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REC mag 03-06 GL2
Excerpted from the March edition of Recording Magazine 2006. 2000 Music Maker Publications, Inc. Reprinted with permission. 5412 Idylwild Trail, Suite 100, Boulder, CO 80301 Tel: (303) 516-9118 Fax: (303) 516-9119 For Subscription Information, call: 1-800-582-8326
.where we bring you follow-up articles with application hints and upgrade news about gear already reviewed in Recording
New Features In The Yamaha AW1600
A popular DAW adds power and connectivity
M I K E M E T L AY
The AW1600 removes this limitation neatly with the inclusion of eight Neutrik Combo jacks. These clever connectors allow the user to plug in either a 1/4" TRS cable or an XLR, making all the inputs suitable for mics or for line-level sources per the users needs. The AW1600 offers 48V phantom power for these inputs in two groups of four via rear-panel switches, so users can take advantage of the wealth of affordable condenser mics on todays market, and the AW1600 retains the separate Hi-Z 1/4" jack for Input 8, for direct guitar or bass input to the DAW. We looked at Yamahas AW16G desktop recorder in our February 2003 issue. It was a machine that continued Yamahas trend of developing smaller and more affordable subsets of the features in its flagship AW4416 (reviewed February 2001), offering a solid spread of capabilities for around $1000 on the street. The AW16G offered 16 simultaneous playback tracks and up to 8 simultaneous record tracks with 24-bit/44.1 kHz converters and 16-bit/44.1 kHz data storage on hard disk, a four-button Quick Loop Sampler for incorporating loops and other sampled data easily in songs, a CD burner, extensive internal effects, and more. Yamahas new AW1600 is an updated version of the AW16G, and at first glanceor even at second or third glanceit appears identical to its predecessor, with many if not all of the same specs and a front panel thats identical, button for button, with that
RECORDING MARCH 2006
of the AW16G. So whats with the name change? Is Yamaha out of ideas? Hardly. Lets take a Reviewed & Revisited look under the hood of the AW1600 and see the hidden treats that await the curious user. There are a number of enhancements to the AW16Gs original feature set that put the AW1600 in a class by itself. On the front end As noted in an erratum in this months Talkback column, the AW16G did have eight mic-level inputs on board, but only two of them had XLR connectorsthe others were balanced 1/4" TRS jacks. This isnt an ideal arrangement for recordists who want to hook up a bunch of mics without adapter cables, or who need more than two channels of phantom power.
Pitch Fix At first, the front panel of the AW1600 looks quite different than that of the AW16G, but on closer inspection you realize that the buttons and faders are all exactly the same as the old ones, just of a different (and to this reviewers hands, sturdier and more positive) design. Theres only one function label thats different: in the Quick Navigate section, which calls up handy templates for recording and monitoring signal path settings, theres a small label marked Pitch Fix. Pitch Fix is a new DSP feature on the AW1600 that allows for intonation correction of vocal tracks that have been recorded to hard disk, with a fair number of options ranging from the subtle to the sick. You can use it with nothing more than the AW1600 itself, but some functions are more easily accessible if you attach a small MIDI keyboard to the AW1600s MIDI In jack.
Pitch Fix works in real time as you listen, but cant be applied on the fly to a recorded part as its sung; you have to record the vocal, put the AW1600 into Bounce Mode, select a destination V.Track (remember that the AW recorders allow multiple takes and edits via a set of 144 V.Tracks, eight for each playback Track and for the stereo Mixdown bus), and select the Pitch Fix window to set up the operation. Working in Bounce Mode is a deliberate and practical choice: you start with a source track and create a new V.Track from the result of the pitch tweak rather than overwriting the original. This gives you plenty of chances to get the tweaks exactly right. and it will probably take a few passes before youre content, as there are a number of parameters that have to be finely adjusted to get the most musical results.
