Owner’s Manual
EN
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PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from
electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not
limited to, the following:
Power supply/Power cord
Water warning
• Only use the voltage specified as correct for the device. The required
voltage is printed on the name plate of the device.
• 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.
• Use only the specified AC power adaptor (PA-300 or an equivalent
recommended by Yamaha).
• Never insert or remove an electric plug with wet hands.
• 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.
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 qualified Yamaha service personnel.
Do not open
• Do not open the device or attempt to disassemble the internal parts or
modify them in any way. The device contains no user-serviceable parts. If
it should appear to be malfunctioning, discontinue use immediately and
have it inspected by qualified 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 qualified Yamaha service
personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or
damage to the device or other property. These precautions include, but are not limited to, the following:
Power supply/Power cord
Location
• Remove the electric plug from the outlet when the device is not to be
used for extended periods of time, or during electrical storms.
• Before moving the device, remove all connected cables.
• When setting up the device, make sure that the AC outlet you are using is
easily accessible. If some trouble or malfunction occurs, immediately
turn off the power switch and disconnect the plug from the outlet.
• When removing the electric plug from the device or an outlet, always
hold the plug itself and not the cord. Pulling by the cord can damage it.
• Avoid setting all equalizer controls and faders to their maximum.
Depending on the condition of the connected devices, doing so may
cause feedback and may damage the speakers.
• To avoid generating unwanted noise, make sure there is adequate
distance between the AC power adaptor and the device.
• Do not cover or wrap the AC power adaptor with a cloth or blanket.
• Do not expose the device to excessive dust or vibrations, or extreme cold
or heat (such as in direct sunlight, near a heater, or in a car during the
day) to prevent the possibility of panel disfiguration or damage to the
internal components.
• Do not place the device in an unstable position where it might
accidentally fall over.
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• Avoid locations where the unit will be subject to strong vibration.
Excessive vibration can damage the internal hard disk and CD-RW drive.
Handling caution
• When turning on the AC power in your audio system, always turn on the
power amplifier LAST, to avoid speaker damage. When turning the power
off, the power amplifier should be turned off FIRST for the same reason.
• Do not block the vents. This device has ventilation holes at the top to
prevent the internal temperature from becoming too high. In particular,
do not place the device on its side or upside down. Inadequate
ventilation can result in overheating, possibly causing damage to the
device(s), or even fire.
• Do not insert your fingers or hands in any gaps or openings on the
device (vents, disc slots, etc.).
• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.)
into any gaps or openings on the device (vents, disc slots, etc.) If this
happens, turn off the power immediately and unplug the power cord from
the AC outlet. Then have the device inspected by qualified Yamaha
service personnel.
• Do not use the device in the vicinity of a TV, radio, stereo equipment,
mobile phone, or other electric devices. Doing so may result in noise,
both in the device itself and in the TV or radio next to it.
Connections
• Do not use headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing
loss. If you experience any hearing loss or ringing in the ears, consult a
physician.
• Before connecting the device to other devices, turn off the power for all
devices. Before turning the power on or off for all devices, set all volume
levels to minimum.
• Be sure to connect to a properly grounded power source. A ground screw
is provided on the rear panel of this device for maximum safety and
shock prevention. Be sure to connect the ground screw to a confirmed
ground point before plugging the device into the mains. Improper
grounding can result in electrical shock.
• Do not rest your weight on the device or place heavy objects on it, and
avoid use excessive force on the buttons, switches or connectors.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).
Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed.
Always turn the power off when the device is not in use.
Even when the power switch is in the “STANDBY” position, electricity is still flowing to the device at the minimum level. When you are not using the device for
a long time, make sure you unplug the power cord from the wall AC outlet.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha
service personnel about replacing defective components.
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Caution for Laser
This product utilizes a laser.
Use of control, adjustment or performance of procedures other than those specified herein may result in haz-
ardous radiation exposure.
Do not open covers and do not repair yourself. Refer servicing to qualified personnel.
Laser properties of the Drive
Laser Class : Class 1 (HHS and IEC 825-1)
Wavelength : for CD 784 nm
for DVD 662 nm
The label shown below is located on the bottom of this product.
CLASS 1 LASER PRODUCT
The label shown below is located on the top of the internal CD-RW drive.
CAUTION
CLASS 3B VISIBLE AND INVISIBLE LASER RADIATION WHEN OPEN. AVOID EXPOSURETO BEAM.
ATTENTION CLASSE 3B RAYONNEMENT LASER VISIBLE ET INVISIBLE EN CAS D’OUVERTURE.
EXPOSITION DANGEREUSE AU FAISCEAU.
VORSICHT
KLASSE 3B SICHTBARE UND UNSICHTBARE LASERSTRAHLUNG,WENN ABDECKUNG GEÖFFNET.
NICHT DEM STRAHL AUSSETZEN.
ADVARSEL KLASSE 3B SYNLIG OG USYNLIG LASERSTRÅLING VED ÅBNING. UNDGÅ UDS/ETTELSE FOR STRÅLING.
ADVARSEL KLASSE 3B SYNLIG OG USYNLIG LASERSTRÅLING NÅR DEKSEL ÅPNES. UNNGÅ EKSPONERING FOR STRÅLEN.
VARNING
VARO!
KLASS 3B SYNLIG OCH OSYNLIG LASERSTRÅLNING NÄR DENNA DEL ÄR ÖPPNAD. STRÅLEN ÄR FARLIG.
KURSSI 3B NÄKYVÄ JA NÄKYMÄTÖN AVATTAESSA OLET ALTTIINA LASERSÄTEILYLLE, ÄLÄ KATSO SÄTEESEN.
CAUTION: CLASS 3B VISIBLE AND INVISIBLE LASER RADIATION WHEN OPEN. AVOID EXPOSURE TO BEAM.
Handling the CD-R/RW media
Please observe the following points when handling the disc.
Failure to do so may cause problems such as the recorded data being lost, the drive to malfunction, or the
printed label to become blurred.
• Do not place the disc in locations of direct sunlight, high temperature, or high humidity.
• Do not touch the recording surface of the disc.
Hold the disc at the edges.
• Gently wipe dust or dirt off of the recording surface of the disc.
Use an air duster or cleaner to remove dust. Vigorously rubbing the surface of the disc with a dry cloth may
scratch the disc.
• If the disk surface needs cleaning, wipe gently from the center to the outside of the disk with a soft damp
cloth, then gently wipe off remaining moisture in the same way with a clean dry cloth.
• Do not write on the disc or affix labels to it.
• Do not wipe the disc with chemicals or detergents.
• Do not bend or drop the disc.
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Internal Hard Disk Precautions
• During some hard disk operations a small amount of vibration might be felt at the control panel and you
might hear some mechanical noises. This is normal.
• Do not subject the unit to strong physical shock. Excessive physical shock can damage the internal hard
disk.
• Always turn the power off when moving the unit from one location to another. Data on the internal hard disk
can be lost or corrupted if the unit is moved while the power is on.
Copyright Notice
Copyright and other intellectual property laws in various countries permit reproduction of copyrighted materi-
als under certain requirements. The observance of applicable laws for use of this product, however, is your
responsibility. Yamaha disclaims any liability for violation of such laws in association with the use of this
product.
Although this product is designed for original music production, it can be utilized to make reproduction of
copyrighted music and other sound products. While certain reproduction and use of reproduced materials are
permitted under applicable laws, such reproduction and use without license may constitute copyright infringe-
ment and other violation of laws. Since violation of such laws can have serious consequences, you may wish
to consult a legal expert about your planned use of this product.
This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or
with respect to which it has license to use others’ copyrights. Such copyrighted materials include, without lim-
itation, all computer software, styles files, MIDI files, WAVE data and sound recordings. Any unauthorized use
of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of
copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES.
The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may
appear somewhat different from those on your instrument.
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Contents
Repeatedly playing a specific region
Finding a location while you listen to the sound
Convenient functions during
Adding input signals or pad
Using meters to check
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Contents
Types of media that
Exchanging Song Data
Digital input settings and
Synchronizing the AW1600
Recording/playing AW1600 mix
Switching AW1600 scenes from
TIME COMP/EXP
Exporting WAV files and
Importing and Exporting Audio Data
Transferring WAV Files To and
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Chapter 1
Before you start
1
This chapter explains what you should know before you begin using the
AW1600.
Introduction
■ Check the included items
■ Trademarks
The AW1600 package contains the following items. If any
are missing, please contact your dealer.
• Macintosh is a registered trademark of Apple Computer,
Inc. USA in the United States and other countries.
• Windows is a registered trademark of Microsoft Corpora-
tion USA in the United States and other countries.
• The AW1600
• AC adaptor (PA-300)
• Owner’s manual (this book)
• CD-ROM
• 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 Sys-
tems, Inc.
■ Copyright
Copying of commercially available music sequence data
and/or digital audio files for any purpose other than your
own personal use is strictly prohibited.
• ProTools is a trademark or registered trademark of Avid
Technology, Inc. and affiliated companies.
• Other company names and product names in this docu-
ment are the trademarks or registered trademarks of
their respective owners.
■ Yamaha Website (English only)
http://www.yamahasynth.com/
■ Yamaha Manual Library
http://www.yamaha.co.jp/manual/english/
Remember to back up your data
■ Storing produced data
■ Responsibility for loss of data, etc.
Produced data can be lost due to breakdown or mistaken
operation. We recommend that you store all important
data on your computer, CD-R/CD-RW discs, or other
external storage medium.
Yamaha will accept no responsibility for any damages
(including consequential or incidental) incurred by the
customer or any third party as a result of loss or impair-
ment of the data stored on the hard disk or CD-R media,
regardless of whether such loss could have been or actu-
ally was foreseen by Yamaha.
Nor does Yamaha guarantee the media against any defect
that may render it unusable.
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About the built-in CD-RW drive
1
A built-in CD-RW drive is a device that lets you create or
play audio CDs, backup and restore data from the internal
hard disk, and read data from a CD-ROM.
■ Handling
1 Never touch the objective lens.
IMPORTANT
B Be careful that the objective lens does not become
dusty or dirty.
• Even if a CD-RW drive is operating normally, it may fail a read
or write operation approximately once in five hundred times.
C If the objective lens becomes dusty, use a commer-
cially available blower etc. to blow the dust off with
clean air.
• Yamaha will take no responsibility for any damages, direct or
consequential, that may result from the use of the above CD-
RW drive.
D Since the inside of the drive contains powerful mag-
netic circuitry, do not allow any magnetic material to
come near the drive. (In particular, any metallic frag-
ments, screws, or pins that enter the drive mechanism
will cause operation to fail.)
Using the CD-RW drive
To insert a disc into the CD-RW drive, press the eject
switch. The disc tray will open. Place the disc on the tray,
and gently push the disc tray in.
■ Removing a CD in an emergency
If you are unable to remove the disc by pressing the eject
switch, insert a wire of less than 2 mm diameter (such as a
straightened paper clip) into the eject hole, and push gen-
tly. However, pressing the eject switch will not eject the
disc when the AW1600 is in the following states, so do not
use this method in such cases.
NOTE
• The disc tray is ejected electrically. If the disc tray is not ejected
when you press the eject switch, turn on the power of the AW1600
and press the eject switch once again.
• When the AW1600’s power is “STANDBY”
• When the disc is being accessed (data is being read,
written, or erased)
• While in CD PLAY mode
CAUTION
Eject hole Eject switch
• This removal method is for use in emergencies such as when
you cannot remove the disc due to a malfunction of the disc
tray or a power failure. Do not use this method unnecessarily,
since doing so will damage the CD-RW drive.
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Connecting the AC adaptor
When connecting the included AC adaptor (PA-300), you
1
must first connect it to the DC IN jack of theAW1600, and
then to the AC wall outlet. After connecting the AC adap-
tor to the AW1600, wrap the cable around the hook as
shown in the diagram. This will prevent the cable from
being accidentally pulled out, causing the AW1600 to
unexpectedly lose power.
Turning the power on/off
You must use the following procedure to switch the power
of the AW1600 between ON and STANDBY. If you fail to
follow this procedure, the internal hard disk or your exter-
nal monitor system may be damaged.
In the Work Navigate section located in the
1
upper left of the top panel, press the
[SONG] key several times to access the fol-
lowing SHUTDOWN page.
■ Turning the power on
In a system that includes the AW1600, turn the power of
each device on in the following order.
1 External devices such as audio sources and effect
processors connected to the input/output jacks of
the AW1600
Press the [ENTER] key located in the mid-
dle right of the top panel.
2
B The AW1600 itself
A popup window will ask you whether you want to
save the current song.
C The monitor system connected to the AW1600’s out-
put jacks
CAUTION
• Before you turn on the power, make sure that the AC adaptor is
firmly connected to the AW1600 and to the AC outlet. If the
power is disconnected while the AW1600 is being used, the
AW1600 itself or the hard disk may be damaged.
Using the CURSOR [ ]/[ ] keys located
3
in the upper right of the top panel, move the
cursor (the blinking area in the screen) to
theYES button if you want to save the cur-
rent song, or to the NO button if you do not
want to save it.Then press the [ENTER] key.
When you turn on the power of the AW1600, an opening
screen will appear, and then the following screen will
appear.
When the “Now safe to turn off...” message
appears, turn off the [POWER] switch
located on the rear panel.
4
IMPORTANT
• If you turn off the power of the AW1600 without perform-
ing the above shutdown procedure, not only will any
unsaved changes be lost, but you also risk damaging the
data on the hard disk, and damaging or drastically short-
ening the lifespan of the hard disk itself and the internal
CD-RW drive. Please use caution.
■ Turning the power off (shut down)
In a system that includes the AW1600, turn the power of
each device off in the following order.
1 The monitor system connected to the AW1600’s out-
put jacks
CAUTION
B The AW1600 itself
• A small amount of electrical current is flowing even when
the power is in STANDBY mode. If you will not be using
the AW1600 for an extended period of time, be sure to dis-
connect the AC adaptor from your AC outlet.
C External devices such as audio sources and effect
processors connected to the input/output jacks of
the AW1600
When turning off the power of the AW1600, you must
perform the following “shut-down” procedure.
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Chapter 2
Introducing the AW1600
This chapter describes the features of the AW1600, the name of each part
and its function, and introduces terminology you need to know when using
the AW1600.
2
Features of the AW1600
The AW1600 is an audio workstation that combines a digital mixer, multi-effect processor, hard
disk recorder, sampler, and CD-RW drive.
The following diagram shows the signal flow within the AW1600.
Mixer
×2
×8
Sound clip
INPUT jacks 1–8
Input channels 1–8
Track channels 1–16
Return channels 1/2
Pad channels 1–4
×2
×2
DIGITAL
STEREO IN jack
×2
×2
×2
STEREO/AUX OUT jacks
DIGITAL STEREO OUT jack
MONITOR OUT jacks
PHONES jack
Buses L/R
AUX buses 1/2
Effect buses 1/2
Stereo buses L/R
Metronome
×8
×2
×2
Effect 1
Internal effects
Effect 2
×2
×2
Stereo output channel
×2
×2
Recorder input
patching
CD Play
×2
×16
×16
1
2
3
4
CD Write
Quick loop sampler
Data Backup/
Restore
WAV File Import
Recorder
CD-RW drive
Now let’s take a more detailed look at each section of the AW1600.
● Four-band EQ and dynamics processors on
■ Mixer section
each channel
● Full-fledged mixer with 36 input channels
Four-band full-parametric EQ and dynamics processing is
provided on virtually every channel. You can recall the
desired preset from the library, and use the panel knobs
and keys to quickly adjust the settings.
The AW1600 contains a digital mixer with a total of 36
input channels, including analog inputs x 8, stereo digital
input x 1, recorder tracks x 16, and effect returns x 2.
Audio quality is guaranteed by 24-bit AD/DA and 32-bit
internal processing. A Hi-Z input jack for directly con-
necting an electric guitar or bass is also provided.
● Two high-quality multi-effect units are
built-in
The two built-in effect units deliver a wide variety of
effects including spatial-type effects such as reverb and
delay, modulation type effects such as chorus and flanger,
and guitar-type effects such as distortion and amp simula-
tion. These effects can be used either via send/return, or
inserted into a desired channel.
● Totally redesigned operation
The AW1600 is designed to be operated directly by the
musician (guitarist, vocalist, drummer etc.). With a mini-
mum number of steps, you can assign input signals to
tracks, switch the monitor signal, and record with effects,
EQ, and dynamics processing applied.
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Features of the AW1600
■ Recorder section
■ Quick Loop Sampler section
The AW1600 has a built-in pad-type sampler. You can
assign sixteen stereo waveforms to the four pads with
sample banks. Audio tracks from the hard disk, or WAV
files from a CD-ROM disc or computer can be loaded.
The timing at which each pad is pressed can be recorded
on a dedicated pad track, and edited later. Drum phrases
from the sample library can be assigned to pads, and you
can then record pad operations to use this function as a
simple rhythm machine.
● 8-track Simultaneous Recording & 16-track
Simultaneous Playback (16-bit songs)
You can record multiple tracks of instruments one by one,
or set up multiple mics to record a drum set or a live per-
formance by an entire band. A stereo track for direct mix-
down of all 16 tracks is also provided, letting you manage
the multi-track audio and the two-track mix as a single
package of data.
For the multi-tracks as well as the stereo track, you can
use eight virtual tracks for each track. When recording
parts or during mixdown, you can switch virtual tracks to
record multiple takes, and select the best take later.
The “bit depth” (number of quantization bits) of the audio
data recorded on each track can be set to 16 or 24 bits for
each individual song. 16-bit songs allow simultaneous
recording of up to 8 tracks, and simultaneous playback of
up to 16 tracks. A maximum of eight 24-bit song tracks
2
The maximum polyphony is four stereo notes, and the
maximum playback time is a total of approximately 47
seconds (approximately 29 seconds in 24-bit songs) of ste-
reo for the entire Quick Loop Sampler.
■ CD-RW drive
A dedicated CD-RW drive is installed in theAW1600.You
can produce an audio CD from the stereo tracks of the
songs recorded on the hard disk. Markers assigned within
a song can also be used as the track numbers of the CD.
You can even use advanced techniques such as assigning
more than one track number within a single song.
The CD-RW drive can also be used to backup/restore
songs, to play back audio CDs, and to load WAV data
from a CD-ROM.
● Versatile editing functionality
Audio data recorded on a track can be copied, moved, or
edited using a variety of commands. You can make
detailed edits, or even make radical changes to the struc-
ture of the song by using the same riff repeatedly or
increasing the number of choruses.
“Time Compression” lets you compress or expand the
time axis of the audio data in a range of 50%–200%.
“Pitch Change” lets you modify the pitch in a range of one
octave upward or downward. You can use the Undo func-
tion to reverse the results of as many as the last fifteen
editing operations.
■ Connecting to a Computer
The AW1600 can be directly connected to a computer via
the built-in USB interface. This allows WAV-format audio
files to be copied between the AW1600 and computer for
convenient management and processing in computerbased
applications, and “backup” song files can be stored on the
computer’s memory media.
● A variety of Locate methods, and auto
punch-in/out
Seven locate points (start/end, relative zero, A/B, in/out)
and 99 markers can be assigned at any desired point in the
song, for quick access via Locate operations. Auto punch-
in/out and A-B repeat playback functions are also pro-
vided. The AW1600 also has a metronome that follows the
tempo map.
● Sound Clip function
The Sound Clip function lets you record and play back an
input signal without affecting the recorder tracks. You can
use this as a sketch for your ideas for a song or arrange-
ment.
● Vocal Editing with Pitch Fix
A Pitch Fix function is provided to allow precise adjust-
ment of the pitch of a vocal track as well as the generation
of chorus parts from a main vocal line. This feature can
also be used to change the character of a vocal sound.
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AW1600 terminology
AW1600 terminology
■ Paired tracks
Recorder section
■ Tracks
A location where data is recorded is called a “track.” The
AW1600’s recorder section uses the following types of
track.
For audio tracks 9/10–15/16, adjacent pairs of tracks are
handled by the mixer as a single unit. These pairs of tracks
are referred to as “paired tracks.” A paired track can be
used to record a stereo source, or a dual-guitar perfor-
mance, etc.
2
● Audio tracks
■ Locate points/markers
The physical tracks used to record and play back audio
data are called “audio tracks,” or simply “tracks.” The
AW1600 has sixteen audio tracks. You can record eight
tracks simultaneously, and play back 16 tracks simulta-
neously (16-bit songs).
Locations within a song that you specified in order to exe-
cute a function such as auto punch-in/out or A-B repeat
playback are called “locate points.” Locate points include
the in/out points and the A/B points, and you can use the
keys of the Locate section to move instantly to these
points.
● Stereo track
Independently of the locate points, you can assign “mark-
ers” at desired locations within a song so that you will be
able to find these locations quickly. The AW1600 lets you
set up to ninety-nine markers (1–99). By using the keys of
the Locate section you can move instantly to the previous
or next marker.
Independently from audio tracks 1–16, the AW1600 has a
“stereo track” that records and plays a stereo audio signal.
The stereo track is used mainly as a dedicated mixdown
track for recording the final mix.
● Virtual tracks
Each audio track 1–16 and the stereo track consists of
eight tracks. Each of these eight tracks is called a “virtual
track.” For the audio tracks and the stereo track, only one
virtual track can be recorded or played at any time. How-
ever, you can switch virtual tracks to continue recording
other takes while preserving the previously-recorded con-
tent.
The diagram below shows the concept of virtual tracks.
The horizontal rows indicate audio tracks 1–16, and the
vertical columns correspond to virtual tracks 1–8. The
shaded areas indicate the virtual track that is currently
selected for recording or playback.
Mixer section
■ Channels
A signal route that processes a single signal within the
mixer and sends it to various sections is called a “chan-
nel.” The mixer section of the AW1600 lets you use the
following channels.
● Input channels 1–8
These apply EQ and dynamics processing to the signals
that are input from MIC/LINE INPUT jacks 1–8, and send
them to the recorder tracks or to the STEREO OUT jacks.
Audio tracks
1
2
3
4
5
6
7
8
9
10 11 12 13 14 15 16
● Track channels 1–16
1
2
3
4
5
6
7
8
These channels apply EQ and dynamics processing to the
audio playback signals from audio tracks 1–16 of the
recorder, and send the signals to the stereo track and the
STEREO OUT jacks. You can also perform “bounce
recording” by sending these channels to different tracks.
● Return channels 1/2
These channels send the return signals from the internal
effects to the stereo track and the STEREO OUT jacks.
Stereo track
1
2
3
4
5
6
7
8
● Pad channels 1–4
These channels apply EQ and dynamics processing to the
playback of Quick Loop Sampler pads 1–4, and send the
signals to the stereo track and the STEREO OUT jacks.
● Stereo output channel
This applies EQ and dynamics processing to the signal of
the stereo bus (which combines the signals of the various
channels), and sends it to the stereo track or to the STE-
REO OUT jacks. The same signal is also output from the
MONITOR OUT jacks and from the PHONES jack.
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AW1600 terminology
■ Paired channels
Quick Loop Sampler section
■ Sample banks and samples
In the Quick Loop Sampler section you can assign stereo
waveforms to the four pads, and strike the pads to play
them back. These stereo waveforms are called “samples.”
The memories to which the samples are assigned are
called “sample banks,” and each pad provides four sample
banks (A–D).
For track channels 9/10–15/16, pad channels 1–4, and
return channels 1/2, the parameters (except for pan and
phase) are always linked for adjacent pairs of channels.
These are called “paired channels.”
2
For input channels 1–8 and track channels 1–8, you can
also switch two adjacent odd-numbered/even-numbered
channels to function as paired channels. The parameters
(except for pan and phase) of paired channels will be
linked, so that adjusting one parameter will cause the
same parameter of the other channel to follow.
■ Pad track
The AW1600 can realtime-record and play back your
strikes on the pads. The memory that records these pad
operations is called the “pad track.” Unlike the tracks that
record audio, the pad track simply records the timing at
which you “pressed a pad” or “released a pad.”
■ Buses
A signal route that mixes the signals from multiple chan-
nels and send them to an output jack or recorder track
input is called a “bus.”
Unlike channels, which handle only a single signal, a bus
can combine multiple signals into one or two, and send
them to a destination. (The term “bus” comes from the
vehicle that carries numerous people simultaneously.)
The AW1600’s mixer section lets you use the following
buses.
Overall
■ Songs
● Stereo bus
The smallest unit by which the AW1600 manages a com-
position is called a “song.” When you save a song on the
hard disk, all data necessary for reproducing that song will
be saved; i.e., not just the audio data, but also mixer set-
tings and the samples used by the quick loop sampler. You
can return to the original state at any time by loading the
saved song.
This mixes the input signals to stereo, and sends them via
the stereo output channel to the stereo track of the
recorder or to the STEREO OUT jacks.
● AUX buses 1/2
These combine the signals from the various track, input,
return, and pad channels, and output them via the STE-
REO/AUX OUT jacks to an external device. Use these
when you will use an external effect processor, or to create
a mix differing from the stereo channel for musicians to
monitor.
■ Scenes and scene memories
A “scene” is a stored set of settings for the mixer section
and effects. The area of memory that holds the scenes is
called “scene memory,” and 96 scenes can be stored for
each song. Scene memories are saved on the hard disk as
part of the song.
● Effect buses 1/2
These combine the signals from the track, input, return,
and pad channels, and input them to built-in effects 1 and
2. (However, it is not possible for the return channel 1/2
signals to be returned to the input of the same effect.)
■ Libraries
A “library” is an area of memory that stores individual set-
tings such as for EQ or dynamics. The AW1600 has sepa-
rate libraries for EQ, dynamics, effect, channel, input, and
mastering settings. Each library is saved on the hard disk
as part of the song.
● Buses L/R
These combine the signals of track, input channels, and
send them to recorder track inputs.
■ Tempo map
The “tempo map” records changes in tempo and time sig-
nature that occur during the course of a song. The tempo
map is saved on the hard disk as part of the song.
■ System data
Various global settings that apply to all songs are collec-
tively referred to as “system data.” System data is stored
on the hard disk independently of the individual songs.
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Parts of the AW1600 and what they do
Parts of the AW1600 and what they do
This section explains the names and functions of the various items on the AW1600’s top panel,
rear panel, and front panel.
2
Top panel
■ Input/output section
1
3
2
C [MONITOR/PHONES] knob
1 [GAIN] knobs 1–8
This knob adjusts the level of the signal that is output from
These adjust the sensitivity of the signals that are input
the MONITOR OUT jacks and the PHONES jack.
from the rear panel MIC/LINE INPUT jacks 1–8.
B [INPUT SEL] keys 1–8
These keys select the mixer input channel that you will
operate.
HINT
• Pressing and holding an [INPUT SEL] key will display the INPUT
SETTING popup window, allowing you to make settings for the
corresponding input channel.
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Parts of the AW1600 and what they do
■ Work Navigate section
C [TRACK] key
This key accesses the TRACK screen, where you can
check whether each track contains data, and switch the
virtual tracks that will be used for recording and playback.
1
3
2
4
6
2
D [EDIT] key
This key accesses the EDIT screen, where you can copy or
erase tracks.
5
E [REMOTE] key
This key accesses the REMOTE screen, where you can
use the front panel faders and [TRACK SEL] keys to con-
trol an external MIDI device or sequencer software on
your computer.
1 [SONG] key
This key accesses the SONG screen, where you can save
or load songs, and perform the shut-down procedure.
F [UTILITY] key
B [CD] key
This key accesses the UTILITY screen, where you can
make MIDI, oscillator, and digital input settings, and for-
mat the hard disk.
This key accesses the CD screen, where you can write or
play an audio CD, and backup or restore data.
■ Quick Navigate section
1 [RECORD] key
This key accesses the RECORD screen, where you can
quickly assign the signal to be recorded to the input of
each track, and make settings for recording.
1
2
B [MONITOR] key
This key accesses the MONITOR screen, where you can
quickly select the signal to be monitored, or switch the
stereo track playback on/off.
■ Display
1 Access indicator
1
This indicator indicates the access status of the internal
hard disk. When the hard disk is being read or written, this
indicator will light.
CAUTION
• Never turn off the power of the AW1600 when the access indi-
cator is lit. Doing so will not only damage the data on the inter-
nal hard disk, but may also damage the hard disk itself.When
you want to turn off the power of the AW1600, you must per-
2
This is a backlit liquid crystal display that indicates the
current operating status or the settings of the various
parameters. The screens that are displayed will depend on
the front panel keys and knobs that are operated.
B Contrast
Adjusts the brightness of the display.
■ Quick Loop Sampler section
1 [SELECT] key
Hold down this key and press a pad 1–4 to select a
pad for operations.
B Pads 1–4
Each of these pads plays back the sample that has
been assigned to it.
C [SAMPLE EDIT] key
1
2
3
This key accesses the SAMPLE screen, where
you can make settings and perform operations for
the quick loop sampler.
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Parts of the AW1600 and what they do
■ Mixer section
1
2
3
2
4
5
6
D Faders 1–8
E Faders 9/10–15/16
Normally, these faders adjust the playback level of each
recorder track. By changing the internal settings, you can
also use these faders to control the input levels of input
channels 1–8 and pads 1–4.
1 [TRACK SEL] keys 1–8
B [TRACK SEL] keys 9/10–15/16
C [STEREO SEL] key
Use these keys to select the mixer track channels or
recorder tracks that you want to control.
F [STEREO] fader
This adjusts the output level of the stereo bus.
■ Selected Channel section
C [EFFECT 1] knob
D [EFFECT 2] knob
Turning these knobs will adjust the amount of signal that
is sent from the currently selected channel to the internal
effects 1 and 2 (i.e., effect send levels 1 and 2). You can
press these knobs to access the EFF1 or EFF2 screens,
where you can adjust the parameters of the internal
effects.
1
2
3
4
5
6
7
8
9
J
E [PAN/BAL] knob
Turning this knob will adjust the pan of the currently
selected channel (or the balance of the stereo output chan-
nel). You can press this knob to access the PAN screen,
where you can adjust pan for multiple channels.
F [HIGH] key
G [HI-MID] key
H [LO-MID] key
I [LOW] key
These keys select one of the four EQ bands (HIGH, HI-
MID, LO-MID, LOW) to be adjusted.
1 [EQ] knob
Turning this knob will adjust the EQ (equalizer) gain for
the currently selected channel. You can press this knob to
access the EQ screen, where you can adjust all of the EQ
settings.
J [VIEW] key
This key accesses the VIEW screen, where you can check
the level of each channel, or perform on-screen adjust-
ments to the faders and other mix parameters of each
channel.
B [DYN] knob
Turning this knob will adjust the dynamics depth for the
currently selected channel. You can press this knob to
access the DYN screen, where you can adjust all of the
dynamics settings.
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Parts of the AW1600 and what they do
■ Data entry/control section
B [SCENE] key
This key accesses the SCENE screen, where you can save
or recall scene memories.
1
2
4
C [JOG ON] key
2
This key is an on/off switch for the Nudge function (→
function is on, the key will light.
3
5
D [CURSOR] keys ([ ]/[ ]/[ ]/[ ] keys)
These keys move the cursor in the screen (the blinking
frame) to select a specific item.
E [DATA/JOG] dial
6
Use this dial to change the value of a parameter. If the
[JOG ON] key (3) is on, this dial operates the Nudge
function.
1 [UNDO/REDO] key
F [ENTER] key
This key cancels the results of a recording or track editing
operation (Undo), or re-executes a cancelled operation
(Redo).
Use this key to operate a button displayed in the screen, or
to execute a specific function.
HINT
• This key will light if Undo can be performed.
• If you press and hold this key, the UNDO LIST screen will appear.
Here you can turn the [DATA/JOG] dial to revert as many as the
■ Locate section
E [IN]/[OUT] keys
4
These keys specify the points at which auto punch-in/out
recording will begin (the In point) and end (the Out point).
These keys can also be used as locate keys to move
directly to the In point or Out point.
1
2
3
7
8
9
F [A]/[B] keys
These keys specify the points at which the Repeat function
will begin (point A) and end (point B). These keys can
also be used as locate keys to move directly to point A or
point B.
5
6
G [MARK] key
This key places a mark at the current location of the song.
H [SET] key
Use this key in conjunction with the [IN]/[OUT] keys or
the [A]/[B] keys to register the current location as a loca-
ter.
1 [SOUND CLIP] key
This key accesses the CLIP screen, where you can record
or play sound clips.
B [AUTO PUNCH] key
This key switches the audio punch-in/out function on/off,
letting you automate recording.
I [CANCEL] key
Use this key in conjunction with the [IN]/[OUT] keys or
the [A]/[B] keys to cancel a locater that you registered.
C [REPEAT] key
This key switches the A-B repeat function on/off, letting
you repeatedly play a specified region.
D MARK SEARCH [
]/[ ] keys
These keys search for markers placed within the song.
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Parts of the AW1600 and what they do
■ Transport section
C FF [
] key
1
2
3
This key fast-forwards the current location. Each time you
press this key, you will alternate between 8x speed and
16x speed.
2
D STOP [■] key
This key stops playback, recording, fast-forward, or
rewind.
E PLAY [ ] key
If you press this key while the recorder is stopped, play-
4
5
6
back will begin.
If you press this key during fast-forward or rewind, nor-
mal-speed playback will begin.
If you press this key during recording, recording will stop
and playback will resume (“punch-out”).
