
DA converter
AD + DA (LINE IN to STEREO
OUT)
24-bit linear, 64-times oversam-
pling
Weight
4.4 kg (9.7 lbs)
Operating temperature range
24-bit linear, 128-times oversam-
pling
5° to 35° C
Options
Footswitch FC5, CD-RW Drive
CDRW16G
Internal processing 32-bit
Sampling frequency Internal 44.1 kHz ( 6%)
External 44.1 kHz ( 6%)
■ Mixer section
Audio input section
● Input/output
MIC/LINE
DIGITAL IN
8 channels
2 channels (optical stereo × 1)
MIC/LINE input
channel 1, 2 (balanced, XLR-type)
+48 V 3 V DC phantom powering
Audio output section
MONITOR OUT
PHONES
Input impedance
3 kΩ
–46 dB to +4 dB
–52 dB
2 channels (stereo × 1)
2 channels (stereo × 1)
2 channels (stereo × 1)
2 channels (optical stereo
× 1)
Nominal input level
Minimum input level
Maximum input level
STEREO/AUX OUT
DIGITAL OUT
+18 dB
MIC/LINE input
channel 3–8
(balanced, TRS phone jack)
3 kΩ
Mixer section
Total 36 channels
8 channels
Input impedance
Nominal input level
Minimum input level
Maximum input level
MIC/LINE INPUT
–46 dB to +4 dB
–52 dB
+18 dB
Internal effect return
Recorder monitor
Quick loop sampler
4 channels (stereo × 2)
16 channels
8 channels (stereo × 4)
MIC/LINE input (Hi-Z) channel 8
(unbalanced, phone jack)
Internal effects section
Multi-effects × 2
Input impedance
500 kΩ
Nominal input level
Minimum input level
Maximum input level
–46 dB to +4 dB
–52 dB
+18 dB
Bus section
Bus
Total 8 buses
2 (L/R)
2 (1/2)
2 (L/R)
2 (1/2)
AUX
STEREO
Effect
STEREO/AUX OUT L, R (unbalanced, phone jack)
Output impedance 150Ω
Nominal load impedance 10 kΩ
Internal HDD
20 GB 2.5" IDE
Nominal output level
Maximum output level
–10 dBV
+4 dBV
Maximum capacity per one song: 6.4 GB
Maximum songs 1,000 songs
MONITOR OUT
L, R (unbalanced, TRS phone jack)
Recorder resolution 16 bit linear (non-compressed)
Output impedance
Nominal load impedance 10 kΩ
Nominal output level
Maximum output level
150Ω
Maximum tracks of recording/playback simultaneously
8 tracks, Recording & 16 tracks,
playback
–10 dB
+4 dB
212
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PHONES
(unbalanced, TRS phone jack)
■ Controls
Nominal load impedance 8–40Ω
Maximum output level
ANALOG SECTION
100 mW + 100 mW
(40 Ω load)
INPUT [CH1-8] LINE/MIC VR
INPUT [CH1-2] PHANTOM +48V SW ON/OFF
OUTPUT LEVEL MONITOR/PHONES VR
DIGITAL STEREO I/O Optical
MIXER SECTION
* 0 dB= 0.775 Vrms, 0 dBV= 1.0 Vrms
WORK NAVIGATE
SONG/CD/TRACK/EDIT/UTIL-
ITY/REMOTE
● Digital mixer
QUICK NAVIGATE
CHANNEL SELECT
RECORD/MONITOR
INPUT1-8/TRACK 1-8/TRACK
[9/10]-[15/16]/STEREO
SCENE/VIEW/[PAN/BAL]/EFF1/
EFF2
Input channel (INPUT 1–8, TRACK 1–16, PAD 1–4)
Attenuator, Phase (normal,
reverse), EQ (4-band PEQ),
Dynamics, On/Off, Pan
MIXER
EQ
Internal effects return
EQ/DYN/HIGH/HI-MID/LO-MID/
LOW
EQ (4-band PEQ), On/Off, Pan
FADER
TRACK 1-8/TRACK [9/10]-[15/16]/
STEREO
Bus
Stereo L, R
Attenuator, EQ (4-band PEQ),
Dynamics, On/Off, Balance
SAMPLER SECTION
Bus L, R
Aux 1–2
EFF 1–2
QUICK LOOP SAMPLER
SELECT/PAD 1-4/EDIT
RECORDER SECTION
LOCATE
/
/IN/OUT/A/B/RTZ/MARK/
SET/CANCEL/AUTO PUNCH/
REPEAT
■ Recorder section
TRANSPORT
REW/FF/STOP/PLAY/REC
● Edit
COMMON SECTION
DATA ENTRY
UNDO/REDO
SOUND CLIP
JOG ON
Song edit
Track edit
Optimize, Delete, Copy, Import
/
/
/
/ENTER
Erase, Delete, Insert, Copy, Move,
Exchange, Time Compression/
Expansion, Pitch Change, Export,
CD import
ENCORDER
DISPLAYS
DATA/JOG
240 × 64 dot GRAPHIC LCD
(contrast control pot.)