place of the AW16Gs 20 GB disk.This is especially important since the AW1600 allows data to be captured to disk in either 16-bit or 24-bit resolution, instead of truncating all data to 16 bits as the AW16G did. The internal processing and data paths of the AW1600 are all 32bit, allowing maximum retained sound quality while working with 24-bit files. Some of you may be asking at this point: Why do you need 32 bits for your data paths and processing? The converters are 24-bit, the hard disks store 24-bit data. As it is, 24 bits is almost beyond the dynamic range of human comfort: if a full-on sound is loud enough to make your ears bleed, that 24th bit is so small as to be essentially inaudible. So whats the use of those extra 8 bits? Well, Im glad you asked. Having as many bits as possible for internal math is a lesson that was hard-learned in the early days of digital recording, after a whole lot of gritty, gnarly recordings were released
port on the rear panel for direct connection to a Windows or Mac OS X computer. The AW1600 shows up on the host computers desktop as a shared disk, and its files are directly accessible to the host computer for data backup and read/ write operations. Lots of other DAWs do that, but the AW1600 adds a nifty wrinkle or two. First, all of the audio data on the AW1600s hard disk is written in a file format thats directly understandable by computers: 32-bit WAV files.That means that programs that understand and can work with 32-bit WAVs, most prominently Steinbergs Cubase and WaveLab, can open and use its data directly, with no translation or import needed. Second, the USB connector follows the USB 2.0 spec, which means its screaming-fast. fast enough to let a computer access data on the AWs hard disk as if it were in the computer itself, or on an external USB 2.0 or FireWire hard drive.
You can control how tightly the DSP forces the audio to a pitch, how quickly it acts on each note and how quickly the shift occurs, and whether or not the formants (the fixed frequency content of a voice that determine its character, such as male or female) are shifted. You can set which notes in a scale are legal destination pitches for the corrected vocal, either by clicking keys on the onscreen keyboard or holding down MIDI notes. You can also play a MIDI note line to create a harmonized version of the original vocal. Mastering FX The AW16G had a lot of effects processing power, with dynamics control and parametric eq on each channel plus assignable multieffects. The AW1600 adds a special set of settings for the stereo mixdown channel that it calls the Mastering Library. There are 14 presets with equalization and dynamics control optimized for everything from gentle boosting of levels to hard limiting and distortion. Bits and bytes The AW1600 has lots more room for data, with a 40 GB hard disk drive in
at CD quality 16-bit resolution. Heres the basic idea. All digital data are strings of binary bits, which can be 0 or 1 in value, off or on. 0 and 1 are self-explanatory, but 2 is written as 10, 3 as 11, 4 as 100, 5 as 101, etc. Notice whats happening here, though, when you add these numbers together: 1 plus 1 is 2, or in binary, 1 + 1 = 10.Youve added a bit of resolution; two 1-bit numbers add up to a 2-bit number. Similarly, 4 + 4 = 8 becomes 100 + 100 = 1000; two 3-bit numbers add up to a 4-bit number. And so on. This adding-on of bits applies all the way up to adding 24-bit numbers together, which is what youre doing when you mix or add digital effects to stored audio data on your hard disk. So having more digits to do those mathematical functions means you retain more accuracy, right up until its time to write the final result (the processed or mixed audio) back to hard disk or CD. The more bits, the less noise and crud, the better your music sounds. USB and computer integration This added resolution becomes especially handy when you consider the last major addition to the AW1600: a USB
This is a uniquely empowering capability for the recordist who likes the depth and accuracy of computer-based editing but doesnt want to mess with a computer when laying down tracks.The AW1600 becomes a portable, powerful, easy-to-use recording medium with excellent preamps, lots of disk space, and built-in effects.and when youre done tracking, you just hook it up to your computer, open its hard disk in your DAW, and work with the audio right on your computer screen, saving it back to the AW or onto your computers hard drive as needed. Way cool! For this feature alone, the AW1600 represents a significant step forward in DAW design, but its other new tricks and added sound quality are of equal note. Youd do well to check it out. Price: $1499 More from: Yamaha Corp. of America, 6600 Orangethorpe Ave., Buena Park, CA 90620. 714/522-9011, www.yamahaproaudio.com. Mike Metlay would like to thank George Hamilton of Yamaha for technical assistance.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC)
IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug.
This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires)
AW1600 Owners Manual
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
Only use the voltage specied as correct for the device. The required voltage is printed on the name plate of the device. Use only the specied AC power adaptor (PA-300 or an equivalent recommended by Yamaha). Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.
Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. Never insert or remove an electric plug with wet hands.
If you notice any abnormality
If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel. If this device or the AC power adaptor should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualied Yamaha service personnel.
13. Song management
About songs... 143 Editing the song name... 145 Editing various settings for the song. 146 Copying or deleting a song.. 147 Optimizing a song... 148 Creating a tempo map... 149
Input library list...179 Mastering library list..180 EQ library list..181 Dynamics Parameters...182 Dynamics library list..185 Effects library list..186 Effects Parameters...188 Sample library list...200 Troubleshooting...202 Display message list..206 About the CD-ROM included with the AW1600.209 MIDI data format..215 MIDI Implementation Chart..219 Specifications..220 Dimensions...222 Index...223 Block diagram...227
Before you start
This chapter explains what you should know before you begin using the AW1600.
Check the included items
The AW1600 package contains the following items. If any are missing, please contact your dealer.
The AW1600 AC adaptor (PA-300) Owners manual (this book) CD-ROM
Macintosh is a registered trademark of Apple Computer, Inc. USA in the United States and other countries. Windows is a registered trademark of Microsoft Corporation USA in the United States and other countries. Cubase SX and Nuendo are trademarks of Steinberg Media Technologies AG. Logic is a registered trademark of Apple Computer, Inc. USA in the United States and other countries. SONAR is a registered trademark of Twelve Tone Systems, Inc. ProTools is a trademark or registered trademark of Avid Technology, Inc. and afliated companies. Other company names and product names in this document are the trademarks or registered trademarks of their respective owners.
Copying of commercially available music sequence data and/or digital audio les for any purpose other than your own personal use is strictly prohibited.
Yamaha Pro Audio website
Yamaha Manual Library
Remember to back up your data
Storing produced data
Produced data can be lost due to breakdown or mistaken operation. We recommend that you store all important data on your computer, CD-R/CD-RW discs, or other external storage medium.
Responsibility for loss of data, etc.
If you change individual parameters in the DYN screen, the parameter that you operate last will be assigned to the [DYN] knob. If you want to return to the state in which turning the [DYN] knob will adjust multiple parameters simultaneously, you must once again recall the library containing the dynamics settings you recalled prior to editing in the DYN screen.
Listening to the demo song
When the AW1600 is shipped from the factory, its hard disk contains a demo song. This chapter explains how to play back the demo song while you operate the faders and keys of the front panel.
Connect external devices and turn on the power
The following diagram shows a typical example of connections to the AW1600. Connect your mics, instruments, and external devices as shown in this diagram.
Rhythm machine Mics Synthesizer
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System
INPUT 8 (HI-Z)
Electric guitar/ Electric bass
DIGITAL STEREO OUT DIGITAL STEREO IN MONITOR OUT PHONES
DAT recorder, MD recorder, etc.
Headphones Monitor system
When you have nished making connections, turn on the power switch of each device in the following order.
1 External devices such as audio sources or effect
After the opening screen, the following screen will appear.
B The AW1600 itself C The monitor system connected to the output jacks of
When you turn on the power of the AW1600, the last-used song will be loaded automatically. When you turn on the power of the AW1600 with the factory settings, a blank song will be loaded, so you can start recording immediately.
Loading the demo song
Heres how to load the demo song from the hard disk.
1 In the Work Navigate section, press the
[SONG] key. The SONG screen will appear, where you can save or load songs.
3 Turn the [DATA/JOG] dial to select the song
4 Move the cursor to the LOAD button in the
screen, and press the [ENTER] key.
2 Either press the [SONG] key repeatedly or
If you turn the Locate section [REPEAT] key on before step 7, operations 14 of step 7 will be repeated up to fteen times. (The A-B Repeat function is disabled during this time.) If you want to stop repeating the rehearsal, press the [REPEAT] key once again or press the STOP  key. With the initial settings of the AW1600, the pre-roll and postroll times are each set to four seconds. You can adjust these values in a range of 05 seconds ( p. 169).
Using the Undo List
By using the AW1600s Undo function, you can not only cancel the most recent recording or editing operation, but can even backtrack through your work for as many as fteen previous steps. This is convenient when, for example, after performing several overdubs, you decide that you would rather go back to the state immediately after you had recorded the third solo.
1 Press and hold the [UNDO/REDO] key.
The UNDO LIST popup window will appear.
2 Turn the [DATA/JOG] dial to select a step
3 Move the cursor to the OK button and press
1 the [ENTER] key. The current song will revert to the state of the step you selected.
1 Undo list This is a list of the previously-performed recording and editing operations. From the left, the list shows a step number that indicates the order in which the operations were performed, the content of the operation, and the track/ virtual track that was affected by the recording or editing operation. The current song is now in the state of the step that is highlighted. The step enclosed by a dotted frame indicates the step to which the Undo function will return the song.
4 Move the cursor to the EXIT button and
press the [ENTER] key. The popup window will close, and you will return to the previous screen.
Please note that if you perform recording or editing after undoing back to a certain step, the undo/redo data subsequent to that step will be erased. For example if you undo the previous three steps, and then perform a recording or editing operation, the undo/redo data for the previous steps 1 and 2 will be erased.
Switching virtual tracks
Each audio track 116 contains eight virtual tracks. After overdubbing a solo part, you can switch the virtual track for that track, and record a different take while preserving the previouslyrecorded content. Heres how to switch the virtual track that is selected for a track.
Finding a location while you view the waveform
The AW1600 lets you nd a location while viewing the waveform of the sound recorded on the track.
2 Repeatedly press the Work Navigate sec-
tion [TRACK] key or hold down the [TRACK] key and use the CURSOR[ ]/[ ] keys to access the VIEW page of the TRACK screen.
D AMP By moving the cursor to this area and turning the [DATA/JOG] dial, you can expand or shrink the waveform display in the amplitude axis. The value of this eld indicates the level range of the waveform displayed in the WAVE DISPLAY popup window. If you select 0 dB, the top and bottom edges of the screen will correspond to the maximum level. E LISTEN button If you move the cursor to this button and press the [ENTER] key, the waveform in the display area of the WAVE DISPLAY popup window will be played once. During playback, the vertical line (pointer) that indicates the current location will move, and the counter value will also change. You cannot perform conventional transport operations when playing back by pressing the LISTEN button. F EXIT button If you move the cursor to this button and press the [ENTER] key, you will exit the WAVE DISPLAY popup window and return to the previous VIEW page.
3 Move the cursor to the TRACK eld, and
turn the [DATA/JOG] dial to select the number of the track whose waveform you want to view. Move the cursor to the WAVE button and press the [ENTER] key. The WAVE DISPLAY popup window will appear. This popup window displays the waveform of the audio data recorded in the current track of the track (116) you selected in step 3. 3
Even after displaying the WAVE DISPLAY popup window, you can use the [TRACK SEL] keys to switch the track for viewing.
5 As necessary, move the cursor to the TIME/
AMP elds and turn the [DATA/JOG] dial to adjust the vertical and horizontal scale of the waveform display.
6 To specify a location within the popup winTRACK Indicates the currently selected track number. You can also move the cursor to this eld and turn the [DATA/ JOG] dial to switch tracks. B Counter Displays the location of the vertical line (pointer) indicating the current location in the WAVE DISPLAY popup window. You can move the cursor to this eld and turn the [DATA/JOG] dial to move the current location forward or backward. C TIME By moving the cursor to this area and turning the [DATA/JOG] dial, you can expand or shrink the waveform display in the time axis. The value of this eld indicates the length of time displayed in the WAVE DISPLAY popup window. If you select 1SEC, the distance from the left edge to the right edge of the screen will correspond to one second. Selecting SAMPLE will produce the highest magnication, and each horizontal pixel will correspond to one sample (1/44,100 second). 72
Recalling library or scene data
Heres how to recall (load) settings from a library or scene.
Deleting library or scene data
Heres how you can delete unwanted library or scene memory data.
1 Access the desired library or scene mem-
ory page. For details on how to access each library or scene memory page, refer to the explanations on page 77 and following. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen.
The input library and mastering library, and the EQ, dynamics, and effect libraries accessed from the INPUT SETTING popup window are all read-only, and do not have a CLEAR button.
1 Access the page for the desired library or
scene memory. The illustration below shows an example of when you have selected the LIBRARY page of the EQ screen.
that the library data or scene you want to recall is enclosed by the dotted frame.
that the library data or scene you want to delete is enclosed by the dotted frame.
Move the cursor to the RECALL button, and press the [ENTER] key. A popup window will ask you to conrm the Recall operation.
3 Move the cursor to the CLEAR button and
press the [ENTER] key. A popup window will appear, asking you to conrm the Delete operation.
4 To execute the recall, move the cursor to
the OK button and press the [ENTER] key. The library or scene will be recalled.
If you selected read-only data (indicated by a lock icon) in step 2, a message will indicate Read Only, and the Delete operation will not be executed.
You have the option of making settings so that the conrmation popup window does not appear when you perform the Recall operation. For details, refer to Overall settings for the AW1600 ( p. 169).
4 To execute the Delete operation, move the
cursor to the OK button and press the [ENTER] key. The library or scene will be deleted.
Naming library or scene data
Heres how you can assign a new name to existing library or scene data.
The input library and mastering library, and the EQ, dynamics, or effect libraries accessed from the INPUT SETTING popup window are all read-only, and therefore have no TITLE button.
that the library data or scene you want to rename is enclosed by the dotted frame.
Move the cursor to the TITLE button and press the [ENTER] key.
The TITLE EDIT popup window will appear.
If you selected read-only data (indicated by a lock icon) in step 2, a message of Read Only will appear, and you will be unable to edit the name.
Initializing a channel
The mix parameters (EQ, dynamics, pan, etc.) of a channel can be reset to their default settings in a single operation. This function lets you start mixdown or bounce operations with the track channels zeroed, and provides an easy way to reset the levels back to the nominal setting if you can no longer hear any sound.
press the [MONITOR] key or hold down the [MONITOR] key and use the CURSOR [ ]/ [ ] keys to access the INIT page.
In this page you can separately initialize the mix parameters of input channels 18, pad channels 14, or track channels 116.
2 Press the [INPUT SEL] key, pad, or [TRACK
SEL] key for the channel that you want to initialize. When you press a key or pad, the upper line of the screen will indicate CH.PARAMETER INITIALIZED, and the corresponding channel will be initialized. (Channel library 00 will be recalled.) An initialized channel will have the following mix parameter settings.
Input channel Phase Attenuation EQ EQ parameters Dynamics on/off Dynamics type Dynamics parameters no change 0 dB ON default (at) OFF COMP no effect Pad channel no change 0 dB ON default (at) OFF COMP no effect Track channel no change 0 dB ON default (at) OFF COMP no effect If paired: L channel = L16, R channel = R16 If unpaired: center no change*
The FADER knob of a track channel will follow the operation of the corresponding panel fader 18 or 9/1015/16. However, please note that if you adjust an on-screen knob and then operate the panel fader, the value will not change until the fader passes the current value.
N OUTPUT LEVEL (only for the stereo output channel) Move the cursor to this knob and turn the [DATA/JOG] dial to adjust the output level of the signal that is sent from the stereo output channel to the STEREO/AUX OUT jacks and MONITOR OUT jacks. The range is to 0 dB.
If paired: L channel = L16, L channel = L16 R channel = R16 R channel = R16 If unpaired: center 0 dB* 0 dB
* If FADER FLIP is set to TRACK in the UTILITY screen PREFER page.
The OUTPUT LEVEL knob will follow the operation of the panel [STEREO FADER]. However, please note that if you adjust the onscreen knob and then operate the panel fader, the value will not change until the fader passes the current value.
Editing the EQ parameters
The chapters entitled Track recording and Overdubbing explained how to load an EQ library and use the Selected Channel section [EQ] knob to make adjustments. Heres how you can make more detailed adjustments to the EQ parameters.
4 Move the cursor to the parameter that you
want to edit, and use the [DATA/JOG] dial to adjust the value. sor to the LOW band Q knob and turn the [DATA/JOG] dial toward the left. With the default EQ settings, the LOW band is a shelving type. (The value eld for the Q knob will indicate L.SHL.) If you turn the Q knob toward the left, the Q knob value eld will change to a numerical value, and will switch to the same boost/cut type as the HI-MID and LO-MID bands. If you continue turning the Q knob toward the left, the Q knob value eld will indicate HPF, and the LOW band will function as a high-pass lter. If HPF is selected, you can use the LOW band G knob to switch the high-pass lter on/off. HIGH band Q knob all the way to the left. With the default EQ settings, the HIGH band is a shelving type. (The value eld for the Q knob will indicate H.SHL.) If you turn the Q knob toward the left, the Q knob value eld will change to a numerical value, and will switch to the same boost/cut type as the HI-MID and LO-MID bands. If you continue turning the Q knob toward the left, the Q knob value eld will indicate LPF, and the HIGH band will function as a low-pass lter. If LPF is selected, you can use the HIGH band G knob to switch the low-pass lter on/off. key. In the EDIT page, you can press the [ENTER] key to switch the EQ on/off (except when the cursor is located at the FLAT button).
Track At Once This method writes the data in units of CD tracks. The advantage of this method is that you can add new data to media that already contains existing data. With the Track At Once method, the data from the beginning to the end of the stereo track of a song is written to the CD as one track. (Even if there is a portion during the song that contains no data, it will be written as silent audio data.) Since each track is written individually when you use this method, an interval of approximately two seconds will be created between each track.