1 RTZ [
] key
This key moves directly to the relative zero time location.
Used in conjunction with the [SET] key, this registers the
current location as the relative zero time.
HINT
F REC [●] key
• Broadly speaking, the times displayed in the AW1600’s counter
can be either absolute time (ABS) or relative time (REL). The
absolute time zero location is fixed, but the relative time zero loca-
tion can be freely specified.
If you hold down this key and press the PLAY [ ] key
while the recorder is stopped, recording will begin.
If you hold down this key and press the PLAY [ ] key
during playback, you will switch from playback to record-
ing (“punch-in”).
B REW [
] key
This key rewinds the current location. Each time you press
this key, you will alternate between 8x speed and 16x
speed.
Rear panel
5
4
3
2
1
N
M
L
K
J
9
8
7
6
B MIC/LINE INPUT jack 8 (Hi-Z)
1 MIC/LINE INPUT jacks 1–8
This is a high impedance 1/4" phone input jack (unbal-
anced). The nominal input level is –46 to +4 dBu. An
instrument with high output impedance such as an electric
guitar or bass with passive-type pickups can be connected
here.
(XLR/TRS Phone)
These balanced input jacks accept both XLR-3-31 and
TRS phone plug type connectors. Nominal input sensitiv-
ity can be adjusted from –46 dBu to +4 dBu. Just about
any type of balanced source can be connected here –
microphones, direct boxes, or the output from equipment
with balanced line-level outputs. Unbalanced lines with
standard phone plug connectors can be directly connected
to the TRS inputs. Connector wiring is as shown below.
C STEREO/AUX OUT jacks
These are 1/4" phone output jacks (unbalanced) that out-
put the signals of the stereo bus or AUX bus 1/2.
D MONITOR OUT jacks
Male XLR
connector
These are 1/4" phone output jacks (unbalanced) for con-
nection to your monitor setup, such as a stereo system or
powered speakers.
1 (ground)
3 (cold)
2 (hot)
Tip (hot)
E PHONES jack
This is a 1/4" TRS phone output jack for connecting your
headphones for monitoring.
1/4" TRS
phone plug
Ring (cold)
Sleeve (ground)
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AW1600 Owner’s Manual
Parts of the AW1600 and what they do
F USB Connector
G DIGITAL STEREO IN/OUT jacks
This connector allows the unit to be directly connected to
a USB-equipped computer via a standard USB cable
(compatible with USB 2.0). When the USB Storage mode
is selected WAV files and song files can be transferred
between the AW1600 and the computer. In the “normal”
mode the USB connection can be used for MIDI control.
The USB interface does not directly handle audio signals.
These jacks allow direct transfer of digital audio between
the AW1600 and DAT recorders, MD (MiniDisc) record-
ers, CD recorders, and other consumer-format digital
audio gear. These connectors conform to the IEC-60958
standard.
2
H FOOT SW jack
A separately sold foot switch (Yamaha FC5) can be con-
nected here to control transport operations such as start/
stop, or to perform punch-in/out.
NOTE
• The USB interface cannot be directly connected to external hard
disks or CD-R/RW drives.
NOTE
• The AW1600 can be connected to either a USB 2.0 or USB 1.1
interface, but data transfer will be slower if a USB 1.1 interface is
used.
• The appropriate operation may not occur if you use a foot switch
other than the Yamaha FC5 (or equivalent).
• Does not function when the MTC MODE is “SLAVE” or while the
• When connecting via USB 2.0 be sure to use a cable specified for
USB 2.0 use.
REW[
• When a record track is assigned in the RECORD screen the func-
tions are switched in the following order: PLAY[ ] → Punch In
], FF[
], or [JOG ON] key is being used.
• The USB MIDI driver provided on the supplied CD-ROM must be
properly installed to allow MIDI message transmission and recep-
tion.
→ Punch Out → STOP[■]. When Auto Punch-in/Out is engaged,
however, the order becomes Punch In → STOP[■].
• When connecting USB cables, make sure to connect the AW1600
directly to a computer without USB hub.
I MIDI IN connector
J MIDI OUT/THRU connector
These connectors allow MIDI messages to be exchanged
Caution when using the USB connector
with external devices.
MIDI IN receives MIDI messages.
You must observe the following points when con-
necting the AW1600 to your computer via the USB
connector. If you fail to observe these points, your
computer or the AW1600 may stop operating (“hang
up”), causing data to be corrupted or lost. If the
computer or the AW1600 stops working, turn the
power off and then on again, and restart the com-
puter.
MIDI OUT/THRU can be internally switched to function
either as a MIDI OUT jack (which transmits MIDI mes-
sages generated within the AW1600) or MIDI THRU jack
(which re-transmits messages that are received at the
MIDI IN jack).
K PHANTOM +48V CH1–4 and CH5–8 Switches
Independent phantom power switches are provided for the
XLR-type MIC/LINE INPUT connector groups 1 through
4 (CH1–4) and 5 through 8 (CH5–8). Turn phantom power
to the appropriate connectors ON when using one or more
phantom-powered condenser microphones.
• Before connecting the computer via the USB con-
nector, disable the power management mode
(suspend/sleep/standby/hibernate) on your com-
puter.
• Connect the USB connector to the computer
before you power-on the AW1600.
CAUTION
• Execute the following before turning the power to
the AW1600 on/off, connecting/disconnecting the
USB cable, or turning the USB Storage mode on/
off.
• Be sure to turn the phantom power switches off when phan-
tom power is not required.
• Make sure that no equipment other than phantom-powered
microphones is connected to the XLR inputs of the input
group for which phantom power is turned on. Applying phan-
tom power to devices that are not phantom-powered can
cause damage. Balanced dynamic microphones, however,
can usually be connected without adverse effect.
• Close all application programs.
• If the USB Storage mode is off, make sure that data
is not being transmitted from the AW1600.
• If the USB Storage mode is engaged, make sure
that reading and writing files is not in progress.
• If the USB Storage mode is engaged, safely remove
the AW1600 from the Windows taskbar or drag the
AW1600 icons from the Macintosh desktop to the
trash after closing all AW1600 windows.
• To prevent speakers damage turn power amplifiers (or pow-
ered speakers) off when switching phantom power on or off.
It’s also a good idea turn all master faders and output volume
controls down to minimum.The noise generated when phan-
tom power is switched on or off can damage system compo-
nents and may even cause hearing damage if amplified to
sufficiently high levels.
• Leave an interval of at least six seconds between
powering the AW1600 on and off, or between dis-
connecting and connecting the USB cable.
L Ground Screw
For maximum safety the ground screw should be properly
connected to a confirmed ground point. Proper grounding
will also ensure minimum hum, noise, and interference.
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Parts of the AW1600 and what they do
M POWER switch
This switches the power between ON and STANDBY.
NOTE
• When switching the power of the AW1600 between ON and
2
N DC IN connector
Connect the included AC adaptor (PA-300) to this connec-
tor.
CAUTION
• Use only the included AC adaptor (PA-300) for this unit. Using
other types may be a fire and electrical shock hazard.
Front panel
■ CD-RW drive
3 2 1
1 Eject switch
This switch ejects the disc tray.
B Eject hole
This hole allows you to open the disc tray manually.
C Access indicator
This indicator will light while the CD inserted in the drive
is being accessed.
23
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Basic operation on the AW1600
Basic operation on the AW1600
This section explains basic operations on the AW1600.
● Buttons
2
Buttons in the display are used to
switch a parameter on/off, to select
one of multiple choices, or to exe-
cute a specific function. A button
that is currently on will be dis-
played in black with white text. A
button that is currently off will be
displayed in white with black text.
Viewing the display
The display of the AW1600 shows the following informa-
tion.
1
2
3
4
● Knob/fader/parameter display area
The knob/fader/parameter display area within the dis-
play is used to edit the value of the corresponding
parameter.
5
1 Screen name
This is the name of the currently selected screen.
Knob
fader
parameter
display area
B Selected channel
This indicates the mixer channel that is selected for opera-
tions. The display has the following significance.
● Page display area
Most screens are divided by func-
tion into two or more “pages.” The
page display area lists the pages
that can be selected within that
screen. The name of the currently
selected page is highlighted.
• TRACK 1–8.......................Track channels 1–8
• TRACK 9/10–15/16...........Track channels 9/10–15/16
• INPUT 1–8 ........................Input channels 1–8
• STEREO ...........................Stereo output channel
• PAD 1–4............................Pad channels 1–4
Operating the knobs or keys of the Selected Channel sec-
tion will edit the parameters of the channel that is selected
here.
Accessing a screen/page/channel
C Counter (left side)
When you want to edit an internal setting of the AW1600,
or to edit a parameter that cannot be operated by a fader or
knob shown in the display, you will need to access the
desired screen and page.
This indicates the current location within the song. When
the AW1600 is in the default state, this counter will indi-
cate the absolute time (the time from where you began
recording the song) in units of hours/minutes/seconds/mil-
liseconds. At the left of this value is displayed the locate
point or marker that was passed most recently.
Press the key or knob for the desired
screen.
1
D Counter (right side)
The keys and knobs of various sections listed below
have their own screens, and the corresponding screen
will be displayed when you press a key or knob.
This indicates the current location within the song in units
of measures/beats. The measures/beats are calculated
according to the tempo and time signature specified in the
tempo map for the song. The current tempo and time sig-
nature are displayed at the left of this value.
• All keys in the Work Navigate section
• All keys in the Quick Navigate section
• The [VIEW] key of the Selected Channel section
• All knobs of the Selected Channel section
E Main screen
The information displayed in this area will depend on the
key that was last pressed. The following types of object
are displayed in the main screen.
• The [SAMPLE EDIT] key of the Quick Loop Sampler
section
● Cursor
HINT
The blinking frame within the display
is called the “cursor.” When an object
in the screen is enclosed by the cursor,
that object is selected for operations.
• When you switch screens, the page that was last used in that
screen will be displayed.
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Basic operation on the AW1600
To switch pages within a screen, you can
either repeatedly press the same key as in
step 1, or hold down the same key as in
step 1 and use the CURSOR [ ]/[ ] keys.
If there are more pages than can
be shown in one screen, an
arrow like the following will
appear in the page display area.
This arrow means that one or
more additional hidden pages
exist in that direction.
2
Inputting text
When you create a new song or save a scene memory or
library setting, a popup window will appear, allowing you
to assign a name for the song or setting.
2
2
1
3
4
To access a hidden page, hold down the same key as in
step 1, and press the [CURSOR] key of the same
direction as the arrow.
5
6
7
In pages that display a list of parameters for multiple
channels, the screen may be divided into a page for the
input channels/pad channels and a page for the track
channels, since not all of the parameters can be shown
in a single screen. In this case, use the [INPUT SEL]
keys, pads 1–4, or [TRACK SEL] keys to select the
channels that you want to view.
This popup window contains the following items and
functions.
1 Text input box
This box lets you input characters, numerals, and symbols.
When you save the data for the first time, the box will con-
tain a default name.
You can input a scene/library name or song name of up to
twelve characters.
B Text palette
This displays the characters, numerals, and symbols that
can be input in the text input box.
Switching a button on/off
C CANCEL button
Here’s how to switch a button in the screen on/off.
If you move the cursor to this button and press the
[ENTER] key, you will return to the previous screen with-
out changing the name.
Use the [CURSOR] keys to
1
move the cursor to the
desired button in the
screen.
D OK button
If you move the cursor to this button and press the
[ENTER] key, the scene/library will be saved or the new
song will be created.
Press the [ENTER] key.
The button will be switched on/
off.
2
E
button
If you move the cursor to this button and press the
[ENTER] key, the character that is currently selected in
the text input box will be switched between uppercase and
lowercase.
If you move the cursor to a but-
ton that executes a specific func-
tion and then press the [ENTER]
key, that function will be exe-
cuted.
F INS button
When you move the cursor to this button and press the
[ENTER] key, an “_” (underscore) will be inserted at the
location of the currently selected character (underlined), and
subsequent characters will move one character backward.
G DEL button
Editing a value in the display
When you move the cursor to this button and press the
[ENTER] key, the currently selected character (under-
lined) will be deleted, and subsequent characters will
move one character forward.
Here’s how to edit the value of a fader, knob, or parameter
shown in the display.
Use the [CURSOR]
1
keys to move the cur-
sor to the desired
fader, knob, or param-
eter value.
To assign a new name, use the [CURSOR] keys to move
the cursor in the text input box to the character that you
want to change, and turn the [DATA/JOG] dial to select a
character.
When you have finished inputting the name, move the cur-
sor to the OK button and press the [ENTER] key to apply
the new name.
Turn the [DATA/JOG]
dial to edit the value.
2
NOTE
• If you want to add characters to a name that has less than the
maximum number of characters, move the cursor to the INS but-
ton and press the [ENTER] key to insert “_”, then change the
name as required.
25
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Basic operation on the AW1600
NOTE
Using the Selected Channel section
• Simply turning the knobs of the Selected Channel section will
not cause the screen to change.
You can use the knobs and keys of the Selected Channel
section to directly operate the mix parameters (EQ,
dynamics, pan, etc.) of the currently selected channel.
• If you turn the [DYN] knob immediately after recalling a preset
library that includes dynamics settings, multiple dynamics
parameters will change simultaneously, affecting the way in
which dynamics processing is applied. The depth of this
change will depend on the library that is recalled.
2
Use the [TRACK SEL] keys, [INPUT SEL]
keys, [STEREO SEL] keys, or pads 1–4 to
select the channel that you want to operate.
1
If you want to access the screen for a
parameter and edit it in greater detail, press
one of the five knobs or the [VIEW] button.
When using the
Selected Channel
section, you must
3
first select the chan-
nel that you want to
Pressing each knob or button will access the following
screens.
operate. The currently selected channel is indicated in
the upper left of the screen.
Press the [EQ] knob
The EQ screen will appear.
The channels correspond to each key or pad as fol-
lows.
• [TRACK SEL] keys 1–8 ....Track channels 1–8
Press the [DYN] knob
The DYN screen will appear.
• [TRACK SEL]
keys 9/10–15/16................Track channels
9/10–15/16
Press the [EFFECT 1] knob
The EFF 1 screen will appear.
• [INPUT SEL] keys 1–8......Input channels 1–8
• [STEREO SEL] key...........Stereo output channel
• Pads 1–4............................Pad channels 1–4
Press the [EFFECT 2] knob
The EFF 2 screen will appear.
Press the [PAN/BAL] knob
The PAN screen will appear.
According to the parameter you want to
edit, turn the five knobs of the Selected
Channel section.
2
Press the [VIEW] key
The VIEW screen will appear.
The following items will change when you turn each
knob.
● EQ screen EDIT page
Turn the [EQ] knob
This changes the amount of boost/cut for the selected EQ
band. To select the EQ band, use the [HIGH], [HI-MID],
[LO-MID], and [LOW] keys located at the right.
Turn the [DYN] knob
This changes the depth of
dynamics processing.
Move the cursor in the screen to the
desired parameter, and use the [DATA/JOG]
dial or the [ENTER] key to operate the
parameter.
4
Turn the [EFFECT 1] knob
This adjusts the level of the
signal that is sent from that
channel to internal effect 1.
(If the stereo output channel
is selected, this adjusts the
return level from internal
effect 1.)
NOTE
• If you change individual parameters in the DYN screen, the
parameter that you operate last will be assigned to the [DYN]
knob.
Turn the [EFFECT 2] knob
This adjusts the level of the
signal that is sent from that
channel to internal effect 2.
(If the stereo output channel
is selected, this adjusts the
return level from internal
effect 2.)
• 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.
Turn the [PAN/BAL] knob
This adjusts the pan of the signal that is sent from that channel
to the stereo bus. (If the stereo output channel is selected, this
adjusts the balance of the left and right channels.)
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Chapter 3
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 oper-
ate the faders and keys of the front panel.
3
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.
Synthesizer
Rhythm machine
Mics
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
SONG SCENE
REC
INPUT 8
(HI-Z)
Electric guitar/
Electric bass
INPUT 1–8
DAT recorder, MD recorder, etc.
DIGITAL
STEREO OUT
00.00.00.00
DIGITAL
STEREO IN
MONITOR OUT
PHONES
Headphones
VOL
VOL
Monitor system
When you have finished making connections, turn on the power switch of each device in the fol-
lowing order.
1 External devices such as audio sources or effect
processors connected to the input/output jacks of
the AW1600
After the opening screen, the following screen will appear.
B The AW1600 itself
C The monitor system connected to the output jacks of
the AW1600
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 immedi-
ately.
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Loading the demo song
Loading the demo song
Here’s how to load the demo song from the hard disk.
In the Work Navigate section, press the
[SONG] key.
The SONG screen will appear, where you can save or
load songs.
Turn the [DATA/JOG] dial to select the song
“The_Only_One.”
1
2
3
3
Move the cursor to the LOAD button in the
screen, and press the [ENTER] key.
4
Either press the [SONG] key repeatedly or
hold down the [SONG] key and use the
CURSOR [ ]/[ ] keys to access the LIST
page.
In this page, you can select a song on the hard disk,
and load or delete it.
A popup window like the following will appear. This
window asks you whether you want to save the current
song.
2
1
Move the cursor to eitherYES (save the cur-
rent song) or NO (don’t save the current
song), and press the [ENTER] key.
5
The song data will be loaded, and “The_Only_One”
will become the current song.
1 List
This area lists the songs that are saved on the hard
disk. The line enclosed by the dotted frame in the cen-
ter of the list indicates the song that is selected for
operations. The highlighted line indicates the song that
is currently loaded into the AW1600. (This is called
the “current song.”)
NOTE
• If you select NO, any changes that you made to the current
song since you last saved it will be lost.
“You’re the Only One”
© Timothy Akers
NOTE
• Each row of the list will display the song name, data size, and
bit depth (16/24 bit).
B SORT field
These three buttons let you select how the songs in the
list will be sorted. Choose the NAME button (sort
alphabetically), OLD button (sort by save date), or
SIZE button (sort by size).
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Playing the demo song
Playing the demo song
Here’s how to play back the demo song you loaded, and adjust the monitor level.
Either press the [VIEW] key repeatedly or
hold down the [VIEW] key and use the CUR-
SOR [ ]/[ ] keys to access the VIEW
screen METER page.
Press the PLAY [ ] key.
1
3
3
The demo song will begin playing, and the level of
each track channel will be displayed in the METER
page of the VIEW screen.
To adjust the monitor level appropriately,
use the AW1600’s [MONITOR PHONES]
knob and the volume control of your moni-
tor system.
4
HINT
• The demo song uses the Scene function to switch the settings
of the mixer. This means that playback will occur using the
pre-specified balance — you do not need to operate the fad-
ers.
The VIEW screen METER page contains meters that
show the input level of each channel and the output
level of the stereo output channel. It is convenient to
display this page when you want to check the level of
each track.
To stop the song, press the STOP [■] key.
5
NOTE
• Make sure that the selected channel area at the upper left of
the METER page indicates either TRACK 1–8 or TRACK 9/
10–15/16. If neither of these are displayed, press either the
[TRACK SEL] key 1–8 or 9/10–15/16.
Lower the AW1600’s [STEREO] fader to the
– infinity position. Also make sure that the
AW1600’s [MONITOR PHONES] knob and
the volume of your monitor system are
turned down.
2
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Mixing the demo song
Mixing the demo song
When you play back a song, tracks 1–16 of the recorder are directly connected to track channels
1–8 and 9/10–15/16 of the mixer. The signals that pass through track channels 1–8 and 9/10–15/
16 are sent to the stereo bus, routed through the stereo output channel, and sent from the STE-
REO/AUX OUT jacks or the MONITOR OUT jacks.
3
● Signal flow during song playback
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Track 9
Track 10
Track 11
Track 12
Track 13
Track 14
Track 15
Track 16
Stereo
output
channel
Track
channels
Stereo bus
Mixer section
Track channels 1–8 and 9/10–15/16 are directly controlled by the faders and [TRACK SELECT]
keys of the panel. Here’s how you can adjust the mix level of each track channel and switch it on/
off while the song plays back.
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Mixing the demo song
Press the RTZ [
] key.
Press the [TRACK SEL] key(s) for the track
channel(s) that you want to mute. (You may
select more than one channel.)
1
5
3
The demo song will be rewound to the beginning.
For example if you press [TRACK SEL] keys 1 and 3,
the screen will change as follows, and track channels 1
and 3 will be muted. At this time, [TRACK SEL] keys
1 and 3 will go dark. The graphic in the display will
also indicate this.
Press the PLAY [ ] button.
The demo song will begin playing.
2
3
While listening to the demo song, try oper-
ating faders 1–8 and 9/10–15/16.
Notice that the level of the corresponding track will
change. Operating the [STEREO] fader will change
the overall level of the song.
NOTE
• The [TRACK SEL] key you press last will always light orange
regardless of the mute status. This indicates that this channel
To mute the playback of
a specific track, access
the MONITOR screen
4
ON/OFF page, either by
repeatedly pressing the
[MONITOR] key or by
holding down the [MONITOR] key and using
the CURSOR [ ]/[ ] keys.
NOTE
• In this page, pressing the [STEREO SEL] key will have no
effect.
To cancel the muted state, press the same
[TRACK SEL] key you pressed in step 5, to
make the indicator light green.
6
7
The MONITOR screen ON/OFF page lets you switch
each channel on/off. A channel that is switched off in
this page will not be sent to the stereo bus or AUX bus,
and will be muted.
If you want to monitor the playback of just a
specific track, access the MONITOR screen
SOLO page by either repeatedly pressing
the [MONITOR] key or by holding down the
[MONITOR] key and using the CURSOR
NOTE
• This mute function switches muting on or off for the mixer
track channels. Recorder track playback can be muted via the
[
]/[ ] keys.
The SOLO page of the MONITOR screen lets you
mute all other channels while listening to only a spe-
cific channel. (This is called the “solo” function.)
When you sol a channel in this page, the signals of the
remaining channels will be muted, and will no longer
be sent to the stereo bus or AUX buses.
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Mixing the demo song
Press the [TRACK SEL] key of the track
channel that you want to solo.
8
3
For example if you press [TRACK SEL] key 3, the
screen will change as follows, and channels other than
track channel 3 will be muted. At this time, [TRACK
SEL] key 3 will light orange, and the other [TRACK
SEL] keys and [INPUT SEL] keys will go dark.
NOTE
• Only one channel can be soloed at a time.
To cancel soloing, press the currently
selected [TRACK SEL] key (lit orange) once
again.
9
NOTE
• While playing the demo song, the level or the on/off status of
a channel you adjusted manually may return to its previous
setting. This is because the Scene function has switched the
state of the mixer settings, and is not a malfunction (→
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Chapter 4
Recording to a sound clip
The AW1600 has a Sound Clip function that lets you record and play back
independently of the recorder section.You can use a sound clip to quickly
record and play back your performances on an audio source connected to
the AW1600 or on the pads. This is an ideal way to capture ideas for a song
or arrangement, or to record a simple accompaniment for practicing a part.
This chapter explains how an instrument or mic connected to an input jack
can be recorded as a sound clip.
4
Connecting your instrument or mic
First, the instrument or mic that you want to record must be connected to a MIC/LINE INPUT
jack. The various types of jack are compatible with the following sources.
Alternatively, you can use a 1/4" phone ↔ 1/4" phone
cable to connect an instrument with unbalanced output,
such as a synthesizer or rhythm machine.
● MIC/LINE INPUT (XLR) jacks 1–8
These are XLR-type balanced input jacks. Use a male
XLR ↔ female XLR cable to connect your mic, direct
box, or a guitar/bass preamp that has a balanced output
jack.
1/4" phone ↔ phone cable
Synthesizer/
rhythm machine
Balanced cable
(male XLR ↔ female XLR)
Mic
Preamp or effect proces-
sor with balanced output
Direct box
MIC/LINE INPUT
(TRS phone) jacks 1–8
MIC/LINE INPUT
(XLR) jacks 1–8
● MIC/LINE INPUT jack 8 (Hi-Z)
Use a 1/4" phone ↔ phone cable to directly connect an
Electric
guitar/bass
electric guitar/bass that has passive pickups.
● MIC/LINE INPUT (TRS phone) jacks 1–8
These are TRS-type balanced input jacks. Use a 1/4" TRS
phone ↔ female XLR cable to connect your mic, direct
box, or a guitar/bass preamp that has a balanced output
jack.
1/4" phone ↔ phone cable
MIC/LINE INPUT
(HI-Z) jacks 8
Electric guitar/bass with
passive pickups
Mic
1/4" TRS phone ↔
female XLR cable
Preamp or effect proces-
sor with balanced output
Direct box
Electric
guitar/bass
MIC/LINE INPUT
(TRS phone) jacks 1–8
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Adjusting the input level
Adjusting the input level
The signals that are input from MIC/LINE INPUT jacks 1–8 are sent to input channels 1–8
respectively. Here’s how to adjust the input level of the input channel, and make settings so that
you can hear the sound from your monitor system via the stereo bus.
Lower the [STEREO] fader to the –∞ posi-
tion. Also turn down the [GAIN] knob for the
MIC/LINE INPUT jack to which your instru-
ment/mic is connected.
While you watch the level meter in the
popup window, produce sound on your
instrument, and turn the [GAIN] knob to
adjust the input level.
1
3
As you turn the [GAIN] knob toward the right, the
level meter in the popup window will move more
widely. (However, you will not yet hear anything from
your monitor system.)
Press and hold the [INPUT SEL] key for the
jack to which your instrument/mic is con-
nected.
4
2
When you press and hold an [INPUT SEL] key, the
INPUT SETTING popup window will appear, allow-
ing you to make settings for the corresponding input
channel. The following diagram is an example of the
screen that will appear if you press and hold [INPUT
SEL] key 1.
For the best audio quality, adjust the level as high as
possible without allowing the meter to clip when the
loudest volume occurs.
While you play your
instrument, raise the
[STEREO] fader to the
0 dB position.
4
2
The LR meters at the right
of the screen will now
move. As you turn the
[MONITOR/PHONES]
knob toward the right, you
should begin to hear sound
from your monitor system.
4
1
3
NOTE
• If you still do not hear sound after raising the [STEREO] fader,
check the INPUT SETTING popup window to make sure that
the stereo bus assign switch is turned on, and that the INPUT
LEVEL knob value has not been set below 0.0 dB.
1 INPUT LEVEL knob
Move the cursor to this knob and turn the [DATA/
JOG] dial to adjust the level of the input channel. Nor-
mally you will leave this at the default setting of 0 dB.
The current level is shown by the value (dB units)
above the knob.
To exit the INPUT SETTING popup window,
move the cursor to the EXIT button and
press the [ENTER] key.
5
B Stereo bus assign switch
When you move the cursor to this knob and press the
[ENTER] key, the signal that is sent from the corre-
sponding input channel to the stereo bus will be
switched on/off.
You will return to the previous screen.
HINT
• The level settings described above are the basic settings for
any type of recording — not just for a sound clip. By using the
[GAIN] knob to raise the level as far as possible without allow-
ing distortion to occur, you can ensure that the input signal is
converted into digital form with the highest possible quality
before it is input to the mixer section. If the [GAIN] knob is not
raised sufficiently, you may not be taking full advantage of the
available dynamic range of the mixer section and recorder
section.When the input LEVEL knob and [STEREO] fader are
set to the 0 dB position, the input level will be output without
change to the recorder and monitor.
C Level meter
This indicates the input level of the input channel. The
symbol in the window indicates the location at
which the level is detected.
D EXIT button
Move the cursor to this button and press the [ENTER]
key to close the popup window and return to the previ-
ous screen.
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Recording/playing a sound clip
Recording/playing a sound clip
Now that preparations are complete, let’s record to a sound clip.
The post-fader signal of the stereo output channel can be recorded directly on a sound clip. For
playback, the signal will be sent immediately before the stereo output channel fader. (EQ and
dynamics cannot be applied to the playback of a sound clip.)
● Signal flow when using a sound clip
4
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
Real-time External Control Surface
Modular Synthesis Plug-in System
SONG SCENE
REC
Metronome
MIC/LINE
INPUT jacks
Sound
clip
Input
channels
Stereo
output
channel
Stereo bus
Mixer section
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Recording/playing a sound clip
In the Transport section, hold down the
REC [●] key and press the PLAY [ ] key.
The metronome will begin sounding, and the counter
display will advance. The counter in the CLIP screen
always starts from 0, and indicates the current time in
minutes/seconds/milliseconds. This counter is separate
from the counter of a conventional song.
4
5
■ Recording a sound clip
In the Locate section, press the [SOUND
CLIP] key.
1
The CLIP screen will appear, where you can record
and play sound clips.
Play your instrument in time with the metro-
nome.
HINT
• The metronome sound will not be recorded in the sound clip.
If necessary, you can move the cursor to the metronome knob
and turn the [DATA/JOG] dial to adjust the volume level of the
metronome sound.
4
1
2
3 4
5
• In addition to an instrument connected to the MIC/LINE
INPUT jacks, your performance on the quick loop sampler
pads can also be recorded.
1 Metronome button
Switches the metronome on/off.
• The knobs/keys of the selected channel are active even while
the CLIP screen is displayed. If necessary, you can record the
B Metronome knob
Adjusts the volume level of the metronome. The value
shown above the knob shows the current setting in dB
units.
To stop recording, press the STOP [■] key.
The display will show S and E symbols to indicate the
start point and end point.
6
C START button
Specifies the current location as the start point of the
sound clip (the location at which playback will begin).
The current location is shown in minutes/seconds/mil-
liseconds at the left.
D END button
Specifies the current location as the end point of the
sound clip (the location at which playback will end).
The current location is shown in minutes/seconds/mil-
liseconds at the left.
HINT
• With the default settings of the AW1600, a maximum of 30
seconds can be recorded in a sound clip. If you continue
recording for longer than 30 seconds, the last 30 seconds of
your playing before you stopped recording will be recorded.
(However, the counter display during recording will continue
to advance.)
E CLIP button
When you turn this button on, the START button (3)
and END button (4) settings will be enabled.
NOTE
• In the UTILITY screen PREFER page, you can specify up to
180 seconds as the maximum length that can be recorded in
a sound clip.You are free to make this setting before creating
a new song, but this cannot be changed once the song has
• Recording and playback in the Recorder section cannot be
performed while the CLIP screen is displayed.
If you want to use the metronome, move the
cursor to the metronome button and press
the [ENTER] key.
The time signature and tempo used by the metronome
are displayed above the metronome button.
2
3
To change the tempo of the metronome,
move the cursor to the tempo value and
turn the [DATA/JOG] dial.
NOTE
• The time signature of the metronome is determined by the
tempo map setting immediately prior to accessing the CLIP
screen. Please be aware that the setting cannot be edited
from this screen. (For details on tempo map settings →
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Recording/playing a sound clip
Stop playback, move the cursor to the CLIP
button, and press the [ENTER] key.
The CLIP button will turn on, and the specified Start
point and End point will be enabled.
4
5
■ Playing a sound clip
To hear the content that you recorded in the
sound clip, press the PLAY [ ] key.
1
NOTE
The region from where you began recording to where
you stopped recording will play repeatedly. To stop,
press the STOP [■] key. If you record again, the previ-
ous data will be overwritten.
• The START button, END button, and CLIP button are disabled
while the sound clip is playing.
HINT
In the CLIP screen, the keys of the Transport section
will have the following functions.
• The region of data between the specified Start point and End
point can be copied to an audio track of the Recorder section
Key
Function
4
Returns to the location at which you
began recording. If the CLIP button is on,
this returns to the Start point.
RTZ [
REW [
FF [
] key
To exit the CLIP screen, press the [SOUND
CLIP] key.
A popup window will ask you for confirmation. Move
the cursor to the OK button to exit the CLIP screen or
to the CANCEL button to cancel, and press the
[ENTER] key.
Rewinds the current location toward the
beginning.You will stop when you reach
the location at which you began recording
or the Start point.
] key
Fast-forwards the current location.You will
stop when you reach the location at which
you stopped recording or the End point.
] key
When you exit the CLIP screen, you will return to the
TRACK screen VIEW page. However you can press
the [SOUND CLIP] key at any time to play back the
previously recorded content or record a new perfor-
mance.
Stops playback, recording, rewind, or fast-
forward.
STOP [■] key
Starts playback. Pressing this key during
playback does nothing.
PLAY [
] key
If you hold down this key while stopped
and press the PLAY [
] key, recording
REC [●] key
will begin. Pressing this key during play-
back does nothing.
NOTE
• When you record a sound clip, the previous recording will be
lost. Please be aware that the Undo function cannot be used
to recover a deleted sound clip. Even if you save the song
immediately prior to recording a new sound clip, the previous
sound clip will not be restored if you recall the song data.
HINT
• You will not hear the metronome and pads 1–4 while a sound
clip is playing. However, you can still monitor the signals of
input channels 1–8.
HINT
• A popup window will also ask you to confirm that you want to
exit the CLIP screen if you press a key in the Work Navigate
section or Quick Navigate section while playback is stopped
in the CLIP screen.
If you want to change the playback region
of the sound clip, stop at the location that
you want to specify as the Start point, move
the cursor to the START button, and press
the [ENTER] key.
2
3
• The recorded contents of the sound clip are stored for each
song.
The current location will be registered as the Start
point.
In the same way, stop at the location that
you want to specify as the End point, move
the cursor to the END button, and press the
[ENTER] key.
