background image

27

Tutorial

Glossary

■ 

A/D converter

A circuit that converts an analog audio signal into a 
digital audio signal.

■ 

AD/DA

Conversion of an audio signal from analog to digital, 
or from digital to analog. All processing within the 
AW2816 is performed in digital form, but when an 
analog audio signal is input, it passes through AD 
conversion, and when sound from the AW2816 is 
monitored (*see entry), it passes through DA conver-
sion.

■ 

AES/EBU

This is one of the professional formats for exchanging 
digital audio signals, and is a versatile format used on 
many devices. The MY8-AE (separately sold option) 
which can be installed in the YGDAI slot (*see entry) 
provides a D-sub 25 pin connector that can simulta-
neously transmit and receive eight channels of digital 
audio signals.

■ 

ATAPI

A specification for CD-RW drives that can be installed 
in the AW2816. The specification is the same as IDE, 
but on the AW2816 this term is used to distinguish it 
from the internal hard disk.

■ 

Audio source

A collective term for the signals that are input to a 
mixer or recorder. In the field of recording, the similar 
terms “tone generator” or “sound module” usually 
refer to an electronic instrument that produces sound, 
such as a synthesizer.

■ 

Automix

A function by which operations of mixer parameters 
such as knobs and faders are recorded along the time 
axis defined by the AW2816’s internal time code or 
externally-received MTC (*see entry), and can repro-
duce these movements during playback.

■ 

AUX

Stands for “auxiliary.” Signal output destinations used 
when using the two internal effects of the AW2816, or 
when using an external effect processor.

■ 

Bus

An audio signal route within the AW2816’s mixer sec-
tion, used to combine multiple channels (*see entry). 
Normally you will not need to be aware of buses if 
you use the QUICK REC function to prepare for 
recording. However you can also use buses to per-
form more sophisticated recording or mixdown tech-
niques.

■ 

Channel

A signal routing unit through which a sound that is 
input to the mixer section is adjusted by volume and 
pan (*see entry) and then output. The mixer section of 
the AW2816 provides a total of 28 channels, includ-
ing the recorder playback and the outputs of the two 
effects.

■ 

Chase

A state in which the AW2816 is receiving MTC (*see 
entry) from an external device and running in syn-
chronization with it. A standby state in which syn-
chronization operation is possible is sometimes called 
“chase on” or “chase standby.”

■ 

Coaxial

Refers to a type of connector that carries IEC60958 (S/
P DIF) format digital audio signals.

■ 

Compressor

An effect that lowers the volume when the input 
sound exceeds the specified Threshold level, or boosts 
the sound when it is below this level, in this way mak-
ing the overall volume more consistent.

■ 

D/A converter

A circuit that converts a digital audio signal into an 
analog audio signal.

■ 

Default setting

The state of a setting when a device is purchased or 
powered-on. Also called “factory setting” or “initial 
setting.” The AW2816 can be restored to the default 
settings by recalling scene memory 00.

■ 

Dithering

When a digital audio signal is transmitted to a device 
with a lower quantization (*see entry), dithering com-
bines some of the rounded-off portion with the data 
that is retained (i.e., instead of simply discarding the 
lower-value bits), in order to reduce the noise that is 
generated by this conversion. Since this changes the 
data itself, there are situations in which it is better not 
to apply dithering.

■ 

Dynamic range

The range from maximum volume to silence, 
expressed in dB (decibels). This is one aspect from 
which you can determine the accuracy with which a 
certain device can handle audio signals.

■ 

Dynamics

Refers to changes in the volume; for example if the 
volume varies dramatically between loud and soft, 
one might say that there is “a lot of variation in the 
dynamics.” Effects such as compressor (*see entry) or 
limiter (*see entry) that are used to compensate the 
volume are referred as “dynamics effects.”

■ 

Equalizer

A function that adjusts the sound by boosting/cutting 
a specific frequency band (*see entry) of the sound 
that is input to that channel. On the AW2816, a four-
band parametric equalizer with adjustable frequency 
and AW2816 (*see entry) is provided on every chan-
nel.

■ 

Frequency band

Refers to a point or area on the frequency axis of 
sound, from low to high ranges. This term is used 
when specifying the point at which an equalizer (*see 
entry) will adjust the sound.

Summary of Contents for AW2816

Page 1: ...PROFESSIONAL AUDIO WORKSTATION PROFESSIONAL AUDIO WORKSTATION E Tutorial Tutorial...

Page 2: ...you already have experience using a digital mixing console or digital recorder operating the AW2816 will soon feel completely natural to you and you will quickly be amazed at the astounding amount of...

Page 3: ...c guitar 11 Adding the lead vocal 11 Adding the chorus 11 Listening to the rough mix 11 Saving the song 11 Saving the scene 11 Step 3 Assembling the mix for each part 12 Channels 1 2 Bass drum and sna...

Page 4: ...rding the bass at an early point in the process will clarify the chord pro gression of the song and will make it easier for you to perform overdubbing later Parts that contribute to the rhythmic feel...

Page 5: ...so adjust the fader and check whether sound is being input from each mic into the AW2816 You will be able to record with the best quality sound if the level is adjusted as high as possible without al...