Start Song A Start End Audio CD Track 1 no gap Track 2 End
Disc At Once This method writes all tracks at once. Similarly to when using the Track At Once method, the data from the beginning to the end of the stereo track of each song is written to the CD as one track. However since writing does not stop until all data has been written, there will be no gap between the tracks.
Start Song A Marker = off Start Song B Marker = off End End
Audio CD Track 1 Track 2 interval (2 seconds)
In order for a disc written using Track At Once to be playable by the CD-RW drive or a CD player, you must perform a process known as nalizing to write track information to the disc. Once you have nalized a disc, you cannot write any more data to it.
When using Disc At Once to write a CD, you can use the start point, end point and markers that were assigned within the AW1600 song to divide a single continuous song into multiple tracks for writing. For example, this is convenient when you have recorded a live performance as a single song, and want to assign track numbers while leaving the playback in continuous form.
Start Song A Marker = on Start Song B Marker = off End End
Audio CD Track 1 Track 2 Track 3 Track 4
A track shorter than four seconds cannot be written to an audio CD. If you use start point/end point/markers to divide a song into multiple tracks, make sure that each track is at least four seconds long. If the length of the stereo track exceeds the writable length of the media, you can create an audio CD by adjusting the start point/ end point so that the region is within the allowable length. ( p. 106)
Media that you write using Disc At Once will be nalized automatically, and can be played back by a CD-RW drive or CD player that supports that type of media. However, no further data can be written to a disc that was written using Disc At Once.
Basic settings for the CD-RW drive
Before you actually write data to a CD, you will need to make basic settings for the CD-RW drive.
3 To execute the erasure, move the cursor to
the OK button. If you decide not to erase the disc, move the cursor to the CANCEL button. Then press the [ENTER] key. If you selected the OK button, erasure will begin. (This operation cannot be halted.)
Move the cursor to the desired button, and press the [ENTER] key. A popup window will ask you to conrm the erasure.
Playing an audio CD
You can use the CD-RW drive to play back a conventional audio CD or CD-R/RW media to which audio data has been written. This is referred to as the CD Play function.
The CD Play function can also play audio data from a mixed-mode CD-ROM (only track 2 and following) or CD Extra (only the rst session).
press the [CD] key or hold down the [CD] key and use the CURSOR [ ]/[ ] keys to access the CD PLAY page of the CD screen. In this page you can play back an audio CD inserted in the CD-RW drive.
4 To play the CD tracks, press the PLAY [
] key. To stop, press the STOP  key. During playback, the audio output of the CD-RW drive will be sent directly to the stereo output channel. Use the STEREO fader to adjust the volume. When the CD Play function is on, the keys of the transport section will have the following functions.
Key PLAY [ ] key Play Stop ] key Rewind/Fast-forward Select tracks Select tracks Operation
STOP  key REW [ ] key/FF [
1 CD PLAY button Switches the CD Play function on/off. B INPUT CH MUTE/MIX button Use this button to specify whether the signals of input channels 18 will be output together with the CD playback (MIX button), or whether only the CD signal will be output (MUTE button). C List Displays the tracks of the audio CD that is inserted in the CD-RW drive.
When the cursor is located in the list, you can turn the [DATA/ JOG] dial to select tracks. While an audio CD is playing, the access indicator in the display section will blink.
5 To exit the CD Play function, move the cursor to the CD PLAY button and press the [ENTER] key.
2 Insert the audio CD that you want to play
into the CD-RW drive.
The CD PLAY button can be switched on/off only while the CD is stopped. While the CD PLAY button is on, the CD-RW drive will be locked, and it will not be possible to eject the disc.
3 Move the cursor to the CD PLAY button and
press the [ENTER] key. The CD Play function will be turned on, and the CD track data will be read.
Quick loop sampler
This chapter explains how to use the Quick Loop Sampler section.
About the quick loop sampler
The AW1600 contains a quick loop sampler that lets you play stereo waveforms (samples) by striking the four pads.
Each pad 14 has four sample banks (AD) to which you can assign samples. By switching the sample bank for each pad, you can use up to sixteen different samples.
Pad 1 A B C D Sample banks Pad 2 A B C D Pad 3 A B C D Pad 4 A B C D
Signal ow when using the Quick Loop Sampler
You can load samples into the pads from the sample library (a library for the Quick Loop Sampler), load a portion of an audio track or audio CD, or load a WAV le.
When you strike a pad 14, the assigned sample will be sent via pad channel 14 to the stereo bus. For each pad channel, you can adjust the EQ, dynamics, and effects 1/2 send levels just as you can for the track channels or input channels.
