Mettouchi, Amina, 2003, "Contrastive Focalization on Clefts in Taqbaylit Berber", in Proceedings of IP2003 Interfaces Prosodiques, Nantes, France, 27-28-29 March 2003, A. Mettouchi & G. Ferr (eds), pp.143-148.
Contrastive Focalization on Clefts in Taqbaylit Berber

Amina Mettouchi

Abstract : This article investigates the prosodic characteristics of clefts in Taqbaylit Berber (Afroasiatic). The location of the F0 peak on the 'relative pronoun' rather than on the focused XP leads us to study the syntactic and informational structure of those clefts. Following Hedberg (2000), we analyze the 'relative pronoun' as the head of the cleft sentence and the XP as its dependent. We ascribe the location of the pitch prominence to the head-marking nature of Taqbaylit Berber. 1. Introduction Taqbaylit is a Berber language spoken in the North of Algeria, belonging to the Afroasiatic phylum. Its accentual phrase is defined by the verbal or nominal core accompanied by its clitics. NPs are accented on the penultimate syllable, while VPs are accented on the last full vowel of the phrase, or the last syllable of the verbal core (Chaker, 1991). Taqbaylit's non-plastic intonation pattern (in the sense of (Vallduv, 1991)) correlates with important word order variation, which in turn reflects information structure (topic/focus articulation). In Taqbaylit Berber, what we shall call 'clefts' are realized by a nonverbal constituent (XP), preceded by particle "d" if the XP is neither adverbial nor quantificational, and followed by a clause (which we will call the 'cleft clause') introduced by marker 'i'. d a@rum i necca d bread i we-eat(perfect/ive) It is bread that we ate/have eaten. Generally speaking, clefts are not necessarily correlated to contrastive focus, as shown for instance in (Prince, 1978), (Geluykens, 1991), (Clech-Darbon & al., 1999), and (Rialland & al., 2002). Similarly, contrastive focus appears in nonclefted structures, as shown for instance in (Selkirk, 2002). Our study concentrates on contrastive-focus clefts, which will be defined in terms of information structure and morpho-syntax. 2. Methodology This work is based mainly on spontaneous recordings, but also on elicited materials (presented in (Mettouchi, Smal & Louali, to appear)). Elicitation consisted in exchanges initiated by the researcher, in Taqbaylit Berber. Two speakers were recorded (a man and a woman), and various items used as XPs. Three types of structures were elicited : a) Isolated XP (by asking the question "what is it?" in front of a picture), to obtain a citation form, b) d + XP (by asking the question "what did we eat for lunch, I can't remember ?"), to obtain an informative utterance, c) d + XP + cleft clause (by telling the speaker "tell me that it is bread and not meat that we ate at lunch"), to obtain an utterance with contrastive focus. Spontaneous recordings were made in Kabylie, Algeria, in June 2002. The recordings used for this study involved two monolingual female speakers, aged 52 and 55, discussing the family's genealogy. Spontaneous and elicited materials were recorded on MiniDisks (Sharp MD-MT99), using a microphone per speaker (Sony ECM-717). The acoustic analysis was conducted with Praat. 3. Results Elicited materials showed that for contrastive clefts, the location of the F0 peak was not on the XP (as is the case in many languages), but on the marker introducing the cleft clause, "i".

Universit de Nantes (Acoustique Acquisition Interprtation) & INALCO, Paris (Centre de Recherche Berbre). mailto:amina.mettouchi@humana.univ-nantes.fr.
The pitch track just below shows the location of the F0 peak (with a value of 252 Hz for this example).

0 da grum i nCa

0 Time (s)

1.10403

Figure 1: d a@rum i necca We can notice that the contour is the mirrored-image of English or French contours for similar utterances. It features an upstep from 145 Hz on the first vowel, to 175 Hz on the second, to 252 Hz on marker "i", then a steep fall on the last syllable to 150 Hz (measured at 2/3 of the vowel). The second remark concerns the location of the F0 peak, which is on marker "i", and not on the semanticopragmatic focus, a@rum. There is therefore a lack of alignment between the semantico-pragmatic focus and the prosodic focus. The same contour and location were observed for various items in the contrastive clefts produced by the two speakers under elicitation. Besides, this prosodic realization is not idiosyncratic. It is regularly observed in our spontaneous corpus. Those results call for investigations : is this realization typical of contrastive clefts ? How can we analyze those clefts syntactically ? How can we account for this particular mapping of the morpho-syntactic and the prosodic levels ? 4. Discussion The systematic lack of alignment between semantic focus and intonational focus points to prosody/syntax and prosody/information structure interfaces. We shall start with the study of information structure, based on examples taken from our spontaneous corpus1. The sound files and full transcripts are on the accompanying CDRom. 4.1. Prosody and information structure Prince (1978), in her study of wh- and it- clefts in English, classifies them according to the "known" vs "given" character of their presupposition. GIVEN refers to "information which the cooperative speaker may assume is appropriately in the hearer's consciousness", and KNOWN to "information which the speaker represents as being factual and as already known to certain persons (often not including the hearer)" (1978:903). The cleft-clause of contrastive itclefts, which resemble the most the Taqbaylit structures under study, is associated to known information, while the XP in focus is associated with new information. Further examination of the givenness hierarchy (Gundel et al., 1993), applied by Hedberg (2000) to clefts, allow to distinguish between various cleft-clause types (Hedberg, 2000:899-903). In our Taqbaylit data, only one of those types was found, namely the "in focus"2 type, in which the content of the cleft clause can be assumed to be already in the addressee's focus of attention. However, this status does not necessarily entail the removability of the cleft clause in Taqbaylit. Many thanks to the speakers : Sad Doumane, Zouina and Yamina-Zahra Mettouchi, Ouzna Ouaksel. This term must not be confused with the prosodic or the pragmatic focus. 'In focus' only means that the presupposition is considered as being in the addressee's current focus of attention.