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Chapter 5
Track recording
This chapter explains how to create a new song, and record the audio signal
from an instrument or mic connected to the AW1600 onto the first track of
your song.
Creating a new song
In order to begin recording on the AW1600, you must first create a new song.
HINT
5
• When you start up the AW1600 for the first time, an empty song will be loaded automatically.
If you use this automatically-loaded song, the procedure described here is not necessary.
In the Work Navigate section, either press
the [SONG] key repeatedly or hold down the
Select either 16 BIT or 24 BIT, move the cur-
sor to the OK button, and press the
[ENTER] key.
Next, a popup window will appear, allowing you to
specify the items whose settings will be carried over
from the current song.
1
4
[SONG] key and use the CURSOR [ ]/[
keys to access the LIST page.
]
Move the cursor to the NEW button and
press the [ENTER] key.
A popup window will ask you whether you want to
save the current song.
You may choose one or more of the following items if
desired.
2
3
• SCENE button........... Scene memories
• LIBRARY button ....... EQ, dynamics, effects, and
channel libraries
• TEMPO button .......... Tempo map
For example if you have saved effect settings in a
library for the current song and would like to use these
settings for the new song as well, you would turn on
the LIBRARY button.
Move the cursor toYES (to save the current
song) or NO (if you don’t want to save the
current song) and press the [ENTER] key.
HINT
The song bit depth selection window will then appear.
• You may also import these settings from another song later
Use the buttons to choose the items that
will be carried over from the current song.
Then move the cursor to the OK button and
press the [ENTER] key.
5
NOTE
The TITLE EDIT popup window will appear, allowing
you to assign a name to the song.
zation bits).
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Assign a name to the song (for details on
To create the new song, move the cursor to
the OK button and press the [ENTER] key.
6
7
A new song will be created, and you will return to the
SONG screen LIST page.
HINT
• If you move the cursor to the CANCEL button (instead of the
OK button) and press the [ENTER] key, you will return to the
SONG screen LIST page without creating a new song.
Direct recording and Bus recording
Instruments/mics connected to the AW1600 can be assigned to tracks in one of the following two
ways.
5
■ Direct recording
With this method, input channels are assigned to tracks in a one-to-one correspondence.
This method requires the same number of tracks as the number of input channels you
use. However, this method has the advantage that you will be free to adjust the volume,
pan (stereo position), and tone of each instrument after it has been recorded.
Synthesizer/rhythm machine
MIC/LINE
INPUT jacks
Input
channels
Stereo output
channel
Recorder section
Mixer section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
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Direct recording and Bus recording
■ Bus recording
With this method, you can send multiple input channels to the L/R bus, and assign the
mixed signal to one or two tracks. This method requires fewer tracks. However, you will
need to decide on the final volume, pan, and tone of each instrument at the time of
recording. (You will not be able to adjust these independently after recording.)
Synthesizer/rhythm machine
MIC/LINE
INPUT jacks
5
Stereo
output
channel
Input
channels
Recorder section
Track 1
L/R bus
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Mixer section
NOTE
• The way in which you assign the input signals to tracks will depend
on the method you choose.
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Assigning input signals to tracks (Direct recording)
Assigning input signals to tracks (Direct recording)
C 1–8 button
Lower the [STEREO] fader to the –∞ posi-
1
2
3
If you move the cursor to this button and press the
[ENTER] key, input channels 1–8 will be connected to
tracks 1–8.
tion.
Connect instruments/mics to MIC/LINE
INPUT jacks 1–8.
D 9–16 button
If you move the cursor to this button and press the
[ENTER] key, input channels 1–8 will be connected to
tracks 9–16.
In the Quick Navigate section, either press
the [RECORD] key repeatedly or hold down
the [RECORD] key and use the CURSOR
[
]/[ ] keys to access the DIRECT page of
E SAFE button
If you move the cursor to this button and press the
the RECORD screen.
[ENTER] key, all connections will be cancelled.
5
Press the [INPUT SEL] key for the input
channel to which your instrument/mic is
connected.
4
The corresponding [INPUT SEL] key will light red,
and the remaining [INPUT SEL] keys will go dark. If
this input channel is not yet assigned to a track, all
[TRACK SEL] keys will blink red. This blinking indi-
cates that the tracks can be selected as the recording
destination.
The [INPUT SEL] keys and [TRACK SEL] keys will
blink red.
The screen will indicate how input channels are con-
nected to tracks.
1
In the screen, the symbol for
that input channel will be high-
lighted.
HINT
3 4 5 2
• You can also select an input channel by moving the cursor to
the
symbol of the desired input channel and pressing the
[ENTER] key.
1 INPUT
Indicates the connection status of input channels 1–8.
• If you select an input channel to which a track is already
assigned, only the corresponding [TRACK SEL] key will blink
red.
If you move the cursor to numbers 1–8 and press the
[ENTER] key, the INPUT SETTING popup window
will appear, allowing you to make settings for the cor-
responding input channel.
• If you press and hold the [INPUT SEL] key of an input chan-
nel, the INPUT SETTING popup window will appear, allowing
you to make settings for the corresponding input channel. To
exit this window and return to the previous screen, move the
cursor to the EXIT button and press the [ENTER] key.
If you move the cursor to the symbol and press the
[ENTER] key, the symbol will be highlighted, and the
corresponding input channel will be selected as a
recording source.
B TRACK
Indicates the connection status of tracks 1–16.
If you move the cursor to the symbol and press the
[ENTER] key, the symbol will be highlighted, and the
corresponding track will be selected as a recording
destination.
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Assigning input signals to tracks (Direct recording)
Press the [TRACK SEL] key of the track on
which you want to record.
The selected input channel and track will be connected
internally. At this time, only the selected [INPUT
SEL] key and [TRACK SEL] key will be blinking red.
The blinking [TRACK SEL] key indicates that the cor-
responding track is in record-ready mode.
5
• To change the recording destination, press the [INPUT SEL]
key to make it light red, and then press the [TRACK SEL] key
of a different track.
• If both the recording-source inputs and the recording-destina-
tion tracks are paired and connected using the [INPUT SEL]/
[TRACK SEL] keys, two adjacent odd-numbered/even-num-
bered channels will be simultaneously assigned to two adja-
cent odd-numbered/even-numbered tracks.
Press and hold the [INPUT SEL] key for the
recording-source input channel, to access
the INPUT SETTING popup window.
7
8
HINT
• You can also access the INPUT SETTING popup window by
moving the cursor to an input channel number in the
RECORD screen DIRECT page, and pressing the [ENTER]
key.
5
In the screen, a line will be
drawn to indicate the connec-
tion.
Use the [GAIN] knob to adjust the input
level of the signal.
For details on adjusting the input level, refer to
HINT
• You can also select a track by moving the cursor to the
symbol of the desired track and pressing the [ENTER] key.
• The input channel and track will be internally connected even
if you first press the [TRACK SEL] key and then press the
[INPUT SEL] key afterward.
• When an input channel is selected as a recording source, its
assignment to the stereo bus will automatically be turned off,
and it will be connected to allow monitoring via the track chan-
nel.
If an input channel is connected to a recording-desti-
nation, that recording-destination and the METER but-
ton will be added to the display in the INPUT
SETTING popup window.
• EQ and dynamics settings will be flat for a track channel that
is selected as the recording destination.
By moving the cursor to the METER button and press-
ing the [ENTER] key, you can switch the location at
which the level is detected between “pre-fader”
(default setting; immediately after A/D) and “post-
fader” (after the signal has passed through EQ,
dynamics, and the level knob). Check that the increase
in level after passing through EQ and dynamics does
not cause the signal to clip.
NOTE
• The track numbers of muted tracks will be displayed as “M”
(mute), but you can still record to muted tracks.
p. 143), tracks 9 – 16 are muted and will not play back.
• The bit depth of a song can be verified via the SONG screen
LIST page.
Raise the [STEREO] fader to the 0 dB posi-
tion.
9
If you want to record more than one instru-
ment or mic simultaneously, assign other
input channels to tracks in the same way.
6
To monitor the signal that you are record-
ing, raise the fader of the track channel that
you selected as the recording destination.
10
Normally when recording, you do not monitor the
input channel signal before it is recorded, but rather
the signal after passing through the recorder, via the
track channel. This lets you monitor the signal that is
actually being recorded, and also lets you adjust the
volume and tone of the monitor signal without affect-
ing the signal that is being recorded.
HINT
• To cancel a connection that you made, press the [INPUT SEL]
key to make it light red, and then press the [TRACK SEL] key
of the track that is selected as the recording destination. To
cancel all connections, move the cursor to the SAFE button
and press the [ENTER] key.
If the track channel fader for the recording-destination
track is set to the 0 dB position, the monitor level dur-
ing recording will be the same as the playback level
after recording.
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Assigning input signals to tracks (Direct recording)
● Monitor signal flow during recording
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
from the input
channels
5
Stereo
output
channel
Track
channels
Stereo bus
Mixer section
To adjust the pan of the monitor signal,
press the [TRACK SEL] key for the corre-
sponding track channel, and turn the [PAN/
BAL] knob of the Selected Channel section.
11
NOTE
• The pan setting of an input channel will have no effect if that
input channel is assigned to a track by direct recording.
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Assigning input signals to tracks (Bus recording)
Assigning input signals to tracks (Bus recording)
Lower the [STEREO] fader to the –∞ posi-
Press the [INPUT SEL] key for the input
channel to which you connected your
instrument or mic.
The current setting [INPUT SEL] key will light
orange, and that input channel will be selected for
operations.
1
2
3
4
tion.
Connect instruments/mics to MIC/LINE
INPUT jacks 1–8.
In the Quick Navigate section, either press
the [RECORD] key repeatedly or hold down
the [RECORD] key and use the CURSOR
[
]/[ ] keys to access the MIXED page of
the RECORD screen.
In the MIXED page of the RECORD screen, you can
assign the input channel signals to any one or two
tracks via the L/R bus.
5
In the screen, the symbol for
the corresponding input channel
will be highlighted, and a line will
appear, indicating that this chan-
nel is connected to the bus.
1
2
HINT
• You can also select an input channel by moving the cursor to
the
symbol for the desired input channel and pressing the
[ENTER] key.
• If you press and hold the [INPUT SEL] key of an input chan-
nel, the INPUT SETTING popup window will appear, allowing
you to make settings for the corresponding input channel. To
close this popup window and return to the previous screen,
move the cursor to the EXIT button and press the [ENTER]
key.
5 4 3
1 INPUT
Selects the record-source input channel.
B L/R bus
The two horizontal lines indicate the bus L/R signal
route.You can check the on/off status of the signal that
is sent from the record-source input channel(s) to bus
L or R, and check the tracks that will be the record-
destination of the L/R bus.
Repeatedly press the
same [INPUT SEL] key as
in step 4, and the signal
sent from that input chan-
nel to the L/R bus will be
switched on/off.
Each time you press the
[INPUT SEL] key, the screen
will change as follows.
5
C TRACK
Selects the track(s) that will be the record-destination
of the L/R bus signal.
D SAFE button
To cancel all record-sources and record-destinations,
move the cursor to this button and press the [ENTER]
key.
HINT
• For an input channel that is
selected as a record-source, the
assignment to the stereo bus will
automatically be turned off, and
connections will be made so that
the signal can be monitored via
the track channel.
E BUS button
When you move the cursor to this button and press the
[ENTER] key, a dedicated fader and level meter for
the L/R bus will appear in the right of the screen. You
can use this to adjust the master level of the L/R bus.
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Assigning input signals to tracks (Bus recording)
As necessary, use the same procedure to
specify other input channels as recording-
sources.
To set the pan of each input channel, use
the [INPUT SEL] key to select a channel,
and turn the [PAN/BAL] knob of the
Selected Channel section.
When you use bus recording, it will not be possible to
adjust the pan or volume balance for individual instru-
ments after they have been recorded on the track(s).
This means that you must finalize the pan and volume
balance when you send the signals from the input
channels to the L/R bus.
6
11
12
Press the [TRACK SEL] key(s) for the
record-destination track(s).
You can select up to two tracks as the record-destina-
tion.
7
If you select track 1, 3, 5, or 7, the signal will be con-
nected to bus L. If you select track 2, 4, 6, or 8, the sig-
nal will be connected to bus R. If you select tracks 9/
10–15/16, odd-numbered tracks will be connected to
bus L, and even-numbered tracks will be connected to
bus R.
To adjust the volume balance of each input
channel, repeatedly press the [VIEW] key in
the Selected Channel section to access the
FADER page.
When you want to set the volume balance of the input
channels, it is convenient to use the FADER page of
the VIEW screen. Here you can adjust the on/off status
and input levels for the input channels, pad channels,
and track channels — all in one page.
The screen will display lines to indicate how the sig-
nals are connected to the track(s).
5
HINT
• EQ and dynamics settings will be flat for a track channel
whose track has been selected as a record-destination.
• If a single track is selected, the pan of the track channel will
numbered/even-numbered track channels will be panned to
left and right respectively.
While producing sound on your instru-
ments, use the [INPUT SEL] keys or CUR-
SOR [ ]/[ ] keys to move the cursor to the
input channel that you want to control, and
turn the [DATA/JOG] dial to adjust the vol-
ume balance.
13
• The connection will be cancelled if you once again press the
[TRACK SEL] key of a currently selected track.
NOTE
• The track numbers of muted tracks will be displayed as “M”
(mute), but you can still record to muted tracks.
NOTE
• We recommend that you not use the [GAIN] knob to adjust
the volume balance of the input channels. This will degrade
the S/N ratio, and may cause the sound to distort.
p. 143), tracks 9 – 16 are muted and will not play back.
• The bit depth of a song can be verified via the SONG screen
LIST page.
HINT
• You can also use the INPUT LEVEL knob in the INPUT SET-
TING popup window to adjust the volume balance of the input
channels.
For each input channel to which you con-
8
nected an instrument or mic, press and
hold the [INPUT SEL] key to access the
INPUT SETTING popup window, and use
the [GAIN] knob to adjust the input level of
the signal.
• Normally, the panel faders are dedicated to the track chan-
nels. However by changing an internal setting, you can use
the faders to control the input levels of the input channels. (→
For details on adjusting the input level, refer to
Raise the [STEREO] fader to the 0 dB posi-
tion.
9
Raise the track channel fader for the
record-destination track, so that the moni-
tor level is appropriate.
10
Now you will be able to monitor the signal that is
being sent to the track(s) via the L/R bus.
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Enabling the metronome
Enabling the metronome
Before you begin recording, set the tempo and volume of the metronome. If you will not be using
the metronome while recording, you can skip the following procedure.
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the VIEW page.
In the Work Navigate section, repeatedly
press the [SONG] key or hold down the
[SONG] key and use the CURSOR [ ]/[
keys to access the TEMPO page.
1
4
]
]
The TEMPO page lets you create a tempo map that
specifies the tempo and time signature of the song.
The tempo and time signature that you specify here
will be the basis for the measure/beat display counter,
the internal metronome, and the MIDI clock messages
generated by the AW1600.
5
1
2
1 Metronome button
Switches the metronome on/off.
B Metronome knob
Adjusts the metronome volume level. The current
1
value is shown above the knob in dB units.
1 Tempo map events
Move the cursor to the metronome button
and press the [ENTER] key.
The metronome will be turned on.
2
3
These are the events recorded in the tempo map. When
you create a new song, a tempo map event of time sig-
nature = 4/4 and tempo = 120 will be created at the
beginning of the song (measure 1, beat 1).
When you press the [PLAY] key to begin
playback, the metronome will begin sound-
ing. As necessary, move the cursor to the
metronome knob and turn the [DATA/JOG]
dial to adjust the metronome level.
If you want to change the tempo or time signature,
press the [STOP] key to stop playback, and perform
the following procedure.
Move the cursor to the TEMPO field of the
event, and turn the [DATA/JOG] dial to set
the tempo value.
5
6
You can set a tempo in a range of 30–250 (BPM).
If necessary, move the cursor to the METER
field and turn the [DATA/JOG] dial to
change the time signature.
You can set a time signature in a range of 1/4–8/4.
HINT
• It is also possible to change the tempo or time signature dur-
• It is also possible to use the Quick Loop Sampler as a rhythm
machine, instead of the metronome. For details, refer to
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Recording on a track
Recording on a track
Now that you have completed your preparations, let’s record on a track.
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the VIEW screen.
In the Transport section, hold down the
REC [●] key and press the PLAY [ ] key.
The metronome will begin sounding, and the counter
display will advance.
1
2
]
In the track view within the screen, the vertical line
that indicates the current location will advance toward
the right.
2
3
1
Play your instrument in time with the metro-
nome.
The metronome sound will not be recorded on the
track. If necessary, move the cursor to the metronome
knob and turn the [DATA/JOG] dial to adjust the met-
ronome volume level.
3
4
5
4 5
1 Track view
6
To stop recording, press the STOP [■] key.
I (In point) and O (Out point) symbols will appear in
the track view of the VIEW page, indicating the loca-
tion of the most recent recording operation.
Graphically indicates the presence of data and markers
in tracks 1–16, pad tracks 1–4, and the stereo track.
B TRACK field
The [UNDO/REDO] key of the data entry/control sec-
tion will light. This indicates that you can press the
[UNDO/REDO] key to execute the Undo function.
Selects the track that you want to operate in the screen.
You can select 1–16 (audio track 1–16), ST (stereo
track), or PAD 1–4 (pad track 1–4).
To hear the recorded content from the
5
6
7
NOTE
beginning, press the RTZ [
] key to return
• Changing the track here will not change the track to be
recorded.
the counter display to zero, and press the
PLAY [ ] key.
C MUTE button
When you move the cursor to this button and press the
[ENTER] key to mute the currently selected track.
If you want to redo the recording, press the
[UNDO/REDO] key.
The [UNDO/REDO] key will go dark, and you will
return to the state prior to recording. Repeat steps 2–5.
NOTE
• This mute function switches muting on or off for the recorder
track playback. This also affects the number of simultaneous
idea to mute all unused tracks.
When you finish recording, press the Quick
Navigate Section [RECORD] key once
again, move the cursor to the SAFE button,
and press the [ENTER] key.
A popup window will ask you for confirmation, so
move the cursor to the OK button and press the
[ENTER] key. Assignments of the input signals to
tracks will be cancelled. It will no longer be possible
to press the [REC] key, and this will prevent recording
from occurring accidentally.
p. 143), mute cannot be disengaged for tracks 9 – 16.
• Mixer track channels can be muted via the MONITOR screen
D Track name
If you selected 1-16 or ST in the TRACK field, this
area displays the name that has been assigned to the
virtual track. If nothing has been recorded, a name of
“-NO REC-” will be assigned.
If you are satisfied with the recorded con-
tent, save the song. (For details on saving
8
E WAVE button
When you move the cursor to this button and press the
[ENTER] key, the waveform of the currently selected
track will be displayed. This button will appear only if
you have selected 1–16 or ST in the TRACK field.
Please be aware that the recorded content will be lost
if you turn off the power of the AW1600 before saving
the song.
F NAME button
When you move the cursor to this button and press the
[ENTER] key, the TITLE EDIT popup window will
appear, allowing you to assign a name to the track.
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Pairing input channels/track channels
Pairing input channels/track channels
Pad tracks 1–4 and track channels 9/10–15/16 are permanently paired.
However, you may also specify pairing for adjacent odd-numbered/even-numbered input chan-
nels (1/2, 3/4, 5/6, 7/8) or track channels (1/2, 3/4, 5/6, 7/8).When two channels are paired, most
of their parameters will be linked, so that operating one of the channels will cause the same set-
ting to occur on the other channel as well.
This is convenient when you are recording a stereo audio source, or when you want to play back
two bus-recorded tracks as a single stereo track.
Hold down the [INPUT SEL] key (or [TRACK
SEL] key) of one channel that you want to
pair, and then press the other [INPUT SEL]
key (or [TRACK SEL] key).
To defeat pairing, hold down the [INPUT
SEL] key (or [TRACK SEL] key) of one of
the channels, and press the other [INPUT
SEL] key (or [TRACK SEL] key).
A popup window will ask you to confirm that you
want to cancel pairing.
1
3
4
5
To cancel pairing, press the OK button. If
you decide not to cancel pairing, move the
cursor to the CANCEL button and press the
[ENTER] key.
HINT
• In the case of paired channels, setting the pan to far left or far
right will produce nominal level. (The levels before and after
passing through Pan will be the same.) In the case of paired
channels, setting the pan to center will produce nominal level.
A popup window will appear, asking you to confirm
the pairing.
Move the cursor to one of the following but-
tons and press the [ENTER] key.
2
• INPUT (TRACK) x → y
(x= odd number, y= even number)
...........Copy the settings of input (track) channel x
to y, and pair them.
• INPUT (TRACK) y → x
(x= odd number, y= even number)
...........Copy the settings of input (track) channel y
to x, and pair them.
• RESET BOTH
...........Initialize both input (track) channels, and
pair them.
• CANCEL
...........Cancel pairing.
When input channels are paired, all mix parameters
other than the [GAIN] knob and phase/pan settings
will be linked.
When track channels are paired, all mix parameters
other than the phase/pan settings will be paired. Oper-
ating just the odd-numbered fader will adjust the level
of both odd-numbered/even-numbered channels.
(While channels are paired, the even-numbered fader
has no effect.)
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Using the input library
Using the input library
The input library is a library of settings used to apply internal effects, EQ, or dynamics settings to
the input signal when you want to record the processed signal. Here’s how to apply input library
settings to the signal of an input channel.
Press and hold the [INPUT SEL] key of the
input channel for which you want to use the
input library, to access the INPUT SETTING
popup window.
Turn the [DATA/JOG] dial to select the
desired input library data.
The input library data is organized into the following
categories.
1
4
Number Abbreviation
00
Category
Data for initializing the input channel.
Data suitable for electric guitar.
Data suitable for acoustic guitar.
Data suitable for bass.
01–25
26–30
31–35
36–40
EG
AG
BA
VO
5
Data suitable for vocals.
Move the cursor to the LIBRARY button,
and press the [ENTER] key.
NOTE
2
• All input library data is read-only.
The following popup window will appear.
Select the desired data, and press the
[ENTER] key.
A popup window will ask you to confirm the recall
operation.
5
6
In this popup window, you can select whether the
internal effect 1 or 2 will be patched to the input chan-
nel.
NOTE
• When you use the input library, internal effect 1 or 2 will be
disconnected from the send/return of the mixer, and patched
to a specific input channel. For this reason, you can use the
internal effects on a maximum of two channels.
Move the cursor to the OK button and press
the [ENTER] key.
The data of the selected library will be loaded, and the
internal effect, EQ (or speaker simulator), and dynam-
ics effect will be applied to the input signal.
Move the cursor to the EFF1 button or EFF2
button, and press the [ENTER] key.
3
The INPUT LIBRARY popup window will appear,
allowing you to select an input library.
1
2
3
1 List
This is the library list. The line surrounded by a dotted
line in the middle of the list is the data that is selected
for loading. When you turn the [DATA/JOG] dial, the
data in the list will scroll upward or downward.
B RECALL button
Move the cursor to this button and press the [ENTER]
key to load the currently selected data.
C EXIT button
Move the cursor to this button and press the [ENTER]
key to close the popup window.
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Using the input library
Input library
MIC/LINE
INPUT jack
Speaker
simulator
Internal effect
to the bus
Dynamics
EQ
INPUT LEVEL
Input channel
5
NOTE
• If the input channel is paired, the same settings will be applied to both channels.
If you want to adjust the effect, use the
[INPUT SEL] key to select the input chan-
nel. While you produce sound on your
instrument, adjust the [EQ] knob, [DYN]
knob, or [EFFECT 1]/[EFFECT 2] knobs of
the Selected Channel section.
In the same way, select input library set-
tings for the other input channels.
However, a maximum of two input channels can use
the internal effects at the same time.
7
8
Immediately after you select an input library, turning
the knobs of the Selected Channel section will control
the following items.
• Turning the [EQ] knob
...........Adjusts the amount of boost/cut for each
EQ band. To select the band that will be
adjusted, use the [HIGH] key, [HI-MID] key,
[LO-MID] key, or [LOW] key located at the
right.
• Turning the [DYN] knob
...........Simultaneously adjusts multiple dynamics
parameters to adjust the dynamics effect.
The result will depend on the library that
you selected.
• Turning the [EFFECT 1] knob
...........Adjusts the balance of direct sound and pro-
cessed sound for internal effect 1.
• Turning the [EFFECT 2] knob
...........Adjusts the balance of direct sound and pro-
cessed sound for internal effect 2.
NOTE
• Depending on the input library you select, the level of the
input channel may change. Re-adjust the volume balance
using the INPUT LEVEL knob in the INPUT SETTING popup
window.
HINT
• If turning the [EQ] knob or [DYN] knob does not produce the
desired result, you can reload new settings from the EQ
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Using the EQ library
Using the EQ library
The EQ library contains EQ settings appropriate for a variety of instruments. Use these when you
want to apply EQ to an input channel while you record, or when you want to modify the EQ set-
tings after recalling an input library.
Press and hold the [INPUT SEL] key of the
input channel for which you want to use the
EQ library, to access the INPUT SETTING
popup window.
Turn the [DATA/JOG] dial to select the
library that you want to use, and press the
[ENTER] key.
A popup window will ask you to confirm the library
recall operation.
1
3
5
Move the cursor to the OK button and press
the [ENTER] key.
The selected library will be loaded.
4
Move the cursor to the EQ button in the
screen, and press the [ENTER] key.
The EQ library will appear.
2
Move the cursor to the EXIT button and
press the [ENTER] key.
5
6
1
If you want to adjust the EQ settings, press
the [HIGH] key, [HI-MID] key, [LO-MID] key,
or [LOW] key of the Selected Channel sec-
tion to select the band, and turn the EQ
knob to adjust the amount of boost/cut.
2
3
1 List
NOTE
This is the library list. The line surrounded by a dotted
line in the middle of the list is the data that is selected
for loading. When you turn the [DATA/JOG] dial, the
data in the list will scroll upward or downward.
• If turning the EQ knob does not change the tone, check
whether EQ may have been turned off for that channel
HINT
B RECALL button
Move the cursor to this button and press the [ENTER]
key to load the currently selected data.
• If necessary, you can also adjust the frequency and Q param-
eters of each band. For details, refer to “Using libraries and
C EXIT button
Move the cursor to this button and press the [ENTER]
key to close the popup window.
HINT
• You can also access the EQ library by pressing the [EQ] knob
of the Selected Channel section. For details, refer to “Using
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Using the dynamics library
Using the dynamics library
The dynamics library contains dynamics settings suitable for a variety of instruments. As for the
EQ library, you can use this to apply dynamics processing to an input channel while you record,
or when you want to modify the dynamics settings after recalling an input library.
Press and hold the [INPUT SEL] key of the
input channel for which you want to use the
dynamics library, to access the INPUT SET-
TING popup window.
Turn the [DATA/JOG] dial to select the
library that you want to use, and press the
[ENTER] key.
A popup window will ask you to confirm the library
recall operation.
1
3
5
Move the cursor to the OK button and press
the [ENTER] key.
The selected dynamics library will be loaded.
4
Move the cursor to the DYN button in the
screen, and press the [ENTER] key.
The dynamics library will appear.
2
Move the cursor to the EXIT button and
press the [ENTER] key.
5
6
1
If you want to adjust the dynamics settings,
turn the [DYN] knob of the Selected Chan-
nel section.
2
3
Turning the [DYN] knob immediately after a library
has been recalled will simultaneously adjust multiple
dynamics parameters to control the dynamics effect.
(The result will depend on the library that you select.)
1 List
This is the library list. The line surrounded by a dotted
line in the middle of the list is the data that is selected
for loading. When you turn the [DATA/JOG] dial, the
data in the list will scroll upward or downward.
NOTE
• If turning the [DYN] knob does not change the tone, check
whether dynamics may have been turned off for that channel
B RECALL button
Move the cursor to this button and press the [ENTER]
key to load the currently selected data.
HINT
• If necessary, you can also make detailed adjustments to the
individual dynamics parameters. For details, refer to “Using
C EXIT button
Move the cursor to this button and press the [ENTER]
key to close the popup window.
HINT
• You can also access the dynamics library by pressing the
[DYN] knob of the Selected Channel section. For details, refer
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Chapter 6
Overdubbing
This chapter explains how you can record additional performances on other
tracks while you listen to the previously-recorded tracks. This chapter also
explains how to switch virtual tracks and save songs.
About overdubbing
“Overdubbing” is the process of recording additional performances on other tracks while you
monitor the playback of previously-recorded tracks.
The diagram below shows the signal flow when you play back tracks 1–4 and overdub track 5. In
this example, the signal that is input from MIC/LINE INPUT jack 1 is routed through recorder
track 5 and sent to track channel 5.This signal is then sent to the stereo bus, mixed with the play-
back sound of track channels 1–4, and output from the STEREO/AUX OUT jacks and the MONI-
TOR OUT jacks / PHONES jack.
6
● Signal flow when overdubbing
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
MIC/LINE input
jacks
Input
channels
Track
channels
Stereo output
channel
Stereo bus
Mixer section
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Assigning the input signal to a track
In order to overdub, you must first assign the mic or instrument to a new track. The basic proce-
dure is the same as when recording the first track.
Lower the [STEREO] fader to the –∞ posi-
Assign the input channel to which your
instrument/mic is connected to a new track,
and adjust the level.
p. 39). The diagram below shows an example of when
input channel 1 is assigned to track 5.
1
2
3
4
tion.
Connect your instrument or mic to a MIC/
LINE INPUT jack.
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
[
] keys to access the DIRECT page of the
RECORD screen.
The [INPUT SEL] keys and [TRACK SEL] keys will
blink red.
6
NOTE
• The number of tracks that can be assigned in a 24-bit song is
HINT
• In this example we will use “direct recording,” in which one
input channel is assigned to one track. However, you may
also use “bus recording,” in which multiple input channels are
sent to the L/R bus and recorded on one or two tracks.
Instantly recalling an EQ library
The chapter entitled “Track recording” explained how to access the LIBRARY page of the EQ
screen and load an EQ library to change the EQ. This section explains how you can instantly
recall an EQ library.
When you turn the [EQ] knob to left or right while
pressing it, the LIBRARY page of the EQ screen will
appear.
Press the [INPUT SEL] key of the input
channel for which you want to use a library.
The corresponding input channel will be selected for
operations.
1
In the Selected Channel section, press
down the [EQ] knob and turn it.
2
Turn while
pressing
Turn the [DATA/JOG] dial to select an EQ
library.Then move the cursor to the
RECALL button and press the [ENTER] key.
3
4
The selected library will be loaded.
If you want to adjust the EQ settings, use
the [HIGH] key, [HI-MID] key, [LO-MID] key,
and [LOW] key of the Selected Channel sec-
tion to select the EQ band, and turn the
[EQ] knob to adjust the amount of boost or
cut.
HINT
• If necessary, you can make detailed adjustments to EQ
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Instantly recalling a dynamics library
A dynamics library can be instantly recalled in the same way as an EQ library.
When you turn the [DYN] knob to left or right while
pressing it, the LIBRARY page of the DYN screen
will appear.
In the Selected Channel section, press
down the [DYN] knob and turn it.
1
Turn while
pressing
Turn the [DATA/JOG] dial to select a DYN
library.Then move the cursor to the
RECALL button and press the [ENTER] key.
2
3
The selected library will be loaded.
6
If you want to adjust the dynamics effect,
turn the [DYN] knob in the Selected Chan-
nel section.
HINT
• In the same way, you can press and turn the [EFFECT 1]
knob or [EFFECT 2] knob in the Selected Channel to recall an
effect library.
• If necessary, you can make detailed adjustments to the
Setting the mix balance and pan
Here’s how to set the volume balance and pan for the previously-recorded tracks and the tracks
that you now will be overdubbing.
While you play back the song, raise the
track channel faders for the previously-
recorded tracks to an appropriate monitor-
1
HINT
• The position of the track channel faders will not affect the
recording level. However if you set the faders to 0 dB, the
playback volume will be the same as when you recorded the
tracks.
ing level.
Press the track channel [TRACK SEL] key
for a previously-recorded track, and use the
2
Press the [TRACK SEL] key for the record-
ing-destination track channel, and use the
[PAN/BAL] knob of the Selected Channel
section to set the pan.
In the same way as for the input channel signal, you
can also use EQ and dynamics to process the track
channel. To do this, press the [TRACK SEL] key to
select the track channel, and use the [EQ] knob or
[DYN] knob of the Selected Channel section to recall
a library and adjust the settings. This procedure will
not affect the signal that is recorded on the track.
[PAN/BAL] knob of the Selected Channel
section to set the pan.
4
Stop the recorder, and while producing
sound on your instrument, adjust the fader
of the recording-destination track channel
so that the monitoring level is appropriate.
The track channel for the recording-destination track
will send the input signal to the stereo bus while
recording or stopped, and will send the track playback
signal to the stereo bus during playback. This means
that in order to monitor the input signal, you must stop
the recorder.
3
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Overdubbing
Overdubbing
Now you can overdub onto the track that you selected as the recording-destination.
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the VIEW page.
While monitoring the previously-recorded
tracks, play the instrument that you want to
overdub.
1
4
5
6
]
To stop recording, press the STOP [■] key.
The [UNDO/REDO] key in the data entry / control
section will light.