A sample can be played back in one of two ways. One shot mode plays the sample once from start to end. Loop mode plays the sample repeatedly from start to end.
Original sample ONE SHOT/GATE
Start playback Stop
In addition, you can choose either Gate mode which plays the sample only while you continue holding down the pad, or Trigger mode which plays the sample all the way to the end when you press the pad once.
Pad = dark Pad = lit Pad = dark Pad = lit
Pad = lit
Pad = dark
Your pad operations can be recorded in an area of memory called the Pad Tracks. The pad tracks always operates in synchronization with the recorder. By recording your pad operations in the pad tracks while you listen to the song play back, you can use the pad tracks as supplementary audio track.
Be aware that the pad tracks do not record the sample or audio data itself, but merely the pad on/off data. (Each such piece of data is called a pad event.) The playback produced by a pad track will change if you switch to other samples after recording pad events, or if you change the playback mode.
No. 12 Title Mono Delay Stereo Delay Mod.delay Delay LCR Echo Type MONO DELAY STEREO DELAY MOD.DELAY DELAY LCR ECHO Description Mono delay with simple operation. Use when you dont need to use complex parameter settings. Stereo delay with independent left and right. Mono delay with modulation. Three-tap delay (L, C, R). Stereo delay with additional parameters for more detailed control. The signal can be fed back from left to right, and right to left.
No. 23 Chorus Flange Symphonic Phaser Auto Pan Tremolo HQ.Pitch Dual Pitch Rotary Ring Mod. Mod.Filter Title Type CHORUS FLANGE SYMPHONIC PHASER AUTO PAN TREMOLO HQ.PITCH (Effect 2 only) DUAL PITCH ROTARY RING MOD. MOD.FILTER Three-phase stereo chorus. The well-known anging effect. A Yamaha proprietary effect that produces a richer and more complex modulation than chorus. Stereo phaser with 216 stages of phase shift. An effect which cyclically moves the sound between left and right. Tremolo. Only one note is pitch-shifted, but a stable effect is produced. Stereo pitch shift with left and right pitches set independently. Simulation of a rotary speaker. An effect that modies the pitch by applying amplitude modulation to the frequency of the input. On the AW1600, even the modulation frequency can be controlled by modulation. An effect which uses an LFO to modulate the frequency of the lter. Description
No. Title Distortion Amp Simulate Type DISTORTION AMP SIMULATE Distortion. Guitar Amp Simulator. Description
No. 28 Title Dyna.Filter Dyna.Flange Dyna.Phaser Type DYNA.FILTER DYNA.FLANGE DYNA.PHASER Description Dynamically controlled lter. Responds to MIDI Note On velocity when SOURCE set to MIDI. Dynamically controlled anger. Responds to MIDI Note On velocity when SOURCE set to MIDI. Dynamically controlled phase shifter. Responds to MIDI Note On velocity when SOURCE set to MIDI.
No. Title Rev+Chorus Rev->Chorus Rev+Flange Rev->Flange Rev+Sympho. Rev->Sympho. Rev->Pan Delay+ER. Delay->ER. Delay+Rev Delay->Rev Dist->Delay Type REV+CHORUS REV->CHORUS REV+FLANGE REV->FLANGE REV+SYMPHO. REV->SYMPHO. REV->PAN DELAY+ER. DELAY->ER. DELAY+REV DELAY->REV DIST->DELAY Reverb and chorus in parallel. Reverb and chorus in series. Reverb and anger in parallel. Reverb and anger in series. Reverb and symphonic in parallel. Reverb and symphonic in series. Reverb and auto-pan in parallel. Delay and early reections in parallel. Delay and early reections in series. Delay and reverb in parallel. Delay and reverb in series. Distortion and delay in series. Description
No. 41 Title Multi.Filter Type MULTI.FILTER Three-band parallel lter (24 dB/octave). Description
REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE
Parameter REV TIME INI.DLY HI.RATIO LO.RATIO DIFF. DENSITY E/R DLY E/R BAL. HPF LPF GATE LVL ATTACK HOLD DECAY MIX BAL. Range 0.3 99.0 s 0.0 500.0 ms 0.1 1.0 0.1 2.100% 0.0 100.0 ms 0 100% Thru, 21.2 Hz 8.0 kHz 50 Hz 16.0 kHz, Thru OFF, 60 to 0 dB ms 0.02 ms 2.13 s 6.0 ms 46.0 s [%] Reverb time Initial delay before reverb begins High-frequency reverb time ratio Low-frequency reverb time ratio Reverb diffusion (leftright reverb spread) Reverb density Delay between early reections and reverb Balance of early reections and reverb (0% = ER, 100% = reverb) High-pass lter cutoff frequency Low-pass lter cutoff frequency Level at which gate kicks in Gate opening speed Gate open time Gate closing speed Mix balance of the effects and dry sounds Description