● Others
Locate
Quick locate: RTZ, A/B, Last REC
In/Out
Mark: 1–99
■ Control I/O
MIDI IN
5-pin DIN
5-pin DIN
Phone jack
Punch I/O
Manual Punch I/O, Auto Punch I/
O
MIDI OUT/THRU
Foot switch
■ Quick loop sampler
POLYPHONY
RECORDABLE TIME
4 voices (stereo)
Total 44 seconds (stereo)
Edit function
NAME, TRIM, PLAYBACK, MODE,
ERASE, EXTRACT, CD IMPORT,
TRACK IMPORT
213
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Appendix
Dimensions
98.8
88.8
425
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
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Index
Loading 28
Mixing 30
Playing 29
Recall 78
A
C
DIGITAL IN jack
DIGITAL IN PATCH
DIGITAL REC ON/OFF
button 160
DIGITAL STEREO IN/OUT
jack 22
Dimensions 214
Writing 102
Ducking 176
Dynamics 50
EQ 50
Accessing a screen/page/
channel 23
Adjusting the input level
CD-R/RW drive
CD-ROM included with
Handling 10
Installing 10
media 97
Methods 98
Removing 11
Using 11
Recall 79
Compander 175
Compressor 174
Connect external devices
Connecting instrument or
mic 33
Connecting the AC adap-
tor 12
Recall 77
example of connections
Expander 175
Exporting WAV files and
importing audio
CD or WAV files
tone generator module
AMP 72
Assigning input signals
Assigning input signals
(Direct recording)
Erasing 105
Finalizing 104
Methods 98
Playing 106
rehearse 60
F
E
Fader 19
Features 13
Quick Loop Sampler
section 14
dynamics parameters
parameters of an inter-
Edit command
COPY 128
DELETE 127
ERASE 126
EXCHANGE 130
EXPORT 131
INSERT 127
MOVE 129
TIME COMP/EXP (Time
Compression/Ex-
pansion) 130
Editing a value in the dis-
play 24
List 126
effect 96
B
balance 57
PAN/BALANCE knob
Accessing a screen/
page/channel 23
Editing a value in the
display 24
Switching a button on/
off 24
Using the Selected
Channel section
bounce 81
controlling a tone genera-
Copyright 9
free space on the hard disk
Notice 5
Counter 23
COUNTER DISPLAY
G
Gate 176
Convenient functions
BPM 120
D
D.OUT COPYRIGHT ON/
buck up
H
Responsibility 9
Bus
BYPASS 94
terminology 16
215
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Appendix
POSITION 68
user-defined Remote
function 157
mixdown 81
Convenient functions
Preparing 83
Recording 86
playback 65
popup window
INPUT LIBRARY popup
window 77
INPUT SETTING popup
window 77
POSITION 68
PRECAUTIONS 3
Punch-in/out 59
I
Locator point/marker dis-
Index 215
INPUT CH MUTE/MIX
button 106
INPUT LIBRARY popup
window 77
INPUT SETTING popup
EFF 85
Viewing all parameters
M
MONITOR/PHONES
knob 18
MOTOR ON ACCESS/
marker 67
Adjusting the position
Erasing 69
icon 67
List 68
Locator point/marker
MARKER 68
MEAS 69
POSITION 68
Recall 78
MASTERING LIBRARY
MEAS 68
Q
PRE/POST 85
Delete 122
Editingthesamplename
Gate 119
Importing 112
Importing from an audio
track/stereo track
Switching the playback
mode 119
J
N
L
library 73
O
Assigning the input sig-
nal 56
Manual punch-in/out
Delete 75
Details 77
Naming 76
Recall 75
Storing 74
media 97
Erasing 105
metronome 47
MIC/LINE INPUT jack (Hi-
MIDI 149
Trigger 119
R
P
terminology 16
locator 65
RECALL CONFIRM ON/
Recording/playing a
Responsibility for loss of
terminology 16
Basic 150
DEV (device number)
Adjusting the position
Erasing 69
icon 66
Locator point/marker
marker 67
Paired channels
terminology 16
PHANTOM +48V switch
settings 150
MIDI OUT/THRU connec-
tor 22
PHASE 83
216
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Specifications 212
Stereo bus assign switch
STEREO/AUX OUT jack
S
W
Pairing 49
Sample bank and sample
terminology 16
WAVE DISPLAY popup
window 72
waveform 72
website 9
Recall 79
STORE CONFIRM ON/
Switching a button on/off
System data
terminology 16
Restoring 147
Sampling 115
Editingthesamplename
Trimming 118
Sampling an external in-
Saving the current song 63
scene
Troubleshooting 194
Turning the power on/off
T
Tempo map
Naming 76
U
terminology 16
terminology 15
Bus 16
About 73
UNDERRUN PROTECT
button 99
UNDO LIST popup win-
dow 61
Checking 160
Channel 15
Library 16
Details 77
Recall 79
Sample bank and sam-
ple 16
Scene and scene memo-
ry 16
Song 16
Tracks 15
TIME 72
tone generator module
Storing 74
terminology 16
Selected Channel section
SLICE 120
Song 137
D.OUT COPYRIGHT
ON/OFF button
Digital input settings
initializing the internal
RECALL CONFIRM ON/
AW2816 148
AW4416 148
Copy 140
Delete 140
Editing the song name
Data entry/control sec-
tion 20
SOUND CLIP TIME 162
STORE CONFIRM ON/
management 137
Optimizing 141
Restoring 147
terminology 16
song
Display 18
Quick Loop Sampler
section 18
Selected Channel sec-
tion 19
Work Navigate section
Writing 100
V
VARI PITCH ON/OFF but-
ton 160
Loading 64
Saving 63
Recording/playing 35
Switching 62
terminology 15
217
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V905320 XXXIPXXX.X-XXC0
220 Printed in Taiwan
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2002 Yamaha Corporation
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