To listen to the recorded performance from
the beginning, press the RTZ [
] key to
return the counter display to zero, and
press the PLAY [ ] key.
Move the cursor to the metronome button,
and press the [ENTER] key to switch the
setting on or off as desired.
You can perform overdubbing whether the metronome
is on or off.
2
3
HINT
• If you recorded from the middle of the song, you can press the
[IN] key to move to the location at which you began recording.
6
If you are satisfied with the recorded perfor-
mance, save the song. (For details on sav-
If you decide to re-do the recording, press the [UNDO/
REDO] key to cancel the recording, and repeat steps
3–7.
7
In the transport section, hold down the REC
[●] key and press the PLAY [ ] key.
The metronome will begin sounding, and the counter
display will advance.
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Punch-in/out
Punch-in/out
If you make a mistake while overdubbing, you can re-record just the region in which you made
the mistake. This process is called “punch-in/out.”
Punch-in/out can be performed either as “manual punch-in/out” in which you switch between
recording and playback manually, or as “auto punch-in/out” in which recording and playback will
switch automatically when you reach the locations you specify beforehand.
To stop playback, press the STOP [■] key
(or press the foot switch).
7
Manual punch-in/out
Here’s how to perform punch-in/out using the keys of the
transport section or a foot switch.
To listen to the newly-recorded content,
locate to a point just before the punch-in
point, and press the PLAY [ ] key.
8
If you want to perform punch-in/out using a
1
foot switch, connect a separately sold foot
switch (Yamaha FC5 or equivalent) to the
rear panel FOOT SW jack.
If you are satisfied with the newly-recorded
content, save the song. (For details on sav-
9
If you decide to re-do the recording, press the [UNDO/
REDO] key to cancel the recording, and repeat steps
4–9.
The following diagram shows the manual punch-in/out
procedure.
6
Access the DIRECT page of the RECORD
2
screen, and make sure that your instru-
ment/mic is assigned to the track on which
you want to punch-in.
At this time, the [INPUT SEL] key of the recording-
source and the [TRACK SEL] key of the recording-
destination will blink red.
1
2
3
4
5
16
play
record
play
Locate to a point earlier than where you
want to punch-in.
3
You may find it convenient to register a marker at a loca-
tion one or two measures earlier than the point at which
you want to punch-in, so you can quickly return to that
punch-in
punch-out
point. (For details on registering a marker
In the transport section, press the PLAY
4
5
[
] key. (Alternatively, press the foot
Auto punch-in/out
switch.)
The song will begin playing. At this time, the track
playback sound of the recording-destination track
channel will be sent to the stereo bus, so you will not
be able to monitor the input signal.
Auto punch-in/out is a function that performs the punch-in
and punch-out operations automatically. In order to use
this function, you must first specify the punch-in location
(the In point) and the punch-out location (the Out point).
At the point where you want to begin
recording, hold down the PLAY [ ] key
and press the REC [●] key (or press the
foot switch once again), and begin playing
your instrument.
Access the DIRECT page of the RECORD
1
screen, and make sure that your instru-
ment/mic is assigned to the track on which
you want to punch-in.
The recording-destination track will switch from play-
back to recording (“punch-in”).
The recording-source [INPUT SEL] key and the
recording-destination [TRACK SEL] key will light
red, and the signal of the corresponding track channel
will switch from the track playback to the input signal.
The recording-source [INPUT SEL] key and the
recording-destination [TRACK SEL] key will blink
red.
At the point where you want to stop record-
ing, press the PLAY [ ] key (or press the
foot switch).
6
The recording-destination track will switch from
recording back to playback (“punch-out”).
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Punch-in/out
Locate to the point at which you want to
punch-in.
To perform the actual auto punch-in/out,
stop the recorder, then hold down the REC
[●] key and press the PLAY [ ] key.
2
3
8
In the Locate section, hold down the [SET]
key and press the [IN] key.
The current location will be registered as the In point.
1 Only the PLAY [ ] key will light, and playback
will begin from the pre-roll point.
B When you reach the auto punch-in point, the REC
[●] key will light, and recording will begin
(“punch-in”).
Locate to the point at which you want to
punch-out.
4
5
C When you reach the auto punch-out point, the
REC [●] key will go dark, recording will stop, and
you will return to playback mode (“punch-out”).
In the Locate section, hold down the [SET]
key and press the [OUT] key.
The current location will be registered as the Out
point.
D When you reach the post-roll point, you will return
to the pre-roll point and stop.
HINT
To check the newly-recorded content, press
the [AUTO PUNCH] key to make it go dark,
and then press the PLAY [ ] key.
9
• If you want to set the In and Out points more precisely, you
a short region before or after the current location, or use the
the contents of the track as a waveform.
6
If you are satisfied with the newly-recorded
content, save the song. (For the Save pro-
If you decide to re-do the recording, you can go back
to the best take using the Undo list after performing
10
• The In point and Out point will be updated each time you
record.The location at which you last started recording will be
registered as the In point, and the location at which you last
stopped recording will be registered as the Out point.
In the Locate section, press the [AUTO
PUNCH] key.
The [AUTO PUNCH] key will light, and the Auto
Punch-in/out function will be enabled. You will auto-
matically locate to a point a specific distance (the “pre-
roll time”) ahead of the In point. This point is called
the “pre-roll point.”
The following diagram shows the auto punch-in/out
procedure.
6
7
Pre-roll
point
Auto punch-in Auto punch-out Post-roll
point
point
point
1
2
3
4
5
To rehearse the auto punch-in/out, press
the PLAY [ ] key.
16
locate
play
rehearsal
play
1 The PLAY [ ] key will light, and playback will
begin from the pre-roll point.
B When you reach the auto punch-in point, the REC
[●] key will begin blinking, and the signal that you
are monitoring from the recording-destination
track channel will switch from the track playback
to the input signal (recording-source). (However,
recording will not actually occur.)
rehearsal
punch-in
punch-out
C When you reach the auto punch-out point, the
REC [●] key will go dark, and the signal that you
are monitoring from the recording-destination
track channel will return to the track playback.
actual recording
D When you reach a point that is a specific distance
(the “post-roll time”) after the Out point (this point
is called the “post-roll point”), you will return to
the pre-roll point and stop.
HINT
• If you turn the Locate section [REPEAT] key on before step 7,
operations 1–4 of step 7 will be repeated up to fifteen times.
(The A-B Repeat function is disabled during this time.) If you
want to stop repeating the rehearsal, press the [REPEAT] key
once again or press the STOP [■] key.
• With the initial settings of the AW1600, the pre-roll and post-
roll times are each set to four seconds.You can adjust these
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Using the Undo List
Using the Undo List
By using the AW1600’s Undo list, you can not only cancel the most recent recording or editing
operation, but can even backtrack through your work for as many as fifteen previous steps. This
is convenient when, for example, after performing several overdubs, you decide that you would
rather go back to the state immediately after you had recorded the third solo.
Press and hold the [UNDO/REDO] key.
The UNDO LIST popup window will appear.
Turn the [DATA/JOG] dial to select a step
number.
1
2
3
Move the cursor to the OK button and press
the [ENTER] key.
The current song will revert to the state of the step you
selected.
1
1 Undo list
This is a list of the previously-performed recording
and editing operations.
6
From the left, the list shows a step number that indi-
cates the order in which the operations were per-
formed, the content of the operation, and the track/
virtual track that was affected by the recording or edit-
ing operation.
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.
4
The current song is now in the state of the step that is
highlighted.
NOTE
The step enclosed by a dotted frame indicates the step
to which the Undo function will return the song.
• Please note that if you perform recording or editing after
“undoing” back to a certain step, the undo/redo data subse-
quent 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.
NOTE
• If you have already cancelled recent operations using the
Undo function before displaying the Undo list, previous steps
may not remain at all.
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Switching virtual tracks
Switching virtual tracks
Each audio track 1–16 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 previously-
recorded content. Here’s how to switch the virtual track that is selected for a track.
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the V.TR page.
In the V.TR page you can switch the virtual track (1–8)
that will be used for recording/playback by each audio
track 1–16.
Use the CURSOR [ ]/[ ]/[ ]/[ ] keys to
select the virtual track number that you
want to assign to the desired track.
1
2
3
]
Press the [ENTER] key.
The “●” symbol will be displayed at the position of
the newly-selected virtual track. This virtual track will
now be used for recording/playback.
1
6
If you want to assign a name to each virtual
track, repeatedly press the Work Navigate
[TRACK] key or hold down the [TRACK] key
and use the CURSOR [ ]/[ ] keys to
access the VIEW page.
4
2
1 TRACK
Indicates the track number 1–16.
B V.TR
Indicates the status of virtual tracks 1–8. The virtual
track that is currently selected for each track is indi-
cated by a “●” symbol. Of the virtual tracks that are
currently not selected, those that have been recorded
are indicated by “ ”, and those that have not yet been
recorded are indicated as “–”.
Move the cursor to the TRACK field, and
turn the [DATA/JOG] dial to select a track
number.
5
6
Move the cursor to the NAME button and
press the [ENTER] key.
The TITLE EDIT popup window will appear, allowing
you to assign a name to the virtual track.
Assign a new name to the virtual track.
For details on how to assign a name, refer to page 25.
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Saving the current song
Saving the current song
This section explains how to save the current song to the hard disk. If you accidentally turn off
the power of the AW1600 without saving the song, all recordings or operations that you per-
formed since last saving the song will be lost.You should make a habit of saving the song at
appropriate breaks in your work.
In the Work Navigate section, repeatedly
press the [SONG] key or hold down the
[SONG] key and use the CURSOR [ ]/[
keys to access the LIST page.
Move the cursor to the SAVE button and
press the [ENTER] key.
A popup window will ask you to confirm that you
want to save the current song.
1
2
]
In this page you can select a song on the hard disk, and
load or delete it.
2
1
To save the song, move the cursor to the
OK button and press the [ENTER] key.
If you move the cursor to the CANCEL button
(instead of the OK button) and press the [ENTER] key,
the Save operation will be cancelled.
3
6
NOTE
3
• The song save operation always saves the current song,
regardless of the song that is selected in the list.
1 List
• You cannot save a song that is protected. If for example you
have edited the mixer settings and need to save the song, you
must disable the protect setting and then save the song.
This is a list of the songs saved on the hard disk. The
line enclosed by a dotted frame in the center of the list
is the song to which your operation you perform will
apply. The highlighted line is the song that is currently
loaded into the AW1600. (This is referred to as the
“current song.”)
HINT
• If necessary, you can change the name of the song before
B SORT field
Use these three buttons to select how the songs in the
list will be sorted. You can choose NAME (sort alpha-
betically), OLD (sort by date of saving), or SIZE (sort
by size).
• In the following situations, a popup window will ask whether
you want to save the current song; when you load an existing
song from the hard disk, when you create a new song, or
when you shut-down the AW1600.
•
However, we recommend that you frequently save the song
you are working on, as a safeguard against accidents such as
the AW1600’s power cable being accidentally disconnected.
C SAVE button
When you move the cursor to this button and press the
[ENTER] key, the current song will be saved.
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Loading an existing song
Loading an existing song
Here’s how to load an existing song from the hard disk.
In the Work Navigate section, repeatedly
press the [SONG] key or hold down the
1
[SONG] key and use the CURSOR [ ]/[
keys to access the LIST page.
]
Turn the [DATA/JOG] dial to select a song.
2
3
6
Move the cursor to the LOAD button in the
screen, and press the [ENTER] key.
A popup window will ask you whether you want to
save the current song.
Move the cursor to eitherYES (if you want
to save the current song) or NO (if you do
not want to save the current song), and
press the [ENTER] key.
4
The song you selected will be loaded.
NOTE
• If you select NO, all changes you made after last saving the
current song will be lost.
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Chapter 7
Various types of playback
This chapter explains how to use the locator and marker functions, and vari-
ous other playback methods provided by the AW1600.
Using the locator
“Locate points” are locations you specify within a song in order to execute functions such as auto
punch-in/out and A-B repeat.You can use this function to “locate” (move the current location of
the song) to one of these points just by pressing a single key. On the AW1600, you can use the
following locate points.
● In/out points
These locate points are used to specify the region for auto
of the recording you last performed will be automatically
set as the In point and Out point. However, you may
change these points as desired.
Start point = 00:00:00:00.00
Counter
display format
00:00:00:00.00
00:00:00:00.00
00:00:00:00.00
00:00:05:00.00
00:00:05:00.00
00:00:05:00.00
00:00:10:00.00
00:00:10:00.00
00:00:10:00.00
ABS
SEC
T.C
7
● A/B points
S
These locate points are used to specify the region for the
can be set to any point in a song, either by pressing a key
or by operations in the screen.
= 00:00:05:00.00
Start point
Counter
display format
00:00:00:00.00
00:00:05:00.00
00:00:10:00.00
00:00:05:00.00
00:00:05:00.00
ABS
SEC
T.C
● Start/end points
–00:00:05:00.00 00:00:00:00.00
These locate points normally correspond to the beginning
and end of the song. When you create a new song, the
Start point will initially be set to absolute time
00:00:00.000. When you record, the end of the song will
automatically be set as the End point. If you record past
the previously-set End point, the End point will automati-
cally move back.
23:59:55:00.00
00:00:00:00.00
S
HINT
• When the AW1600 transmits MTC to an external device, the Start
point will be the basis (the zero point) of the time code that is gen-
erated.The Start point will also be the basis (measure 1 beat 1) for
the measures displayed in the counter.
If you select SEC or T.C. as the counter display format,
the Start point will be the basis (the zero point) of the time
and time code that are displayed. This means that if you
change the Start point, the display will change as follows,
depending on the counter display format.
● Relative zero point
This locate point stores the relative zero position. When
HINT
• When you create an audio CD, the Start and End points can be
used to specify the region of the stereo track that will be written to
you press the RTZ [
] key in the transport section, you
will move to this location. If the song is in the initial state,
the relative zero point will be the same as absolute time
00:00:00.000, but you can change this if desired by using
key operations or operations in the screen.
If you select REL as the counter display format, the cur-
rent location will be displayed with the Relative Zero
point as 0.
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Using the locator
The following procedure shows how to register the current
location in one of the locate points, and then move the
song to that locate point.
To move to a locate point you registered,
press the corresponding key while the song
is stopped or playing.
3
The song will move to that location, and an icon will
appear at the left side of the counter to indicate the
currently selected locate point.
Move the song to the point that you want to
register as a locate point.
You can set a locate point whether the song is playing
or stopped.
1
Locator icon
Hold down the [SET] key and press the key
for the desired locate point.
2
This icon will remain visible until you play or rewind/
fast-forward past the previous or next locate point or
marker location.
Locate points that you register are displayed in the
TRACK screen VIEW page or PAD page as shown
below.
The locate points correspond to the following keys.
7
In point
Out point
A point
Locator icon
HINT
B point
• Locate point settings are stored on the hard disk as part of
the song.
Relative
Zero point
points other than the Start point and End point may also be
• [IN] key.......................In point
• [OUT] key...................Out point
• [A] key........................A point
• [B] key........................B point
• RTZ [
] key ............Relative Zero point
NOTE
• If you want to change the Start point or End point, use the
SONG screen POINT page. These points cannot be set by
key operations.
• The In point and Out point will be updated automatically when
you perform a recording operation.
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Using markers
Using markers
“Markers” are symbols that you assign at desired locations in a song, so that you can move
quickly to a desired point.You can assign up to 99 markers in each song. Use the [ ]/[ ] keys
to find and move to markers.
Move to the position in the song at which
you want to assign a marker.
You can assign a marker whether the song is playing
or stopped.
Press the [ ] key to locate to the previous
marker, or press the [ ] key to locate to
the next marker.
1
3
Press the [MARK] key.
2
The song will move to that location, and an icon will
appear at the left of the counter to indicate the cur-
rently selected marker number.
7
The top line of the display will briefly indicate
“MARK POINT SET.” This indicates that a marker
has been set. A new marker will be added each time
you press the [MARK] key.
Marker icon
Markers are automatically numbered 1–99 starting at
the beginning of the song. If you register a new marker
between two existing markers, subsequent markers
will be automatically renumbered upward.
This icon will remain visible until you play or rewind/
fast-forward past the previous or next locate point or
marker location.
Register a new marker
Markers that you register are displayed in the TRACK
screen VIEW page or PAD page as shown below.
Marker icon
HINT
NOTE
• Marker settings are stored on the hard disk as part of the
song.
• Markers other than the marker displayed at the left of the
counter are shown as icons without a number, and indicate
their approximate location.
desired.
• If you press the [MARK] key at a location in which a marker
has already been registered, the display will indicate “CAN-
NOT SET MARK,” and a new marker will not be created.
HINT
• When creating an audio CD, you can use markers to divide
the stereo track into the tracks that will be written to the audio
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Adjusting the position of a locate point or marker
Adjusting the position of a locate point or marker
Here’s how you can adjust the position of a previously-registered locate point or marker.
In the Work Navigate section, repeatedly
Locate point
POSITION field
Time code
MEAS field
—
1
press the [SONG] key or hold down the
[SONG] key and use the CURSOR [ ]/[
keys to access the POINT page.
In the POINT page you can adjust the time location of
each locate point and marker.
REL.ZERO
]
START
END
IN
Time code
Measure/beat
Measure/beat
Measure/beat
Measure/beat
Measure/beat
Measure/beat
Time code
Counter display format
Counter display format
Counter display format
Counter display format
OUT
A
B
HINT
• If a locate point has not been registered, the numerical field
will indicate “--.”
1
2
3
Move the cursor to the locate point value
that you want to adjust, and turn the [DATA/
JOG] dial to change the value.
Only in the case of the Start point, a “Change START
Position?” popup window will ask you for confirma-
tion when you attempt to change the value. Move the
cursor to the OK button and press the [ENTER] key,
and then change the value.
3
4
1 LOCATOR button
B MARKER button
These buttons select whether the screen will show
locate points or markers. The button that is currently
turned on will be highlighted.
7
C Locator point/marker display area
This area shows a list of the locate points or markers,
depending on whether you have selected the LOCA-
TOR button or the MARKER button.
NOTE
• Changing the Start point will mean that locations already
recorded in a track will move relative to the measure lines
defined by the tempo map. Please be aware of this if you are
using measure display for the metronome or for the quick loop
sampler.
If you want to adjust the position of a locate
point, make sure that the LOCATE button is
turned on (highlighted) in the display.
When the LOCATOR button is on, the POINT page
will display the positions of each locate point.
2
To adjust the location of a marker, move the
cursor to the MARKER button in the display
and press the [ENTER] key.
When the MARKER button is on, the POINT page
will list the markers that have been registered.
1
2
3
2
3
4
5
1
1 Locate points
Shows the type of locate point and its abbreviation.
1 List
Lists the markers that have been registered. The line
that is enclosed by a dotted frame is selected for oper-
ations.
B POSITION
Shows the position of each locate point as time code or
the counter display format.
C MEAS
B MARKER
These are the marker numbers 01–99.
Shows the position of each locate point as measures/
beats. This value is calculated according to the tempo
C POSITION
Shows the position of each marker, in the counter dis-
play format.
The format in which the position is displayed will
depend on the locate point. The following table shows
the display format for each locate point.
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D MEAS
Shows the position of each marker, in measure/beat
units.
E DELETE button
To delete the currently selected marker, move the cur-
sor to this button and press the [ENTER] key.
Move the cursor to the MARKER area, and
turn the [DATA/JOG] dial to scroll the list so
that the dotted frame encloses the marker
number that you want to edit.
5
6
Move the cursor to the value that you want
to edit, and turn the [DATA/JOG] dial to edit
the value.
NOTE
• You cannot change the location beyond the next or previous
marker.
7
Erasing a locate point or marker
If necessary, you can erase a previously-registered locate point (except for the Relative Zero,
Start, and End points) or marker.
NOTE
• A locate point that you erase cannot be recovered.
■ Erasing a locate point
■ Erasing a marker
You can erase a marker in one of two ways; using key
operations, or in the screen.
To erase a marker using key operations, locate to the
marker that you want to erase. Then hold down the [CAN-
CEL] key of the Locate section and press the [MARK]
key. The corresponding marker will be erased, and a mes-
sage of “MARK POINT ERASED” will be displayed for
a time.
To erase a locate point, hold down the [CANCEL] key in
the Locate section, and press the corresponding locate key
([IN]/[OUT] key, [A]/[B] key). That locate point will be
erased, and a message of “LOCATE POINT ERASED”
will be displayed for a time.
To erase a marker by operations in the screen, access the
list of markers in the POINT page of the SONG screen,
select the marker that you want to erase, move the cursor
to the DELETE button and press the [ENTER] key.
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Repeatedly playing a specific region (the A-B Repeat function)
Repeatedly playing a specific region (the A-B Repeat function)
The AW1600 provides an “A-B Repeat” function that repeatedly plays the region between the A
point and B point. This is useful when you want to repeatedly play back a certain region of the
song while you adjust the mix.
Register the A point and B point to the loca-
tions at which you want the repeated play-
back to start and end.
For details on how to set the A point and B point, refer
To begin repeat playback, press the PLAY
1
3
[
] key.
Playback will begin from the A point. When you reach
the B point, you will automatically return to the A
point and continue playback.
HINT
HINT
• Playback will stop automatically when the A/B region has
been repeated 99 times.
• If you set the B point earlier than the A point, the B → A
region will play repeatedly.
• If you press the [REPEAT] key while the song is playing,
repeat playback between the A and B points will begin auto-
matically, regardless of the current position.
While the transport is stopped, press the
[REPEAT] key.
2
The [REPEAT] key will light, and the A-B Repeat
function will be on. The song will automatically locate
to the A point.
To stop playback, press the STOP [■] key.
Playback will stop, but the A-B Repeat function will
remain turned on.
4
5
7
NOTE
When the A-B Repeat function is on, pressing the
PLAY [ ] key will immediately resume repeat play-
back, regardless of the current position.
• The A and B points must be at least one second apart. If they
are closer than this, a message of “REPEAT POINTS TOO
CLOSE” will appear when you press the [REPEAT] key, and
repeat playback will not be possible.
To cancel repeat playback, press the
[REPEAT] key.
The [REPEAT] key will go dark, and the A-B Repeat
function will be cancelled. If you cancel the A-B
Repeat function during repeat playback, normal play-
back will occur from that point.
HINT
• If you perform a recording operation while the A-B Repeat
function is on, the A-B Repeat function will be temporarily dis-
abled.
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Finding a location while you listen to the sound (the Nudge function)
Finding a location while you listen to the sound (the Nudge function)
“Nudge” is a function that repeatedly plays a short region before or after the current location. By
using the Nudge function, you can find a precise location while listening to the playback. This is
useful when you need to specify a location precisely, such as when specifying the auto punch-in/
out points, or when editing the contents of a track.
Locate to the vicinity of the point you want
to find.
1
12
With the transport stopped, press the [JOG
ON] key.
2
The [JOG ON] key will light, and the Nudge function
will be turned on. A fixed region (referred to as the
“nudge time”) starting at the current location will play
repeatedly.
1 NUDGE MODE
Specifies the region of sound (before or after the cur-
rent location) that will be played by the Nudge func-
tion.
To move the current location forward, turn
the [DATA/JOG] dial toward the right.To
move the current location backward, turn
3
B NUDGE TIME
the [DATA/JOG] dial toward the left.
Specifies the duration of the region that will be played
by the Nudge function.
7
If time display is selected as the counter display for-
mat, you can move the current location forward or
backward in millisecond units. If time code display is
selected, you can move in sub-frame units.
To change the playback duration (nudge
time), move the cursor to the value of the
NUDGE TIME field, and use the [DATA/JOG]
dial to set the nudge time.
You can set the nudge time in a range of 25 ms – 800
ms. (Default = 500 ms).
6
7
Current
location
Song
track
To change the playback position (nudge
mode), move the cursor to the NUDGE
MODE button, and press the [ENTER] key to
switch between the following two nudge
modes.
Nudge time
● AFTER
Repeatedly play for the duration of the nudge time,
starting at the current location (default).
HINT
• Even while using the Nudge function, you can use locate
points or markers to change the location, or register locate
● BEFORE
Repeatedly play for the duration of the nudge time,
ending at the current location.
To turn off the Nudge function, press the
[JOG ON] key or the transport section
STOP [■] key.
The [JOG ON] key will go dark, and the Nudge func-
tion will be turned off.
4
5
NUDGE MODE: BEFORE
NUDGE MODE: AFTER
Current location
Current location
If you want to change the playback duration
or the playback mode, repeatedly press the
Work Navigate section [UTILITY] key or
hold down the [UTILITY] key and use the
CURSOR [ ]/[ ] keys to access the PRE-
FER page of the UTILITY screen.
NOTE
• You cannot change the nudge time or nudge mode while
using the Nudge function.You must turn off the Nudge func-
tion, and change these settings while the [JOG ON] key is
dark.
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Finding a location while you view the waveform
Finding a location while you view the waveform
The AW1600 lets you find a location while viewing the waveform of the sound recorded on the
track.
D AMP
Locate to the vicinity of the point you want
to find.
1
2
By moving the cursor to this area and turning the
[DATA/JOG] dial, you can expand or shrink the wave-
form display in the amplitude axis. The value of this
field indicates the level range of the waveform dis-
played 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.
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 theTRACK screen.
E LISTEN button
If you move the cursor to this button and press the
[ENTER] key, the waveform in the display area of the
WAVE DISPLAY popup window will be played once.
During playback, the vertical line (pointer) that indi-
cates the current location will move, and the counter
value will also change.
Move the cursor to the TRACK field, and
turn the [DATA/JOG] dial to select the num-
ber of the track whose waveform you want
to view.
3
4
You cannot perform conventional transport operations
when playing back by pressing the LISTEN button.
7
F EXIT button
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
(1–16) you selected in step 3.
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.
HINT
• Even after displaying the WAVE DISPLAY popup window, you
can use the [TRACK SEL] keys to switch the track for viewing.
1 2
3
As necessary, move the cursor to the TIME/
AMP fields and turn the [DATA/JOG] dial to
adjust the vertical and horizontal scale of
the waveform display.
5
6
To specify a location within the popup win-
dow, move the cursor to the counter and
turn the [DATA/JOG] dial.
5 6 4
Turning the dial toward the right will move the pointer
forward, and turning the dial toward the left will move
it backward. If necessary, you can use the LISTEN
button to play the waveform region shown in the
WAVE DISPLAY popup window, and check the loca-
tion by listening.
1 TRACK
Indicates the currently selected track number. You can
also move the cursor to this field and turn the [DATA/
JOG] dial to switch tracks.
B Counter
Displays the location of the vertical line (pointer) indi-
cating the current location in the WAVE DISPLAY
popup window. You can move the cursor to this field
and turn the [DATA/JOG] dial to move the current
location forward or backward.
HINT
• You can also change the pointer position by using the locate
• The position displayed in the counter can be registered as a
C TIME
By moving the cursor to this area and turning the
[DATA/JOG] dial, you can expand or shrink the wave-
form display in the time axis. The value of this field
indicates the length of time displayed in the WAVE
DISPLAY popup window.
When you have finished specifying the
location, move the cursor to the EXIT but-
ton and press the [ENTER] key.
You will return to the previous VIEW page, and the
location that you specified in the popup window will
remain the current location. As desired, register the
location as a locate point or marker.
7
If you select 1SEC, the distance from the left edge to
the right edge of the screen will correspond to one sec-
ond. Selecting SAMPLE will produce the highest
magnification, and each horizontal pixel will corre-
spond to one sample (1/44,100 second).
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Chapter 8
Using libraries and scene memories
This chapter explains how to use libraries and scene memories.
About the libraries
Memory areas that store settings for sections such as EQ, dynamics, and effects are called
“libraries.” By recalling (loading) data from a library, you can instantly use the desired set of set-
tings. Most types of library also let you store the current settings. The AW1600 provides the fol-
lowing libraries.
● Input channel library
● Mastering library
EQ, dynamics, and internal effect settings can be loaded
from this library into the currently selected input channel.
This library is read-only, and cannot be used to store your
own settings.
EQ and dynamics settings can be loaded from this library
into the stereo channel. This library is read-only, and can-
not be used to store your own settings.
● Sample library
Sets of samples can be loaded from this library into the
Quick Loop Sampler.
● EQ library
EQ settings can be loaded from this library into the cur-
rently selected channel.
● Channel library
Major mix parameters can be loaded from this library into
a channel.
8
● Dynamics library
Dynamics settings can be loaded from this library into the
currently selected channel.
● Effect library
Effect settings can be loaded from this library into internal
effects 1/2.
About scene memories
On the AW1600, settings for the mix parame-
ters of all channels and the effect parameters
etc. can be stored in internal memory as a
“scene” with the name you specify.
Current scene
EQ/dynamics/effects for an input
Input library
channel
When you recall one of the various libraries
described above, the library settings you
recall will be loaded into the settings that you
are currently using (referred to as the “current
scene”).You can then save the current set-
tings as a scene memory, which will contain
the settings that you loaded from a library.
Libraries and scene memories are saved on
the hard disk as part of the song.
EQ library
EQ for the selected channel
Dynamics for the selected
Dynamics library
channel
Internal effects 1/2
Effect library
EQ/dynamics for the stereo
output
Mastering library
Sample data for the Quick Loop
Sampler
Sample library
Channel library
The following diagram shows how libraries,
scene, and the song are related to each other
on the AW1600.
Mix parameters for each
channel
Scene memory
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Basic operation for libraries and scene memories
Basic operation for libraries and scene memories
Here are the basic procedures for recalling and storing a library or scene.
Turn the [DATA/JOG] dial to scroll the list so
that the dotted frame encloses the library or
scene to which you want to store the data.
Regardless of where the cursor is located, turning the
[DATA/JOG] dial will scroll the list.
2
Storing library or scene data
Here’s how to store the current settings in a library or
scene memory.
NOTE
• The input library and mastering library, and the EQ, dynamics, or
effect libraries accessed from the INPUT SETTING popup window
are all read-only, and therefore have no STORE button.
Move the cursor to the STORE button and
press the [ENTER] key.
3
The TITLE EDIT popup window will appear, allowing
you to assign a name to the data.
Access the desired library page or the
scene memory page.
1
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.
NOTE
• If you selected read-only data (indicated by a “lock” icon) in
step 2, a message of “Read Only” will appear, and it will not
be possible to execute the Store operation.
8
• Scene number 00 is read-only data used to initialize the cur-
rent scene. Scene numbers 01–96 are writable data.
4 5
3
2
1
Assign a name to the data as desired.Then
move the cursor to the OK button and press
the [ENTER] key. (For details on how to
4
1 List
This area lists the data stored in the library or scene
memory. The line enclosed by the dotted frame indi-
cates the data that is selected for operations. Read-
only data is indicated by a “lock” icon.
The library or scene will be stored.
HINT
• You have the option of making settings so that the TITLE
EDIT popup window does not appear when you perform the
Store operation. For details, refer to “Overall settings for the
B RECALL button
Recalls the library data or scene that is selected in the
list.
C STORE button
Stores the current settings into the location selected in
the list.
D CLEAR button
Deletes the library or scene that is selected in the list.
E TITLE button
Accesses the TITLE EDIT popup window, where you
can edit the name of the library or scene selected in the
list.
HINT
• For some libraries or scene memories, buttons other than
those listed here may appear, or some of these buttons may
not appear. For details, refer to the explanations on page 77
and following.
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Basic operation for libraries and scene memories
Recalling library or scene data
Deleting library or scene data
Here’s how to recall (load) settings from a library or
scene.
Here’s how you can delete unwanted library or scene
memory data.
NOTE
Access the desired library or scene mem-
ory page.
1
• The input library and mastering library, and the EQ, dynamics, and
effect libraries accessed from the INPUT SETTING popup window
are all read-only, and do not have a CLEAR button.
For details on how to access each library or scene
memory page, refer to the explanations on page 77 and
following.
Access the page for the desired library or
scene memory.
1
The illustration below shows an example of when you
have selected the LIBRARY page of the EQ screen.
The illustration below shows an example of when you
have selected the LIBRARY page of the EQ screen.
Turn the [DATA/JOG] dial to scroll the list so
that the library data or scene you want to
recall is enclosed by the dotted frame.
2
Turn the [DATA/JOG] dial to scroll the list so
that the library data or scene you want to
delete is enclosed by the dotted frame.
2
Move the cursor to the RECALL button, and
press the [ENTER] key.
3
8
Move the cursor to the CLEAR button and
press the [ENTER] key.
3
A popup window will ask you to confirm the Recall
operation.
A popup window will appear, asking you to confirm
the Delete operation.
To execute the recall, move the cursor to
the OK button and press the [ENTER] key.
4
NOTE
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.
HINT
• You have the option of making settings so that the confirma-
tion popup window does not appear when you perform the
Recall operation. For details, refer to “Overall settings for the
To execute the Delete operation, move the
cursor to the OK button and press the
[ENTER] key.
4
The library or scene will be deleted.
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Basic operation for libraries and scene memories
Naming library or scene data
Here’s how you can assign a new name to existing library
or scene data.
NOTE
• The input library and mastering library, and the EQ, dynamics, or
effect libraries accessed from the INPUT SETTING popup window
are all read-only, and therefore have no TITLE button.
Access the page for the desired library or
scene memory.
1
The illustration below shows an example of when you
have selected the LIBRARY page of the EQ screen.
Turn the [DATA/JOG] dial to scroll the list so
that the library data or scene you want to
rename is enclosed by the dotted frame.
2
8
Move the cursor to the TITLE button and
press the [ENTER] key.
The TITLE EDIT popup window will appear.
3
NOTE
• If you selected read-only data (indicated by a “lock” icon) in
step 2, a message of “Read Only” will appear, and you will be
unable to edit the name.
Assign a name to the data.Then move the
4
cursor to the OK button and press the
[ENTER] key. (For details on assigning a
The edited name will be finalized.
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Details on libraries and scene memory
Details on libraries and scene memory
This section explains how to access each type of library or scene memory, and describes the
functions that are unique to each of these screens.
Move the cursor to the EFF1 or EFF2 button
and press the [ENTER] key.
The corresponding internal effect will be inserted into
3
Input library
From this library you can recall EQ, dynamics, and inter-
the input channel, and the INPUT LIBRARY popup
nal effect settings to the currently selected input channel.
window will appear.
Use this when you want to apply EQ, dynamics, and inter-
nal effects to the input signal that you are recording.
Library numbers 00–40 are all read-only, and 00 is data
for initializing an input channel.
In order to use the input library, you will need to insert
internal effect 1 or 2 into that input channel.
1
1 EXIT button
Closes the popup window and returns to the previous
■ Recalling input library data
Press and hold the [INPUT SEL] key for the
desired input channel.
The INPUT SETTING popup window will appear.
INPUT SETTING popup window.
1
2
EQ library
From this library you can recall EQ settings to the cur-
rently selected channel. Of library numbers 001–128,
numbers 001–040 are read-only, and 041–128 can be writ-
ten.
8
Move the cursor to the LIBRARY button and
press the [ENTER] key.
A popup window will ask you whether you want to
insert internal effect 1 or 2 into that input channel.
■ Recalling EQ library data
Use the [INPUT SEL] keys, [TRACK SEL]
1
keys, [STEREO SEL] key, or pads 1–4 to
select the channel into which you want to
recall the EQ settings.
This popup window will change as follows, depending
on how internal effects 1/2 are being used.
Perform one of the following actions to
access the LIBRARY page of the EQ screen
2
● If the song is in the default state
• Press the [EQ] knob repeatedly
• Hold down the [EQ] knob and press the CURSOR
[
]/[ ] keys
• Hold down the [EQ] knob and turn it to left or right
● If effect 1 is already inserted into a spe-
cific input channel
You can also recall EQ library data into an input chan-
nel directly from the INPUT SETTING popup win-
dow. To do so, move the cursor to the EQ button in the
window and press the [ENTER] key.
● If effects 1 and 2 are already inserted into
specific input channels
HINT
• If an effect has already been inserted into that input channel,
the INPUT LIBRARY popup window will appear immediately.
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Details on libraries and scene memory
NOTE
Dynamics library
• The [M] symbol indicates monaural input, and [S] indicates that
From this library you can recall dynamics settings to the
currently selected channel. Of library numbers 001–128,
numbers 001–040 are read-only, and 041–128 can be writ-
ten.
stereo input is supported. If an effect indicated by [M] is inserted
into paired channels (such as the stereo output channel), the
sense of stereo will be lost.
• 019. HQ.Pitch cannot be recalled to effect 1.
■ Recalling dynamics library data
Use the [INPUT SEL] keys, [TRACK SEL]
1
Mastering library
keys, [STEREO SEL] key, or pads 1–4 to
select the channel into which you want to
recall the dynamics settings.
This library contains settings used to apply EQ and
dynamics processing to the stereo output channel during
mixdown. It contains EQ and dynamics settings suitable
for processing the final mix. All library numbers 00–13
are read-only, and 00 is data for initializing the stereo out-
put channel.
Perform one of the following actions to
access the LIBRARY page of the DYN
screen
2
• Press the [DYN] knob repeatedly
• Hold down the [DNY] knob and press the CURSOR
■ Recalling mastering library data
[
]/[ ] keys
Repeatedly press the [RECORD] key or
• Hold down the [DYN] knob and turn it to left or right
1
hold down the [RECORD] key and use the
CURSOR [ ]/[ ] keys to access the MIX-
DOWN page of the RECORD screen.
Move the cursor to the LIBRARY button in
the screen, and press the [ENTER] key.
The MASTERING LIBRARY popup window will
appear.
2
8
You can also recall dynamics library data into an input
channel directly from the INPUT SETTING popup
window. To do so, move the cursor to the DYN button
in the window and press the [ENTER] key.
1
Effect library
This library is used by internal effects 1/2. Of library num-
bers 001–128, numbers 001–041 are read-only, and 042–
128 can be written.
1 EXIT button
Closes the popup window and returns to the previous
MIXDOWN page.
■ Recalling effect library data
Perform one of the following actions to
access the LIBRARY page of the EFF 1/2
screen
1
Sample library
This library contains sets of up to sixteen samples for use
with the Quick Loop Sampler. Sets of drum loop or sound-
effect samples are saved on the hard disk as sample librar-
ies. When you recall one of these, those samples will be
assigned to the pads and sample banks, so you can imme-
diately play them from the pads.
• Press the [EFFECT 1] or [EFFECT 2] knob repeatedly
• Hold down the [EFFECT 1] or [EFFECT 2] knob and
press the CURSOR [ ]/[ ] keys
• Hold down the [EFFECT 1] or [EFFECT 2] knob and
turn it to left or right
NOTE
• Unlike the other libraries, the sample library data is shared by all
songs.
You can also recall library data for an effect that has
been inserted in the input channel directly from the
INPUT SETTING popup window. To do so, move the
cursor to the EFF1 or EFF2 button in the window and
press the [ENTER] key.
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Details on libraries and scene memory
■ Recalling sample library data
■ Recalling channel library data
Repeatedly press the Selected Channel section [VIEW]
key or hold down the [VIEW] key and use the CURSOR
Repeatedly press the Quick Loop Sampler section [SAM-
PLE EDIT] key or hold down the [SAMPLE EDIT] key
and use the CURSOR [ ]/[ ] keys to access the
LIBRARY page of the SAMPLE screen.
[
]/[ ] keys to access the CH LIB page of the VIEW
screen.
1
HINT
• Data for parameters that do not exist in the recall-destination
channel will be ignored.
23 4
5
• If the recall-destination is the stereo output channel or a paired
channel, the parameters will be the same for the L and R chan-
nels, with the exception of Phase and Pan (phase and pan set-
tings will not change).
1 SORT field
Use these three buttons to specify how the library data in
the list will be sorted. You can choose NAME (sort alpha-
betically), OLD (sort by save date), or SIZE (sort by size).
B LISTEN button
If you move the cursor to this button, press the [ENTER]
key, and then press a pad, the sample assigned to sample
bank A of the library will play.
Scene memories
Scene memories recall the effect parameter and mix
parameter settings of all channels.
8
C DELETE button
Deletes the selected library data from the hard disk.
Scene number 00 is read-only data used to initialize the
current scene. Scene numbers 01–96 are writable data.
D PROTECT button
When you move the cursor to this button and press the
[ENTER] key, the Protect setting will be switched on/off
for the library data selected in the list. Library data for
which Protect is turned on is indicated by a “lock” icon,
and cannot be edited or deleted.
■ Recalling a scene memory
In the data entry/control section, repeatedly press the
[SCENE] key or hold down the [SCENE] key and use the
CURSOR [ ]/[ ] keys to access the LIBRARY page of
the SCENE screen.
E NEW button
Creates new library data on the hard disk.
Channel library
This library contains mix parameter settings that can be
loaded into a channel. It is convenient to use this library
when you want to use the settings of a specific channel for
another channel. Library numbers 00–01 are read-only
data for initializing a channel, and 02–64 can be written.
Channel library data contains the following parameters.
• Channel on/off
1
1 PROTECT button
When you move the cursor to this button and press the
[ENTER] key, the Protect setting will be switched on/off
for the scene selected in the list. Scene data for which Pro-
tect is turned on is indicated by a “lock” icon, and cannot
be edited or deleted.
• Attenuator
• EQ on/off
• EQ parameter settings
• Dynamics processor on/off
• Dynamics processor parameter settings
• Fader position
• Aux buses 1/2 pre-fader/post-fader setting
• Send levels to Aux buses 1/2
• Effect buses 1/2 pre-fader/post-fader setting
• Send levels to effect buses 1/2
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Using the Recall Safe function
Using the Recall Safe function
You can specify that specific faders or specific channels will be excluded from Recall operations
when the scene is changed either manually or from an external MIDI device. This function is
called “Recall Safe.”
For example, this is convenient if you are performing a mixdown while switching scenes, but want
to control specific channels manually.
In the data entry/control section, repeatedly
press the [SCENE] key or hold down the
Select the fader(s) or channel(s) that you
want to set to Recall Safe, and turn the cor-
responding button(s) on (highlighted).
1
2
3
[SCENE] key and use the CURSOR [ ]/[
keys to access the RCL SAFE page of the
SCENE screen.
]
If you selected a fader in step 2, move the
cursor to the ENABLE/DISABLE button and
press the [ENTER] key to switch the display
to ENABLE.
1
2
3
Fader or channel Recall Safe has now been enabled.
The selected fader(s) and/or channel(s) will not be
affected by scene recall operations until you change
this setting.
HINT
• The settings of the RCL SAFE page are shared by all songs.
1 FADER RECALL SAFE
Here you can select the fader(s) for which recall safe
will be enabled. The fader(s) you select here will not
change even when another scene is recalled. These
buttons correspond to the faders as follows.
8
• PAD 1–4................Pad channel 1–4 faders
• INPUT 1–8 ............Input channel 1–8 faders
• TRACK 1–8,
9-10–15-16............Track channel 1–8 and 9/10–15/
16 faders
B ENABLE/DISABLE button
This button switches Fader Recall Safe between
ENABLE and DISABLE states. Move the cursor to
this button and press the [ENTER] key to switch the
display between ENABLE and DISABLE.
C CH RECALL SAFE
Selects the channel(s) for which Recall Safe will be
enabled. Mix parameters of the selected channel(s)
will not change even when another scene is recalled.
The buttons correspond to the following channels.
• PAD.......................All pad channels
• INPUT ...................All input channels
• TRACK..................All track channels
• RTN.......................Return channels 1/2
• ST OUT.................Stereo output channel
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Chapter 9
Mixdown and bounce operations
This chapter explains mixdown operations, in which you mix previously-
recorded tracks and record the result on the stereo track. This chapter also
covers “bouncing” or “ping-pong recording” of multiple tracks to a mono track
or stereo tracks, as well as operation of the Pitch Fix function to polish up a
vocal track.
About mixdown and bouncing
“Mixdown” is the process by which the signals recorded on the recorder tracks are mixed to ste-
reo, and recorded on the internal stereo track to complete the song. The contents of the stereo
track can be used without further processing as material to create an audio CD.
The diagram below shows the signal flow during mix-
down. The playback of each track is sent to the stereo bus,
passes through the stereo output channel, and is recorded
on the stereo track. At this time you also add the signals
from pad channels 1–4 and input channels 1–8.
● Signal flow during mixdown
Recorder section
9
Track 1
Track 2
Track 3
Track 4
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
R
e
a
l
-
t
i
m
e
E
x
t
e
r
n
a
l
C
o
n
t
r
o
l
S
u
r
face
M
o
d
u
l
a
r
S
y
n
t
h
e
s
i
s
P
l
u
g
-
i
n
S
y
s
t
e
m
S
O
N
G
S
C
E
N
E
REC
MIC/LINE
INPUT jacks
Sound clip
1
2
3
4
Pad
channels
1–4
Input
channels
1–8
Track
channels
1–16
Stereo
output
channel
Stereo bus
Mixer section
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About mixdown and bouncing
“Bounce” is the process by which the signals recorded on
multiple tracks are mixed to the stereo bus, and re-
recorded on one or two other tracks. (This process is also
called “ping-pong recording.”)
The diagram below shows the signal flow during bounc-
ing. This process differs from mixdown in several points;
you use the L/R bus instead of the stereo bus, only the
track channels are the recording sources, and that the
recording-destination is one or two vacant tracks. This
diagram shows an example in which the track 1–8 signals
are bounced to tracks 9/10. After bouncing, you can
switch the virtual tracks for tracks 1–8, and use these
tracks to record other instrumental performances.
● Signal flow during bouncing
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Track 9
Track 10
9
Stereo
output
channel
Track
channels
Buses L/R
Mixer section
The Pitch Fix function can be used to edit and correct the
pitch and other properties of vocal tracks. Pitch Fix is dif-
ferent from Bounce in that only one source and destina-
tion track can be selected, and that no other effects can be
used while the Pitch Fix function is active.
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Preparing for mixdown
Preparing for mixdown
To prepare for mixdown, select the track channels that you will mix down, and adjust the balance
and tone of each track.
Lower the [STEREO] fader to the –∞ posi-
Use the [INPUT SEL] keys,
[TRACK SEL] keys, and pad
keys 1–4 to select the chan-
nels that you want to send to
the stereo bus.
The screen will change as follows
each time you press a key or pad
repeatedly.
1
2
3
tion.
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
[
] keys to access the MIXDOWN page of
the RECORD screen.
The MIXDOWN page is where you can perform mix-
down operations. In this page you can select the chan-
nels that will be recorded via the stereo bus onto the
stereo track.
NOTE
• The track numbers of muted tracks will be displayed as “M”
(mute), but you can still record to muted tracks.
2
1
3
p. 143), tracks 9 – 16 are muted and will not play back.
HINT
• All channels will be turned on by default. However in order to
obtain the best S/N ratio, you should turn off any channels
that you are not using.
• You can also add the signals of the input channels or pad
If you want to use the mastering library,
move the cursor to the LIBRARY button and
press the [ENTER] key.
The MASTERING LIBRARY popup window will
appear. Turn the [DATA/JOG] dial to select the desired
library data, then move the cursor to the RECALL but-
ton and press the [ENTER] key.
4
4
9
1 REC button
Puts the stereo track in record-ready mode.
B SAFE button
Defeats the record-ready state of the stereo track.
C LIBRARY button
Accesses the mastering library.
D Stereo bus
Indicates the on/off status of the channels being sent to
the stereo bus. The numbers within the screen corre-
spond to the following channels.
• INPUT 1–8 ..................Input channels 1–8
• P1–P4 .........................Pad channels 1–4
• TRACK 1–16...............Track channels 1–16
HINT
• The mastering library contains data for loading EQ/dynamics
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Preparing for mixdown
If you want to adjust the pan of each track
Move the cursor to the PAN knob of each
track channel, and turn the [DATA/JOG] dial
to adjust the pan setting.
5
6
channel, repeatedly press the Selected
Channel section [PAN/BAL] knob or hold
down the [PAN/BAL] knob and use the CUR-
SOR [ ]/[ ] keys to access the PAN page
of the PAN screen.
HINT
• Another way of adjusting the pan is to press a [TRACK SEL]
key to select a track channel, and then turn the [PAN/BAL]
knob in the Selected Channel section. This method is conve-
nient when you want to adjust the pan without displaying a dif-
ferent screen.
In this page you can set pairing, phase, and pan for
each channel.
If you use the [PAN/BAL] knob to adjust the pan of track chan-
nels 9/10–15/16, moving the knob will initially cause only the
pan value of one side to change. When that pan value
reaches the far right or left, the other pan value will then begin
to change.
1
Raise the [STEREO] fader to the 0 dB posi-
tion.
7
8
While you play back the song, raise the
track channel faders to an appropriate level.
If necessary, adjust the EQ and dynamics of
each track channel.
2
3
1 PAIR
Indicates the paired status of adjacent odd-numbered/
even-numbered channels. A heart symbol indicates
channels that are paired, and a broken heart symbol
indicates channels that are not paired.You can also set
or defeat pairing in this page by moving the cursor to a
heart symbol and pressing the [ENTER] key.
You can adjust the track channel EQ/dynamics in a
similar way as for the input channels; press a [TRACK
SEL] key to select a track channel, and use the
Selected Channel section [EQ] knob and [DYN] knob.
NOTE
• Track channels 9/10–15/16 and pad channels 1–4 always
function as paired channels. Pairing cannot be defeated for
these channels.
9
B PHASE
Switches the phase of the signal of each channel
between normal and reversed. Move the cursor to this
location and press the [ENTER] key to switch between
N (Normal) and R (Reverse) phase.
C PAN
Adjusts the pan (the left/right position when the signal
is sent to the stereo bus or L/R bus) of each channel.
NOTE
• If the page is different than shown above, make sure that you
have selected track channels as the object of operations.
(This is indicated in the upper left of the screen.) If input chan-
nels and pad channels are selected, press any one of the
[TRACK SEL] keys.
• Even if channels are paired, their phase and pan are not
linked. Set these parameters individually for each channel.
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Using the internal effects via send/return
Using the internal effects via send/return
You can use the internal effects via send/return to add effects to the mixdown. As an example,
here’s how to use internal effect 1 in this way.
■ Internally connecting an
■ Adjusting the effect send level
Here’s how to load an effect library into internal effect 1,
and adjust the level (effect send level) of the signal that is
sent from each channel via effect bus 1 to internal effect 1.
internal effect via send/return
The “Track recording” chapter explained how to insert an
internal effect into an input channel by using the input
library. If an insert effect has been inserted in a channel,
you must first “un-insert” that effect (cancel the insertion)
before you can use it in a send/return configuration.
Repeatedly press the [EFFECT 1] knob or
1
hold down the [EFFECT 1] knob and use the
CURSOR [ ]/[ ] keys to access the
LIBRARY page of the EFF1 screen.
Press any [INPUT SEL] key to select an
input channel for operations.
1
Select the effect library that you want to
use, and load it into internal effect 1.
2
Repeatedly press the [EFFECT 1] knob or
2
hold down the [EFFECT 1] knob and use the
CURSOR [ ]/[ ] keys to access the SEND
page of the EFF1 screen.
In this example, we will select a reverb-type library.
The SEND page of the EFF1 screen will appear.
1
Press the [EFFECT 1] knob once to access
the SEND page of the EFF1 screen.
3
9
If insert effect 1 is connected via the mixer section
send/return, the following items will be added to the
SEND page of the EFF1 screen.
1
1 EFF INSERT
Inserts/cancels an insert effect for a specific channel.
The display will indicate “on” for a channel into which
an effect is currently inserted.
HINT
• If the page you see is different than shown above, make sure
that input channels are selected as the object of your opera-
tions. (This is shown in the upper left of the screen.) If track
channels are selected, press one of the [INPUT SEL] keys.
2
1 EFF
Move the cursor to the EFF INSERT field of
the channel into which effect 1 is inserted,
and press the [ENTER] key.
3
Adjusts the send level of the signal that is sent from
each channel to insert effect 1.
A popup window will ask you to confirm that you
want to cancel (release) the effect insertion.
B PRE/POST
Selects the location from which the signal from each
channel will be sent to insert effect 1. Move the cursor
to this area and press the [ENTER] key to switch
between the following two settings.
• PRE (pre-fader)......... The signal from immediately
before the fader will be sent.
• POST (post-fader)..... The signal from immediately
Move the cursor to the OK button and press
the [ENTER] key.
4
after the fader will be sent.
Insertion of insert effect 1 into that channel will be
cancelled, and now you are free to use this effect in the
mixer section via send/return.
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Using the internal effects via send/return
B PRE/POST button
NOTE
This selects whether the level meters of the BUS page
will indicate the pre-fader level (PRE) or the post-
fader level (POST). This setting is independent from
the METER page of the VIEW screen.
• If the page you see is different than shown above, make sure
that track channels are selected as the object of your opera-
tions. (This is shown in the upper left of the screen.) If input
channels/pad channels are selected, press one of the
[TRACK SEL] keys.
C AUX
D EFF
E BUS
Move the cursor to the PRE/POST field in
4
Use these faders to adjust the master levels of AUX
buses 1/2, effect buses 1/2, and the L/R bus. The level
of each bus is indicated by the level meters at the right
of each fader.
the screen, and press the [ENTER] key to
specify the location from which the signal
will be sent from each channel to internal
effect 1.
Select POST if you want the volume of the effect
sound to be affected by the fader position. Select PRE
if you want to set the volume of the effect sound inde-
pendently of the fader position.
Move the cursor to the fader for effect bus
1, and use the [DATA/JOG] dial to raise or
lower it.
7
HINT
While you play back the song, move the
5
• You can also adjust the level of the return signal that is
returned from the internal effect to the mixer section. For
cursor to the EFF knobs in the screen, and
adjust the level of the signal that is sent
from each channel to internal effect 1.
HINT
• Another way of adjusting the send level to internal effect 1 is
to press a [TRACK SEL] key to select a track channel, and
then turn the [EFFECT 1] knob of the Selected Channel sec-
tion.This method is convenient if you want to adjust the effect
level without displaying a different screen.
9
To adjust the master level of the effect
send, repeatedly press the Selected Chan-
nel section [VIEW] key or hold down the
6
[VIEW] key and use the CURSOR [ ]/[
]
keys to access the BUS page of the VIEW
screen.
The BUS page of the VIEW screen lets you use on-
screen faders to adjust the master level of each bus.
1 2
3
4
5
1 PEAK button
This is an on/off switch for the peak hold function of
the level meters. If this button is on, a peak indicator
will show the level meter peaks, and will remain
displayed. To reset this indicator, you can temporarily
switch the PEAK button off. This setting is shared
with the METER page of the VIEW screen.
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Recording on the stereo track
Recording on the stereo track
Here’s how to record the final mix on the stereo track.
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
1 ST.TRACK ON/OFF button
Switches stereo track playback on/off.
1
B Virtual track
[
] keys to access the MIXDOWN page of
Selects the virtual track that is assigned to the stereo
track. The currently selected virtual track is indicated
by a “●.” Of the other virtual tracks, those that have
already been recorded are indicated by “ ,” and the
unrecorded tracks are indicated by “–”.
the RECORD screen.
C Track view
In this area, markers and the presence or absence of
track data are displayed graphically.
D PRE/POST buttons
Move the cursor to the REC button of the
MIXDOWN page, and press the [ENTER] key
to turn the button on.
The panel [STEREO] key will blink red. This blinking
indicates that the stereo track is in record-ready mode.
2
3
These buttons select whether the level meter in the
ST.TRACK page will indicate the pre-fader level
(PRE) or the post-fader level (POST). This setting is
shared with the BUS page of the VIEW screen.
E Level meter
This indicates the output level of the stereo track.
Press the RTZ [
] key to rewind the song.
Then hold down the REC [●] key and press
the PLAY [ ] key.
The song will begin playing, and the playback will be
recorded on the stereo track.
Switch the ST.TRACK ON/OFF button ON.
6
When this button is on, the stereo track output will be
sent to a point directly before the [STEREO] fader,
and can be monitored from the STEREO/AUX OUT
jacks or the MONITOR OUT jacks. At this time, the
record-ready status of all tracks will be cancelled.
9
HINT
• The data that is recorded here on the stereo track will be the
data that is used to create an audio CD. If you want to pre-
cisely specify the beginning or end of the song, it is conve-
HINT
• Even while the stereo track is playing, you can still monitor the
signals from the input channels.
When you reach the end of the song, move
the cursor to the SAFE button in the screen
and press the [ENTER] key.
A popup window will ask you to confirm that you
want to cancel record-ready mode. Move the cursor to
the OK button and press the [ENTER] key.
4
5
NOTE
• EQ and dynamics processing are applied to the playback of
the stereo track.
Press the RTZ [
and press the PLAY [ ] key.
The stereo track will be played back. Use the [STE-
REO] fader to adjust the monitor level.
] key to rewind the song,
7
8
To play back the stereo track, repeatedly
press the Quick Navigate section [MONI-
TOR] key or hold down the [MONITOR] key
and use the CURSOR [ ]/[ ] keys to
access the ST.TRACK page of the MONI-
TOR screen.
When playback ends and you want to move to a differ-
ent screen, switch the ST.TRACK ON/OFF button
OFF.
HINT
2
1
3
• If desired, you can use the [UNDO/REDO] button to cancel
use the ST.TRACK page to switch virtual tracks and record
Save the song.
If the song is not saved after it has been recorded as a
stereo track, it cannot be selected for burning to a CD.
4
5
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Bounce (ping-pong) recording procedure
Bounce (ping-pong) recording procedure
Here’s how to perform the bounce (ping-pong) recording procedure, which lets you combine mul-
tiple tracks onto one or two tracks.
HINT
• If you plan to add an effect to a specific track, be sure to insert the effect you plan to use into
Lower the [STEREO] fader to the –∞ posi-
In the upper TRACK area,
select a bounce-source
track, move the cursor to
the symbol for that track,
and press the [ENTER] key.
Each time you press the [ENTER]
key, the screen will change as fol-
lows.
1
2
3
tion.
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
[
] keys to access the BOUNCE page of
the RECORD screen.
In the BOUNCE page you can select the bounce-
source tracks, and record them via the L/R bus onto
one or two bounce-destination tracks.
HINT
• If a track channel is selected as a
bounce-source, its assignment to
the L/R bus will automatically be
turned off.
F 5 1
2
NOTE
• The track numbers of muted tracks
will be displayed as “M” (mute), but
you can still record to muted tracks.
• Since 24-bit songs can have a maxi-
tracks 9 – 16 are muted and will not
play back.
9
4 3
1 TRACK (upper line)
Selects the bounce-source tracks.
Select other bounce-source tracks in the
same way.
4
5
B Bus L/R
Use the [TRACK SEL] keys to select a
bounce-destination track.
The [TRACK SEL] key will blink red, indicates that
the corresponding track is selected as the bounce-des-
tination. A line will appear in the screen to indicate the
connection to the track. (To cancel your selection,
press the same key once again.)
The two horizontal lines indicate the L/R bus signal
route. This lets you see the on/off status of the signals
that are sent from the bounce-source tracks, and see
the selected bounce-destination track(s).
C TRACK (lower line)
Here you can select the bounce-destination track(s).
D SAFE button
When you move the cursor to this button and press the
[ENTER] key, all bounce-source and bounce-destina-
tion assignments will be cancelled.
E BUS button
When you move the cursor to this button and press the
[ENTER] key, the right side of the screen will show a
fader for adjusting the output level of the L/R bus, and
a dedicated level meter for the L/R bus.
You can select up to two bounce-destination tracks. If
you select track 1, 3, 5, or 7, bus L will be connected.
If you select track 2, 4, 6, or 8, bus R will be con-
nected. If you select track 9/10–15/16, bus L will be
connected to the odd-numbered track, and bus R will
be connected to the even-numbered track.
F PITCH FIX button
Position the cursor at this button and press [ENTER]
to engage the PITCH FIX mode. Use PITCH FIX to
correct the pitch and other properties of a vocal track
HINT
• If you move the cursor to the SAFE button and press the
[ENTER] key, all connections will be cancelled.
• EQ and dynamics settings will be “flat” for the track channels
of the tracks you select as the recording-destination.
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• If you select an unpaired track, the pan of the track channel
HINT
will be at the center position. If you select paired tracks, the
pan of adjacent odd-numbered/even-numbered track chan-
nels will be spread to left and right respectively.
• When Auto Punch-in/out is engaged, you can monitor the
bounce source track channels during playback even when not
recording.
Raise the [STEREO] fader and the faders of
the track channel(s) you selected as the
bounce-destination to the 0 dB position.
When you reach the end of the song, stop
6
7
9
the song and press the RTZ [
rewind.
] key to
Press the RTZ [
] key to rewind the song.
HINT
Then hold down the REC [●] key and press
the PLAY [ ] key.
The song will begin playing back, and will be
recorded on the bounce-destination track(s).
• If you’re not satisfied with what has been recorded, press the
[UNDO/REDO] button to undo the recording and go back to
step 7.
To check the recorded result, move the cur-
sor to the SAFE button and press the
[ENTER] key to cancel the recording settings.
10
11
While you record the song, raise the faders
of the bounce-source track channels to an
appropriate level. Adjust the pan, EQ, and
dynamics of each track channel as neces-
sary.
8
Access the ON/OFF page of the MONITOR
other than the bounce-destination, and
press the PLAY [ ] key.
NOTE
HINT
• The bounce-destination faders will not affect the content that
is recorded. However, the bounce-source faders specify the
volume balance that will be recorded.
• If you attempt to change the screen or page without using the
SAFE button, a popup window asking “Clear Current REC
Setting?” will appear, asking you whether it is ok to clear the
current recording settings. Move the cursor to the OK button
and press the [ENTER] key.
• If desired, you can use the [UNDO/REDO] button to cancel the
bounce-recording operation (
of the bounce-destination and record another take (
p. 61), or switch the virtual track
9
Correcting a Vocal Track (Pitch Fix)
The Pitch Fix function can be used to “fix” the pitch of a vocal track, or create chorus parts based
on a main vocal part. An Auto Punch-in/out function is also provided which allows a specified
segment of a vocal track to be processed and replaced. Pitch Fix can be useful in the following
situations:
• Correct the pitch of slightly flat or sharp vocals.
• Correct the pitch of a specified segment or phrase of a vocal track using the Auto Punch-in/out function.
• Create a chorus part using an external MIDI keyboard to specify the pitch of the chorus part – a third
above the main vocal, for example.
• Change the key of a vocal track.
NOTE
• If you will be using to an external MIDI keyboard to specify the pitch for vocal pitch correction or a chorus part, the MIDI OUT con-
nector of an appropriate MIDI keyboard must be connected to the AW1600 MIDI IN connector via a standard MIDI cable. In this
case the UTILITY MIDI 1 page IN PORT parameter must be set to MIDI. Keyboard connection can also be made via the USB port.
When you want to specify a segment of a
vocal track to be processed, it is necessary
to set up the Auto Punch-in/out function.
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
1
2
[
] keys to access the BOUNCE page of
Details on setting up the Auto Punch-in/out function
can be found in steps 1 through 7 under “Auto punch-
the RECORD screen.
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Correcting a Vocal Track (Pitch Fix)
B BYPASS button
To monitor the vocal track prior to pitch correction,
move the cursor to this button and press [ENTER].
Move the cursor to the PITCH FIX button
and press the [ENTER] key.
A popup window will appear which allows you to
select the source edit track.
3
C From TR
Indicates the track to be edited (the source track). This
field is only for display, and cannot be edited.
D To TR/V.TR
Indicates the track and virtual track to which the pro-
cessed source track will be recorded (the destination
track). This field is only for display, and cannot be
edited.
Specify the source edit track in the TRACK
filed, then move the cursor to the OK button
and press the [ENTER] key.
A popup window will appear which allows you to
select the record destination track and the virtual track.
4
E CTRL
Selects the method of pitch correction/shift from the
three ways below.
• SCALE ........Specify the scale via received MIDI
notes to adjust the pitch. For example,
if you play a chord on a connected
MIDI keyboard, the pitch is shifted by
the notes included in the chord.
• NOTE...........The pitch is changed according to the
received MIDI note.
• PANEL.........This lets you adjust the pitch by speci-
fying a scale from the keyboard on the
display.
NOTE
• Different tracks must be specified for the source and destina-
tion.
F TYPE
Sets this to an appropriate value to maximize the accu-
racy of the pitch change of the original signal. Gener-
ally, this should be set to Normal; however, for low
vocals, set this to Male, and for high vocals, set it to
Female.
Specify the record destination track in the
5
9
TRACK field and the virtual track in theV.TR
filed, then move the cursor to the OK button
and press the [ENTER] key.
G DETECT
This will select the PITCH FIX display.
This determines the time resolution for pitch change.
The shorter the setting, the more quickly the pitch
change is recognized. The longer the setting, the more
slowly pitch changes are made, resulting in more
abrupt, step-like pitch changes.
H G C
1 D 2 F E
H RATE
This determines the speed resolution for pitch change.
The faster the setting, the more quickly the pitch is
changed, increasing the apparent effectiveness of the
pitch change function. When this is set to “000,” there
is no pitch change.
I J
K
I FORMANT
NOTE
This determines the vocal quality (character) of the
pitch-adjusted signal. Positive (+) values result in a
higher voice quality and negative (–) values result in a
lower voice quality.
The following occur when the PITCH FIX mode is
engaged :
• No other display can be selected from the panel keys.
• Record track assignments are ignored.
J PITCH
• No internal effects other than Pitch fix can be accessed.
• The Tempo Map (scene numbers) is temporarily ignored.
This determines the octave setting of the pitch-
adjusted signal. The range is from –2 to 2 octaves in
semitone steps. The integer and fraction segments of
the value are set separately.
• MIDI program and control change messages cannot be
received.
K Keyboard
1 EXIT button
The graphic keyboard can be used to specify notes
when the CTRL parameter is set to PANEL. To turn a
note on or off, move the cursor to the desired note and
press [ENTER].
Move the cursor to the EXIT button and press
[ENTER] to exit from the PITCH FIX mode and
return to the BOUNCE page.
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Correcting a Vocal Track (Pitch Fix)
Raise the [STEREO] fader and the fader of
the destination track channel to about 0dB
on the scale.
When the end of the song is reached, stop
6
7
11
12
the song and press the RTZ [
rewind.
] key to
HINT
Press the RTZ [
] key to rewind the song
to the beginning, then press the PLAY [
]
• If you’re not satisfied with what has been recorded, press the
[UNDO/REDO] button to undo the recording and go back to
step 7.
key while holding the REC [●] key.