Parameter TYPE ROOMSIZE LIVENESS INI.DLY DIFF. DENSITY ER NUM. FB.GAIN HI.RATIO HPF LPF MIX BAL. Range S-Hall, L-Hall, Random, Revers, Plate, Spring 0.1 20.10 0.0 500.0 ms 0 100% 99 to +99% 0.1 1.0 Thru, 21.2 Hz 8.0 kHz 50 Hz 16.0 kHz, Thru [%] Type of early reection simulation Reection spacing Early reections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb diffusion (leftright reverb spread) Reverb density Number of early reections Feedback gain High-frequency feedback ratio High-pass lter cutoff frequency Low-pass lter cutoff frequency Mix balance of the effects and dry sounds Description
GATE REVERB, REVERSE GATE
Parameter TYPE ROOMSIZE LIVENESS INI.DLY DIFF. DENSITY ER NUM. FB.GAIN HI.RATIO HPF LPF MIX BAL. Range Type-A, Type-B 0.1 20.10 0.0 500.0 ms 0 100% 99 to +99% 0.1 1.0 Thru, 21.2 Hz 8.0 kHz 50 Hz 16.0 kHz, Thru [%] Type of early reection simulation Reection spacing Early reections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb diffusion (leftright reverb spread) Reverb density Number of early reections Feedback gain High-frequency feedback ratio High-pass lter cutoff frequency Low-pass lter cutoff frequency Mix balance of the effects and dry sounds Description
Parameter DELAY FB.GAIN HI.RATIO HPF LPF MIX BAL. Range 0.0 2730.0 ms 99 to +99% 0.1 1.0 Thru, 21.2 Hz 8.0 kHz 50 Hz 16.0 kHz, Thru [%] Delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) High-frequency feedback ratio High-pass lter cutoff frequency Low-pass lter cutoff frequency Mix balance of the effects and dry sounds Description
Parameter DELAY L FB.G L DELAY R FB.G R HI.RATIO HPF LPF MIX BAL. Range 0.0 1350.0 ms 99 to +99% 0.0 1350.0 ms 99 to +99% 0.1 1.0 Thru, 21.2 Hz 8.0 kHz 50 Hz 16.0 kHz, Thru [%] Left channel delay time Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase feedback) High-frequency feedback ratio High-pass lter cutoff frequency Low-pass lter cutoff frequency Mix balance of the effects and dry sounds Description
Is the word clock setting correct for both the AW1600 and the external device(s)? An effect such as Distortion or Amp Simulate may be in use.
The volume of a particular channel increases or decreases
Are the dynamics processor settings appropriate? A scene recall may be specied in the SONG screen TEMPO page.
Cant store a scene
The store-destination scene may be protected. A scene cannot be stored in scene number 00.
When you press the [PLAY] key it blinks, and playback does not occur
Is the AW1600 set to MTC SLAVE?
Access the UTILITY screen MIDI 2 page, and check the setting.
Cant reproduce a scene
One or more channels may be set to Recall Safe.
Cant save to a library
It is not possible to save to the factory-preset libraries.
Something goes wrong with the sound when you use the [FF] key or [REW] key
Differences in the number of simultaneously played tracks will affect the way in which the sound is heard when these controls are operated.
Meters move even though the faders are lowered
The meter display may be set to PRE FADER.
Cant edit a recorded track
Have you selected the virtual track that you recorded? Appendix The song may be protected.
Editing results are not heard in the sound
Have you selected the virtual track that you recorded? Are you using the appropriate editing command?
The display indicates MEMORY FULL, and you cant import
Access the SAMPLE screen MEMORY page, and check the amount of used memory. Execute ERASE or EXTRACT to increase the amount of free memory.
Counter display is not 0 when you return to the beginning of the song
The display mode may be set to REMAIN (remaining recording time). If the display mode is set to REL (relative time), the start point may be specied.
Go to the SONG screen SETUP, POINT page and check the settings.
WAV les to be imported are not displayed
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