Starting from the data, in a bottom-up perspective, we managed to identify three types of clefts : 1) Clefts which are actually non-contrastive and non-restrictive. For instance :
tlata yergazen i D yegga three men i proximal particle he-leave(perfect/ive) three sons he left
It is difficult to provide a translation, since an it-cleft would here point to a contrast which is not intended in the Taqbaylit example. This utterance is simply the summarized reformulation of the answer to the question "who did he leave (=give birth to)", which was "he left three sons" (yegga D tlata yergazen). The cleft clause is here a reminder of the topic under discussion, and this reordering of constituents is typical of subtopic closure in Taqbaylit discourse : the speaker here indicates that she is considering shifting to another subtopic, which she does when she broaches the subject of those three sons' descendants. The cleft clause is 'in focus' : it can be truncated and is immediately recoverable from the context. What is more, the argumentative status of the structure is neutral. By this, we mean that the speaker is not presenting her own viewpoint in opposition to her co-speaker's. Both speakers agree on the XP tlata yergazen. The F0 measures are 235 Hz (tlata), 192 Hz (yergazen), 178 Hz (i), 145 Hz (D yegga). 2) Clefts which are restrictive but not contrastive. For instance :
ala Aemar i yesea only Aemar i he-have(perfect/ive) (come on, you know that) he only has Aemar.
In the preceding context, speaker B had enumerated Qrif's five children by name. Speaker A miscalculated and summarized the list as 'three daughters and one son'. Speaker B rectified the number of daughters, but speaker A, following her own train of thoughts deduced that if there were five children, and among them three daughters, then there must be two sons. It is this last statement which is rejected by speaker B, not as a competing opinion, but as an appeal for common sense. The utterance could be glossed "oh come on, you know that, he has only Aemar (therefore he cannot have two sons)". This pragmatic context, where we do not have a common presupposition and competing foci (Aemar and another son vs Aemar only, in a closed set), but a common presupposition and a restrictive focus (one vs more than one sons, in an open set) supposedly shared by both speakers, triggers a pitch prominence that is still on marker "i", but lower than the preceding pitch prominence, on the restrictive adverbial "ala". The F0 measures are 280 Hz (ala), 190 Hz (Aemar), 221 Hz (i), 183 Hz (yesea).
0 tlata 0 Time (s) yergazen i D yegga 1.03959
0 ala 0 Time (s) Aemar i yesea 1.06812
Figure 2: tlata yergazen i D yegga 3) Clefts with a contrastive focus. For instance :

Figure 3: ala Aemar i yesea
d lhag Rabah i yu@en sebea d lhag Rabah i he-marry(perfect/ive) seven it is lhag Rabah who married seven (women)
Here the XP (lhag Rabah) is selected in contrast to another one, also mentioned in the previous context (lhag Tahar). The F0 measures are 223 Hz (d lhag Rabah), 339 Hz (i yu-), 169 Hz (-@en sebea). The other speaker does not agree, since she utters the following sentence (with the following F0 measures : 247 Hz (d Tahar), 358 Hz (i), 337 Hz (yu-), 171 Hz (-@en sebea)) :
d Tahar i yu@en sebea d Tahar i he-marry(perfect/ive) seven it is Tahar who married seven (women)
In the last contrastive cleft of our short excerpt, there is a shift in the presupposition, from the identity of the man who married seven women to the number of women lhag Tahar married. But we still have a contrast (implying comparison) between three and seven. The F0 measures are 183 Hz (tlata), 230 Hz (i), 159 Hz (yu@).
jeddi lhag Tahar tlata i yu@ grandfather lhag Tahar three i he-marry(perfet/ive) my grandfather lhag Tahar, he married THREE women
d lhag 0 Time (s) Rabah i yughen sebea 1.Time (s) d Tahar i yughen sebea 1.12617
Figure 4: d lhag Rabah i yu@en sebea
tlat(a) 0 Time (s) i yugh
Figure 5: d Tahar i yu@en sebea

0.787981

Figure 6: tlata i yu@ It is obvious from the contours in figures 4 to 6 that contrastive focalisation on clefts triggers F0 peaks on marker "i", with very high differential values : if we compare the first and the second types (figures 2 & 3) to the third one (figures 4 to 6), it appears that in the latter, extreme peaks, sometimes at the limits of the speaker's pitch range, can be observed, whereas types 1 and 2 (figures 2 and 3) consistently show medium pitch prominence on marker "i".
Our claim is that this variation in pitch height signals the degree of convergence in the speakers' XP choices. If the speaker who utters the cleft anticipates divergence from speaker B, then the F0 peak will be very high. If not, it will be medium high. Those observations are consistent with the remarks made on French by Morel & Danon-Boileau (1998). According to those authors, F0 variation (in terms of degree of prominence, not peak location) can be ascribed to what they call "co-nonciation", namely the way a speaker imagines and anticipates the other speaker's viewpoint on the linguistic representation they are jointly building. F0 extremely high values point towards diverging, competing viewpoints. Setting aside these quantitative variations of F0 values on "i", we can notice that marker "i" is the systematic locus of a pitch prominence, whereas the XP is not. This leads us to examine the syntax/prosody interface. 4.2.Prosody and Syntax This location of the pitch prominence on marker "i" instead of on the semantico-pragmatically focused XP is systematic in Taqbaylit. This is a strong argument in favour of the 'structural FTA' approach and against the 'radical FTA' view, which states that "accents are direcltly meaningful signals of focus or discourse salience". Obviously here, "focus involves language-specific constituent structure, and language-specific principles (or general structural principles [.]) relating individual accents to constituents of various sizes" (Ladd, 1996:167). Indeed, as stated by Van Valin & LaPolla (1996:209), following Lambrecht (1994) : "the new information in the focus is not the constituent itself, but the establishment of a relationship between the referent and the presupposed proposition". Our claim is that this placement of the prosodic focus is correlated with the head-marking nature of the language, which implies that syntactic relations be morphologically marked on the head of a constituent (vs the dependent) (Nichols, 1986). This feature of Taqbaylit is manifest for instance in the fact that in this language, a minimal utterance must be composed of a predicate with a subject clitic (yeswa, he drank), which can be expanded by an NP (Aeli yeswa / yeswa Aeli, Ali drank (lit. Ali he drank / he drank Ali)). Objects can appear directly as NPs (yeswa lbirra, he drank (the) beer), or if they appear in the form of a clitic, they can be expanded by an NP (lbirra yeswa t, he drank the beer (lit. beer he drank it)). Those expansions are unmarked3, and their positions are linked to their informational status in the givennness hierarchy. Syntactically speaking, Taqbaylit clefts generally involve particle "d", which is in fact a copula, and obligatorily involve marker "i", which is a grammaticalized nominal called "support de dtermination" in Berber studies. According to Galand (1984:93), "i" is both an antecedent and a relator, and can be glossed by "celui" ( "that which"). This, and other factors which cannot be summarized here for lack of space, leads us to analyze the cleft structure in the following way : d a@rum i necca d bread i we-eat(perfect/ive) cop. bread cleftpro+rel. we-eat(perfect/ive) It is bread that we ate/have eaten. The abbreviation "cleftpro+rel" refers to the fact that the status of "i" is not that of a simple relative marker. This analysis based on the distribution of marker "i" in Taqbaylit and on cross-dialectal comparison, is consistent with Hedberg's (2000) assumptions about the link between cleft pronoun and cleft clause in English : "the cleft pronoun and the cleft clause form a discontinuous constituent because they function together pragmatically and semantically like a definite description" (2000:917). Definite descriptions "can be viewed as comprised of two parts : an INDEXICAL component, which is expressed by the determiner head and determines the relation of the referent to the context, and a DESCRIPTIVE component, which is expressed by its nominal complement and describes the referent" (2000:894). Hedberg adds that "treating the cleft pronoun and cleft clause as forming a discontinuous definite description allows the function of identificational focus to automatically be assigned to the clefted constituent via the copula". This analysis seems to fit very well with the Taqbaylit cleft structure : the "i+cleft clause" can be considered referentially as a unit (a definite description), and the XP can be viewed as a semantic expansion which represents the referent. As the determiner of the definite description, "i" is the head of the unit.

Except for the subject expansion in postcore position.
If the cleft pronoun is analysed as the head of the cleft structure, and the focused XP as its dependent in both English and Taqbaylit, one still has to explain why the F0 peak is on "i" in Taqbaylit and on the XP in English or French. Our proposal is to ascribe this difference to the typological feature of head- versus dependent-marking. In English or French clefts, the intonational focus is located on the dependent, the XP. In Taqbaylit clefts, the intonational focus is located on the head, marker "i". This hypothesis should be tested with other head-marking languages, but if it proves correct, then we could postulate that the head- versus dependent-marking feature is not only valid at the level of morphosyntax, but also at the level of prosody. 5. Conclusion In this paper, we have investigated the prosodic characteristics of clefts in Taqbaylit, concentrating on contrastive-focus clefts. Two factors have been studied : the pitch contour on the one hand, and the location of the F0 peak, on the other hand. Pitch contour, together with degree of pitch prominence and constituent order variations, signal information structure and pragmatic value in terms of co-enunciation. The location of the intonational focus is related to syntactic and typological factors. Having determined that the head of the cleft sentence was marker "i" and the dependent the XP, we proposed to consider that focus placement was linked to the head- versus dependent- marking nature of Taqbaylit Berber. 6. References Chaker S. 1991, "Elments de prosodie berbre, quelques lments exploratoires", Etudes et Documents Berbres n8, p.5-25. Chafe W. 1987, "cognitive constraints on information flow", in Tomlin R. (ed), Coherence and grounding in discourse, Benjamins, Amsterdam-Philadelphia, p.21-52. Clech-Darbon, A, Rebuschi G. et Rialland A., 1999, "Are there cleft sentences in French ?", in The grammar of Focus, Rebuschi & Tuller (eds), Benjamins, Amsterdam-Philadelphia, p.83-116. Galand L., 1984, "Typologie des propositions relatives, la place du berbre", in LALIES, Actes des sessions de linguistique et de littrature 6, Presses de la Sorbonne Nouvelle, Paris, p.81-101. Geluykens R., 1991, "Discourse functions of it-clefts in English conversation", Communication & cognition, vol.24, n 3&4, p.343-358. Gundel J., Hedberg N. & Zacharsky R., 1993, "Cognitive status and the form of referring expressions in discourse", Language vol.69, n2, pp.274-307. Hedberg N., 2000, "The referential status of clefts", Language vol. 76, n4, pp.891-920. Hirst D. & Di Cristo A. (eds),1998, Intonation Systems. A survey of twenty languages. CUP Ladd D.R., 1996, Intonational phonology, CUP. Lambrecht K., 1994, Information structure and sentence form, CUP. Louali N. & Mettouchi, A. 2002, Structures intonatives en berbre : l'nonc prdicatif particule 'd'', Proceedings of SP2002, B. Bel et I. Marlien (eds), Aix-en-Provence, p.463-466. Mettouchi, A., Smal N. & Louali N., to appear, "Intonational Structures in Berber : The non-verbal predicate d+XP in Tarifit and Taqbaylit", Proceedings of the Bayreuth-Frankfurter Internazional Kolloquium zur Berberologie (11-13 July 2002), D. Ibriszimow & R. Vossen (eds). Morel M.-A. & Danon-Boileau L., 1998, Grammaire de l'intonation, Ophrys, Gap-Paris. Nichols J., 1986, "Head-marking and dependent-marking grammar", Language 62, p.56-119. Prince E., 1978, "A comparison of wh- clefts & it-clefts in discourse", Language 54, vol. 4, p. 883-906. Rebuschi G, & Tuller, L. 1999, "The grammar of focus, an introduction", in The grammar of Focus, Rebuschi & Tuller (eds), Benjamins, Amsterdam-Philadelphia, p.1-22. Rialland A., Doetjes J. & Rebuschi G., 2002, "What is focused in cest XP qui/que cleft sentences in French", Proceedings of SP2002, B. Bel et I. Marlien (eds), Aix-en-Provence, pp.595-598. Selkirk L., 2002, "Contrastive FOCUS vs. Presentational focus : Prosodic Evidence from Right-node Raising in English", Proceedings of SP2002, B. Bel et I. Marlien (eds), Aix-en-Provence, p.643-646. Vallduv, E., 1991, The role of plasticity in the association of focus and prominence', Proceedings of the Eastern States Conference on Linguistics (ESCOL) 7, pp. 295-306. Van Valin, R.D. & LaPolla, R.J. 1997, Syntax, CUP.

Storing the unit

Avoid using or leaving the unit in the following places. z Places exposed to direct sunlight for many hours (especially in cars with the doors and windows closed) or near heaters. (The cabinet may deform, change colour or the unit may malfunction.) z Places exposed to excessive dust. z Places exposed to water.
z Do not play the unit at a high volume. Hearing experts advise against extended listening at high volume levels. z If you experience ringing in your ears, reduce the volume or discontinue use. z This portable MD should only be used within the range of 0C - 40C (32F - 104F). To avoid accidental electric shock or other possible problems, observe the precautions listed below. z Do not disassemble or modify the unit. z Do not drop or subject the unit to shock. z Do not use the unit near open flames. z Do not spill liquid on the unit. z Do not use an external power supply, other than the 5V DC supplied with this unit, as it may damage it. z SHARP is not responsible for damage due to improper use. Refer all servicing to a SHARP authorised service centre.

-Precautions-

z Places where temperatures are excessively high or low.
z Places (bathrooms) where the humidity is extremely high. z Places with strong magnetic fields such as TVs or loudspeakers. z Places exposed to vibration. z Places where sand can easily enter the inside of the unit (beaches etc.). z If the unit is used near radio tuners or TVs, noise and/or picture interference may result. If you experience these problems, move the unit away from such devices. z It is not recommendable to put the MiniDisc into a rear pocket, as this may damage the product when sitting.

Inserting a MiniDisc

Slide the OPEN lever to release the compartment door. Lift it up. Insert a MiniDisc as shown.
Notes: z Do not place the MiniDisc under the holder.
z If any resistance is felt, do not force the MiniDisc into the unit, as it may cause damage to the unit. If resistance is felt, remove the MiniDisc and reload it. z The lid cannot be opened if "TOC" is displayed; refer to the instruction on page 11.

99secl_E_2.fm

-Inserting a MiniDisc-
Close the compartment door.

Preparation

Connections
You can record your favourite CDs or tapes to MD.

-Connections-

Recording
Press the ing level. or button to adjust the record-
Analogue recording Adjust the recording level so that the maximum sound volume from the source makes the reading swing somewhere between -4 dB and 0 dB.

Basic Operation

Level meter indicator

-Recording-

Digital recording You can adjust the level in 1dB increments within the range of +12 - -12dB.
Once you adjust the digital recording level, the setting remains even after the recording stops. (For cancellation instructions, see page 32.) Press the REC button. Begin playback on the stereo system connected to this portable MD.

About sampling rate converter
This portable MD incorporates a sampling rate converter meaning it can record from digital radios or DAT tape recorders.
Note for digital recording
To add a recording to such a MiniDisc, slide the accidental erase prevention tab back to its original position.
Helpful tip when attaching a label
When attaching a label to an MiniDisc cartridge, be sure to note the following. If the label is not attached properly, the MiniDisc may jam inside the unit and it may not be possible to remove it. z If the label peels off or partially lifts away, replace it with a new one. z Do not put a new label on top of an existing one. z Attach the label only in the specified location.

Digital signals

Digitally recorded MiniDisc

Cannot record

You cannot copy a MiniDisc that you recorded from digital inputs to another MiniDisc or DAT. It is prevented by the SCMS (Serial Copy Management System). Recording from analogue inputs is not affected.

Playback

-Playback-
Insert the headphones plug firmly into the headphones socket on the remote control. Plug the remote control into the REMOTE socket on the unit. Insert a MiniDisc (page 6). Press the PLAY/PAUSE button. Playback starts automatically with a playback only MiniDisc or a MiniDisc which is protected against accidental erasure (Auto-play function).

Volume control

Press the VOL+ button to increase the volume and the VOL- button to decrease the volume. Volume (0-30)

Bass control

BASS 1 BASS 2 BASS 3 BASS OFF
Emphasised slightly Emphasised more Emphasised fully Cancelled
Each time the BASS button is pressed, the tone will be switched as follows.
To interrupt playback Press the PLAY/PAUSE button. To resume playback, press the PLAY/PAUSE button again. To stop playback Press the /:OFF button. If the unit is not operated for at least 2 minutes whilst in the stop mode, the power will shut off automatically. To turn off the power Press the /:OFF button whilst in the stop mode.
Notes: z If power failure occurs whilst playing a disc using the AC adaptor, disconnect it from the wall socket. Otherwise, playback may start automatically when electricity resumes. z If you connect the AC adaptor without installing the rechargeable battery, playback may start automatically. Be sure to turn off the power. z Reduce the volume before starting to play. MiniDiscs, compared to ordinary cassette tapes, have very little noise. If the volume is adjusted according to your usual expectations of noise, high volume may damage your hearing. z The sound escaping from your headphones may annoy people around you. In particularly crowded places (such as on trains or buses), reduce the volume.

Advanced Playback

To locate the beginning of a track
To move to the beginning of the next track: Press the button during playback.
To restart the track being played: Press the button during playback.

Useful Features

-Advanced Playback-
To locate the next track: Press the button whilst the unit is stopped.
To locate the desired portion
For audible fast forward: Press and hold down the For audible fast reverse: Press and hold down the button during playback. or z Normal playback will resume when the button is released. button during playback.
To locate the previous track: Press the button whilst the unit is stopped. z To skip a number of tracks at one time, press the or button repeatedly until the desired track number is shown. z When you press the PLAY/PAUSE button, playback starts from the beginning of the track.
z When the end of the last track is reached during fast forward, the unit will enter the pause mode. When the beginning of the first track is reached during fast reverse, the unit will enter the playback mode.

99secl_E_4.fm

Random play or repeat play
During playback, press the MODE/CHRG button repeatedly to select the playback mode.
RANDOM RANDOM Random play Repeat play of tracks in random order Repeat play of all of the tracks

1 No display

Repeat play of a single track Normal playback

To play at double speed

Press the ENTER/SYNC button whilst a MiniDisc recorded in the monaural mode is being played.
z If a track recorded in the stereo mode is reached during fast playback, the fast playback mode will be cancelled. z Depending on the contents recorded on a MiniDisc, it may be difficult to hear them.
To interrupt fast playback
Press the PLAY/PAUSE button during playback. When the PLAY/PAUSE button is pressed again, the unit will resume fast playback.
Notes: z If the playback mode is selected whilst stopped, press the PLAY/PAUSE button to start playback. z When "TOC" is displayed, random play or repeat play is impossible. z In random play the unit will select and play tracks automatically. (You cannot select the order of the tracks.) After all of the tracks have been played once each in random order, the unit will stop automatically. z During random, random repeat, or single track repeat play, you can forward or reverse the MiniDisc only within the track being played. z During random play, the unit cannot find the beginning of any track which has been played. z Repeat play lasts until you stop the unit.
To return to normal playback
Press the ENTER/SYNC button.

Advanced Recording

Long-play recording
2 times and 4 times long recording Double or quadruple time of stereo recording is possible. Monaural recording In monaural, you can record twice as long as the stereo recording. A track recorded in monaural can be played back in double speed, see page 16.

When a recording is paused, press the MODE/ CHRG button repeatedly to select the recording mode. Each time the button is pressed, the display will change as follows.

-Advanced Recording-

Start recording.
The recording mode remains unchanged until a new mode is selected.

No display LP2 LP4 MONO

Stereo 2 times long (stereo) 4 times long (stereo) Monaural
MAX. 80 min. MAX. 160 min. MAX. 320 min. MAX. 160 min.

About ATRAC

The ATRAC (Adaptive TRansform Acoustic Coding) system compresses the sound data into 1/5 by cutting out the inaudible sound. Since the sound is selected based on psychoacoustics masking, the sound quality is not impaired. This unit is equipped with the ATRAC3 compressing system that can reduce the sound data to 1/10 or 1/20 of its original size. By employing this system, 2 times and 4 times long recordings are enabled in stereo mode.
Caution for 4 times long recording (LP4)
Special compressing method allows the 4 times long recording to realise long-time stereo recording. Therefore, some noise is recorded occasionally. If sound quality should be emphasised, stereo recording or 2 times long recording is recommended.
Notes: z Tracks can be recorded in stereo recording mode, 2 times long recording mode, and 4 times long recording mode on one MiniDisc. z In monaural recording, the sound on the right and left channels is mixed even if the input source is in stereo. Although you can hear the stereo sound from the headphones, the recorded sound is monaural. z Tracks recorded in 2 times long recording and 4 times long recording modes cannot be played with the unit that does not support these modes. On such a unit, "LP" is displayed at the beginning of the track and no sound is heard. (The operation and the display may vary depending on the unit.) z Tracks recorded in monaural cannot be played if equipment does not support the monaural playback.

About the recording mode

You can select the recording mode from stereo recording, 2 times long recording, 4 times long recording, and monaural recording. Recordable time varies depending on the recording mode. If the tracks are recorded on an 80minute MiniDisc, its recording time changes as follows: Indication Recording mode Recording time
Advanced Recording (continued)
Playback sound-actuated recording
Recording automatically starts or pauses by detecting sound from the stereo system (Synchronised recording).

Press the PAUSE button on the stereo system to enter the playback pause mode. Select the starting point for your recording and press the PAUSE button.
Press the MODE/CHRG button repeatedly to select the recording mode (page 17). Press the ENTER/SYNC button. z "SYNC" will be displayed. z To cancel the operation, press the /:OFF button.
Begin playback on the stereo system. Recording will begin automatically.
Press the REC button. Begin playback on the stereo system connected to this portable MD. Press the or button to adjust the recording level. (See page 9.)
To interrupt recording z When the stereo system is stopped, the unit will enter the synchro recording pause mode. When playback is resumed, the recording will be resumed. z If a silence lasts for 3 seconds or more, the recording will be paused (pause function does not work for approximately 10 seconds after a recording starts). When the unit receives sound again, recording automatically starts. z A new track number is created when the recording resumes.
To start recording from the middle of a track
You can erase a portion of a track and make a new recording. All of the tracks that follow the newly recorded track will be erased.
During playback, press the PLAY/PAUSE button at the point where you want to begin recording. Press the REC button.
To cancel the operation, press the /:OFF button.
Press the ENTER/SYNC button. All of the tracks and track names will be erased, following the point where the playback is paused. Press the MODE/CHRG button repeatedly to select the recording mode (page 17). Press the PLAY/PAUSE button. Recording will start.
Note: To keep a track after the point you want to make a new recording, move the track and then make recording after that point. (See "Editing a Recorded MiniDisc", page 39.)
To create your own track numbers
You can create your own track numbers at any point. Whilst recording, press the REC button at the point where you want to create track numbers. The track number will be increased by one. z One track number will be added every time the REC button is pressed. z The BASS button on the remote control can also be used to add track numbers. Numbering restriction If you try to number more than 10 tracks in certain amount of time, "SORRY" will be displayed and the operation will be disabled. In that case, wait until the next operation can be resumed. In stereo recording In 2 times long recording In 4 times long recording In monaural recording Within 40 seconds Within 80 seconds Within 160 seconds Within 80 seconds

Recording tracks as a single track
You can record several pieces of music as a single track by disabling the auto marker function. When a recording is paused or whilst recording. Press the EDIT button.
Note: When making digital recordings using a CD player or an MiniDisc player, track numbers will be created automatically regardless of the setting of the auto marker function.

About track numbers

1. Track numbers are created automatically during recording via the analogue connection when a silence of 1 second or more is detected (Auto marker function). A series of tracks can be recorded as one by disabling the auto marker function, see page 21.
z When recording, if a programmed playback is performed by the source or playback is performed by selecting tracks manually, the MiniDisc track numbers may not be the same as on the source. z Track numbers may not be created properly, depending on the connected stereo system.
2. When recording from a CD or a MiniDisc using the digital connection, track numbers will be created at the same points as on the CD or MiniDisc (Synchro marker function).
z Track numbers may not be created in proper places, depending on the source to be recorded from, such as signals with noise. z The track numbers on the playback side may not match the track numbers recorded on the MiniDisc.
Recording from a Microphone
To record from a microphone
-Recording from a Microphone-
Connect a stereo microphone to the MIC IN socket. Insert a recordable MiniDisc (page 6). Press the REC button. Press the ing level. or button to adjust the recordPress the PLAY/PAUSE button whilst recording. z To resume recording, press the PLAY/PAUSE button again. The track number will be increased by one each time you interrupt recording.
Press the /:OFF button. Press the /:OFF button whilst in the stop mode.
Adjust the recording level so that the maximum sound volume from the source makes the reading swing between -4 dB and 0 dB.
Press the MODE/CHRG button repeatedly to select the recording mode (page 17). Press the PLAY/PAUSE button. Recording will start.
To write recorded contents on the MiniDisc
Recording from a Microphone (continued)
Sound-actuated recording (Mic Synchronised recording) About pause function
The unit automatically pauses when the microphone does not pick up any sound for 3 seconds or more. (Pause function does not work for approximately 10 seconds after a recording starts.) When the microphone picks up sound again, recording starts automatically. Notes: z Whilst making a mic recording, do not connect anything to the OPTICAL/LINE IN socket on the portable MD. z To use a microphone, be sure it is a plug-in-power type microphone. - When a plug-in-power type microphone is plugged in, the portable MD will provide power for the microphone's operation. - If a different type of microphone is plugged in, it may not operate properly or it may cause the unit to malfunction. z Insert the plug firmly. If you don't, the recording will not be made properly. z Use a microphone with a 3.5 mm (1/8") diameter stereo mini plug. z If the unit starts recording too often from low unwanted noises, set the microphone input to "MIC SYNC L". z Recording sensitivity can be changed whilst recording.

About charging time After about 3.5 hours have passed, " " will go out. The battery charging is about 90 % complete.
To charge the battery fully, continue charging for about 2 more hours. In this case, you do not need to press the MODE/CHRG button. Even if the MODE/CHRG button is pressed, " " will not appear. Notes: z Charge the battery within the range of 5C - 35C (41F - 95F). z Charging is completed if " " does not blink when you plug in the AC adaptor and press the MODE/ CHRG button. z The unit can be left in the charging state after it is completed. Caution: z Use the specified battery AD-N70BT only. Do not charge a battery (nickel-cadmium, alkaline, etc.) other than that specified. z Do not remove the outer cover of the rechargeable battery. It may cause heat generation, fire, or explosion. z Do not dip the battery in water, do not dispose of it in a fire, and do not take it apart. z If the rechargeable battery terminal is dirty, charging may not start. In such a case, wipe off the dirt with a dry cloth. z Do not disassemble the battery.
Using with the rechargeable or alkaline battery
Disconnect the AC adaptor. Insert the rechargeable battery or alkaline battery from the (+) marked side. Use a commercially available LR6, "AA" size alkaline battery.
Notes: z Setting the volume level to "0" whilst recording with the rechargeable or an alkaline battery reduces the battery drain. z When you do not use the unit for hours, remove the battery. (The battery drains gradually even when the power is turned off.) z Carry the battery in the supplied case. z This unit can be used with the AC adaptor when the rechargeable or an alkaline battery is in the unit. Caution: Do not use a nickel-cadmium battery.

Hold Function

The present operation condition can be kept even if other buttons are accidentally pressed in a place such as a crowded train.
-Hold FunctionIf the battery is inserted or the AC adaptor is connected, you can set this function even when the power is turned off. To cancel the hold mode Press and hold down the HOLD button for 2 seconds or more whilst the unit is in the hold mode. "HOLD OFF" will be shown.

Press the the letter.
button repeatedly to select
z The unit will enter the character input mode. z To cancel the operation, press the /:OFF button.
Press the ENTER/SYNC button to enter it.
Position where the next letter will be entered
To enter more letters, repeat steps 3 - 5. When the name has been completely entered, press the EDIT button. "TOC" will be displayed. To write the updated contents to the MiniDisc, press the /:OFF button. You cannot remove the MiniDisc whilst "TOC" is displayed. "TOC" will not disappear until the recorded contents have been updated.

To erase a charactor

Press the VOL+ or VOL- button to move the cursor to the character you want to erase, and then press the BASS button.

To enter a space

Press the VOL+ button to move the cursor to the right.

Characters (symbols)

A B C D E F G H S T U V W X Y Z. a s t 1 ) b u c d e f y 6 / , I J / j / ! " # $ % & > ? @ _ ` ' ( k l m n o p q r K L M N O P Q R
Note: One disc name and up to 255 track names can be created per disc (a maximum of 100 characters for the disc and each track name and a total of 1,700 characters can be entered. However, if any tracks are recorded in the 2 times or 4 times long recording mode, the number of characters to be entered is decreased, since the information of the recording mode is stored by the track).

g h i z. , 7 :

0 ; < =
Titling a MiniDisc (continued)
To add characters Stamping titles from another MiniDisc Before stamping
When there are 2 MiniDiscs on which the same tracks are recorded, you can transfer the character information (disc and track names) of the Master MiniDisc to another MiniDisc (for stamping). 1. What is a master MiniDisc? A recordable MiniDisc that contains tracks and character information. (You cannot transfer the information from a playback-only MiniDisc.)
Put the unit in the character input mode. (Perform steps 1 - 2 on page 33.)
Press the VOL+ or VOL- button to move the cursor to the character before which you want to add a new character.

Select the character to add. 2. What is a MiniDisc for stamping? (Perform steps 3 - 4 on page 33.) Press the ENTER/SYNC button. Press the EDIT button. "TOC" will be displayed. To write the updated contents to the MiniDisc, press the /:OFF button. You cannot remove the MiniDisc whilst "TOC" is displayed. "TOC" will not disappear until the recorded contents have been updated. A MiniDisc that contains the same tracks in the same order as the master MiniDisc. (Make sure that the total number of tracks of the master MiniDisc and the one for stamping are the same.)
Master MiniDisc operation
Operation of the MiniDisc for stamping
Insert a Master MiniDisc. Do not mistake the Master MiniDisc for the target one.
Load a MiniDisc for stamping.
Whilst in the stop mode, press the EDIT button to select "NAME STAMP".
The unit will finish recording the character information and enter the stop mode. To cancel the operation, press the /:OFF button.
Press the ENTER/SYNC button again.
Note: If the total number of tracks on the master MiniDisc does not match that on the MiniDisc for stamping, the unit will display "Can'tSTAMP" and turn off the power.
When the unit displays "CHANGE MD", remove the master MiniDisc. Remove it without turning off the power. Or, the operation will be cancelled.
If this happens, adjust the total number of tracks on the newly recorded MiniDisc using the edit operation.
Editing a Recorded MiniDisc
To erase tracks one at a time To erase all of the tracks at once
-Editing a Recorded MiniDisc-
Start playing the track to be erased, and press the PLAY/PAUSE button. Press the EDIT button repeatedly to select "ERASE".
Whilst in the stop mode, press the EDIT button repeatedly to select "ALL ERASE".
Press the ENTER/SYNC button again. The track will be erased. To erase other tracks, repeat steps 1 - 4. All of the tracks will be erased. Caution: Once a track has been erased, it cannot be recovered. Check the track number before erasing it.

To divide a track

-Listening through Another System-
Other Features and Caution

Resuming auto play

When you stop playback and replay the MiniDisc without removing it, playback starts from the point you stopped it.

Rechargeable battery

z A rechargeable nickel-metal hydride battery is the only kind that can be used. Even if the battery is not used, you should charge it at least once every three months because of the special quality of this battery. z The rechargeable battery can be charged approximately 300 times. z When the operating time is reduced to about half the normal amount of time, even after a full charge is performed, replace the battery with a new one (ADN70BT). z When the battery is charged for the first time or is charged after not being used for a long period, the operating time may be shorter than normal. The battery life will recover with normal use i.e. charging and discharging. z To avoid shortening the service life of the battery only recharge the battery after it has been completely discharged. z If the rechargeable battery is used in a cold environment, the operating time will be reduced. z Do not carry the battery in your pocket or a bag together with metal objects (keys, coins, jewelry, etc.). The battery may short out and generate significant amounts of heat. z Do not short-circuit the terminals as they will become very hot and will damage the battery. z Do not drop or subject the battery to shock. z Do not insert objects (metal etc.) into the battery compartment of this product or into the rechargeable battery.
-Other Features and Caution-

References

Once you remove the MiniDisc, playback starts from the first track.
The unit provides the following functions when you use it with the separately available car adaptor (ADCA20X) (when the rechargeable or alkaline battery is removed): 1. When you turn off the engine, the power of this portable MD also turns off. (It may not work with some types of cars.) 2. When you restart the engine, playback starts from the beginning of the stopped track.

99secl_E_6.fm

MiniDisc System Limitations
The unit may have the following symptoms whilst recording or editing. The unit is not out of order. SYMPTOM "DISC FULL" or "TOC FULL" appears even though the MiniDisc still has recording time left. The remaining recording time does not increase even though you erased tracks. The total of the recorded time and the remaining time does not match the maximum recordable time. Combine function does not work. Sound skips in fast reverse/forward. A track number is created in the middle of a track. LIMITATIONS More than 255 tracks (maximum) cannot be recorded regardless of the recording time. If the MiniDisc is recorded or edited repeatedly or if it has scratches (recording skips scratched parts), you may not be able to record the maximum tracks above. The unit does not count non-recorded portions that last 12 or fewer seconds to display the remaining recording time. The time may not increase even if you erase short tracks. One cluster (approximately 2 seconds) is the minimum unit for recording. For example, a 3-second track uses 2 clusters (approximately 4 seconds). Therefore, the actual recordable time may be shorter than the displayed time. A MiniDisc on which recording and editing are repeated may not allow the combine function. One track is divided and recorded in separate places on a repeatedly recorded or edited MiniDisc. Sound may skip. A track number may be created if there are scratches or dust on the MiniDisc.

Troubleshooting

Many potential "problems" can be resolved by the owner without calling a service technician. If something seems to be wrong with this product, check the following before calling your authorised SHARP dealer or service centre. The unit does not turn on. z Is the AC adaptor disconnected? z Is the battery exhausted? z Is the unit in the hold mode? z Has condensation formed inside the unit? z Is the unit being influenced by mechanical shock or by static electricity? No sound is heard from the headphones. z Is the volume set too low? z Is the remote control or the headphones plugged in? z Are you trying to play a MiniDisc with data on it instead of a MiniDisc containing music? When the operation buttons are pressed, the unit does not respond. z Is the unit in the hold mode? z Is the battery exhausted? z Is the remote control unit plug or the headphones plug inserted firmly? Recording and editing are impossible. z Is the MiniDisc protected against accidental erasure? z Is the unit connected properly to the other equipment? z Is the AC adaptor unplugged or did a power failure occur whilst recording or editing? z Is the unit in the hold mode? z Is an optical signal being output from the stereo system? Read the operation manual for the stereo system. Some sounds are skipped. z Is the battery exhausted? z Is the unit being subjected to excessive vibration? The MiniDisc cannot be ejected. z Has the track number or character information been written on the disc yet? z Is the unit in the recording or editing mode?

-Troubleshooting-

Maintenance

If trouble occurs

When this product is subjected to strong external interference (mechanical shock, excessive static electricity, abnormal supply voltage due to lightning, etc.) or if it is operated incorrectly, it may malfunction. If such a problem occurs, do the following: 1. Unplug the AC adaptor from the wall socket. 2. Remove the battery. 3. Leave the unit completely unpowered for approximately 30 seconds. 4. Plug the AC adaptor back into the wall socket and reoperate the unit.

-Fiche technique-

Dure de batterie: Stro Avec la batterie rechargeable fournie (compltement recharge) Enregistrement ininterrompu: 7,5 heures environ Enregistrement ininterrompu: 3 heures environ Lecture ininterrompue: 13 heures environ Lecture ininterrompue: 15 heures environ 2 fois plus long Enregistrement ininterrompu: 10,5 heures environ Enregistrement ininterrompu: 4,5 heures environ Lecture ininterrompue: 15,5 heures environ Lecture ininterrompue: 17,5 heures environ 4 fois plus long Enregistrement ininterrompu: 13,5 heures environ Enregistrement ininterrompu: 7 heures environ Lecture ininterrompue: 17,5 heures environ Lecture ininterrompue: 20 heures environ
Sensibilit d'entre: Niveau d'enregistrement MIC H MIC L LINE Niveau d'entre de rfrence 0,25 mV 2,5 mV 100 mV Impdance d'entre 10 kilohms 10 kilohms 20 kilohms
z La dure d'enregistrement ininterrompue est ici celle obtenue pour l'entre analogique en laissant le volume sur "VOL 0". z La dure de lecture ininterrompue est obtenue lorsque le niveau de volume est rgl sur "VOL 15". z Les valeurs ci-dessus s'obtiennent lorsque l'appareil est recharg et utilis la temprature ambiante de 25C. z La dure de vie des piles alcalines peuvent diffrer selon le type, le fabricant et la temprature d'utilisation.
Niveau de sortie: Sortie spcifie Casque LINE 250 mV (-12 dB) Niveau de sortie maximal 10 mW + 10 mW Impdance de charge 16 ohms 10 kilohms
Avec une pile alcaline de haute capacit au format de "AA" (LR6), en vente dans le commerce

VALID IN CANADA ONLY

LIMITED WARRANTY
Consumer Electronics Products
Congratulations on your purchase! Sharp Electronics of Canada Ltd. (hereinafter called Sharp) gives the following express warranty to the first consumer purchaser for this Sharp brand product, when shipped in its original container and sold or distributed in Canada by Sharp or by an Authorized Sharp Dealer: Sharp warrants that this product is free, under normal use and maintenance, from any defects in material and workmanship. If any such defects should be found in this product within the applicable warranty period, Sharp shall, at its option, repair or replace the product as specified herein. This warranty shall not apply to: (a) Any defects caused or repairs required as a result of abusive operation, negligence, accident, improper installation or inappropriate use as outlined in the owners manual. (b) Any Sharp product tampered with, modified, adjusted or repaired by any party other than Sharp, Sharps Authorized Service Centres or Sharps Authorized Servicing Dealers. (c) Damage caused or repairs required as a result of the use with items not specified or approved by Sharp, including but not limited to head cleaning tapes and chemical cleaning agents. (d) Any replacement of accessories, glassware, consumable or peripheral items required through normal use of the product including but not limited to earphones, remote controls, AC adapters, batteries, temperature probe, stylus, trays, filters, belts, ribbons, cables and paper. (e) Any cosmetic damage to the surface or exterior that has been defaced or caused by normal wear and tear. (f) Any damage caused by external or environmental conditions, including but not limited to transmission line/power line voltage or liquid spillage. (g) Any product received without appropriate model, serial number and CSA/cUL markings. (h) Any products used for rental or commercial purposes. (i) Any installation, setup and/or programming charges. Should this Sharp product fail to operate during the warranty period, warranty service may be obtained upon delivery of the Sharp product together with proof of purchase and a copy of this LIMITED WARRANTY statement to an Authorized Sharp Service Centre or an Authorized Sharp Servicing Dealer. In home warranty service may be provided at Sharps discretion on any Sharp television with the screen size of 27 or larger and on any Sharp Over The Range Microwave Oven. This warranty constitutes the entire express warranty granted by Sharp and no other dealer, service centre or their agent or employee is authorized to extend, enlarge or transfer this warranty on behalf of Sharp. To the extent the law permits, Sharp disclaims any and all liability for direct or indirect damages or losses or for any incidental, special or consequential damages or loss of profits resulting from a defect in material or workmanship relating to the product, including damages for the loss of time or use of this Sharp product or the loss of information. The purchaser will be responsible for any removal, reinstallation, transportation and insurance costs incurred. Correction of defects, in the manner and period of time described herein, constitute complete fulfillment of all obligations and responsibilities of Sharp to the purchaser with respect to the product and shall constitute full satisfaction of all claims, whether based on contract, negligence, strict liability or otherwise. Colour Television LCD TV Camcorder Audio Products Vacuum Cleaner 1 year (picture tube 1 additional year) year year year year WARRANTY PERIODS LCD Projector Video Cassette Recorder TV/VCR Combo Microwave Oven DVD Player 1 year (bulb 90 days) year year (picture tube 1 additional year) years (magnetron 3 additional years for part only) year