Song playback will begin and the processed data will
be recorded to the destination track.
Move the cursor to the EXIT button and
press [ENTER].
A popup window will appear asking you to confirm
that it’s OK to exit from the PITCH FIX mode.
If the CTRL mode is set to SCALE or NOTE and you
have an external MIDI keyboard connected, use the
keyboard to play the required harmony notes for the
chorus parts while listening to the vocal track.
Set the channel fader for the source track to
an appropriate level while listening to play-
back of the song.
8
9
NOTE
To return to the BOUNCE page move the
cursor to the OK button and press the
[ENTER] key.
13
• The fader of the destination track – the track to which the pro-
cessed vocal track will be recorded – has no effect on the
recorded signal. The source track fader determines the final
balance, so set it with care.
The PITCH FIX mode will be exited and the
BOUNCE display will appear.
HINT
• When Auto Punch-in/out is engaged, you can monitor the
source track channels during playback even when not record-
ing.
Move the cursor to RATE and use the
[DATA/JOG] dial to increase the pitch cor-
rection level while listening to song play-
back.
9
The pitch of notes in the source vocal track will be
corrected to the pitch of the nearest note.
NOTE
• If you know the which notes should and should not be used
for correction, you can turn them on or off via the graphic key-
board, or change the CTRL mode as required and turn notes
on or off via the corresponding method.
Set the sound and pitch parameters as
required while listening to song playback.
10
If you want to change the key of a vocal track, set the
PITCH parameter. If you want to create a chorus part,
set the CTRL parameter to NOTE.
NOTE
• While making the required correction setting you can select
the BYPASS mode to monitor the pre-correction display set-
tings and sound.
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Convenient functions during mixdown/bounce operations
Convenient functions during mixdown/bounce operations
Here are some convenient functions that you can use during mixdown or bounce operations.
In the Selected Channel section, repeatedly
press the [VIEW] key or hold down the
5
Adding input signals or pad
[VIEW] key and use the CURSOR [ ]/[
]
performances during mixdown
keys to access the FADER page of theVIEW
screen.
In the FADER page of the VIEW screen, you can use
on-screen faders to adjust the faders (input level) of
each channel.
During mixdown, you can add signals from the input
channels or pad channels. For example, you could add a
performance from a workstation-type synthesizer (with
built-in sequencer) that is synchronized to the AW1600
song, or add sound effects that have been assigned to the
pads. To do this, perform the following steps after you
1
In the Quick Navigate section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
1
[
] keys to access the MIXDOWN page of
the RECORD screen.
2
Press the [INPUT SEL] key or pad that cor-
responds to the input channel or pad chan-
nel you want to use, to add that channel as
a mixdown-source.
2
3
1 ON/OFF buttons
These buttons switch each channel on/off.
B Faders
These faders adjust the input level of each channel.
9
While you play back the song, move the
cursor to the on-screen faders and turn the
[DATA/JOG] dial to adjust the level of the
input channels/pad channels that you want
to use.
6
7
In the Selected Channel section, repeatedly
press the [PAN/BAL] knob or hold down the
[PAN/BAL] knob and use the CURSOR [ ]/
If necessary, adjust EQ, dynamics, and the
send level to the internal effects for each
input channel or pad channel.
Now you have completed the preparations for adding
input channel or pad channel signals to the mixdown.
Record the mixdown on the stereo channel as
[
] keys to access the PAN page of the PAN
screen.
NOTE
• If the page you see is different than shown above, make sure
that input channels/pad channels are selected as the object
of your operations. (This is shown in the upper left of the
screen.) If track channels are selected, press one of the
[INPUT SEL] keys or pads.
Move the cursor to the PAN knob of the
channel you want to use, and turn the
[DATA/JOG] dial to adjust the pan setting.
4
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Convenient functions during mixdown/bounce operations
Using meters to check
the level of each channel
During mixdown or bouncing, you can watch meters that
indicate the input levels in a single screen. To do so,
repeatedly press the Selected Channel section [VIEW] key
or hold down the [VIEW] key and use the CURSOR [ ]/
Viewing all parameters for a
certain channel
Sometimes you will want to see all mix parameters for a
certain channel in a single screen. To do this, repeatedly
press the Selected Channel section [VIEW] key or hold
down the [VIEW] key and use the CURSOR [ ]/[
]
[
] keys to access the METER page of the VIEW screen.
keys to access the CH VIEW page of the VIEW screen.
(Some items can also be edited from this page.)
The display in the CH VIEW page will change depending
on the currently selected channel (shown in the upper left
of the screen). Use the [INPUT SEL] keys, pads 1–4,
[TRACK SEL] keys, and [STEREO SEL] key to select the
channel that you want to view.
In the METER page, the display will change depending on
the channel that is currently selected (shown in the upper
left of the screen). Press an [INPUT SEL] key to view the
meters for the input channels/pad channels, or press a
[TRACK SEL] key to view the meters for the track chan-
nels.
● If a track channel is selected
● If an input channel, pad channel, or track
channel is selected
2 1
3
1
J89
● If an input channel/pad channel is selected
2 3 4 5 6 7 M K L
2 1
3
9
● If the stereo output channel is selected
1 PEAK button
This button switches the level meter peak hold function
on/off. When this button is on, a indicator will show
2
4 5 6 7 N L
the peaks of the level meters, and this indicator will be
held. To reset the indicator, temporarily turn off the PEAK
button. This setting is shared with the BUS page of the
VIEW screen.
1 Pairing
Indicates the pairing status of adjacent odd-numbered/
even-numbered channels. Paired channels are indicated by
a heart-shaped symbol, and unpaired channels are indi-
cated by a broken heart.
Move the cursor here and press the [ENTER] key to
switch pairing on/off.
B PRE/POST buttons
These buttons select whether the level meters in the
METER page will indicate the pre-fader levels (PRE) or
the post-fader levels (POST). This setting is independent
from the BUS page of the VIEW screen.
NOTE
• Pairing cannot be switched off for track channels 9/10–15/16, pad
channels 1–4, and the stereo channel.
C Level meters
These indicate the input level of each channel.
B ATT knob
Move the cursor to this knob and turn the [DATA/JOG]
dial to adjust the attenuation of the signal over a range of 0
to –96 dB before it enters the EQ. This is the same func-
tion as the ATT. knob in the EDIT page of the EQ screen.
C Phase (except for the stereo output channel)
Move the cursor here and press the [ENTER] key to
switch the phase of the signal between N (Normal) and R
(Reverse).
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Convenient functions during mixdown/bounce operations
D Effect insert
This lets you insert an internal effect into the channel.
When you move the cursor here and press the [ENTER]
key, a popup window will appear, allowing you to select
internal effect 1 or 2.
Initializing a channel
The mix parameters (EQ, dynamics, pan, etc.) of a chan-
nel can be reset to their default settings in a single opera-
tion. This function lets you start mixdown or bounce
operations with the track channels “zeroed,” and provides
an easy way to reset the levels back to the nominal setting
if you can no longer hear any sound.
E EQ
Move the cursor here and press the [ENTER] key to
switch EQ on/off.
F DYN
In the Quick Navigate section, repeatedly
press the [MONITOR] key or hold down the
[MONITOR] key and use the CURSOR [ ]/
1
Move the cursor here and press the [ENTER] key to
switch dynamics on/off.
G ON/OFF
Move the cursor here and press the [ENTER] key to
[
] keys to access the INIT page.
switch the channel on/off.
H EFF1 (except for the stereo output channel)
I EFF2 (except for the stereo output channel)
J AUX1 (except for the stereo output channel)
K AUX2 (except for the stereo output channel)
Move the cursor to these knobs and turn the [DATA/JOG]
dial to adjust the send levels to effect buses 1/2 and AUX
buses 1/2.
By moving the cursor to the left of the knob and pressing
the [ENTER] key, you can switch between pre-fader (send
the pre-fader signal to the bus) and post-fader (send the
post-fader signal to the bus).
In this page you can separately initialize the mix
parameters of input channels 1–8, pad channels 1–4,
or track channels 1–16.
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 INITIAL-
IZED,” and the corresponding channel will be initial-
ized. (Channel library 00 will be recalled.)
2
L PAN/BALANCE knob
Move the cursor to this knob and turn the [DATA/JOG]
dial to adjust the pan (or balance, in the case of the stereo
output channel) of the signal that is sent from the channel
to the stereo bus or L/R bus.
9
An initialized channel will have the following mix
parameter settings.
M FADER knob
(except for the stereo output channel)
Move the cursor to this knob and turn the [DATA/JOG]
dial to adjust the level of the signal that is sent from the
channel to the stereo bus or L/R bus. The range is –∞ to
+6 dB.
Input channel
no change
0 dB
Pad channel
no change
0 dB
Track channel
no change
0 dB
Phase
Attenuation
EQ
ON
ON
ON
EQ
parameters
default (flat)
OFF
default (flat)
OFF
default (flat)
OFF
NOTE
• The FADER knob of a track channel will follow the operation of the
corresponding panel fader 1–8 or 9/10–15/16. However, please
note that if you adjust an on-screen knob and then operate the
panel fader, the value will not change until the fader passes the
current value.
Dynamics
on/off
Dynamics
type
COMP
COMP
COMP
Dynamics
parameters
no effect
no effect
no effect
N OUTPUT LEVEL
If paired:
If paired:
(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.
L channel = L16,
R channel = R16
L channel = L16,
R channel = R16
L channel = L16
R channel = R16
Pan
If unpaired: center
0 dB*
If unpaired: center
no change*
Fader
0 dB
* If FADER FLIP is set to TRACK in the UTILITY screen PREFER page.
NOTE
• The OUTPUT LEVEL knob will follow the operation of the panel
[STEREO FADER]. However, please note that if you adjust the on-
screen knob and then operate the panel fader, the value will not
change until the fader passes the current value.
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Convenient functions during mixdown/bounce operations
Move the cursor to the parameter that you
want to edit, and use the [DATA/JOG] dial to
adjust the value.
4
Editing the EQ parameters
The chapters entitled “Track recording” and “Overdub-
bing” explained how to load an EQ library and use the
Selected Channel section [EQ] knob to make adjustments.
Here’s how you can make more detailed adjustments to
the EQ parameters.
To switch the LOW band type, move the cur-
sor to the LOW band Q knob and turn the
[DATA/JOG] dial toward the left.
5
With the default EQ settings, the LOW band is a shelv-
ing type. (The value field for the Q knob will indicate
“L.SHL”.)
Press an [INPUT SEL] key, a pad 1–4, a
1
[TRACK SEL] key, or the [STEREO SEL] key
to select the channel whose EQ you want to
adjust.
If you turn the Q knob toward the left, the Q knob
value field will change to a numerical value, and will
switch to the same boost/cut type as the HI-MID and
LO-MID bands.
If desired, load library data from the EQ
library.
2
If you continue turning the Q knob toward the left, the
Q knob value field will indicate “HPF,” and the LOW
band will function as a high-pass filter. If “HPF” is
selected, you can use the LOW band G knob to switch
the high-pass filter on/off.
Repeatedly press the Selected Channel
3
section [EQ] knob or hold down the [EQ]
knob and use the CURSOR [ ]/[ ] keys to
access the EDIT page of the EQ screen.
The EDIT page of the EQ screen lets you edit all of
the EQ parameters.
To switch the HIGH band type, turn the
HIGH band Q knob all the way to the left.
6
With the default EQ settings, the HIGH band is a
shelving type. (The value field for the Q knob will
indicate “H.SHL”.)
6
2
3
4
5
If you turn the Q knob toward the left, the Q knob
value field will change to a numerical value, and will
switch to the same boost/cut type as the HI-MID and
LO-MID bands.
9
If you continue turning the Q knob toward the left, the
Q knob value field will indicate “LPF,” and the HIGH
band will function as a low-pass filter. If “LPF” is
selected, you can use the HIGH band G knob to switch
the low-pass filter on/off.
1 78
1 ON/OFF button
Switches the EQ on/off.
B Response curve
Graphically indicates the approximate response of the
EQ.
To switch the EQ on/off, press the [ENTER]
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).
7
C FLAT button
Move the cursor to this button and press the [ENTER]
key to reset the boost/cut amount of all bands to 0 dB.
HINT
D ATT. (Attenuation) knob
• If the meter display clips because you boosted a certain band,
lower the ATT. knob to attenuate the signal.
Attenuates the signal immediately before it is input to
the EQ, over a range of –96 to 0 dB. This is used
mainly to prevent the signal from clipping when you
use the EQ to boost a specific frequency region.
• The [EQ] knob of the Selected Channel section will still oper-
ate even while the EDIT page of the EQ screen is displayed.
E Output meter
Indicates the level of the signal after it has passed
through the EQ.
F Q knobs
Specify the Q (steepness) at which each band (HIGH,
HI-MID, LO-MID, LOW) will be boosted or cut. The
range is 10–0.10, and higher settings will produce a
steeper curve.
G F (Frequency) knobs
Specify the center frequency of the boost/cut, over a
range of 21.2 Hz–20.0 kHz.
H G (Gain) knobs
Specify the amount of boost/cut, over a range of –18.0
dB to +18.0 dB.
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Convenient functions during mixdown/bounce operations
C Response curve
Editing the dynamics parameters
This graph indicates the approximate response of
dynamics settings. The horizontal axis of the graph is
the input level, and the vertical axis is the output level.
You can perform detailed editing of the dynamics parame-
ters in the same way as for the EQ parameters.
D KEYIN SOURCE
Selects one of the following as the trigger signal (key-
Press an [INPUT SEL] key, a pad 1–4, a
1
in signal) that will control dynamics processing.
[TRACK SEL] key, or the [STEREO SEL] key
to select the channel whose dynamics
parameters you want to edit.
• SELF .............. The post-EQ signal of the currently
selected channel
• LEFT .............. The post-EQ signal of the adjacent
From the dynamics library, recall the set-
channel to the left
2
tings that are closest to what you have in
mind.
• AUX1.............. The signal immediately before the
master send level of the AUX 1 bus
• AUX2.............. The signal immediately before the
Repeatedly press the Selected Channel
3
master send level of the AUX 2 bus
section [DYN] knob or hold down the [DYN]
knob and use the CURSOR [ ]/[ ] keys to
access the EDIT page of the DYN screen.
NOTE
• You will not be able to select LEFT if you have selected input
channel 1, pad channel 1, track channel 1, or the stereo out-
put channel.
2
4
HINT
• Dynamics settings and operation are linked for paired chan-
nels and for the stereo output channel. In this case, dynamics
processing will operate simultaneously for both channels if
either channel exceeds the threshold level.
E GR (Gain Reduction)
Indicates the amount of gain reduction produced by
1
3
7
56
the dynamics processor, in a range of –18 dB to 0 dB.
9
1 ON/OFF button
Switches dynamics on/off.
F Output meter
Indicates the level of the signal after it has passed
through the dynamics processor.
B TYPE
Indicates the currently selected dynamics type. The
displayed indication has the following meaning.
G Parameters
Here you can edit the parameters of the dynamics pro-
cessor. The type of parameters and their ranges will
differ depending on the dynamics processor type. For
details on the types of parameter and their function,
refer to the appendix.
• COMP .........................Compressor
• EXPAND .....................Expander
• GATE ..........................Gate
• COMPAND-H..............Compander (hard)
• COMPAND-S ..............Compander (soft)
• DUCKING ...................Ducking
Move the cursor to the parameter that you
want to edit, and use the [DATA/JOG] dial to
edit the value.
4
5
NOTE
• You cannot change the dynamics type in this page. If you
want to use a different type, you must recall library settings
that use the desired type.
To switch dynamics on/off, press the
[ENTER] key.
In the EDIT page, you can press the [ENTER] key to
switch dynamics on/off regardless of the cursor loca-
tion.
Please be aware that if you edit even one parameter in
the EDIT page of the DYN screen, the operation of the
Selected Channel section [DYN] knob will change as
follows for that channel.
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Convenient functions during mixdown/bounce operations
1 Immediately after recalling a read-only library that
contains dynamics settings, turning the [DYN]
knob will simultaneously adjust multiple parame-
ters to affect the dynamics processing. (The
amount of change will depend on the last-recalled
library.)
Editing the parameters of an
internal effect
By using the EDIT page of the EFF1 screen or EFF2
screen, you can make detailed edits to the effect parame-
ters of the internal effects 1 and 2.
If an effect is internally connected via send/return in the
mixer section, the parameters (EQ, pan, AUX send, etc.)
of the return channel that processes the return signal can
also be edited in this page.
As an example, here’s how you can edit the settings of
internal effect 1, internally connected via send/return.
For internal effect 1, recall an effect library
that uses the desired effect type.
1
You cannot change the effect type (e.g., reverb, delay)
in the EDIT page. You must first recall library settings
that use the desired type.
In the Selected Channel section, repeatedly
press the [EFFECT 1] knob or hold down
the [EFFECT 1] knob and use the CURSOR
2
[
]/[ ] keys to access the EDIT page of the
EFF1 screen.
The EDIT page lets you edit all of the effect parame-
ters.
B For a channel for which you edited even one
parameter in the EDIT page of the DYN screen,
turning the [DYN] knob will adjust only the last-
edited parameter. (The last-edited parameter is
remembered for each channel.)
2
3
4
9
1
5
1 BYPASS ON/OFF button
Switches effect bypass on/off. For effects connected to
the send/return loop, however, this function mutes or
un-mutes the effect rather than turning bypass on or
off.
B TYPE
Indicates the type of the currently selected effect.
NOTE
• You cannot change the effect type in this page. If you want to
use a different type, you must recall library settings that use
the desired effect type.
C STEREO/MONO
Indicates whether the effect is stereo or monaural. A
stereo-input effect is indicated by , and a monaural-
C If you once again recall a read-only library that
contains dynamics settings, turning the [DYN]
knob will again simultaneously adjust multiple
parameters.
input effect is indicated by
.
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Convenient functions during mixdown/bounce operations
D USED AS
1
2
3
Indicates how this effect is being used. If the effect is
internally connected to the mixer section via send/
return, this will indicate “EFF1” or “EFF2.” If the
effect is inserted into a specific channel, this will indi-
cate the name of the channel into which the effect is
inserted (e.g., “INPUT 1”).
E Parameter page/Return channel page
In this area you can edit the various effect parameters.
The content and range of the parameters will depend
on the currently-used effect type.
4
5
6
If the effect is internally connected to the mixer sec-
tion via send/return, this area will show the mix
parameters of the return channel, allowing you to edit
them.
1 EFF2SEND
Adjusts the level at which the signal is sent from the
return channel to the other internal effect.
NOTE
Move the cursor to the effect parameter that
you want to edit, and turn the [DATA/JOG]
dial to edit the value.
Depending on the effect type, this area may be used to
show multiple parameter pages. In this case, repeat-
edly press the CURSOR [ ] key to access the param-
eter page that contains the parameter you want to edit.
• You cannot send the signal from return channel 1 to insert
effect 1 (since this would mean sending the signal back to the
same effect itself). For this reason, the EDIT page of the
EFF1 screen has no send level to effect 1. For the same rea-
son, the EDIT page of the EFF2 screen has no send level to
effect 2.
3
B AUX1SEND
C AUX2SEND
These adjust the send level of the signal that is sent
For example, the illustration below shows the parame-
ter pages for the STEREO DELAY effect type.
from the return channel to AUX buses 1/2.
D EFF2 PRE/POST
Switches the signal that is sent from the return channel
to the other effect bus between pre-fader and post-
fader.
9
E AUX1 PRE/POST
F AUX2 PRE/POST
These switch the signals that are sent from the return
channel to AUX buses 1/2 between pre-fader and post-
fader.
MIX BAL. parameter
1
2
3
HINT
• The parameter pages show the parameters that are specific
to that effect type. However for all effect types, the lower right
of the last parameter page will have a MIX BAL. parameter
which sets the mix balance between the effect sound and the
original sound.
4
5
6
To edit the mix parameters of the return
4
channel, access the last parameter page,
and then press the CURSOR [ ] key once
again.
If the effect is internally connected to the mixer sec-
tion via send/return, you can repeatedly press the
CURSOR [ ] key to access the mix parameters of the
return channel. The following pages are the same for
all effect types.
1 EQ HIGH GAIN
B EQ HIGH FREQ
C EQ HIGH Q
D EQ H-MID GAIN
E EQ H-MID FREQ
F EQ H-MID Q
These specify the gain, frequency, and Q for the HIGH
and HI-MID bands of the return channel EQ. The
range of each parameter is the same as in the EDIT
page of the EQ screen.
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Convenient functions during mixdown/bounce operations
1
2
3
Inserting an effect into a track
channel
The chapter “Track recording” explained how to insert an
internal effect into an input channel. In the same way, you
can also insert an effect into a track channel or pad chan-
nel. As an example, here’s how to insert internal effect 1
into a track channel for use during mixdown or bouncing.
4
5
6
In the Selected Channel section, repeatedly
press the [EFFECT 1] knob or hold down
the [EFFECT 1] knob and use the CURSOR
1
1 EQ L-MID GAIN
B EQ L-MID FREQ
C EQ L-MID Q
D EQ LOW GAIN
E EQ LOW FREQ
F EQ LOW Q
[
]/[ ] keys to access the SEND page of
the EFF1 screen.
These specify the gain, frequency, and Q for the LO-
MID and LOW bands of the return channel EQ. The
range of each parameter is the same as in the EDIT
page of the EQ screen.
NOTE
• If the displayed page is different than shown above, make
sure that a track channel is selected as the object of opera-
tions. (This is indicated in the upper left of the screen.) If an
input channel/pad channel is selected, press any one of the
[TRACK SEL] keys.
1
2
3
9
Move the cursor to the EFF INSERT field of
the track channel into which you want to
insert an effect, and press the [ENTER] key.
A popup window will appear, asking whether it is ok
to release internal effect 1 from the send/return con-
nection.
2
1 PAN L
B PAN R
Independently specify the return channel panning for
the L and R channels.
C RETURN
Adjusts the input level for return channel 1.
Access the desired return channel page,
move the cursor to a parameter, and turn
the [DATA/JOG] dial.
5
6
Move the cursor to the OK button and press
the [ENTER] key.
Internal effect 1 will be inserted into the selected track
channel.
3
4
To switch effect BYPASS on/off, press the
[ENTER] key.
In the EDIT page, you can press the [ENTER] key to
switch BYPASS on/off regardless of the current loca-
tion.
Press the [EFFECT 1] knob twice to access
the LIBRARY page of the EFF1 screen.
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Convenient functions during mixdown/bounce operations
Select the library that you want to use for
that channel.
5
NOTE
• If you insert an internal effect into a channel, the SEND page
of the EFF1 screen will no longer show return channel pages
1–4. To adjust the balance between the original sound and
the effect sound, use the MIX BAL. parameter that is shown in
the last parameter page.
HINT
• You can also insert an effect by using the effect insert field in
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Chapter 10
Creating an audio CD
This chapter explains how you can use the CD-RW drive to create an audio
CD, and how to play back an audio CD.
Creating an audio CD
On the AW1600, you can select one or more songs on the hard disk, and write the audio data
from the stereo track of each song to a CD-R/RW disc in CD-DA format. The CD-R/RW media to
which you write this data can be played by the CD-RW drive or a conventional CD player in the
same way as any audio CD.
NOTE
• Some CD players that do not support CD-R/RW media may not be able to play
back a CD you create.
In order to create a CD, you must first register one or more
songs in a “track list,” and then write the virtual track cur-
rently selected for the stereo track of each song (the “cur-
rent track”) to the CD in the order specified by the track
list.
A maximum of 99 tracks (areas on CD media to which
audio data can be written individually) can be written to
one volume of CD-R/RW media, and each track must be
at least four seconds long. The maximum length of time
that can be written is approximately 74 minutes for
650 MB media, or approximately 80 minutes for 700 MB
media.
HINT
• The total size of audio data that can be written is 746 MB (approx-
imately 74 minutes) for 650 MB media, or 807 MB (approximately
80 minutes) for 700 MB media.
10
Types of media that you can use with the CD-RW drive
The CD-RW drive of the AW1600 can use two types of media: “CD-R” which lets you record and
add data, and “CD-RW” which lets you erase previously-recorded data and rewrite it. Each type
of media has the following characteristics.
● CD-R
● CD-RW
You can write data to this media, and add additional data
later. You cannot erase and rewrite data that has already
been written. Once you perform a process known as
“finalizing the disc,” the audio data written to the CD-R
can be played by the CD-RW drive or by most CD players.
In addition to writing and adding data, this media lets you
erase all recorded data and rewrite it. Audio data written to
a CD-RW can be played back by the CD-RW or by CD
players that support CD-RW media.
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Methods of writing an audio CD
Methods of writing an audio CD
There are two ways in which you can write audio data to CD-R/RW media.
● Track At Once
● Disc 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 begin-
ning 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.)
This method writes all tracks at once. Similarly to when
using the Track At Once method, the data from the begin-
ning 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
End
Since each track is written individually when you use this
method, an interval of approximately two seconds will be
created between each track.
Song A
Marker = off
Start
End
Song B
Marker = off
Start
Song A
End
Start
End
Audio CD
Track 1
Track 2
Song B
no gap
Audio CD
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.
Track 1
Track 2
interval (2 seconds)
In order for a disc written using Track At Once to be play-
able by the CD-RW drive or a CD player, you must per-
form a process known as “finalizing” to write track
information to the disc. Once you have finalized a disc,
you cannot write any more data to it.
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.
10
Start
1
2
End
Song A
Marker = on
Start
1
2
End
Song B
Marker = off
Audio CD
Track 1 Track 2 Track 3
Track 4
NOTE
• A track shorter than four seconds cannot be written to an audio
CD. If you use start point/end point/markers to divide a song into
multiple tracks, make sure that each track is at least four seconds
long.
• If the length of the stereo track exceeds the writable length of the
media, you can create an audio CD by adjusting the start point/
end point so that the region is within the allowable length. (→
Media that you write using Disc At Once will be finalized
automatically, and can be played back by a CD-RW drive
or CD player that supports that type of media. However,
no further data can be written to a disc that was written
using Disc At Once.
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Basic settings for the CD-RW drive
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.
In the Work Navigate section, repeatedly
press the [CD] key or hold down the [CD]
key and use the CURSOR [ ]/[ ] keys to
access the SETTING page of the CD screen.
Move the cursor to the AUDIO WRITE
SPEED field, and turn the [DATA/JOG] dial
to select the writing speed.
You can select either x8 (eight times as fast as audio
playback) or x4 (four times as fast as audio playback).
Normally you should use x8, and drop down to x4 if
errors occur during writing.
1
2
1
2
6
Use the TEST button and WRITE button to
select the writing operation(s).
3
The TEST button and WRITE button specify whether
a writing test and/or the actual writing operation will
be performed. The combination of buttons that are on
will determine the operation(s) that will occur, as fol-
lows.
5 4 3
7
• Only the TEST button on
1 CD-RW MEDIA ERASE
Erases the data that was written to CD-RW media. For
........... Only a writing test will be performed.
• Only the WRITE button on
........... Writing will occur immediately.
B AUDIO WRITE SPEED
Selects the speed at which audio data will be written to
CD-R/RW media.
• Both the WRITE button and TEST button on
........... First a writing test will be performed,
and then the actual writing will be
performed.
C TEST button
Depending on the media and the state of the hard disk,
it is possible that an error may occur while the data is
being written. (If you are using a CD-R, this will make
the media unusable.) Thus, you can turn on the TEST
button to check whether an error will occur before you
actually write the disc. If an error occurs during the
test, halt the procedure, and either lower the writing
speed or set the UNDERRUN PROTECT button to
ENABLE.
Specifies whether a writing test will be performed
when you execute writing.
D WRITE button
Specifies whether the actual writing operation will be
performed.
10
E UNDERRUN PROTECT button
Enables/disables the function that prevents buffer
underrun (an error that can occur when data transfer
cannot keep up with writing speed).
If desired, set the UNDERRUN PROTECT
button to ENABLE.
The CD-RW drive of the AW1600 has a function to
prevent “buffer underrun” errors which can occur if
data transfer cannot keep up with the writing speed.
4
F DATA WRITE SPEED
This indicates the speed at which data other than CD
audio (e.g., backup data or WAV files) is written to
CD-R/RW media. Normally this will indicate x8. This
will indicate x4 if the media supports a maximum
writing speed of x4. This field is for display only, and
cannot be edited.
If you switch the UNDERRUN PROTECT button to
the “ENABLE” setting, this function will be enabled,
and buffer underruns will be prevented.
G COMPARE button
NOTE
If this button is on, the original data will be compared
with the backed-up data or the exported WAV file after
a backup or export operation is performed, to check
whether any errors occurred while writing the data.
• If this button is set to ENABLE, the TEST button will automati-
cally be turned off. Also, if the TEST button is turned on, this
button will automatically be set to DISABLE.
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Writing audio data (Track At Once)
Writing audio data (Track At Once)
Here’s how to use the Track At Once method to write stereo tracks from songs saved on the hard
disk to CD-R/RW media. Use this method if you expect to be adding tracks to the disc later, or if
you want a two-second gap between tracks.
Make sure that the appropriate virtual track
is selected for the stereo track of the
song(s) you want to write.
Insert CD-R/RW media in the drive, move
the cursor to the TRACK AT ONCE button,
and press the [ENTER] key.
1
3
Only the virtual track that can be played by the stereo
track (i.e., the “current track”) will be written to disc.
If the correct virtual track is not selected, load that
song, use the ST.TRACK page of the MONITOR
screen to switch to the correct virtual track, and then
save the song.
A display like the following will appear.
3
1
Repeatedly press the [CD] key or hold down
2
the [CD] key and use the CURSOR [ ]/[
keys to access the CD WRITE page of the
CD screen.
]
2
6
5 4
Immediately after you access this page, the following
two buttons will appear in the display.
1 Song list
1 2
This is a list of the songs containing stereo tracks that
will be written to the CD-R/RW media. The line
enclosed by a dotted frame is currently selected for
operations. If no songs have been registered, this will
indicate “-NO TRACK-”.
If audio data has already been written to the inserted
CD-R/RW media but the media has not yet been final-
ized, a title of “--EXIST--” will be displayed for the
already-written data.
10
1 TRACK AT ONCE button
Creates an audio CD using the Track At Once method.
B FINALIZE button
Finalizes the inserted media by writing track informa-
tion to it.
B DISC AT ONCE button
Creates an audio CD using the Disc At Once method.
C INS button
Inserts a new song in front of the song currently
selected in the list.
D NEW button
Adds a song at the end of the song list.
E DEL button
Deletes the selected song from the list.
F EXECUTE button
Executes writing to the CD media.
HINT
• If you have inserted CD-RW media that contains data written
using other than the Track At Once method, a popup window
will appear immediately after step 3, asking whether you want
to erase the data. If you want to erase the entire media, move
the cursor to the OK button. If you want to cancel creation of
an audio CD, move the cursor to the CANCEL button. Then
press the [ENTER] key.
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Writing audio data (Track At Once)
Move the cursor to the NEW button, and
press the [ENTER] key.
The song list will show information (track number/
song name/size of the stereo track) for the song that
will be written to track 1 of the CD.
To begin writing, move the cursor to the OK
8
button and press the [ENTER] key.
4
5
While data is being written to the media, a popup win-
dow will indicate “CD Writing...” When writing is
completed, a popup window will ask you whether you
want to finalize.
Move the cursor to the dotted frame in the
song list, and turn the [DATA/JOG] dial to
select the song that will be written to track
1.
NOTE
• If an error message of “BUFFER UNDERRUN!” appears while
writing, a buffer underrun has occurred. In this case, either
decrease the writing speed to 4x or set the UNDERRUN
the data is actually written. If a problem occurs during the
writing test, an error message will appear.
• Copy-prohibit data will automatically be written into the CD
that is created.
To finalize the disc, move the cursor to the
OK button and press the [ENTER] key.
If you do not want to finalize the disc, move the cursor
to the CANCEL button and press the [ENTER] key.
9
NOTE
• When you turn the [DATA/JOG] dial, you will see only songs
for which the current stereo track contains data.
This completes the writing process.
• Songs with a stereo track shorter than four seconds will not
be displayed.
Repeat steps 4 and 5 to select the songs
that will be written to track 2 and following.
6
10
HINT
• When you move the cursor to the NEW button and press the
[ENTER] key, a new song will be added at the end of the
existing songs.
• By using the INS button instead of the NEW button, you can
insert a new song immediately before the song that is
selected in the list.
• You can use the DEL button to delete the currently selected
song from the song list.
NOTE
• When you add a song to the song list, the same song will
always be initially selected. Change this as desired.
Move the cursor to the EXECUTE button
and press the [ENTER] key.
7
A popup window will ask you to confirm.
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Writing audio data (Disc At Once)
Writing audio data (Disc At Once)
Here’s how to use the Disc At Once method to write stereo tracks from songs saved on the hard
disk to CD-R/RW media. Use this method if you do not want to create silence between each track
of the CD, or if you want to write a single song divided into multiple tracks on the CD.
Make sure that the appropriate virtual track
is selected for the stereo track of the
song(s) you want to write.
Move the cursor to DISC AT ONCE and
press the [ENTER] key.
The following screen will appear.
1
2
4
3
1
If you want to divide the song into CD
tracks at the marker locations specified
within the song, check that markers have
been set at the appropriate locations.