Page 6: ...and set OUT THRU to OUT For each of these move the cursor to the setting and press ENTER to change the setting Then use a MIDI cable to connect the AW2816 s MIDI OUT connector to the MIDI IN connecto...

Page 7: ...of the screen slightly toward the right side For this example we will assume that you have selected 01 Press the STORE key of the SCENE MEMORY section You will be asked to input a name for the scene...

Page 8: ...orded it will be impossible to make any changes in that effect afterward In particular applying equal izer EQ or spatial type effects during recording may limit your freedom during mixdown In some cas...

Page 9: ...tray and load the CD 5 The demo song Can you feel it will appear in the on screen list Move the cursor to the RESTORE SONG area and press the ENTER key The RESTORE SONG but ton will change from DISAB...

Page 10: ...nt space Narrow and tight Distant Nearby Are there any instruments that share a similar fre quency range and might conflict with each other Distorted electric guitar and organ are good exam ples of th...

Page 11: ...l on The kick and snare are recorded on tracks 1 and 2 respectively Adding the drum overhead tracks Use the following procedure to pair the monitor chan nels 1 Hold down the channel 3 SEL key and pres...

Page 12: ...n to a section of the song where the lead vocal is heard together with the chorus and adjust the level of the chorus section Turn on channels 13 14 15 and raise the fader levels to a point where they...

Page 13: ...FTER PAN At this stage of the mixdown you need to hear the tracks with the EQ dynamics and other effects applied Normally when you use the Solo function to monitor you will hear only the dry sound of...

Page 14: ...Move the cursor to ON OFF and turn dynamics ON for the selected channel 4 Use the CURSOR keys and the DATA JOG dial to make the following dynamics set tings for the overhead mic channels Since channe...

Page 15: ...to make the following dynamics set tings DYNAMICS Comp Channel 6 Acoustic bass We will lower the LOW 35 Hz region by 7 5 dB to add warmth to the sound By lowering the L MID 111 Hz region by 2 5 dB we...

Page 16: ...DYNAMICS Expander Channel 7 Percussion For the percussion channel we will cut the 125 Hz region by 8 0 dB to reduce the weight of the low range making the sound a bit lighter In the dynamics section...

Page 17: ...ness EQ ATT 11 dB Type Compander Soft Channel 9 Piano Since this has an overall familiar tone we will leave it essentially unchanged A slight boost in the 500 Hz region will bring out the core of the...

Page 18: ...hard compander Type Compander Hard EQ ATT 7 dB Channel 11 Organ We will boost the mid range that adds a distinctive character to the organ sound DYNAMICS OFF EQ ATT 7 dB Threshold Ratio Out Gain Atta...

Page 19: ...te level and panning adjustments to create a good mix with the chorus 3 middle monaural of channel 15 So that it does not interfere with the lead vocal we will emphasize part of the mid range so that...

Page 20: ...der level as appropriate Since the level is also affected when you adjust EQ or dynamics you will find it necessary to adjust it as well Saving the song To save the song press the WORK NAVIGATE sectio...

Page 21: ...se Preset scene By recalling the preset scene number 04 STEP4 MIX you can hear the reverb and other settings that will be explained below By now you probably know how to recall a scene but if you are...

Page 22: ...in from applying reverb to the synthesizer Instead we will use Symphonic for effect 2 This effect is used mainly to add depth a sense of speed and a stereo feeling horizontal spread to synthesizer sou...

Page 23: ...ts and the reasons for the change Turn auto mix on and watch how the faders and channel ON keys change as the song progresses Use the following procedure to turn automix on 1 In the AUTOMATION section...

Page 24: ...empha size the backing in the lower register 4 Synth Approximately 1 30 into the song the fader will be turned ON Then at about 2 25 the fader will be lowered creating silence during the break At abo...

Page 25: ...ng back at someone else s home The ideal mastering environment is one with as little reverberation as possible and in which the recorded sound and effects are reproduced as faithfully as pos sible the...

Page 26: ...ding the song to the stereo track On the AW2816 you must first record the mixed song onto the stereo track and then write that stereo track to the CD Once you are satisfied with the master EQ and comp...

Page 27: ...and mixdown functions that we were not able to introduce in these pages We hope you will make full use of these capabilities and even develop tech niques that are not mentioned in the AW2816 s Owner s...

Page 28: ...otal of 28 channels includ ing the recorder playback and the outputs of the two effects Chase A state in which the AW2816 is receiving MTC see entry from an external device and running in syn chroniza...

Page 29: ...top and Record Monitor The headphones or speakers used to reproduce the sound that is output from the AW2816 Also used to refer to the act of listening to the playback from the headphones or speakers...

Page 30: ...eing performed each second If this number is higher a broader frequency range of sound can be captured as data Scene memory A function that collectively saves the parameter set tings of the AW2816 s m...

Page 31: ...YAMAHA CORPORATION V766850 R1 1 IP 32 Pro Audio Digital Musical Instrument Division P O Box 3 Hamamatsu 430 8651 Japan 01 08 3500 AP Printed in Japan...

Reviews: