TASCAM

TEAC Professional Division

MX-2424

24-Bit 24-Track Hard Disk Recorder
MX-2424 Manual Updates MX-View 1.00 1.40 MX-OS 1.10 3.11
CHANGES IN VERSION 1.10.....6 FAT-32 AND BROADCAST.WAV FILE (BWF) SUPPORT....6 Support for Volumes Larger than 9GB (FAT-32)....6 Menu 710 and FAT-32 Initializing of Disks on the MX-2424...7 Menu 702 displays HFS or FAT-32 disk status....7 Menu 700 supports 16 bit and 24 bit WAV encoding...7 Ability to Smart Copy from FAT-32 to Mac HFS and vice versa...7 Projects Containing Mixed Disk Formats...7 Formatting Fat-32 Discs on the PC....8 Windows Compatibility.....8 SUPPORT FOR TL IMPORTS FOLDER....8 SUPPORT FOR MULTI-TRAVAN TAPE BACKUP/RESTORE....8 NEW BUSY LED FEATURE....9 VIEWNET 1.15 UPDATE.....9 ViewNet 1.15 Additions.....9 Miscellaneous ViewNet Maintenance....9 NOTES ON DVD-BACKUP.....9 CHANGES IN VERSION 1.53....10 VERIFY OPTION ON SMART COPY....10 LOCATE POINTS STORED WITH PROJECTS....10 NEW MENU 205 PUNCH TO IN/OUT (FRONT PANEL ONLY)...11 IMPORT AUDIO MENU.....11 FIX FOR USING DUPLICATE PROJECT NAMES....11 FIX FOR SMART COPYING OF TAPEMODE PROJECTS....12 FIX FOR UPDATING PROJECTS ON FAT-32 DISKS....12 IMPROVED FAT-32 PERFORMANCE....12 ETHERNET BACKUP AND AUDIO FILE TRANSFER REMOVED...12 KNOWN ISSUES.....12 CHANGES IN VERSION 1.54....13 IMPROVED FAT-32 PERFORMANCE AND RELIABILITY...13 MAINTENANCE CHANGE TO VIEWNET IMPORT AUDIO FILES AT ORIGINAL TIME..13 IMPROVED NETWORK RELIABILITY....13 KNOWN VERSION 1.54 ISSUES....13 MX-2424 2.0 AND VIEWNET 2.0 RELEASE NOTES....14 96K/88.2K HIGH SAMPLE RATE RECORDING ON 12 TRACKS...14 Menu 005: Sample Rate....14 Menu 115: TL Bus Rate Mult....15 Menu 410: Inputs 1-12 /2x.....15 Menu 450: Dig I/O 2X mode....16 Menu 460: 2Ch I/O 2X Mode (TEST SPDIF)....16 Menu 465: 2 Ch Out Select....17 SUPPORT FOR HFS+ VOLUMES.....17 MISCELLANEOUS ENHANCEMENTS....18 New Menu 000 "Theatre Play" mode.....18 Menu 020: Auto Chase.....19 Menu 030: Timecode Muting Options....20 Menu 060: Word->AES Phase.....20 Menu 206: Track Key Punch....21 Menu 290 More Edits Commands....21 Menu 300: MIDI Device ID....21 Menu 301: MMC Tracks/ID....22 Menu 501 Post Production input mode....22 New front panel "Multi-Paste" edit function....23
Implementation of the MIDI Machine Control "STEP" Command...23 Front panel alphanumeric entry of characters....23 New MASTER selection method for RC-2424....24 TL_Imports Folder now automatically created....24 Change in project delete and rename sequence....24 Smart Copy and Tape Mode Convert Safety Features...24 New error message Cant Verify TapeMode to Non-Destr"....25 New error message "Zero Length Edit"....25 MISCELLANEOUS SOFTWARE MAINTENANCE....26 Improved lock to "bad" time code in Timecode or MTC Chase modes..26 Improved record performance in Timecode and MTC Chase modes...26 AUTO INPUT behavior....26 Overload indicators on RC-2424....26 All Safe command on TL-Bus slave....26 Midi Machine Control Device ID recognition....26 All Online Command on Remote....26 Longitudinal Time Code (LTC) reader and Drop Frame flag...27 NON-STD LED.....27 Remote MIDI LED.....27 TL-Bus Offset Captures....27 MISCELLANEOUS NOTES:.....27 MX-OS 2.1 AND VIEWNET 2.1 RELEASE NOTES....29 Support for 9-pin Control Protocol....29 ENHANCEMENTS.....31 Menu 703:.....31 Menu 004:.....31 New Macro Tool:....31 Capture Track:.....31 Spotting SDII Audio Files with Pro Tools 5.1....31 MAINTENANCE CHANGES.....32 Time Code generator at 29.97 frames per second....32 Capture Key When Programming Macros from the RC-2424...32 Fix for HFS+ formatted DVD-RAM disks....32 Fix for Uploading Nuendo Generated Files in ViewNet MX...32 KNOWN ISSUES.....32 Smart Copy of TapeMode Projects....32 Switching Between HFS and HFS+ Drives....32 MX-2424 3.01 RELEASE NOTES....33 Menu 280 Mix Mode / Menu 801 Mixdown Project Name...33 NEW "AUTO" PROJECT NAMES.....35 Autoloop.....35 Autoplay.....35 Autoload.....35 Auto Project Name Priorities.....36 Drive Read Only Status....36 MENU 005 SAMPLE RATES.....36 MENU 522 METER CLIP MODE....36 NEW EXPANDED RAM OPTIONS....37 MENU 570-WAVEFORM RECORD.....38 MENU 211: NEW TITLE & FUNCTION FOR "AUTO UNLOAD ON/OFF"...38 MENU 035: MTC FULL MESSAGE....38 MENU 364: P2 CHASE CONTROL....39 NEW AUDIO FILE PREFIXES.....39 FASTER "CATCH UP" TIMES FOR LONG RECORDINGS....40 MISCELLANEOUS ENHANCEMENTS....40
Tape Mode Now Stored In User Default Settings....40 Negative and "Double Positive" Timecode Locations...40 Larger File Lengths in HFS+ mode....40 Increased Functionality of Sony P2 protocol....41 New Behavior for Tape Mode Projects....41 Default disk format is now HFS+....41 Mandatory HFS+ formatting for drives larger than 9 gigabytes...41 MISCELLANEOUS MAINTENANCE ITEMS....42 Special Characters on HFS+/HFS Volumes....42 USER NOTES.....42 MX-OS 3.05 / MX-VIEW 1.30 RELEASE NOTES....43 MARKERS WINDOW.....43 USER GROUPS......User Groups.....44 User Groups window.....44 Creating a new group (From the Edit Window)....46 Delete group(s).....46 NEW TRACK/WAVEFORM COLORS....46 NEW "USER GROUP" TRACK MENU ITEM....47 USER GROUP TRACK BUTTONS ARE NOW ACTIVE....47 INPUT, RECORD AND EDIT SELECT TRACK BUTTON FUNCTION CHANGES...48 EDIT DRAG-SELECT CHANGES.....48 MAINTENANCE ITEMS.....49 IMPORTANT NOTE ABOUT THIS RELEASE....49 KNOWN ISSUES.....49 MX-VIEW 1.4 AND MX-OS 3.10....50 NEW FEATURES.....50 Pencil Tool......50 Reverse play keyboard shortcuts....51 Selection Tool Changes....51 Track Numbering with multiple machines....51 Default Download File Type....51 Batch download.....51 Virtual Track Present Indicator....52 Logarithmic and Exponential Fade Types....52 Event copy/paste for non-contiguous selections....53 Track locking.....53 Zero crossing centerline.....53 Keystroke forwarding from Markers and Groups windows...53 Keyboard shortcuts for jump to Head/Tail....54 Timecode Chase menus added to Settings Menu 000 (Basic Settings)...55 Lock Error Display.....56 Timecode Lock Deviation display added to Edit & Transport Windows (MX-View)...56 More MEMORY Registers.....57 MEMORY Register Scrolling....57 Marker Capture.....57 Memory Register Changes (MX-View)....58 Edit Enable (MX-View).....58 MAINTENANCE ITEMS.....59 Numerical entries can be made without placing a new Marker...59 Multi-machine mode event dragging....59 Edit window behavior with missing/offline machines....59

Timecode Chase Update The MX-2424 will now better detect the current state of the time code master. More specifically, there have been improvements in the method by which it distinguishes between a master, which is no longer at play speed, and one that is still playing but has either drifted or jumped to a new position. Previous versions of the software could mistake either one of these conditions for the other.59 Disk Command Menu Behavior....59 Memory handling of the Undo History....59 MX-OS 3.11 RELEASE NOTES....60 File System Maintenance....60 Miscellaneous Maintenance....60

Changes in Version 1.10

FAT-32 and Broadcast.WAV file (BWF) support - Support for Volumes Larger than 9 GB on FAT-32 formatted hard drives - Menu 710 and FAT-32 Initializing of Disks on the MX-2424 - Menu 702 Displays HFS or FAT-32 Disk Status - Menu 700 Supports 16 bit and 24 bit WAV Encoding - Ability to Smart Copy from FAT-32 to Mac HFS and Vice Versa with automatic file format conversion - Projects Containing Mixed Disk Formats - FAT-32 Formatting DVD Disks. - Formatting Fat-32 Discs on the PC - Windows 98 Compatibility Support for New TL Imports Folder Support for Multi-Travan Tape Backup/Restore New Busy LED Feature ViewNet 1.15 Update Miscellaneous ViewNet maintenance
FAT-32 and Broadcast.WAV file (BWF) Support
The MX-2424 Version 1.10 supports disks formatted in the FAT-32 file format. In this format, a project consists of an OpenTL EDL referencing 16 or 24 bit Broadcast WAV files. Broadcast WAV files (.BWF) can be imported into any audio software that utilizes the WAV format. Like their SDII counterparts, Broadcast WAV files contain a time stamp that can be utilized by any software that takes advantage of this feature. Version 1.10, as with Version 1.0, supports SDII audio files on Macintosh HFS volumes as well.
Support for Volumes Larger than 9GB (FAT-32)
Volumes larger than 9GB can be used when recording on a FAT-32 formatted disk. The following drives are approved for use with FAT-32 formatted disks and Version 1.10:

Approved Drives

Drive manufacturer Seagate Seagate IBM Quantum Seagate Seagate IBM IBM model ST318436LW ST318404LW DDYS-T18350 QM309100XC-LW ST39236LW ST39204LW DDYS-T09170 DPSS-309170 Size 18 GB 18 GB 18 GB 9 GB 9 GB 9 GB 9 GB 9 GB

Changes in Version 1.53

The following functional and maintenance changes have been made to MX-2424 software in Version 1.53. These changes are explained in detail in this document: Verify Option on Smart Copy Locate points stored with Projects New Menu 205 Punch to In/Out (Front Panel Only) ViewNet Import Audio Menu Maintenance change for using duplicate project names Maintenance change for Smart Copying of TapeMode projects Maintenance change for updating projects on FAT-32 disks Improved FAT-32 Performance Ethernet project backup and audio file transfer removed Removed the Reverse edit function (SHIFT+UNDO) from the front panel. This key combination will access a different edit function in a future revision of MX-OS. The following illegal characters will be filtered out by MX-OS: * / \ : <>|
Note: ViewNet MX 1.53 must be installed for some of these features to be used.
Verify Option on Smart Copy
The MX-2424 now has an option to verify a Smart Copy. When initiating a copy, perform all functions as done previously. There will now be a prompt that displays Verify? At this point NO can be pressed to skip the verify function, and the copy will perform without verification. If YES is pressed the copy will be made in its entirety, followed by a verification process that compares the new copy and the original material, bit for bit. If they match exactly, the MX-2424 will display the message Verify Successful! If, the message Verify Failed! appears, the copy will abort, and material being copied to the destination drive will be deleted. If failed verifies are occurring, make sure to identify and fix your configuration before continuing. Note to DVD-RAM Users: We have seen some DVD-RAM media failure when the disk inside the cartridge is dusty. Make sure to keep DVD-RAM media in a clean environment and do not open the cartridge. Possible failures include corrupt projects and failed Smart Copies/Verifies. Note about queuing up Smart Copies and other disk operations: When queuing up Smart Copies always let the copying process begin (getting through all confirmation requests) before queuing up further copies. This is especially important when using the verify function or queuing up Smart Copies from ViewNet MX. Additionally, on large projects or higher capacity drives, Disk Cleanup may take up to several minutes. Always allow the MX-2424 to complete its operations and the BUSY LED to go out before initiating any further operations.
Locate Points Stored with Projects
Locate points are now automatically saved with the project. These locate points will remain with the project when it is backed up in any manner. Additionally, locate points are stored with user settings. Thus, if there are a group of locate points that need to be called up at various times, they can be stored in a user setting for immediate access.

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New Menu 205 Punch to In/Out (Front Panel Only)

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Changes in Version 1.54
The following changes have been made to MX-2424 software in Version 1.54. Improved FAT-32 Performance and Reliability Maintenance Change to ViewNet Import Audio Files at Original Time Improved Network Reliability
Improved FAT-32 Performance and Reliability
Maintenance changes have been made to increase FAT-32 performance and reliability. With Version 1.54, playing back imported WAV audio created on a PC as well as TapeMode projects on a FAT-32 disk now works properly. On rare occasions, previous versions of software could have caused white noise on playback. Version 1.54 also further prevents parse and write errors from occurring on FAT-32 disks. Other enhancements have been made to accommodate fragmentation of track files and more reliable unmounting and remounting of volumes.
Maintenance change to ViewNet Import Audio Files at Original Time
Performing an Import at "Original Time" of a non-time-stamped audio file now works properly.
Improved Network Reliability
Maintenance changes have been made to the MX-2424 networking functions for increased reliability with ViewNet.
Known Version 1.54 Issues
Using ViewNet 1.51 for Audio File Transfers and Project Smart Copies: Whenever performing audio file transfers or project backups and restores, make sure to close all other applications. The transfer of audio files and project using Ethernet is an intensive operation for the Java run time engine.
Performing a Smart Copy of a TapeMode Project: When performing a Smart Copy of a TapeMode project from a MacHFS disk to a FAT-32 disk, or from a FAT-32 disk to a MacHFS disk, do not use the Verify function. Due to the nature of a TapeMode project, certain bits will change when the project is copied from one disk to another. Verify will identify these changes and will fail. Workaround: You can either perform a Smart Copy with Verify Off or perform a TapeMode convert of the TapeMode project (the latter will be more time consuming).

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MX-2424 2.0 and Viewnet 2.0 Release Notes
96k/88.2k high sample rate recording on 12 tracks Support for HFS+ Volumes Miscellaneous Enhancements Miscellaneous Software Maintenance Miscellaneous Notes
Remember to update to Viewnet 2.0 when updating to MX-OS Version 2.0.
96k/88.2k High Sample Rate Recording on 12 Tracks
With version 2.0, the MX-2424 can now record and play at sample rates of 88.2kHz, 96kHz, as well as their associated pull-up and pull-down rates. When operating at high sample rates, all activity takes place on tracks 1 through 12. There are several new menus that incorporate the new high sample rate features:

When there are no more cues to be played, the lower line of the LCD will display: "CUE End of cues"
The Rewind and Fast Forward buttons may be used to locate to the next or previous cue, much like on a CD player. The usual double-hit "Head" and "Tail" functions of these keys are disabled. The LOCATE key is used to return to the beginning of Cue #1.

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Pressing STOP in the middle of a cue will cause the MX to stop as expected. However, if the PLAY key is subsequently pressed, the MX will locate back to the start of the current cue and commence playing. Recording is disabled in Theatre Play mode, and the machine is placed in "All Safe" mode. Many other front panel functions are also disabled, including editing, capturing and locating to IN and OUT points, TO/FROM functions, and the LOOP function. The ONLINE button remains active so that an MX-2424 in "Theatre Play" mode may become a master on the TL-Bus and thus expand the number of available "Theatre Play" tracks. When operating in "Theatre Play" mode only the master device needs to have the cue times loaded in its memory locations, and only the master device needs to be in "Theatre Play" mode. NOTE: If Theatre Play mode is enabled on a TL-Bus slave, that machine will automatically become the TL-Bus master.

Menu 020: Auto Chase

The MX-2424 has a new chase mode that allows for synchronization convenience. When set to "Off", chase mode acts as it has in the past. If the MX is online and a transport key is pressed, then the machine is taken offline and the transport function is executed. This is true for all forms of chase including Longitudinal Time Code (LTC), MIDI Time Code (MTC), or when chasing an MX-2424 master via the TL-Bus. When set to "On" there are two possible conditions: 1. If theMX-2424 is is online with the transport stopped, then a slave transport key is pressed, the slave machine will be placed into a "semi online" state, and the transport function executed. This semi online state is indicated by a flashing Online LED. In this state as soon as the MX detects that the master is in motion, it will automatically put itself online again, and will resume following the master. 2. If the MX-2424 is online/chasing with the transport in motion, then a slave transport key is pressed, the slave machine will temporarily suspend transport motion before immediately rechasing. NOTE: Auto Chase On/Off is currently available from the front panel only.

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The MX-2424 can synchronize its sample clock to a multiple or divisible of the chosen clock rate. For example, if you are working on a project with a 96KHz sample rate, you can lock the MX2424 to an external word clock of 48KHz or 96KHz. When operating at a high sample rate, you can only use 12 tracks. However, ViewNet will allow you to load audio files into tracks 13 through 24, even though you will not be able to hear these tracks or access them. This behavior will corrected in Version 3.0 with MXView. Do not attempt to load audio into tracks thirteen through twenty-four, even though Viewnet will allow you to. The timecode calculator in ViewNet does not offer calculations based on high sample rates. It will still work for calculations based on the base sample rates of 48k and 44.1k.

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MX-OS 2.1 and Viewnet 2.1 Release Notes
Support for 9-pin Control Protocol Enhancements Maintenance Changes Known Issues
Support for 9-pin Control Protocol
With version 2.1 software, the MX-2424 can now use the Sony P2 (9-Pin) machine control protocol. Four new menus have been added to allow the new functions:
Menu 340: Remote Assign. Menu 340 selects the function of the rear-panel Remote connector. To use the MX-2424 with the RC-2424 remote control unit, select RC-2424. To use the MX-2424 as a 9-pin device, select P2 In. Menu 360: P2 Device
Menu 360 determines the type of P2 device the MX-2424 will "respond as" when polled by a controller. The available settings of this menu are: TASCAM MX-2424 (default) Sony PCM-3324S Sony PCM-7030 Sony BVU-950 These selections are not machine "emulations" in the strictest sense of the word. The P2 implementation in the MX-2424 is a generic one, and is designed to behave correctly under many different conditions. A P2 controller, upon detecting a device connected to it will poll that device for identification. This menu determines how the MX-2424 will acknowledge.
Some P2 controllers will not operate at all unless they receive a response from the controlled machine that they recognize. Changing this menu may make the difference between whether the controller can operate with the MX-2424 or not.

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Enhancements

Menu 703:

Previously, the "Free Disk Space" Menu could be confusing when displaying available disk space beyond 24 hours. This has been modified to represent available disk space in an Hours/Minutes format.

Menu 004:

Two new frame rates have been added to Menu 704: 23.976 (The "pull down" variant of 24 frames per second) 24.975 (The "pull-down" variant of 25 frames per second) These new time code rates will allow the MX-2424 to synchronize with formats that use these rates, such as video for High Definition Television.

New Macro Tool:

Hitting the CLEAR key plus one of the following: "REC SEL", "INPUT", or "EDIT" will clear the corresponding track selections. For example, CLEAR + REC SEL will disarm all record enabled tracks. This function aids macro recording on the RC-2424. Macro sequences often rely on the track arm, edit, or input status to be in a known state (e.g. all tracks unarmed). Previously, there was no command an operator could give to specifically "de-select" the arm, edit, or input status of a key; They could only be toggled on and off. With this new macro tool, the operator can have an initial step in the macro that specifically ensures track arm/edit/input status of all tracks.

Capture Track:

A new edit operation has been added called "Capture Track". This operation places the In and Out points around all the audio on an edit-enabled track. If no tracks are edit-enabled the In and Out points will be placed at the head and tail of the project. Capture Track is accessed by pressing SHIFT + SETUP. This function is also accessible from Menu 290.
Spotting SDII Audio Files with Pro Tools 5.1
Previously, MX-2424 generated SDII audio files would not spot correctly into a Pro Tools 5.1 session. With version 2.1 software, the MX-2424's SDII files will now spot correctly into a Pro Tools 5.1 session.

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Maintenance Changes
Time Code generator at 29.97 frames per second.
MX-2424 Version 2.0 contained a bug in the internal timecode generator. The MX-2424 generated faulty 29.97 drop frame and non-drop frame SMPTE time code. This has been corrected.
Capture Key When Programming Macros from the RC-2424
Previously, the CAPT key would not always work reliably when programming a Macro using the RC-2424. This has been corrected.
Fix for HFS+ formatted DVD-RAM disks

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Mix Mode Tutorial
You have a 24-track project that is ready to play on the internal SCSI disk at ID 0. It is a 44.1kHz / 24-bit project on an HFS+ drive. The mixdown files need to be recorded on an external removable FAT-32 drive to be taken to a PC for mastering. 1. Connect the 24 outputs of the MX-2424 to an analog console to mix the 24 tracks down to stereo. 2. Connect the main stereo outputs of the console to inputs 1 & 2 of the MX-2424. 3. Set menu 280 to "Record". 4. Set menu 701 to the removable disc's SCSI ID 1 so that mix project can be removed and taken to the PC. 5. Set menu 700 to "WAVE 16-bit" so that the final mix project will record 16-bit audio files. 6. Mix the project in console normally. 7. Record enable tracks 1 and 2 on MX-2424 and hit "record" at beginning of project. 8. As the song plays, the console's stereo output is recorded as a new 2 track, 16 bit, 44.1kHz project onto the removable disk at SCSI ID1. 9. Take the removable disk to computer and mount it. The disk contains two mono audio files that represent the left and right side of the mix. 10. Use your favorite mastering/CD burning software to complete an audio CD.
New "Auto" Project Names
When specific project names are used, the MX-2424 can automatically load, play, or loop play a project immediately upon powering up, with no intervention necessary. The MX-2424 can now be used in areas like kiosks, theme parks, installed sound, etc. Simply by flipping the power switch, the MX-2424 can automatically load a predetermined project and can even play it repeatedly, over and over. If there is a power failure, the machine will boot back up when power returns, and begin playing again. This feature works as follows:

Autoloop

If a project is created or renamed with the title "autoloop.tl, the MX will load and start playing the project, in loop mode, as soon as the machine powers up. The loop points will be defined by the IN and OUT point stored in the machine as the "user default" setting. However, under the following conditions: The IN and OUT points are equal The IN is greater than the OUT The loop is less than 2 seconds long The Head and Tail of the project will be loaded into the IN and OUT registers and used.

Autoplay

If a project is created or renamed with the title "autoplay.tl", the MX-2424 will load and start playing the project, as soon as the machine powers up.

Comment: This one is a hornets nest because we will be shipping new machines with 256 so old users will want free RAM. Since you mentioned how to see how much is installed Id just leave it at that.

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Menu 570-Waveform Record
With the 3.01 release, it will be possible to use your MX-2424 recorder with the new graphical user interface, "MX-View", which among other things, will display audio waveform data of MX2424 recordings. Turning Menu 570 to "on" allows the MX-2424 to record waveform data along with the audio files. Thus, when a project is loaded into MX-View and its waveforms are displayed, there is minimal delay since the waveform data was already "computed" when the recording took place. It is important to understand that creating and drawing waveforms uses RAM. In general, Waveform Recording should be set to "off" if you are experiencing "Memory Low" messages and the machines RAM has not been upgraded to the 256 megabyte module. You could also leave Waveform record turned off if you do not plan to use MX-View at any stage of your recording process. After loading MX-2424 software version 3.01 the MX-2424 will default to "off" for waveform recording. However, when MX-View software is launched for the first time, MX-View will automatically turn waveform recording on.
Menu 211: New Title & Function for "Auto Unload On/Off"
In previous software versions, menu 211 was titled "Auto Unload On/Off ". If Auto Unload was turned on and the MX-2424 was in "Loop record" mode, it would unload each new track it recorded to be manually loaded at a later time. With version 3.01, Menu 211 has been re-titled to "Auto V Track On/Off" and its function has been changed as follows: If MX-View is not being used, Loop recording with Menu 211 set to "On" will work the same as it has previously. If MX-View is being used and menu 211 is set to "On", the MX-2424 will automatically create a new virtual track with each record pass, and place the recorded audio in the new virtual track. Virtual tracks with MX-View are not the same as unloaded tracks. Please refer to the MX-View Operations manual for details of the new Virtual Track operation using MXView.
Menu 035: MTC Full Message
This new menu enables/disables the presence of MIDI Time Code "Full Messages". These are periodically transmitted messages that occur when the generator output is muted (using menu 030), The presence of these messages is normally intended to provide a display update in a connected MTC device, as opposed to synchronization information. Disable these messages if the MTC receiving device, such as a digital mixer, is unable to handle them correctly.

Edit drag-select changes

With no groups activated, using the Cross-Hair Tool to drag-select an area in the Edit window will activate edit mode for those tracks exactly the same as in previous versions of MX-View. With one or more groups activated, drag-selecting track EDL edit areas will only effect those tracks belonging to the active group(s). The same notes about multi-machine mode apply here. Groups on multiple machines are treated as the same if their number and name match.

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Maintenance Items
Changes implemented to avoid various types of waveform database corruption Missing sound file problem upon Render fixed Display of Mix Mode bit depth is now correct Improvements to the FAT-32 file system for improved Disk Cleanup performance and handling of larger files Meter problem on bootup from MX-OS 3.04 fixed Changes implemented to eliminate rare occurrences of clicking/popping Changes implemented to further reduce the possibility of a parse error New Ethernet module implemented for increased speed & reliability of network connections Change implemented to not automatically set Menu 570 (Waveform Record) to On when MX-View connects Change implemented to prevent action (Load, Rename or Delete) with a TapeMode project that is in the middle of being created from a TapeMode convert. The following error message will now be displayed: "Proj in Backup Queue" Drive space is now pre-allocated for the waveform database Changes implemented for correct performance of MX-View Virtual Tracks in a TapeMode project Fixed Windows return to playhead problem Fixed Windows font problem. Windows large/custom font sizes now work Net backup verify option is now enabled in the File menu
Important Note About This Release
In order to take advantage of waveform database and file system improvements, hard drives must be reformatted under 3.05 before use. Backup your projects, reformat/initialize then restore your projects.
When smart copying to an HFS+ destination drive where many audio files (in the thousands) already exist, the smart copy process may slow considerably or even stop. The workaround is to use FAT-32 as the destination drive format.

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MX-View 1.4 and MX-OS 3.10 New Features

Pencil Tool

The pencil tool provides the ability to repair audio events that suffer from a pop or click. In order to use the pencil tool, the following criteria must be met: 1. The waveform zoom level must be fully zoomed in (+) so that the audio waveform is displayed down to the sample level. Attempting to alter the waveform data at any zoom level other than the sample level will have no effect. 2. The entire audio event, which contains the waveform to be edited, must be set to full gain. Attempting to alter the waveform data of an event that has gain less than maximum will have no effect. This applies to any portion of the event waveform. 3. No portion of the audio event that has an applied fade will be editable. This includes any portion of the event that is ramped up/down or cross-faded. Attempting to alter the waveform data in the region of an event where fade is applied will have no effect. This applies only to the region where fade is applied. 4. No portion of overlapping audio events will be editable. This applies even if both events are at full gain and there is no fade. Overlapping audio events are mixed whether there is fade or not and mixed waveform data cannot be edited. To use the pencil tool, click and drag on the portion of the waveform that you wish to change. As you drag, the waveform will be altered and redrawn as you move the pencil, much the same as with a pencil tool in a graphics drawing program. However, unlike a drawing program the pencil tool will always draw over the waveform as you move it left and right so that there is always just one value per sample. If pencil tool editing is first applied in a valid portion of the waveform and the pencil tool is then moved over a faded region, the tool will affect only that portion of the waveform that is not faded. When the mouse button is released, the altered waveform data is sent to the MX-2424 as a single unit. This action is undoable and redoable. If you make 2 pencil edits (2 mouse ups) and then select undo twice, the waveform will be back to what it was originally. To cancel a pencil edit in progress, press the escape key; the waveform data will be reverted to the original form. When using the pencil tool, the result is that the original audio sample data from the sound file is altered each time you release the mouse. Note that this may actually affect more than one track or clip if you have made any copies of the audio event. Because the pencil tool alters the original sound file, you can take advantage of this if you need to get around limitations 2-4 above. Just copy the portion of the audio event that you wish to edit to a blank area of a track, adjust the gain to maximum, remove any fades or overlaps and then zoom in to the sample level and edit the waveform. All audio events that reference the affected sound file will then reference the altered data. - 50 -

022 Chase Freewheel 5 frames 10 frames 20 frames 50 frames 100 frames (default)
This menu allows the user to select the number of frames of bad master timecode through which the MX will freewheel. If the master continues issuing bad timecode beyond this number of frames, then the MX will decide that the master is no longer playing, and will exit play mode.
023 Chase Relock On Off If Recording (default) Off Always
This menu allows the user to control the behavior of the MX when it detects that its position has drifted away from that of the master either because the MX and the master are running at slightly different rates or because the master has jumped to a new position. In previous versions, the MX would simply relock, which meant jumping to a new position to be synchronous with the master. Two new options allow the user either to inhibit the relocking action when the MX is recording, or to inhibit it altogether.

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024 Relock Threshold Automatic 1/3 frame 1 frame 2 frames 5 frames 10 frames (default)
This menu determines the size of the error between the MX and the master which must be detected before a relock will take place [see above]. In the Automatic mode, the threshold is set to 1/3 frame for LTC chase and 10 frames for MTC chase. Note: If menu 023 Chase Relock has inhibited the relock action, and if the lock error has exceeded the threshold specified in this menu, then the front panel CHASE LOCK LED will flash to indicate that condition.

Lock Error Display

A new lock error display has been installed which will show the amount of deviation of the MXs position from that of the LTC or MTC chase master. The format of the display is: ERR 00:00:00:00 If the MX is not specifically chasing LTC or MTC then this display will show all zeros. However, if the MX is chasing and locked, but with the relock function disabled, then this ERR display is useful for monitoring the current amount of drift. The ERR display is accessed from the front panel by pressing Shift + ONLINE, and from the RC-2424 by pressing Shift + LOOP. (Circumstances did not permit the use of the same keystrokes in both environments.) It is neither necessary nor prohibited to preceed these keystrokes with the RCL key.
Timecode Lock Deviation display added to Edit & Transport Windows (MX-View)
A new lock error display has been added to the edit menu machine info bar which will show the amount of deviation of the MXs position from that of the LTC or MTC chase master. The chasing MX must be selected as the current transport focus in the Transport window. If the MX is not specifically chasing LTC or MTC then this display will show all zeros. However, if the MX is chasing and locked, but with the "relock" function disabled, then this display is useful for monitoring the current amount of drift. Note that when chase locked, a yellow circle with the letter "L" is displayed in the timecode display of the chasing machine in the Transport window. When the MX determines that drift is excessive, it will begin to flash the "CHASE LOCK" LED on the chasing MX's front panel. This can also now be seen as the chase lock indicator flashes in the Transport Window.

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This is for convenience only. Each machine's undo Enable button can always be directly controlled regardless of the transport focus.
Numerical entries can be made without placing a new Marker
Pressing the Enter/Return key after entering digits into timecode displays was creating a new Marker Location (memory register). This has been fixed Markers are only created when the focus is on the edit window.
Multi-machine mode event dragging
In previous versions of MX-View, in multi-machine mode (single edit window with multiple machines) and with the machines connected on the TLBus and Online, selecting and moving an event resulted in undefined behavior on the MX. This has been corrected.
Edit window behavior with missing/offline machines
If MX-View is quit while an edit window with multiple machines is open, when MX-View is next started it will attempt to reconnect to those machines and restore the edit window to the same state. If any of the previously connected machines cannot be found (they were either shutdown or disconnected from the network), MX-View will now attempt to restart the connection with only those machines that it can find.

Timecode Chase Update

The MX-2424 will now better detect the current state of the time code master. More specifically, there have been improvements in the method by which it distinguishes between a master, which is no longer at play speed, and one that is still playing but has either drifted or jumped to a new position. Previous versions of the software could mistake either one of these conditions for the other.
Disk Command Menu Behavior
The disk formatting menus will now always retain the most recently selected disk number when the STO key is pressed, whether the resulting action produced an error or not. Affected Menus: Disk Initialize Disk Low Format Disk Cleanup Backup Erase
Memory handling of the Undo History
As of MX-OS version 3.10, 256MB of RAM will be required for 100 levels of Undo. An MX-2424 with 128MB of RAM will be limited to 50 levels of Undo in order to prevent out of memory conditions during loop record.

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Create a New Project 1) Press [SHIFT]. 2) Press [PROJ/NEW]. The LCD screen will display the name of your currently loaded project. For example, 800 Project Name * MX Project.tl 3) The next step is to name your new project. [TRIM] becomes active automatically when you press [SHIFT] and [PROJ/NEW], so the project name is ready to be edited. Use the Shuttle Ring (the outside control of the Jog/Shuttle Wheel) to scroll left and right. The numerical buttons are used for alphabetic entry just like a cell phone with the [SHIFT] button used for CAPS. After composing a name, the screen should look something like this, 800 Project Name My First Project_ 4) Press [STORE/YES] and your new project is created. An asterisk will appear in front of the project's name to let you know it is the currently loaded project. The project is stored in the memory of the MX-2424 but not actually written to disk until audio is recorded. 800 Project Name * My First Project

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Choosing The Projects Parameters
Certain decisions must be made before recording audio. These are decisions that affect the way the actual audio files are recorded and whose settings are stored as part of the project. After creating a new project but before recording audio, make sure the following parameters are set to the desired values. Keep in mind that the default settings may be acceptable for your application. Selecting a Sample Rate 1) Press [SETUP]. 2) Press [0] on the numeric keypad and then use the [Up Arrow] to scroll to system page #005. You will see, 005 Sample Rate * 44100
3) Press [TRIM]. 4) Use the [Up Arrow] to scroll to your desired sample rate. For example, 005 Sample Rate 96000
5) Press [STORE/YES] to set the new sample rate. An asterisk will appear in front of the new rate to let you know it's active. It should look like this, 005 Sample Rate * 96000
HOT TIP! If you tend to record at a sample rate other than 44.1 kHz on a regular basis, you may want to set a different sample rate as your MX-2424's default. Press [9] to jump to system page #900 ("Store Settings") and press [STORE/YES]. This stores the new sample rate as your default.

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TapeMode or Non-Destructive? There are two types of recording modes, TapeMode and Non-Destructive. TapeMode is destructive recording and does not provide editing or the ability to undo recordings. It's just like recording on tape, when you record over something it's gone forever. The NonDestructive Mode allows you to perform/undo/redo edits as well as undo/redo recordings. In Non-Destructive Mode, an Edit Decision List (EDL) called a project file is written on the drive by the MX-2424 to keep track of all your recordings and edits. The Non-Destructive Mode is the MX-2424's default setting. Tape Mode writes and maintains a single unbroken audio file per track. The NonDestructive Mode writes many separate audio files in order to keep all the recordings available for undo. If you plan to transfer the audio files recorded on your MX-2424 to a computer based digital audio workstation (DAW), TapeMode makes this easy. A project recorded in Non-Destructive Mode can be converted to a TapeMode project using the TapeMode Convert function. You'll find TapeMode Convert under the [PROJ/NEW] button. TapeMode convert creates a copy of the original Non-Destructive project with new audio files created from the original EDL tracks so there will need to be enough space available on the drive for the TapeMode project. For most applications, Non-Destructive Mode is preferable since you will have the option of going back to a previous recording and/or performing edits. But in some instances, Tape Mode is more space efficient than Non-Destructive Mode. For example, when recording many tracks in a situation where re-takes are likely, each retake in Non-Destructive mode could use up a significant amount of drive space. TapeMode keeps the drive space used in this situation constant over multiple re-takes then the project can be switched to Non-Destructive mode for overdubs/editing. Any Non-Destructive project would need to be converted to TapeMode using TapeMode convert if desired.

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Creating a TapeMode Project 1) Press [SETUP]. 2) Press [2] on the numeric keypad. You will see, 200 Record Mode * Non-Destructive
3) Press [TRIM]. 4) Use the [Up Arrow] to change the display to: 200 Record Mode TL-Tape Mode
5) Press [STORE/YES] to set the new recording mode. A prompt will appear asking for confirmation. Press [STORE/YES] to confirm. 6) Use the [Up Arrow] to change the display to: 230 Tape Mode Start *01:00:00:00
7) Press [TRIM], then use the Shuttle Ring and numeric keypad to set the TapeMode Start time to the desired position. Press [STORE/YES]. 8) Use the [Up Arrow] to change the display to: 231 Tape Mode Length *00:10:00:00
9) Press [TRIM], then use the Shuttle Ring and numeric keypad to set the desired value. Press [STORE/YES]. HOT TIP! Generally, its a good idea to avoid starting a project at 00:00:00:00 due to the need for pre-roll during loop, auto-punch or synchronized operation. If a pre-roll value sends the transport to a location earlier than 00:00:00:00 the MX-2424 would not know to go forward or backward.

Choosing Auto Input Off Monitoring 1) Press [SHIFT] then [ALLSAFE/AUTO INPUT]. The Auto Input status is indicated by the Auto Input LED under track select button #7. 2) Use the Track Select buttons to choose the tracks you want to input monitor while in Play. HOT TIP! The Track Select buttons may be used this way with the [REC SEL] or the [INPUT] button enabled. If the transport is in record, this will also punch into record on a track by track basis.

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Entering Record
There are different ways available to enter and exit record that may be used depending on the situation. The default way to begin recording is to hold down [Play] and press [Record]. To end recording, press [Play]. For example, as your MX-2424 is playing, start holding down [Play] a bit before you want to begin recording, then when you want to punch in, hit [Record]. At the end of your take, hit [Play] to punch out and keep the transport rolling. Pressing [Stop] at any time immediately exits record. While the default method of punching in and out is familiar to many people, there are alternative methods to choose from. For example, you can set your MX-2424 to enter record without having to hold down [Play]. In this mode, all you need to do is press [Record] to punch in (to punch out you still hit [Play]). Tracks can be individually punched in/out of record using their Track Select buttons. Punching in/out can also be automated for hands free operationthis is great if you are working in the studio by yourself. For details on how to activate these different recording modes, read on. Record Enable All 1) Press [SHIFT]. 2) Then press [REC/SEL ALL] to record-enable all tracks. 3) To de-select all tracks, repeat steps 1 and 2. HOT TIP! It is possible to deselect all record-enabled tracks by holding [Clear] and pressing [Rec Sel].

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Setting One Button Recording 1) Press [SETUP], press [2] on the numeric keypad, and use the [Up Arrow] button to scroll to the following display: 202 Record Key * Record + Play 2) Press [TRIM]. 3) Press the [Up Arrow] once to change to the "Record" setting. 202 Record Key Record 4) Press [STORE/YES] to enable the new setting. You will be prompted for confirmation. An asterisk will appear next to the new setting. 5) To change one touch "Record" back to "Record + Play," repeat steps 1 to 4. Footswitch Punching 1) Make sure your MX-2424 is turned off, and plug in the footswitch. The footswitch jack is located on the rear of your MX-2424 (at the bottom left corner). 2) Turn on your MX-2424, it will automatically sense the polarity of the footswitch. 3) Load a project, record enable a track, and press [Play]. 4) Depress the footswitch to enter record. 5) Depress the footswitch again to exit record.

VIRTUAL TRACKS

Using Virtual Tracks
You are in complete control of creating Virtual Tracks. The MX-2424 does not, by default, create virtual tracks every time you go into record. Instead, it is up to you whether the track you recorded will become a Virtual Track or not. To create a Virtual Track, you must first "unload" the track from its current playback position (1 through 24). For example, the Rhythm Guitar Track on Track 18 of the MX2424 must be placed in the Virtual Track poolthis is called unloading. With the Rhythm Guitar Track in the Virtual Track pool, it becomes a Virtual Track. Track 18 is now empty and ready to be recorded on again. We record a New Rhythm Guitar Track on Track 18, in order to compare or combine the first Rhythm Guitar Track to the second one. We "load" the first Rhythm Guitar Track into an adjacent track, say Track 19, for playback (if something is already on track 19, it must be unloaded first). We can then listen to both tracks, side by side, to hear which one is best or to edit the best parts of each performance into one master or composite performance. If we still can't decide, we can always store one of the tracks as a Virtual Track for listening to at a later time. When a Virtual Track is pulled out of the pool and loaded into a track (as in the example above), it is no longer a Virtual Track (since it's being played back in one of the playback positions {1-24}). All Virtual Tracks are time stamped. When you load a Virtual Track into your current project, it is automatically placed at its originally recorded position. For example, if the track you are loading was recorded at 00:10:14:12 to 00:13:24:20, then it's start time in your current project will also be 00:10:14:12. For step by step examples of how to load and unload Virtual Tracks, keep reading.

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Unloading Tracks 1) Press [VIEW/UNLOAD]. 2) Select the track you want to Unload using the Track Select buttons. When you have selected a track for unloading, the "SEL" LED of the track's Track Meter will blink to indicate the chosen track. You will also see the track's number and name on the second line of the LCD screen; something like this, Track Contents: 1 Bass_1_58 3) Press [SHIFT]. 4) Press [VIEW/UNLOAD] again. This unloads the track. You will also notice that your track selection is incremented by one track, which is convenient if you want to unload the next consecutive track. 5) To exit [VIEW/UNLOAD], press [CLEAR/CANCEL]. 6) To check that you successfully unloaded the track, press [VIEW/UNLOAD] and select the Track that was unloaded. You should see the following, 1 Track Contents: * Blank *

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Loading a Track 1) Press [PROJ/NEW]. (The display should look like this.) Load *Select Action
2) Press [STORE/YES]. You should see the names of the projects currently on your hard drive. For example: Load Warmness.t1 Project [0:212]
3) Scroll to the project that contains the Virtual Tracks you want to load. (Don't press "Yes" yet or you will load a project!) 4) Press [PROJ/NEW] again. You will see the name of all tracks associated with the project listed in the previous window unloaded or loaded. Such as, Load into Track 23: Bass_1_58 5) Use the [Up/Down] buttons to scroll to the Virtual Track you want to load. 6) Use the Track Select buttons to choose the track position (1-24) where you want to load the Virtual Track. 7) Press [STORE/YES]. If the Virtual Track originated in the current project, that's it, the track is loaded. If the Virtual Track comes from a different project, you are prompted, "Import to Curr Proj?" Press [STORE/YES] to do it, or [RCL/NO] to cancel. 8) To exit, press [CLEAR/CANCEL]. 9) To check that you successfully loaded the track, press [VIEW/UNLOAD] and select the Track that was loaded. You should see something like, Track Contents: 23 Bass_1_58_129

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LOCATE FUNCTIONS

Project Head & Tail

Head Press [Rewind] once for a normal rewind speed. Press [Rewind] twice in rapid succession to go to the project's Head. Tail Press [Fast Forward] once for a normal fast forward speed. Press [Fast Forward] twice in rapid succession to go to the project's Tail.

Memory Locations

There are times when you need more than just a pen and paper to keep track of location points. Fortunately, the MX-2424 can remember up to 100 locations that are automatically stored in your project file. Locations can be stored or recalled using the numeric keypad. Storing a Location 1) Press [CAPT/SPACE] to capture a location. The MX-2424 can be playing, recording, or stoppedit doesn't matter. 2) Enter a two digit number (00-99) on the numeric keypad (for example, 01, or 15). This number is the memory position of your stored location. The LCD screen will display a message similar to, MX-01 MEM15 00:01:05:24 00:01:05:24
3) To return to the regular time code screen, press [CLEAR/CANCEL]. HOT TIP! You can repeatedly press [CAPT/SPACE] while the transport is in motion updating the captured point until a memory location is chosen with the numeric keypad.

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Recalling a Location 1) Press [RCL/NO] to recall a memory location. The MX-2424 can be playing, recording, or stoppedit doesn't matter. 2) Enter a two digit number (00-99) on the numeric keypad (for example: 01 or 15). This number is the memory position of your stored location. The LCD screen will display a message similar to, MX-01 MEM15 00:00:28:10 00:01:05:24

3) To locate to the memory location, press [LOCATE/LENGTH]. This will send the MX2424's play head to that memory location (or any time position displayed in the lower half of the LCD). You will see the time code on the top line of the LCD become equal the time code on the bottom line of the LCD. For example, MX-01 MEM15 00:01:05:24 00:01:05:24
4) Press [Play] to begin playback from the recalled memory location. 5) To return to the regular timecode screen, press [CLEAR/CANCEL]. HOT TIP! Using memory locations, you can take full advantage of your MX-2424's non-linear playback capabilities. For example, storing locate points for different sections of your song (such as, verse, chorus, bridge, and so on) will give you instant access to those parts. Being able to jump instantaneously to the top of any section can really keep the creative flow going.

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DIGITAL RECORDING BASICS

Digital 101

There are distinct differences between digital and analog recording. Even though the goal, to capture sound for playback, is the same, the technology behind each method dictates its own set of recording rules. Many issues with analog recordingtape hiss, slow transport functions, and bulky multi-track machineryare no longer concerns with digital recording. However, digital recording has its own set of considerationsbit depth, sample rate, word clock, and recording mediathat should be understood in order to get the most from your MX-2424. If you have experience recording with an analog multi-track, be ready to rethink some of your old recording techniques to meet the demands of hard disk recording. Also, prepare yourself to let go of your notions about what is possible in a multi-track session. Hard disk recording with the MX-2424 is faster and more flexible than any multi-track tape machine. If this is your first multi-track recorder, take the time to grasp the basics through experimentation - it will greatly enhance your productivity, and enjoyment of your MX-2424.

In Sample Terms

Digital recording is the process of converting an analog signal into numbers that represent a sound's amplitude, frequency, and harmonic content. These numbers are then stored on the MX-2424's hard drive for later playback. On input, the analog signal is encoded (turned into numbers) by running it through an Analog to Digital Converter (ADC). On playback, these numbers are read off of the hard disk and decoded (turned back into analog signals) through a Digital to Analog Converter (DAC). To take a picture of the analog signal, the ADC slices the sound into thousands of segments per second called samples. The rate at which sampling occurs is the sample rate. The higher the sample rate, the more accurate the picture of the audio signal's high frequency content is (see Figure 6-1); a higher sampling rate equals better frequency response. A sample rate of 44.1 kHz equals 44100 samples per second, which is CD quality. The MX-2424 can record at sample rates up to 96 kHz. HOT TIP! When operating in one of the high sample rate modes (88.2 kHz or 96 kHz, the MX-2424 reduces its track count by half to 12 to take into account the doubled amount of data. In this way 12 tracks of 24-bit/96 kHz audio takes up the same amount of storage space as 24 tracks of 24-bit/48 kHz audio.

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Bit Depth Defined
Computers use a binary number system composed of just 2 digits, 0 and 1. A binary digit is called a bit, and computers combine two or more bits to express bigger numbers. For example, using two bits, the computer can form four numbers: 00, 01, 10, and 11. With three bits, it can express eight numbers, from 000 to 111. So with 8-bits, the computer can form 256 numbers, with 16-bits it can make 65,536 numbers, and with 24-bits (like the MX-2424) it can express a whopping 16,777,216 numbers. The number of bits used to represent each sample of sound is the resolution, or bit depth. The greater the bit depth, the more accurate the measurement. This is because resolution determines the total number of steps that are possible between the lowest, and the highest recorded amplitudes. At 16-bit resolution there are 65,356 steps between the lowest and highest recorded amplitudes, while at 24-bit resolution there are 16,777,216 steps. Resolution defines the dynamic range of a digital recorder higher resolutions equal more steps and correspondingly better dynamic ranges in the form of a lower noise floor. HOT TIP! Confused about the terms? A binary digit is a bit. Eight bits makes up a byte. Half a byte, or four bits, is called a nibble. And a large group of bits is a word. For example, a word may contain 16, 24, or 32 bits.
Digital Recording Techniques
With analog recording, it is perfectly acceptable (even desirable) to have occasional peaks in the red. However, with digital recording, you never want to see peaks in the red. If you are peaking in the red above 0 dB you will experience digital distortion that is quite unpleasant. Digital distortion occurs because amplitude peaks greater than what can be represented by the binary numbers get chopped off. This phenomenon is called clipping. The bottom line is, absolutely avoid clipping your incoming signal when recording digitally. At the same time, it is important to record your incoming signals as hot as possible (without clipping, of course). This is because signals recorded at low volumes are not taking advantage of the maximum number of available bits. Set your incoming signals to peak just below 0 dB for the best recording resolution while leaving room for musical dynamics. HOT TIP! A compressor can be used to control incoming signals during recording. These devices are key in capturing optimum recording levels.

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Digital Transfers
The only time you don't have to set a level going into your MX-2424 is when you make a digital transfer (such as, AES/EBU, TDIF, or ADAT Optical). This is because the level has already been set at the source. During a digital transfer, the MX-2424 is simply copying data from the digital source to its own hard drive

Your MX-2424 comes standard with an internal 9 GB Hard Drive (HD). This is the drive where all of your audio is stored (until it's backed up to another device). The 9 GB HD provides up to 45 minutes of 24-track recording at 24-bit, 44.1 kHz. Of course, you can always install an additional internal HD, or connect an external drive if you need more space.
HARD DRIVE & SCSI BASICS

Remaining Drive Space

If you aren't sure whether your next project will fit on the drive space currently available, your MX-2424 can figure it out for you. Follow the steps below to find out how. Checking Remaining Recording Time 1) Make sure that your bit depth and sample rate are set for the upcoming project. 2) Press [SETUP] and access menu #703. It should look something like this, 703 Rec Disk Free * 08:11:06:14 3) Use the Track Select buttons to record-enable the total number of tracks you believe the project will be. 4) The remaining time will automatically adjust to take your record-enabled track count into consideration. (If no tracks are selected, the remaining time is based on a single track.)

SCSI Basics

Plugging an external hard drive or DVD RAM drive into your MX-2424 is a pretty simple operation with the proper terminator and cables. To achieve the performance standards of the MX-2424 certain SCSI devices have been tested/approved for use. It is very important that only tested/approved devices be connected to the MX-2424 to ensure performance and reliability. Once you have all the hardware, there are a several rules you must always follow when connecting a SCSI device. These rules are listed below, but for a more detailed overview of MX-2424 SCSI configurations, please read the MX2424 SCSI Instructions which is updated as needed and available for download on the TASCAM web site. - 42 -
SCSI Connection Rules 1) Only Approved SCSI devices should be connected to the MX-2424. 2) Only make SCSI connections (and disconnections) with the power off. 3) Narrow SCSI devices (DVD-RAM drives) always go at the physical end of a SCSI chain. 4) Each SCSI device in a chain must have its own unique SCSI ID number. 5) The MX-2424 supports up to four devices on its SCSI bus. 7) A SCSI chain's total cable length should not exceed 6 feet. 8) A SCSI chain must always be properly terminated. 9) High quality SCSI cables will greatly improve the reliability of a SCSI bus. HOT TIP! Approved devices are hard drives, removable media systems, and other SCSI peripherals that have been successfully tested with the MX-2424. To see the most current approved device list, visit our web site (www.TASCAM.com).

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Hard Drive Management
It is crucial that you keep your hard drive healthy since this is where all of your projects are stored. This applies not only to the stock internal hard drive, but to any other hard drives you use regularly for recording as well. To keep a hard drive healthy, there are a few important rules that you should follow. Backup regularly (we recommend after each session). Perform the "Disk Cleanup" operation regularly Low Level Format whenever it is empty Always make sure your SCSI connections are high quality, approved and properly terminated.
Backup Your Stuff! Backing up is an important part of any digital recording, just like backing up any financial records you may have stored in your desktop computer. Nothing is absolutely 100% reliable. 99% maybe, but do we really want to trust that our priceless recordings will not fall into that 1%? No way! Tapes sometimes break, hard drives sometimes crash, things get dropped and broken, recordings get erased, soft drinks get spilled, sunglasses get crushed you get the idea. If its worth recording then its worth making a back-up copy. Regular back ups ensure that, even if something bad does happen before your next back up, you will never lose too much of your work. Backup after every session or at the end of each day. Always make sure you have backed up your projects before erasing them. This might seem obvious, but do not assume you will never need to recall a particular project again, and then erase it. You can never tell when you might need to recall an old project for some reason later. If you did not purchase a backup solution with your MX-2424, now is a good time to do so while you are experimenting and getting to know your new recorder. Following are explanations of some backup solutions. You can easily back up to your personal computer via Ethernet then archive the data to any media supported by the computer. No matter how big the project is, this method automatically creates CDR-size files on the computer for archival to inexpensive CDR media., Or you can backup directly to DVD-RAM on the MX-2424. Other backup possibilities include using a removable hard drive system to physically move a hard drive from the MX-2424 to a computer where the data can be backed up to any media supported by that particular computer. A DVD-RAM drive or removable hard drive system may be installed in the front panel of the MX-2424 or attached to its rear wide SCSI port. Lets look at the reasons for using each backup option to help you choose the one you need.

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DVD-RAM: A DVD-RAM drive may be installed in the front panel of the MX-2424. Combined with the stock internal hard drive, this creates a fully self-contained system for recording and backing up. If something else, such as a removable hard drive system, is installed in the front bay then a DVD-RAM drive may be connected to the rear SCSI port. An external DVD-RAM drive may be useful when the MX-2424 is to be used on location then backup performed upon return to a studio. There are two methods of backing up to DVD-RAM. Both methods use Smart Copy, your choice of method is determined by how the DVD-RAM disk is formatted: 1) If the DVD-RAM disk is used un-initialized (straight out of the wrapper) then a Smart Copy would create a.BU file on the disk. A BU backup allows a single large project to span multiple disks and allows incremental backup. Incremental backup means that when new material is added to an existing project that has already been backed up, only the new material will be backed up. This is called appending. A BU backup is proprietary and cannot be recognized by a computer. 2) If the DVD-RAM disk is initialized to FAT-32 by the MX-2424 then it will be treated like a hard drive by the Smart Copy process. The advantage of this method is that a FAT-32 DVD-RAM disk will be recognized by a PC. Initializing a DVD-RAM disk to HFS or HFS+ on the MX-2424 is not possible, such an initialization must be done on a Macintosh with the proper software that disk may then be used on the MX-2424 and will be treated like a hard drive by the Smart Copy process. Ethernet: You may already have a computer with an Ethernet port and a CDR drive, or other type of backup device (which does not use any kind of data compression). You may be planning to have that computer run the MX-2424 graphic user interface. You could backup your projects to the computer via that Ethernet connection and graphic user interface. Once copied to your computer via Ethernet, the data can be archived to CDR or anything else used by the computer for backup large enough for the files. This method is fast and doesnt require any additional SCSI devices be connected to the MX-2424. Offline: If you are using removable hard drive systems with your MX-2424 to move audio files between a computer DAW and the MX-2424, you can backup those recordings once the drive is mounted on the computer just as if they had been transferred there via Ethernet. This has the advantages of being very fast in addition to keeping your MX2424 available for recording while backup/restore duties are being performed on the computer.

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Initializing a Drive
When you initialize a hard drive you define its format type. In turn, this format type dictates the kind of audio files the MX-2424 will write. The MX-2424 supports three formats, HFS, HFS+ and FAT 32. The HFS and HFS+ formats are compatible with Apple Macintosh computers, and supports the time stamped Sound Designer II (SDII) audio file format (popularized by Digidesign's Pro Tools). SDII audio files are compatible with a wide range of Macintosh based professional audio and video workstations. The FAT 32 format is compatible with PC (Windows) computers, and supports the Broadcast Wave audio file format. Broadcast Wave audio files are also read by a wide range of professional audio and video workstation applications operating on the PC/Windows platform. HOT TIP! Always be sure the format you choose supports the size of the drive you are formatting. For any drives over 9GB you must use HFS+ or FAT-32, HFS will not function reliably. Performing A Drive Initialization 1) The drive will already be unmounted from the low level format process. If not, it must be unmounted before initializing. 2) Press [SETUP], press [7] on the numeric keypad, and then scroll to system page #710. It should look similar to this, 710 Disk Initialize Init Disk 0 *
2) Press [TRIM] and select the SCSI device you want to Initialize then press [STORE/YES]. The stock internal hard drive is SCSI ID 0. 3) Once you have selected the SCSI device, you are prompted for the type of format to perform. Press [TRIM] and use the [Up Arrow] button to choose the desired type of format then press [STORE/YES]. 4) Once you have selected format type, press [STORE/YES]. You are prompted, "Are you sure (y/n)?" Press [STORE/YES] if you are sure. 4) The LCD will read "Disk init in Progress." This will take about one minute. HOT TIP! Though you may find that initializing is a quick way of erasing a disk, more reliable operation will be obtained by performing a low level format and then initializing the disk. If you just initialize your disk without first doing a low level format, over time the drive may become corrupt.

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There are many situations when it is necessary to run more than one multi-track simultaneously. For example, when 24 tracks just aren't enough, or maybe you need to lock the MIDI tracks of your sequencer with the audio tracks on your MX-2424. In these instances, you must lock your multi-track decks together for synchronized operation. Locking together two or more multi-tracks can be complicatedespecially if you have never done it before. But once you grasp a few basic principles behind synchronization, locking multi-tracks together will become second nature.

SYNCHRONIZATION BASICS

Master & Slave
The most important idea to understand is the master & slave concept. It's pretty simple, whenever you lock two or more multi-tracks together, one deck must be the master while the other decks are the slaves. The master deck serves as the master timing source in addition to sending out word clock information that all the slave decks reference to in order to stay synchronized. Often, the master deck is also the primary transport controller, taking command over most of the slave decks' transport functions. Generally, the slave decks are placed in a standby mode while they await timecode, transport and location commands from the master.

Chase Lock

Once you have made the proper synchronization connections between multi-tracks (see Figures 8-1 to 8-4), you need to set each machine to act as either the master or slave. You also need to make sure that each slave machine is referencing the same timing information as that being sent by the master (for example, time code type and digital clock source). Each multi-track will have its own unique set up procedure, and some machines may even require peripheral gear for synchronization. For example, computer based sequencers usually require a MIDI interface in order to send or chase time code. You should consult the supporting documentation for each multi-track that you wish to synchronize in order to insure a proper lock with your MX-2424. The MX-2424 has all the synchronization features you need built right into itno extra hardware interfaces are needed. While the MX-2424 can act as a slave, it is, by default, set to function as the master. It always generates SMPTE and MIDI Time Code (MTC) when the transport is running. To configure your MX-2424 for slave operation, and to select a digital clock source and time code frame rate, follow the steps below.

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Selecting a Frame Rate 1) Press [SETUP] and access Menu #004. You will see something like this, 004 TimeCode Type * 30/NDF
2) Press [TRIM] and use the Arrow buttons to select the frame rate you want. 3) Press [STORE/YES] and that's it. HOT TIP! The time code type selected here should be the same as that selected on other machines to be synchronized.

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S/PDIF The digital audio protocol for interfacing digital equipment using a coaxial connection. S/PDIF stands for Sony/Philips Digital Interface. It typically uses unbalanced RCA type connectors and 75 Ohm cabling, but can also use fiber optic cable. Sample Rate Conversion The process of changing one sample rate to another. SCSI The acronym for Small Computer Serial Interface. This is the type of connection used for making data transfers between the MX-2424 and different types of backup drives. There are many sub-categories of SCSI, including narrow, wide, and ultra wide. Any time two devices using different types of SCSI are connected together, the proper cabling/termination must be used. Smart Media Card A thin rewritable data card. The MX-2424 uses a Smart Media Card to update its Operating System. SMPTE An acronym for the Society of Motion Picture and Television Engineers. This term is often used in place of the phrase Linear Time Code (LTC). SMPTE is used to lock different pieces of equipment together by having them all receive and chase a specific time code. Synchronization Synchronizing, or syncing, is the process of making two or more devices operate in tandem. One device acts as the "master", while the other machines are the "slaves." TDIF An acronym for the TASCAM Multi-Track Digital Interface. This protocol was developed for transferring multiple channels of audio simultaneously between multi-track machines made by TASCAM and other TDIF-equipped digital gear. TDIF connections are made via a 25-pin D-Sub connector. Waveform The waveform of a signal is a graphical representation of its voltages over time. From left to right, a waveform stretches out over time, and from top to bottom it represents amplitude. Word Clock Word clock is a digital signal based on sample rate and generated by a crystal. Word clock is used to ensure that two digital devices are operating at the exact same clock speed. It is generated by a master device and a slave device would be set up to receive it.

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