Repeatedly press the [CD] key or hold down
3
the [CD] key and use the CURSOR [ ]/[
keys to access the CD WRITE page of the
CD screen.
]
2
6
5 4
1 Song list
This is a list of the songs containing stereo tracks that
will be written to the CD-R/RW media. The line
enclosed by a dotted frame is currently selected for
operations. If no songs have been registered, this will
indicate “-NO TRACK-”.
B MARKER button
For each stereo track, this enables or disables the
markers that have been set within that song.
When you move the cursor to this button and press the
[ENTER] key, the start pint, end point and markers
within the currently selected stereo track will be
enabled. (A “flag” icon will appear at the left of the
list.) If markers are enabled for a stereo track, a track
number will be written to the CD at the location of
each marker. Regardless of any areas of silence, the
entire region from the Start point to the End point will
be written.
10
C INS button
Inserts a new song in front of the song currently
selected in the list.
D NEW button
Adds a song at the end of the song list.
E DEL button
Deletes the selected song from the list.
F EXECUTE button
Executes writing to the CD media.
HINT
• If data has already been written on the CD-RW media that
you insert, a popup window will appear immediately after step
3, asking whether you want to erase the data. Move the cur-
sor to the OK button if you want to erase the entire media, or
to the CANCEL button if you want to cancel execution. Then
press the [ENTER] key.
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Writing audio data (Disc At Once)
Move the cursor to the NEW button, and
press the [ENTER] key.
The song list will show information (track number/
song name/size of the stereo track) for the song that
will be written to track 1 of the CD.
Repeat steps 5–7 to select the songs that
will be written to track 2 and following.
5
6
8
HINT
• When you move the cursor to the NEW button and press the
[ENTER] key, a new song will be added at the end of the
existing songs.
Move the cursor to the dotted frame in the
song list, and turn the [DATA/JOG] dial to
select the song that will be written to track
1.
• By using the INS button instead of the NEW button, you can
insert a new song immediately before the song that is
selected in the list.
• You can use the DEL button to delete the currently selected
song from the song list.
NOTE
• When you add a song to the song list, the same song will
always be initially selected. Change this as desired.
Move the cursor to the EXECUTE button
and press the [ENTER] key.
9
A popup window will ask you to confirm.
NOTE
To begin writing, move the cursor to the OK
button and press the [ENTER] key.
10
• When you turn the [DATA/JOG] dial, you will see only songs
for which the current stereo track contains data.
• Songs with a stereo track shorter than four seconds will not
be displayed.
While data is being written to the media, a popup win-
dow will indicate “CD Writing...” When writing is
completed, the CD-R/RW media will be ejected, and
the following popup window will appear.
If you want the stereo track of the selected
song to be divided into CD tracks at the
location of each marker, move the cursor to
the MARKER button and press the [ENTER]
key.
7
10
Markers will be enabled for that song, and a “flag”
icon will appear at the right of the list.
NOTE
the data is actually written. If a problem occurs during the
writing test, an error message will appear.
HINT
• Markers can be enabled/disabled independently for each
song.
• When you use markers to divide a stereo track, the location of
the divisions will be specified in units of 1/75 second.
• Copy-prohibit data will automatically be written into the CD
that is created.
NOTE
If you want to create another CD with the
identical contents, insert a new volume of
media, and move the cursor to the OK but-
ton and press the [ENTER] key.
11
• Note that if markers are enabled, the track numbers shown in
the list will not match the number of tracks written to the CD.
• A maximum of 99 tracks can be written to an audio CD. If, for
example, markers are enabled for the song you write to CD
track 1, and this song contains 98 markers, it will not be possi-
ble to write any more songs to that CD-R/RW media.
Writing will begin again.
Alternatively, you can move the cursor to the CAN-
CEL button and press the [ENTER] key to exit the
writing process.
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Finalizing CD-R/RW media
Finalizing CD-R/RW media
Here’s how to finalize CD-R/RW media that you wrote using Track At Once, so that the disc can
be played by a CD-RW drive or a CD player.
HINT
• CD-R/RW media written by the AW1600 using Track At Once (and not yet finalized) cannot be
played by another CD-RW drive or a CD player, but it can be played by the AW1600’s CD Play
Insert the CD-R/RW media that you want to
finalize into the CD-RW drive.
Move the cursor to the FINALIZE button,
and press the [ENTER] key.
A popup window will ask you to confirm the finalize
operation.
1
2
4
5
Repeatedly press the [CD] key or hold down
the [CD] key and use the CURSOR [ ]/[
keys to access the CD WRITE page of the
CD screen.
]
Move the cursor to the TRACK AT ONCE
button, and press the [ENTER] key.
The following screen will appear, and the track list
will show the content that has been written to that CD-
R/RW media. Already-recorded tracks will be dis-
played as “--EXIST--”.
3
To finalize the disc, move the cursor to the
OK button and press the [ENTER] key.
If you decide not to finalize the disc, move the cursor
to the CANCEL button and press the [ENTER] key.
NOTE
• The finalize operation cannot be halted once it has been
started. Perform this operation with care.
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Erasing CD-RW media
Erasing CD-RW media
Here’s how to erase all data that has been written to CD-RW media, so that the CD-RW disc can
be used as a blank disc.You will need to perform this operation on a disc that has been used to
store computer data etc. if you want to use that disc on the AW1600.
HINT
• Since data is erased as necessary when you back up AW1600 data to CD-RW media or when you
write audio data to CD-RW media, you do not need to perform the following procedure each time
you re-use the disc.
NOTE
• The erased data cannot be recovered. Perform this operation with care.
● If you turn on the SIMPLY button
In the Work Navigate section, repeatedly
press the [CD] key or hold down the [CD]
key and use the CURSOR [ ]/[ ] keys to
access the SETTING page of the CD screen.
1
2
● If you turn on the PERFECTLY button
Move the cursor to the CD-RW MEDIA
ERASE field, and press the [ENTER] key to
select the desired erasure method.
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.)
3
Each button selects the following erasure method.
10
• SIMPLY button...........Only the TOC (Table Of Con-
tents) data written to the CD-
RW media will be erased. If
you select this method, it will
take only a short time to
erase the CD-RW media.
• PERFECTLY button...All data written to the CD-
RW media will be erased
completely. Since this
method erases all data from
the media, it will take a
longer time than SIMPLY.
Move the cursor to the desired button, and press the
[ENTER] key. A popup window will ask you to con-
firm the erasure.
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Playing an audio CD
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.
HINT
• The CD Play function can also play audio data from a mixed-mode CD-ROM (only track 2 and fol-
lowing) or CD Extra (only the first session).
In the Work Navigate section, repeatedly
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.
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.
]
1
4
When the CD Play function is on, the keys of the
transport section will have the following functions.
Key
Operation
PLAY [
STOP [■] key
REW [ ] key/FF [
] key
Play
Stop
] key
Rewind/Fast-forward
Select tracks
[DATA/JOG] dial
] key/[ ] key
(Press the [ENTER] key
to confirm the selection)
2 1
3
[
Select tracks
1 CD PLAY button
Switches the CD Play function on/off.
HINT
• When the cursor is located in the list, you can turn the [DATA/
JOG] dial and press the [ENTER] key to select tracks.
B INPUT CH MUTE/MIX button
Use this button to specify whether the signals of input
channels 1–8 will be output together with the CD play-
back (MIX button), or whether only the CD signal will
be output (MUTE button).
• While an audio CD is playing, the access indicator on the CD-
RW drive will blink.
10
To exit the CD Play function, move the cur-
sor to the CD PLAY button and press the
[ENTER] key.
5
C List
Displays the tracks of the audio CD that is inserted in
the CD-RW drive.
NOTE
Insert the audio CD that you want to play
into the CD-RW drive.
2
3
• 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.
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.
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Chapter 11
Quick loop sampler
This chapter explains how to use the Quick Loop Sampler section.
About the quick loop sampler
The AW1600 contains a quick loop sampler that lets you play stereo waveforms (samples) by
striking the four pads.
Each pad 1–4 has four sample banks (A–D) to which you
can assign samples. By switching the sample bank for
each pad, you can use up to sixteen different samples.
● Signal flow when using the Quick Loop
Sampler
Pad 1
Pad 2
Pad 3
Pad 4
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
Sample banks
Pads
1
2
3
4
When you strike a pad 1–4, the assigned sample will be
sent via pad channel 1–4 to the stereo bus. For each pad
channel, you can adjust the EQ, dynamics, and effects 1/2
send levels just as you can for the track channels or input
channels.
11
Stereo
output
channel
Pad
channels
Stereo bus
Mixer section
You can load samples into the pads from the sample
library (a library for the Quick Loop Sampler), load a por-
tion of an audio track or audio CD, or load a WAV file.
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About the quick loop sampler
A sample can be played back in one of two ways. “One
shot mode” plays the sample once from start to end.
“Loop mode” plays the sample repeatedly from start to
end.
In addition, you can choose either “Gate mode” which
plays the sample only while you continue holding down
the pad, or “Trigger mode” which plays the sample all the
way to the end when you press the pad once.
● Original sample
● ONE SHOT/GATE
● ONE SHOT/TRIGGER
Start playback
Stop
Start playback
Stop
Pad = dark
Pad = lit
Pad = dark
Pad = lit
● Original
● LOOP/GATE
● LOOP/TRIGGER
sample
Start playback
Stop
Start playback
Stop
Pad = lit
Pad = dark
Pad = lit
Pad = dark
11
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.
NOTE
• Be aware that the pad tracks do not record the sample or audio
data itself, but merely the pad on/off data. (Each such piece of
data is called a “pad event.”) The playback produced by a pad track
will change if you switch to other samples after recording pad
events, or if you change the playback mode.
Pad events
The AW1600 also provides a “Slice function” that divides
a sample into eight to sixteen segments, and adjusts the
playback timing of each segment according to the tempo
of the song.
Pad track 1
Pad track 2
Pad track 3
By using the Slice function you can change only the
tempo of a phrase without affecting its pitch.
For example, a sampled drum pattern can be played back
at the tempo specified by the song’s tempo map. (For
Pad track 4
HINT
• The settings of the Quick Loop Sampler and the sample data
assigned to each pad are saved as part of the song.
Attack (pad = on)
Release (pad = off)
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Using sample libraries
Using sample libraries
Sample libraries contain sets of up to sixteen different samples that can be used by the Quick
Loop Sampler.
When the AW1600 is shipped from the factory, sets of samples such as drum loops and sounds
effects are stored on the hard disk as sample libraries. When you load one of these libraries,
samples will be assigned to each pad/sample bank, and you can use the pads to play the sam-
ples immediately. Here’s how to load a sample library and try it out.
In the Quick Loop Sampler section, either
repeatedly press the [SAMPLE EDIT] key or
hold down the [SAMPLE EDIT] key and use
the CURSOR [ ]/[ ] keys to access the
LIBRARY page of the SAMPLE screen.
Move the cursor into the list, and turn the
[DATA/JOG] dial to select the library that
you want to load.
By turning on the LISTEN button and pressing a pad
1–4, you can audition the samples that are assigned to
sample bank A for each pad in that library. For details
on the library contents, refer to “Appendix.”
1
2
3
2
4
1
NOTE
• All sample libraries initially supplied with the unit use 16-bit
samples and cannot be read into 24-bit songs.
Move the cursor to the RECALL button and
press the [ENTER] key. A popup window
will open. Move the cursor to the ALL but-
ton, and press the [ENTER] key.
When the library has been loaded, the popup window
will automatically close.
3
5
1 List
7
8 6
This area displays a list of the sample libraries saved
on the hard disk.
HINT
B SORT field
• When the popup window is open, you can move the cursor to
the 1SAMPLE button and press the [ENTER] key to select
and load just a single sample from the library.
These buttons sort the sample libraries shown in the
list, either alphabetically (NAME), by when they were
saved (OLD), or by their size (SIZE).
C LISTEN button
Raise the [STEREO] fader to the 0 dB posi-
tion.
4
5
11
When you move the cursor to this button and press the
[ENTER] key, the button will be highlighted. If you
now press a pad 1–4, the sample assigned to sample
bank A of the currently selected sample library will
play repeatedly. Playback will stop when you press the
pad once again.
Strike pads 1–4.
You can play the samples that are assigned to sample
bank A of each pad.
HINT
D RECALL button
This button recalls the library that is selected in the
list, and assigns the samples to each pad/sample bank.
• Of the sample libraries saved on the hard disk when the
AW1600 is shipped, most drum pattern libraries that are set
to Loop mode have the Slice function turned on. If you load
this type of library, you only need to press the pad, and the
tempo of the drum pattern will match the tempo of the song.
This lets you use the Quick Loop Sampler similarly to a drum
machine.
E DELETE button
This button deletes the library selected in the list from
the hard disk.
F STORE button
This button stores a library that you edited.
G PROTECT button
Move the cursor to this button and press the [ENTER]
key to switch the Protect setting on/off for the library
selected in the list. A lock icon will be displayed to
indicate a library that is protected, and it will not be
possible to edit or delete this library.
H NEW button
This button creates a new library on the hard disk.
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C Bank
NOTE
This selects the sample bank (A–D) used by each pad.
The name of the sample assigned to that bank is dis-
played at the right.
• If a sample is assigned to a pad, that pad will light while the
sample plays when you press it. However if no sample is
assigned, nothing will play and the pad will not light.You can
either assign a sample to the pad, or switch the sample bank.
HINT
• If the pad lights when you strike a pad but you hear no sound,
access the METER page of the VIEW screen, and check
whether the meter of the corresponding pad channel (P1–P4)
• If no sample is assigned to the selected bank, the sample
name area will indicate [-NO REC-].
• If the meter moves when you strike a pad, make sure that the
[STEREO] fader has not been lowered, and that your monitor
system is connected correctly and that its volume is set
appropriately.
NOTE
• Sample banks recorded in and played back with a song are
p. 149) when recording phrases played on the pads to a song.
• If you hear no sound even after raising the [STEREO] fader,
access the INIT page of the MONITOR screen and press that
pad. This will initialize the pad channel so that it will produce
Move the cursor to the bank area for the
desired pad, and turn the [DATA/JOG] dial.
7
The sample bank will change, and the sample name
will change accordingly.
To switch the sample bank for each pad,
repeatedly press the [SAMPLE EDIT] key to
access the SETUP page of the SAMPLE
screen.
6
As desired, use the knobs and keys of the
Selected Channel section to process the
sound of pads 1–4.
EQ, dynamics, and effect send 1/2 levels can be
adjusted for the pad channels in the same way as for
the track channels or input channels. Press a pad 1–4
to select the pad channel that you want to control, and
use the knobs and keys of the Selected Channel sec-
tion.
8
1 2 3
HINT
1 One shot/loop mode
An icon indicates whether the sample assigned to the
pad is set to One Shot mode ( ) or Loop mode ( ).
• When you press a pad 1–4, the assigned sample will always
sound. If you want to select a pad for operations without mak-
ing it sound, hold down the [SELECT] key and press a pad 1–
4.
B Pad number
This indicates the pad number 1–4.
• The playback sounds of pads 1–4 are sent via pad channels
1–4 to the stereo bus. By using the MIXDOWN page of the
RECORD screen, you can record your pad performance on
11
Recording/playing a pad performance
Here’s how you can record your pad performance (pad events) onto the pad tracks.
In the Quick Navigation section, repeatedly
press the [RECORD] key or hold down the
[RECORD] key and use the CURSOR [ ]/
1
1 2
3
4
[
] keys to access the PAD page of the
RECORD screen.
In the PAD page you can record pad events on the pad
tracks.
E
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Recording/playing a pad performance
1 One Shot/Loop mode
An icon indicates whether the sample assigned to the
pad is set to One Shot mode ( ) or Loop mode ( ).
Play the pads while you listen to the audio
tracks play back.
Pad events will be recorded on the pad tracks. The pad
events that are recorded will appear in the pad track
view in realtime.
6
B Pad track number
This shows the pad track number 1–4. At the right is
shown the name of the sample for the sample bank
selected for that pad.
HINT
• Pad tracks record only the pad on/off status.
NOTE
• Sample banks recorded in and played back with a song are
p. 149) when recording phrases played on the pads to a song.
To stop recording, press the STOP [■] key.
The recorder will stop.
7
8
To play back the events that were recorded
on the pad tracks, move the cursor to the
track status button and press the [ENTER]
key several times to switch the display to
.
C Track status button
This indicates the operating state of the track. If you
move the cursor to this button and press the [ENTER]
key, the following two displays will alternate.
•
•
.............The pad track can be recorded.
.............The pad track can be played.
Locate to the point from which you want to
9
start playing back, and press the PLAY [
key.
]
NOTE
The pad track(s) will play back in synchronization
with the recorder. If you want to re-do the recording,
repeat steps 6–9.
• Depending on the settings in the PAD page of the TRACK
screen, this may also indicate (muted).
It is also possible to re-record just a specific region of
a pad track. In this case, the newly recorded pad events
will overwrite the previously-recorded events. How-
ever, you need to be careful, since this will also affect
any overlapping pad events before or after the re-
recorded region.
D Pad track view
In this area, the pad events recorded in the pad track
are shown as a bar graph. Locator positions are shown
as icons in the lower part of the screen.
E GRID button
Grid-records (step-records) pad performances in one-
HINT
• The contents of a recorded pad track can be edited in a vari-
ety of ways using editing commands. For details, refer to
Move the cursor to the track status button,
and press the [ENTER] key several times to
2
3
switch the button display to
(ready to
11
record). (You may select more than one pad
track.)
If you want to mute a specific pad track,
press the Work Navigate section [TRACK]
key repeatedly or hold down the [TRACK]
key and use the CURSOR [ ]/[ ] keys to
access the PAD page of the TRACK screen.
10
HINT
• The track status button can be switched only when the
recorder is stopped.
In the PAD page of the TRACK screen you can switch
muting on/off for each pad track.
Use the track channel faders and the [STE-
REO] fader to set the audio tracks to an
appropriate level for monitoring.
1 2
3
Locate the song to the point at which you
want to begin recording.
4
5
To begin recording on the pad track, press
the PLAY [ ] key.
The recording will begin running, and pad event
recording will begin.
1 One Shot/Loop mode
An icon indicates whether the sample assigned to the
pad is set to One Shot mode ( ) or Loop mode ( ).
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B Pad track number
Move the cursor to the track mute button for
the track that you want to mute, and press
the [ENTER] key to switch the button to
(muted).
11
This indicates the pad track number 1–4.At the right is
displayed the name of the sample assigned to the sam-
ple bank selected for that pad.
To cancel muting, move the cursor to the track mute
button and press the [ENTER] key once again.
C Track mute button
This button switches muting on/off for each track.
Move the cursor to this button and press the [ENTER]
key to switch between the following two settings.
HINT
• If a pad track is muted and the pad is set to LOOP/TRIGGER,
the pad will play if you simply press the [PLAY] key to play
back the recorder. This means that you can use this feature
as a rhythm machine even without recording on a pad track.
•
•
.............The pad track can be played.
.............The pad track is muted.
Grid Recording (Step Recording) the Pads
Here we’ll describe how pad performances (pad events) can be recorded to the pad track via
offline (non-realtime) operation. Since pad events can be recorded at the beginning of each mea-
sure, this method is useful when you want to align pad timing with the top of each measure.
Either press the Quick Navigate section
[RECORD] key repeatedly, or use the CUR-
SOR [ ]/[ ] keys while holding the
[RECORD] key to select the RECORD
screen PAD page.
To enter a pad event, move the cursor to the
measure on the grid for which you want to
enter the event, then press the appropriate
pad.
1
3
“●” will appear on the grid at the corresponding mea-
sure and pad track.
11
Move the cursor to the GRID button and
press [ENTER].
2
The GRID REC popup window will appear. The pad
tracks will be displayed on a measure grid.
Press the pad a second time to turn the
event off.
The symbol at the corresponding grid point will disap-
pear (blank). If a previously-recorded pad event exists
at that point, however, pressing the pad will sequen-
tially select → ● → Blank.
4
5
The grid symbols have the following meanings:
•
.................. Measure in which a pad event is
already recorded.
• ● .................. Measure in which a pad event has
When you have finished editing, move the
cursor to EXEC and press [ENTER].
been recorded via grid recording.
• Blank ........... Measure in which no pad event is
The grid recording will be executed, and the popup
window will close.
recorded.
NOTE
NOTE
• A maximum of 999 measures can be displayed/edited in the
GRID REC popup window.
• Grid recording will not be executed until you move the cursor
to the EXEC button and press the [ENTER] key.
• If you edit a measure in which a pad event has already been
recorded, the results may not always be shown correctly on
the display.
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Importing from an audio CD/WAV file to a pad
Importing from an audio CD/WAV file to a pad
Here’s how you can import CD audio data (CD-DA) or a WAV file from a CD-ROM/CD-R into a
sample bank for pads 1–4.
● When importing from an audio CD/CD-Extra
Switch the internal settings of the AW1600
to enable digital recording.
For details on digital recording settings, refer to page
1
1
2
3
Insert a CD into the CD-RW drive.
You can load audio data (CD-DA) or WAV files from
the following types of media.
2
● Audio data (CD-DA)
• Audio CD
5
6
7
4
• CD-Extra (only the first session of CD-DA)
• Mixed Mode CD (only CD-DA data of the second
and later tracks)
1 From CD TRACK
Specifies the number (01–99) of the audio track that
will be imported from the source CD.
● WAV files
• ISO9660 Level 1 format CD-ROM, CD-R, CD-RW*
• Mixed Mode CD
B From Start
Specifies the starting location of the data that will be
imported, in units of minutes/seconds/frames (1/75th
of a second).
* The directory name and file name cannot use characters
other than uppercase alphanumeric characters and the “_”
(underscore) character.
C From End
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the CD
IMPORT page of the SAMPLE screen.
Specifies the ending location of the data that will be
imported, in units of minutes/seconds/frames (1/75th
of a second).
3
4
HINT
• The “frames” here are the smallest unit of time used by a CD
track. Do not confuse them with the frames used in MTC or
SMPTE.
D LISTEN button
11
If you move the cursor to this button and press the
[ENTER] key, the specified region of the currently
selected CD track will be played back repeatedly.
Make sure that the cursor is located at the
READ CD INFO button, and press the
[ENTER] key.
The display will indicate “READ CD INFO...”, and
the AW1600 will begin reading the CD that is inserted
in the CD-RW drive.
E To PAD
Selects the pad number (1–4) to which the audio mate-
rial will be imported.
F To BANK
Selects the sample bank (A–D) to which the audio
material will be imported.
Depending on the source from which data is read, the
screen will change as follows.
G To NAME
Indicates the name of the sample that is currently
assigned to the import-destination sample bank. If
nothing is assigned, this will indicate [-NO REC-].
This field is only for display, and cannot be edited.
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Importing from an audio CD/WAV file to a pad
● When importing from a WAV file
• If you import a monaural WAV file, the same sample will be
assigned to the L and R channels.
2
1
3
• When you move the cursor to the LISTEN button and press
the [ENTER] key, there will be a slight interval of time before
you hear the sound, since the data is being read from CD.
If you are importing a WAV file, move the
cursor to the From WAVE file field, and turn
the [DATA/JOG] dial to select the WAV file
that you want to import.
5
5
6
7
4
To move to a lower-level folder, display the ( ) icon
in this area, move the cursor to the ENTER button in
the screen, and press the [ENTER] key.
1 From WAV File
Specifies the WAV file that will be imported. If the
media contains folders (directories), move to the
folder that contains the WAV file you want to import,
and then specify the desired WAV file.
To move to the folder above, display the ( ) in this
area, move the cursor to the UP button in the screen,
and press the [ENTER] key.
The following icons will be displayed.
If you are importing from an audio CD or
CD-Extra, use the From Start/From End
fields to specify the region that you want to
import.
6
7
•
•
.............Indicates that a WAV file is selected.
.............Indicates that a folder in the same level
is selected.
•
.............Indicates that the folder for the next
higher level is selected.
Use the To PAD and To BANK fields to spec-
ify the pad/sample bank into which the data
will be imported.
B Mono/Stereo
Indicates whether the WAV file selected for importing
is monaural (M) or stereo (S). This field is only for
display, and cannot be edited.
NOTE
• If the import destination already contains data, the existing
sample will be overwritten by the newly imported sample. Be
careful that you do not accidentally erase a sample that you
want to keep.
C Size
Indicates the size (length in msec units) of the WAV
file selected for importing. This field is only for dis-
play, and cannot be edited.
D LISTEN/ENTER/UP buttons
When you have finished specifying the data
to be imported, move the cursor to the
EXEC button and press the [ENTER] key.
A popup window will appear, asking you to confirm
the operation.
8
9
The name and function of the button displayed here
will depend on the item that you select for the From
WAV File parameter.
11
● If WAV file ( ) is selected
The LISTEN button will be displayed, allowing you to
hear the WAV file repeatedly.
● If a folder in the same level is selected
The ENTER button will be displayed, allowing you to
move into that folder.
● If the next higher folder ( ) is selected
The UP button will be displayed, allowing you to move
to the folder above.
To execute the import, move the cursor to
the OK button and press the [ENTER] key.
Importing will begin. If you decide to cancel the
import, move the cursor to the CANCEL button and
press the [ENTER] key.
E To PAD
F To BANK
G To NAME
These have the same function as when importing from
HINT
an audio CD/CD-Extra.
• When you import from CD-DA, a name of “PAD_x_y” (x= pad
number, y= sample bank) will automatically be assigned to
HINT
• When you import a WAV file, the first eight characters (not
including the extension) of that filename will be assigned as
the name of the sample.
• If a mixed mode format CD-ROM is inserted in the CD-RW
drive, a popup window will appear, allowing you to select
AUDIO (CD-DA) or WAVE (WAV files) for importing. Move the
cursor to the button for the type of data that you want to
import, and press the [ENTER] key.
• The imported sample will be saved together with the current
song.
• Only 16-bit or 24-bit, 44.1 kHz, mono or stereo WAV files can
be imported. Also, WAV files having a different bit depth from
the song cannot be imported.
NOTE
• It is not possible to import samples while the AW1600 is run-
ning.
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Importing from an audio track/stereo track to a pad
Importing from an audio track/stereo track to a pad
Here’s how a region of an already-recorded track of the current song can be imported into a sam-
ple bank for pads 1–4.
Play back the song, and find the track and
region that you want to import.
1
HINT
• If you import monaural audio from a track 1–16, the same
sample will be assigned to the left and right channels.
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
2
Move the cursor to the V.TR field, and turn
the [DATA/JOG] dial to select a virtual track
1–8 as the import destination.
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the TR
IMPORT page of the SAMPLE screen.
4
5
1
2
3
4
Move the cursor to the From Start and From
End fields, and turn the [DATA/JOG] dial to
specify the start and end of the region that
will be imported.
The units by which you specify the location will
depend on the current counter display method. For
details on the counter display, refer to page 146.
Move the cursor to theTo PAD andTo BANK
fields, and turn the [DATA/JOG] dial to
specify the pad number and sample bank
into which the data will be imported.
6
7
5
6
7
This page contains the following items.
1 From TR
Specifies the track from which the data will be
When you have finished making the set-
tings, move the cursor to the EXEC button
and press the [ENTER] key.
imported.
B From V.TR
Specifies the virtual track from which the data will be
imported.
A popup window will ask you to confirm the opera-
tion.
C From Start
Specifies the beginning of the region that will be
imported.
To execute the import, move the cursor to
the OK button and press the [ENTER] key.
8
11
The data will begin being read from the track. If you
decide to cancel the import operation, move the cursor
to the CANCEL button and press the [ENTER] key.
D From End
Specifies the end of the region that will be imported.
E To PAD
Selects the pad (1–4) to which the data will be
HINT
imported.
• The imported sample will be assigned the same name as the
track from which the data was imported.You are free to edit
F To BANK
Selects the sample bank (A–D) to which the data will
• The imported sample is saved together with the current song.
be imported.
G NAME
NOTE
Indicates the name of the sample that is currently
assigned to the sample bank you specified as the
import destination. If no sample is currently assigned,
this will indicate [-NO REC-]. This item is for display
only, and cannot be edited.
• A total of up to approximately 47 seconds (approximately 29
seconds in 24-bit songs) of samples can be imported into the
Quick Loop Sampler. If you specify a region that exceeds this
amount, an error message will be displayed, and the import
operation cannot be executed.
• If you import once again into the same pad and sample bank,
that sample will be overwritten by the newly imported data. If
you want to keep the previously-imported sample, you must
import the new data into a different pad or sample bank.
Move the cursor to the From TR field, and
turn the [DATA/JOG] dial to select one of
the following as the import source track.
3
• It is not possible to import samples while the AW1600 is run-
ning.
• 1–16................Import monaural audio from a track
1–16.
• 1/2–15/16........Import stereo audio from tracks 1/2–
15/16.
• ST ...................Import stereo audio from the stereo
track.
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Importing From a Computer To the Pads
Importing From a Computer To the Pads
WAV files imported into the AW1600 from a computer via the USB interface can be assigned to
the pads.
Move the cursor to the From WAVE File
field, and turn the [DATA/JOG] dial to select
the WAV file that you want to import.
WAV files to be imported must first be copied from the
computer’s hard disk to the “Transport” folder on the
AW1600 internal hard disk. WAV files stored in sub-
folders within the Transport folder can also be used.
2
■ Importing WAV files from a computer
With the AW1600 connected to a computer via a USB
cable, copy the required file(s) from the computer’s hard
disk to the “Transport” folder in the AW1600. For details
■ Assigning WAV files to the pads
Use the To PAD and To BANK fields to spec-
ify the pad/sample bank into which the data
will be imported.
In the Quick Loop Sampler section, repeat-
3
4
1
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the WAV
IMPORT page of the SAMPLE screen.
When you have finished specifying the data
to be imported, move the cursor to the
EXEC button and press the [ENTER] key.
1
2
A popup window will appear, asking you to confirm
the operation.
To execute the import, move the cursor to
the OK button and press the [ENTER] key.
5
3
4
E
Importing will begin. If you decide to cancel the
import, move the cursor to the CANCEL button and
press the [ENTER] key.
This page contains the following items.
1 From WAVE File
11
Specifies the WAV file that will be imported.
HINT
B LISTEN button
• The imported sample will be assigned the same name as the
WAV file from which the data was imported.You are free to
If you move the cursor to this button and press the
[ENTER] key, the currently selected WAV file will be
played back repeatedly.
• The imported sample will be saved together with the current
song.
C To PAD
Selects the pad number (1–4) to which the WAV file
NOTE
will be imported.
• A total of up to approximately 47 seconds (approximately 29
seconds in 24-bit songs) of samples can be imported into the
Quick Loop Sampler. If you specify a WAV file that exceeds
this amount, an error message will be displayed, and the
import operation cannot be executed.
D To BANK
Selects the sample bank (A–D) to which the WAV file
will be imported.
• If you import once again into the same pad and sample bank,
that sample will be overwritten by the newly imported data. If
you want to keep the previously-imported sample, you must
import the new data into a different pad or sample bank.
E NAME
Indicates the name of the sample that is currently
assigned to the import-destination sample bank. If
nothing is assigned, this will indicate [-NO REC-].
This field is only for display, and cannot be edited.
• It is not possible to import samples while the AW1600 is run-
ning.
NOTE
• Only 16-bit or 24-bit, 44.1 kHz, mono or stereo WAV files can
be imported. Also, WAV files having a different bit depth from
the song cannot be imported.
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Editing the sample name
Editing the sample name
Here’s how you can edit the sample name that is assigned when you import from an audio CD or
WAV file.
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use CUR-
SOR [ ]/[ ] keys to access the SETUP
page of the SAMPLE screen.
Move the cursor to the Bank field, and turn
the [DATA/JOG] dial to select the sample
bank whose name you want to edit.
1
2
3
The sample name is displayed at the right.
Move the cursor to the NAME button and
press the [ENTER] key.
1
2
3
The TITLE EDIT popup window will appear.
1 Bank
Selects the sample bank that will be used for each pad.
You may use only capital letters, numerals, and the
underscore “_” character.
B Sample name
Indicates the name of the sample that is assigned to the
currently selected sample bank.
When you have finished editing the name,
move the cursor to the OK button and press
the [ENTER] key.
The popup window will close, and the new name will
be applied.
4
C NAME button
Opens the TITLE EDIT popup window, where you
can edit the name of the sample.
11
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Trimming the playback region
Trimming the playback region
Here’s how you can view the waveform of the sample assigned to a sample bank, and adjust the
playback start and end points.
D Waveform display
Displays the waveform of the selected sample.
In the Quick Sampler Section, repeatedly
press the [SAMPLE EDIT] key or hold down
the [SAMPLE EDIT] key and use the CUR-
SOR [ ]/[ ] keys to access the SETUP
page of the SAMPLE screen.
1
E TIME
Specifies the range of time that will be displayed for
the waveform. If you select 1SEC, the distance from
the left edge of the screen to the right edge will corre-
spond to one second. If you select SAMPLE, the dis-
play will be at maximum magnification, and each
pixel in the horizontal direction will correspond to one
sample (1/44,100 second).
1
2
F AMP
Specifies the range of levels that will be displayed for
the waveform. If you select 0 dB, the top and bottom
edges of the screen will be the maximum level.
1 Bank
Selects the sample bank used for each pad.
G ← button
Displays the area near the Start point of the waveform.
B TRIM button
Accesses a popup window that displays the waveform
of the sample.
H → button
Displays the area near the End point of the waveform.
I EXIT button
Applies the settings and closes the popup window.
Move the cursor to the bank field for the
pad whose playback region you want to
adjust, and select the sample bank.
2
3
Move the cursor to the Start point, and turn
the [DATA/JOG] dial to adjust the playback
start point of the sample.
If you expand or shrink the time axis of the waveform
display, the movement that occurs when you turn the
[DATA/JOG] dial will change accordingly. It is a good
idea to start with a lower magnification, set the loca-
tion approximately, and then zoom in to a higher mag-
nification and make detailed adjustments.
4
Move the cursor to the TRIM button for the
pad whose playback region you want to
adjust, and press the [ENTER] key.
The WAVE DISPLAY popup window will appear. In
this popup window you can view the waveform of the
selected sample, and specify the start point (playback
start location) and end point (playback end location).
11
1
2
3
5 6
In the same way, move the cursor to the end
point and adjust the playback end point of
the sample.
5
6
HINT
• The unused region before the Start point and after the End
point can be deleted later if you wish. For details, refer to
4
7
9 8
When you have finished making settings,
move the cursor to the EXIT button and
press the [ENTER] key.
1 PAD
Indicates the currently selected pad and sample bank.
Use the [DATA/JOG] dial to specify whether the L or
the R channel will be displayed.
The popup window will close.
B Start point
Specifies the start point of the sample.
C End point
Specifies the end point of the sample.
HINT
• In the WAVE DISPLAY popup window, the start point and end
point are indicated by vertical dotted lines.
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Switching the playback mode for each pad
Switching the playback mode for each pad
Here’s how you can switch the playback mode for each pad between One Shot or Loop modes,
and between Trigger and Gate modes.
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the
SETUP page of the SAMPLE screen.
Move the cursor to the item that you want to
set, and turn the [DATA/JOG] dial to select
the setting.
1
3
NOTE
• Playback mode settings are made for each pad.The playback
mode of a pad will not change when you switch the sample
bank of that pad.
Repeatedly press the CURSOR [ ] key to
access the second page of the SETUP
page.
2
1
2
Since the SETUP page contains numerous settings, it
is divided into two pages. (To return to the first page,
press the CURSOR [ ] key repeatedly.) The second
page contains the following items.
1 One Shot/Loop mode
Selects one of the following two modes to specify how
the sample assigned to the pad will play back.
• ONE SHOT ...........The playback region of the sam-
ple will be played only once.
• LOOP....................The playback region will be
played repeatedly.
11
NOTE
• If you select LOOP, the playback will automatically follow the
time signature and tempo that are specified in the TEMPO
MAP page of the SONG screen. In this case, the way in which
the sample plays back will depend on the SLICE setting.
B Trigger/Gate
Selects one of the following two types of operation for
when the pad is pressed.
• GATE ....................The sample will play only while
you hold down the pad.
• TRIGGER..............The sample will play to the end
when you press the pad once.
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Using the Slice function
Using the Slice function
Slice is a function that divides a sample (whose playback mode is set to Loop) into eight to six-
teen segments, and adjusts the timing of each segment so that it can be played at a different
tempo without affecting the pitch.
Here’s how you can use the Slice function to play a sampled phrase at the tempo of the current
song.
HINT
• The Slice function always handles the playback region of the sample as one measure. Before using the
Slice function, you must trim the playback region of the sample so that it is one measure long.
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the
SETUP page of the SAMPLE screen.
Move the cursor to the SLICE field of the
pad for which you want to use the Slice
function, and select one of the following as
the slice setting.
1
3
• OFF ................ The Slice function will not be used.
• 8 ..................... The playback region of the sample
will be divided into eight equal seg-
ments.
1
2
• 12 ................... The playback region of the sample
will be divided into twelve equal seg-
ments.
• 16 ................... The playback region of the sample
will be divided into sixteen equal
segments.
3
HINT
• Normally when you use the Slice function, you will select the
number of segments based on the shortest note value in the
original phrase. For example you would use a setting of 16 if
the shortest note value in the original phrase is a sixteenth
note, a setting of 12 for eighth note triplets, or a setting of 8 for
eighth notes.
1 SLICE
Turns the Slice function on/off. If this is on, you can
specify the number of segments into which the sample
will be divided. If the playback mode is not set to
Loop mode, this will be displayed as “–” and cannot
be changed.
11
• If the Slice function is OFF, the waveform will play from the
beginning of the measure without being divided. If the wave-
form is longer than one measure, it may not play completely.
B BPM
Indicates the tempo calculated by considering the
playback region of the sample as one measure. This
field is for display only, and cannot be edited.
Move the cursor to the MONITOR TEMPO
field, and turn the [DATA/JOG] dial to select
SONG.
The MONITOR TEMPO field selects one of the fol-
lowing as the basic tempo at which the phrase will be
played if you play the sample while the recorder is
stopped.
4
C MONITOR TEMPO
Selects the basic tempo that will be used for playing
the phrase sample when the recorder is stopped. This
item only affects a sample whose playback mode is set
to LOOP. While the recorder is running, the tempo of
the song will be used.
• ORIGINAL...... The original tempo of the sample,
shown in the BPM field
Move the cursor to the bank field of the pad
for which you want to use the Slice func-
tion, and select the sample bank.
2
• SONG............. The tempo specified by the tempo
map
• 30–250 ........... The numerically specified tempo
If you select SONG, the playback timing of each seg-
ment will be adjusted according to the tempo that is
specified by the tempo map for the current location.
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Using the Slice function
The following diagram shows how, for a sample with
an original tempo of 100 BPM, the playback timing of
each segment will change at a song tempo of 120 BPM
or 80 BPM.
● When song tempo = 120
● Original sample (tempo = 100)
● When song tempo = 80
segment
Strike the pad to hear the result.
5
If the playback of the sample is broken in an unnatural
way, go back to step 3 and try changing the number of
segments into which the sample is divided. However,
this may not improve the result if there is too great a
difference between the tempo of the sample and the
tempo of the current song.
Repeatedly press the [TRACK] key or hold
down the [TRACK] key and use the CUR-
SOR [ ]/[ ] keys to access the VIEW page
of the TRACK screen.
6
7
11
Play back the song, and press the pad for
which you turned the Slice function on.
The phrase of the sample assigned to the pad will play
in synchronization with the tempo of the current song.
If you have input data in the tempo map to change the
tempo during the song, the sample phrase will follow
the change. (For details on tempo map settings →
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Deleting an unwanted sample
Deleting an unwanted sample
Here’s how you can delete unused data (before the start point and after the end point) from a
specific sample, or completely erase an individual sample.
The procedure after this point will depend on the function
that you want to execute.
In the Quick Loop Sampler section, repeat-
edly press the [SAMPLE EDIT] key or hold
down the [SAMPLE EDIT] key and use the
CURSOR [ ]/[ ] keys to access the MEM-
ORY page of the SAMPLE screen.
1
■ To erase the entire sample
To erase the entire selected sample, move
the cursor to the ERASE button and press
the [ENTER] key.
1
In this page you can delete the unused portion of a
sample, or erase an unwanted sample.
A popup window will ask you to confirm that you
want to erase the sample.
12
3
4
56
To execute the erasure, move the cursor to
the OK button and press the [ENTER] key.
2
If you decide to cancel, move the cursor to the CAN-
CEL button and press the [ENTER] key.
7
8
■ To delete the unused
1 One Shot/Loop mode
portions of the selected sample
This icon indicates whether One Shot mode ( ) or
Loop Mode ( ) is selected for the sample assigned to
the pad.
Move the cursor to the EXTRACT button
and press the [ENTER] key.
1
B Pad number
Indicates the pad number 1–4.
A popup window will ask you to confirm that you
want to delete the data.
C Size
To execute the deletion, move the cursor to
the OK button and press the [ENTER] key.
If you decide to cancel, move the cursor to the CAN-
CEL button and press the [ENTER] key.
2
This area graphically indicates the memory size of
each sample. The horizontal line indicates the amount
of memory used by each pad.
11
D PAD
E BANK
These select the pad (1–4) and sample bank (A–D) to
which the operation will apply.
F Sample name
Indicates the name of the sample for the pad and sam-
ple selected in 4 and 5.
G ERASE button
Erases the specified sample.
H EXTRACT button
Discards the unused portions (before the start point
and after the end point) of the specified sample.
HINT
• For details on how to adjust the start point and end point of a
sample, refer to page 122.
Move the cursor to the PAD/BANK fields,
and turn the [DATA/JOG] dial to select the
pad and sample bank.
2
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Chapter 12
Track editing
This chapter explains how you can edit the audio data recorded in an audio
track, and how to edit the pad events recorded in a pad track.
What you can do using editing commands
The AW1600 provides various editing commands for editing the recorded audio tracks and pad
tracks. Editing commands are functions that let you specify a track or region, and delete or move
the data of that track or region.
The AW1600 provides the following editing commands.
Here are some ways in which you can use these editing
commands.
● ERASE
1 Erase unwanted regions
Erases the data of the specified region.
You can use the ERASE command to erase just a specific
region of a specific track. For example, this provides a
convenient way to erase a few wrong notes from a perfor-
mance, or to eliminate noise that occurred while an instru-
ment was not playing.
● DELETE
Deletes the data of the specified region. Any data that fol-
lows the deleted region will be moved forward by the cor-
responding distance.
● INSERT
Inserts blank space into the specified region.
B Change the structure of the tracks
You can use the EXCHANGE command to exchange an
entire track with another track. By using this command
you can bring tracks of widely separated track numbers
closer to each other for easier operation during mixdown.
You can use the COPY or MOVE commands to copy/
move the specified region of a track to a different track.
This is convenient when you have recorded a solo part
among two or more virtual tracks, and want to assemble
the best parts into a single track.
● COPY
Copies the data from the specified region to the desired
location of the desired track.
● MOVE
Moves the data from the specified region to the desired
location of the desired track. The move-source data will be
erased.
● EXCHANGE
Exchanges data between the specified tracks.
C Change the structure of the song
You can use the DELETE or COPY commands to delete/
copy entire tracks, changing the structure of the song
itself. Even after all parts of the song have been recorded,
you can use this method to adjust the length of the song,
for example by shortening the number of measures or
increasing the number of choruses.
12
● TIME COMP/EXP
(Time Compression/Expansion)
Adjusts the length of the specified region of an audio track
without affecting its pitch.
● PITCH CHANGE
Adjusts the pitch of the specified region of an audio track
without affecting its length.
D Create special effects
You can also use editing commands to create special
effects. For example, you can copy a guitar or vocal solo
part to another track and use the PITCH CHANGE com-
mand to slightly detune one of these tracks, creating a
chorus effect without using the internal effect processor.
By applying the PITCH CHANGE command to a drum
track to lower the pitch, you can create a unique lo-fi
effect.
● EXPORT
Writes the specified region of an audio track to a WAV
file.
HINT
• The EXCHANGE, TIME COMP/EXP, PITCH CHANGE, and
EXPORT commands can only be used on audio tracks. The
remaining commands can be used on either audio tracks or pad
tracks.
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What you can do using editing commands
■ Select the track(s) to edit
After you choose an editing command, the next step is to
specify the track(s) that will be edited.
Basic procedure for
track editing
Here is the basic procedure for using a track editing com-
mand. The procedure is essentially the same for all track
editing commands.
To select the track for editing, move the cur-
3
sor to theTR (Track) field in the lower left of
the EDIT screen, and turn the [DATA/JOG]
dial.
For any command, the TR (Track) field will appear in
the lower left of the screen, allowing you to select the
track(s).
■ Select the editing command
In the Work Navigate section, repeatedly
press the [EDIT] key.
1
The EDIT screen will appear. This screen displays the
following information.
Track number
1
2
In the TR field you can select the following types of
data.
• CLIP .............Sound clip
• 1–16 .............An audio track
• 1/2–15/16 .....A pair of adjacent odd-numbered/
4
3
even-numbered audio tracks
• ST.................The stereo track
1 Editing command
Indicates the currently selected editing command.
• PAD ..............A pad track
• ALL ..............Audio tracks 1–16 and pad tracks 1–4
B Locator/marker
Indicates the approximate location of the currently set
NOTE
locate points and markers.
• The data that can actually be selected will depend on the
command.
If the current track is selected as the virtual track to be
edited, the approximate range(s) of recorded data will
also be displayed.
Select the virtual track or pad that you want
to edit.
If you selected an audio track (1–16,1/2–15/16, STE-
REO) in step 3, the V (V.TRACK) field will appear at
the right, allowing you to select the virtual track num-
ber. Move the cursor to this field and select a virtual
track number 1–8.
4
C Parameters
Sets various parameters (track/virtual track number,
editing region, etc.) required in order to execute the
command. The type of parameters and the ranges of
the settings will depend on the command that is
selected.
12
D EXEC button
Virtual track number
Move the cursor to this button and press the [ENTER]
key to execute the editing command.
Repeatedly press the [EDIT] key or hold
down the [EDIT] key and use the CURSOR
2
[
]/[ ] keys to select the desired editing
If you selected PAD in step 3, a field allowing you to
select pad number will appear at the right. Move the
cursor to this field and select a number 1–4.
command.
The EDIT screen is divided into pages for each editing
command. For example, a screen like the one shown
below will appear if you choose the ERASE com-
mand.
Pad number
NOTE
• For some commands, you will need to specify both source
and destination tracks.
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What you can do using editing commands
■ Specify the editing region
■ Execute the command
When you have finished setting parameters, execute the
command.
For most commands, you will need to set the Start (the
beginning of the edited region) and End (the end of the
edited region) parameters to specify the region that will be
affected by the command.
Move the cursor to the EXEC button, and
press the [ENTER] key.
7
To specify the beginning of the region to be
5
A popup window will ask you to confirm the opera-
tion.
edited, move the cursor to the desired digit
of the Start field, and turn the [DATA/JOG]
dial.
The Start/End parameters are displayed at the right of
the TR field.
Start parameter
(beginning of the region to be edited)
Move the cursor to the OK button to exe-
8
cute the command, or move the cursor to
the CANCEL button to cancel without exe-
cuting.Then press the [ENTER] key.
HINT
End parameter
• Even after you press the [ENTER] key to execute the com-
mand, you can press the [UNDO/REDO] key to return to the
state prior to executing the command.You can use this func-
tion to compare the original data with the results produced by
executing the command.
(end of the region to be edited)
You can set the Start/End parameters in terms of the
counter display format (the value at the left) or in units
of measures/beats (the value at the right). Move the
cursor to the digit that you want to change, and turn
the [DATA/JOG] dial to set the value.
NOTE
• If as a result of executing a command, a track no longer con-
tains any recorded data, the name of that track will change to
“-NO REC-”.
To specify the end of the region to be
6
edited, move the cursor to the desired digit
of the End field, and turn the [DATA/JOG]
dial.
HINT
• If you move the cursor to the Start or End parameter and
press the [ENTER] key, the current counter location will be
input. Alternatively, you can recall a locate point or marker to
move to that location in the song, and then press the [ENTER]
key to input that location as the value of the Start or End
parameter.
12
NOTE
• For some commands, you will also need to specify a location
in the editing-destination track. In the same way as described
above, move the cursor to the counter display format field or
the measure/beat field, and specify the location.
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List of editing commands
List of editing commands
This section lists all the commands that are provided in the EDIT screen, and explains their
parameters.
■ Parameter list
ERASE
Erases the data in the specified region (between Start and
End) of the specified track(s).
Parameter
Range
1–16
Explanation
A single audio track
7/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
1 23
4
1 TR
ST
The stereo track
PAD
ALL
1–8
1–4
A single pad track
Tracks 1–16 + Pad tracks 1–4
Virtual track number
Pad number
2 V.TR *1
3 PAD *2
4 Start
5 End
Specify a point Beginning of the edited region
Specify a point End of the edited region
5
*1. 2 V.TR can be selected only if TR=1–16, 1/2–15/16, or ST.
*2. 3 PAD can be selected only if TR=PAD.
● For an audio track
Start
End
End
End
1
1
2
3
3
4
5
6
7
7
8
ERASE
2
8
● For a pad track (loop)
Start
ERASE
12
● For a pad track (one shot)
Start
ERASE
NOTE
• If you select the pad track of a pad that is set to one-shot mode, all
pad events whose attack falls within the Start/End region will be
erased.
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List of editing commands
DELETE
INSERT
Deletes the data from the specified region of the specified
track(s).
Inserts blank space into the specified region. Data follow-
ing the location of the Start parameter will be moved
backward to make room.
This command is similar to ERASE, but differs in that the
data that follows the specified region will move forward to
fill the gap.
1 23
4
1 23
4
5
5
● For an audio track
Start
● For an audio track
1
1
2
3
4
5
Start
End
End
End
INSERT
1
1
2
3
4
7
5
8
6
7
8
2
3
4
5
DELETE
Size
2
3
● For a pad track (loop)
● For a pad track (loop)
Start
Start
INSERT
DELETE
Size
● For a pad track (one shot)
12
● For a pad track (one shot)
Start
Start
DELETE
INSERT
Size
NOTE
• If you select the pad track of a pad that is set to one-shot
mode, all pad events whose attack falls within the Start/End
region will be erased.
■ Parameter list
The parameters are the same as for the ERASE command.
However instead of 5 End, use 5 Size to specify the
region that will be inserted.
■ Parameter list
The parameters are the same as for the ERASE command.
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List of editing commands
● For a pad track (one shot)
COPY
From Start
From End
Copies the specified region of data to the specified loca-
tion of the specified track.
From
PAD
1 23
4
6
To
PAD
To Start
COPY
From
PAD
To
PAD
8 9J
K
5
L M 7
■ Parameter list
● For an audio track
Start
End
Parameter
Range
CLIP
Explanation
From
Track
Content recorded in a sound clip
(the region specified by CLIP)
1
2
3
4
5
6
F
7
8
1–16
A single audio track
To
Track
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
A
B
C
D
E
G
H
To Start
ST
The stereo track
COPY
1 From TR
PAD
A single pad track
From
Track
1
2
3
4
4
5
5
6
6
7
8
ALL (OVER)
Tracks 1–16 + Pad tracks 1–4
(overwrite onto the copy-destina-
tion)
To
Track
A
B
F
G
H
ALL (INS)
Tracks 1–16 + Pad tracks 1–4
(insert into the copy-destination)
2 From V.TR*1 1–8
Copy-source virtual track number
Copy-source pad number
3 From PAD*2
4 From Start
5 From End
1–4
● For a pad track (loop)
Specify a point Copy-source starting location
Specify a point Copy-source ending location
From Start
From End
6 Start Mea-
sure Lock*3
7 EndMeasure
Lock*3
On/off (indi-
cated by “lock” for From Start/From End
icon)
Switch the measure lock function
From
PAD
To
PAD
1–16
A single audio track
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
To Start
12
COPY
8 To TR*4
From
PAD
ST
The stereo track
PAD
1–8
A single pad track
Copy-destination virtual track
number
To
PAD
K To Start
L To Times
1–4
Copy-destination pad number
Specify a point Copy-destination starting location
1–99 Number of copies
NOTE
ON/OFF (indi- Switch the grid function
cated by high-
lighted GRID
• If you set A From TR to other than ALL (INS), the copy-destina-
tion track will be overwritten, and the data that follows the copied
region will not be moved backward.
M GRID*5
text when on)
If you set A From TR to ALL (INS), the copy-destination track will
be moved backward by the size of the copied region. Note that this
may cause the bar lines specified by the tempo map to change
their location relative to the audio data.
*1. 2 From V.TR and 9 To V.TR can be selected only if From TR=1–
16, 1/2–15/16, or ST.
*2. 3 From PAD and J To PAD can be selected only if TR=PAD.
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List of editing commands
*3. Measure lock function (6 Start Measure Lock, 7 End Measure
Lock)
● For an audio track
Measure Lock allows a measure/beat to be specified within a region
to be copied so that it aligns with the specified measure/beat in the
copy destination. For example, in a situation in which you have an
abstract or rubato segment before the in-tempo performance begins,
you can “Measure Lock” the beginning of the in-tempo segment so
that it is copied to the appropriate location in the destination.
To use the measure lock function,
Start
End
From
Track
1
2
3
4
5
6
F
7
8
To
Track
A
B
C
D
E
G
H
move the cursor to the measure dis-
play field of From Start or From End,
specify the measure/beat location that
To Start
MOVE
will be the reference point for the
matching, and press the [ENTER] key.
From
Track
1
2
3
4
5
6
7
8
A “lock” icon will appear beside the value that you specified, and the
measure lock function will be turned on for From Start or From End.
(This can be turned on for either Start or End, not both.)
While the measure lock function is on, the value of that measure dis-
play format setting will be fixed, and cannot be modified. In this state
if you use the counter display format field to specify the From Start
and From End locations, and execute the copy, the location you
specified in the measure display format field will be aligned with the
copy-destination To Start setting.
To
Track
A
B
F
G
H
● For a pad track (loop)
From Start
From End
● When measure lock = on
From
PAD
Measure Lock
Start
End
To
From
Track
1
2
3
4
5
6
F
7
8
PAD
To Start
MOVE
To
Track
From
PAD
A
B
C
D
4
E
G
H
To Start
COPY
To
PAD
From
Track
1
2
3
5
6
7
8
To
Track
A
4
5
6
E
F
G
H
● For a pad track (one shot)
To Start
From Start
From End
*4. The possible choices for 8 To TR (copy-destination track) will
depend on your selection for 1 From TR (copy-source track).
If 1 From TR is a single audio track 1–16, you will be able to select
only a single audio track 1–16.
From
PAD
If 1 From TR is CLIP, ST, 1/2–15/16 (a pair of adjacent audio
tracks), you will be able to select only ST or 1/2–15/16 (a pair of
adjacent audio tracks).
To
PAD
To Start
If 1 From TR is PAD, you will be able to select only PAD.
MOVE
If 1 From TR is ALL (OVER) or ALL (INS), you cannot select TO
TR.
From
PAD
12
*5. Grid function (M GRID)
When this function is on, the To Start location cannot be specified in
counter-display format; it can be specified only in measure/beat
units.
To
PAD
By using the Grid function in conjunction with the Measure Lock
function, you can easily copy measure/beat-length segments of data
whose divisions do not fall precisely on the measure or beat.
■ Parameter list
The parameters are the same as for the COPY command.
However, you cannot select CLIP for 1 From TR. Also,
there is no L To Times setting.
MOVE
Moves the specified region of data to the specified loca-
tion of the specified track. This is similar to COPY, but
differs in that the move-source data will be deleted.
1 23
4
6
8 9J
K
5
M
7
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List of editing commands
EXCHANGE
TIME COMP/EXP
Exchanges data between the specified tracks.
(Time Compression/Expansion)
1 2
3
Adjusts the length of the specified region of an audio
track, without changing the pitch.
1
2
3
4
4 5
6
● For an audio track
5
6
From
Track
1
2
3
4
5
6
● If you set Ratio = 50%
To
A
A
B
B
C
C
D
D
E
F
From Start
From End
Track
EXCHANGE
1
1
2
3
4
A
B
C
D
From
Track
TIME
COMP/EXP
E
F
To
Track
2 3 4
A
B
C
D
1
2
3
4
5
6
To END
■ Parameter list
● If you set Ratio = 200%
From Start
From End
Parameter
Range
Explanation
A single audio track
1–16
1
1
2
3
4
A
B
C
C
D
D
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
1 From TR
TIME
COMP/EXP
ST
The stereo track
2
3
4
1–8
Exchange-source virtual track
number
2 From V.TR
3 Name
To END
Up to eight
alphanumeric name (display only)
characters
Exchange-source virtual track
■ Parameter list
1–16
A single audio track
12
4 To TR*1
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
Parameter
Range
Explanation
1–8
Exchange-destination virtual
track number
1–16
A single audio track
5 To V.TR
6 Name
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
1 From TR
Up to eight
alphanumeric track name (display only)
characters
Exchange-destination virtual
ST
The stereo track
2 From V.TR
3 From Start
4 From End
1–8
Virtual track number
*1. The items that you can select in 4 To TR (copy-destination track)
will depend on the 1 From TR (copy-source track) setting.
If 1 From TR is a single audio track 1–16, you can select only a sin-
gle audio track 1–16.
Specify a point Beginning of the edited region
Specify a point End of the edited region
Specify a point Specify the length to which the
selected region will be com-
If 1 From TR is ST or 1/2–15/16 (a pair of adjacent audio tracks),
you can select only 1/2–15/16 (a pair of adjacent audio tracks).
5 To End
pressed or expanded
50–200%
Specify the percentage by which
the selected region will be com-
pressed or expanded
NOTE
6 To Ratio
• The track names will not be exchanged.
NOTE
• To End and To Ratio are linked, so that editing one field will cause
the other field to change.
• You cannot set To End or To Ratio to a value that would cause the
ratio to exceed 50–200 percent.
• From Start value and From End value must be at least 45 msec
apart. These cannot be set to a shorter interval.
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List of editing commands
PITCH CHANGE
EXPORT
Adjusts the pitch of the specified region of an audio track,
without changing the length.
Writes the specified region of an audio track to a WAV
file.
Use this when you want to transfer audio data to your
computer so that you can edit the data using a waveform
editing program.
1
2
3
4
5
6
For details on the parameters and procedure for the Export
From Start
From End
PITCH
CHANGE
MERGE
Audio playback performance can be improved by using
this command to merge a number of separate regions (sec-
tions of audio data created in separate recording passes) in
a specified track into one continuous region.
From Start
From End
The merge command creates a continuous region from the
beginning of the track to the end of the last region on the
track, and sections of the track that contained no regions
are replaced with audio silence.
PITCH
CHANGE
1
2
■ Parameter list
Parameter
Range
Explanation
1–16
A single audio track
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
1 From TR
ST
The stereo track
2 From V.TR
3 From Start
4 From End
1–8
Virtual track number
12
Specify a point Beginning of the edited region
Specify a point End of the edited region
–12 to +12
semitones
Specify the amount of pitch
change in semitone units
MERGE
5 Pitch
–50 to +50
cents
Specify the amount of pitch
change in one-cent units (1/100th
of a semitone)
6 Fine
■ Parameter list
Parameter
Range
Explanation
1–16
A single audio track
1 From TR
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
2 From V.TR
1–8
Virtual track number
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Exporting WAV files and importing audio CD or WAV files
Exporting WAV files and importing audio CD or WAV files
In this section we’ll discuss transferring (exporting) audio data from the AW1600 tracks to a com-
puter in WAV file format, and transferring (importing) audio data in WAV file format from a com-
puter or CD into the AW1600 audio tracks or pads. It is also possible to directly access the internal
hard disk from a computer and edit the audio data using appropriate audio editor software.
NOTE
Importing and Exporting Audio
• Either the Windows XP SP1 or Mac OS X 10.3 or higher operating
system is required for computer WAV file management with the
Data From and To a Computer
Computer WAV file operations can be carried out either
via an import/export folder, or by directly accessing the
audio track or pad data.
When transferring via an import/export folder, the files
must first be written to the folder named “Transport” pro-
vided specifically for import and export. The AW1600 can
then be connected to the computer via a USB cable, and
to transfer to a computer must first be exported to the
the Transport folder can be opened from the computer.
The required WAV files can then be copied from the
Transport folder to the computer, or WAV files to be used
Exporting WAV files
The WAV files corresponding to the audio tracks you want
“Transport” folder on the internal hard disk drive. Once
these files have been transferred to the computer they can
be edited using appropriate waveform editing software, or
in the AW1600 audio tracks or pads can be copied from
imported into a DAW application for further processing or
the computer to the folder from which they can be
integration with other projects.
imported to the appropriate locations.
To directly access audio track or pad data the AW1600
must be connected to the computer via a USB cable, after
which the WAV files can be directly accessed inside the
appropriate folders in the AW1600. You can use a wave-
In the Work Navigate section, press the
[EDIT] key.
The EDIT screen will appear.
1
form editor application running on your computer to
directly edit the AW1600 audio data. For operational
tion” on page 144 for information on how the folders are
organized.
Repeatedly press the [EDIT] key or hold
down the [EDIT] key and use the CURSOR
2
[
]/[ ] keys to access the EXPORT page.
This page shows the following information.
1
2
3
4
12
WAV files via
USB cable
AW1600
5
Parameter
Range
Explanation
1–16
A single audio track
“Transport” folder
for WAV files
1/2–15/16
A pair of adjacent odd-numbered/
even-numbered audio tracks
1 From TR
ST
The stereo track
1–16
1–8
The current track of tracks 1–16
Virtual track number
Quick Loop
Sampler
(sample data)
2 From V.TR
3 From Start
Specify a point Beginning of the audio track
region that will be written
Audio tracks
Specify a point End of the audio track region that
will be written
4 From End
Internal
hard disk
Up to eight
Displays the name of the file to
5 File Name*1
alphanumeric which the data will be written
characters
WAV files/
Audio CD
*1. The name of the individual source track (or odd-numbered track in
the case of a pair) will be assigned by default.
CD-RW drive
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Exporting WAV files and importing audio CD or WAV files
Move the cursor to the From TR field, and
select the audio track that you want to
write.
If you select “1–16,” the current tracks of tracks 1–16
will be written as separate monaural WAV files.
3
4
5
NOTE
• Since the AW1600 does not have a concept of the real-world
date and time, dummy values will be written as the file cre-
ation date and time of the WAV files.
• Tracks that do not contain data in the specified region will not
be exported.
If you select “1”–“16,” the single specified track will
be written as a monaural WAV file.
Connect to a computer using a USB cable,
If you select “1/2”–“15/16” or ST, the specified pair of
tracks (or the STEREO track) will be written as a ste-
reo WAV file.
8
and copy the WAV files that have been
exported to the Transport folder to the com-
puter.
If you selected 1–16, 1/2–15/16, or ST as the
source for exporting, move the cursor to
the From V.TR, From Start, and From End
fields, and specify the virtual track number
and region that will be exported.
Transferring WAV Files To and
From a Computer
Connect the AW1600 to the computer using a USB cable,
and copy the WAV files that have been exported to the
Transport folder to the computer, or copy files from the
computer to the Transport folder. It is also possible to
directly access and edit audio data using waveform editing
software, and backup complete songs to the computer.
NOTE
• If you selected “1–16” as the export-source, the current tracks
for all sixteen tracks will be exported automatically. It is not
possible to specify the virtual track number for each.
When you have finished setting the param-
eters, move the cursor to the EXEC button
and press the [ENTER] key.
If select a source other than “1–16” the TITLE EDIT
popup window will appear, allowing you to enter a file
name.
Make sure that your computer meets the
following requirements.
• OS ........................ Windows XP Professional/Home
Edition SP1 or higher, or Mac
1
OSX 10.3 or higher.
• USB Interface...... USB 2.0
NOTE
• A USB 1.1 interface can also be used, but in that case file
transfer will occur at USB 1.1 speed.
If you select “1–16” as the source the TITLE EDIT
popup window will appear, allowing you to enter a
folder name. The WAV files (“TRACK_01.WAV” –
“TRACK_16.WAV”) will be stored in the new folder,
which will be created inside the “Transport” folder.
Make sure the POWER switch on the AW1600
is set to STANDBY, then connect the AW1600
to the computer via a USB cable.
2
Turn on the AW1600.
3
No driver installation is necessary for WAV file trans-
fer. If it is the first time you have connected a USB
cable on a Windows machine, however, you may see a
message prompting you to install a USB MIDI driver.
Even if you will not send and receive MIDI messages
via the USB cable, install the USB MIDI driver as
described on page 209.
12
Enter an appropriate file or folder name via
the TITLE EDIT popup window, as required.
For details on how to enter a name, refer to page 25.
6
7
Repeatedly press the Work Navigate sec-
4
tion [UTILITY] key or hold down the [UTIL-
ITY] key and use the CURSOR [ ]/[ ] keys
to access the USB page of the UTILITY
screen.
NOTE
• Characters that can be used in folder names are: the letters of
the alphabet, numbers, “.”, “-“, and “_”. Characters that can e
used in file names are: the capital letters of the alphabet,
numbers, and “_”.
To execute the export, move the cursor to
the OK button and press the [ENTER] key.
Exporting will begin. If you move the cursor to the
CANCEL button (instead of the OK button) and press
the [ENTER] key, the export operation will be can-
celled. (However, it is not possible to abort the export
process once it has been started.)
NOTE
• Before turning the Storage mode on, make sure that no MIDI
data is being transferred via the USB connection from and to
your computer.
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Exporting WAV files and importing audio CD or WAV files
Move the cursor to the CONNECT button,
and press the [ENTER] key.
The USB file transfer mode (USB Storage mode) will
be engaged and the display shown below will appear.
Most of the AW1600 functions are temporarily off
while this mode is engaged.
Open the appropriate drive/folder and copy
the required WAV files or directly edit the
WAV files using a waveform editor applica-
tion.
To access the Transport folder open the “AW1600-2”
drive.
5
7
To directly access WAV files on the AW1600 open the
“Song1” folder on the “AW1600-1” drive and the
“Song2” folder on the “AW1600-2” drive. These fold-
ers contain folders bearing the names of the recorded
songs (extension .AWS), and those folders further con-
tain folders labeled “Audio” that contain the actual
audio data. To backup a complete song to the com-
puter simply copy the folder bearing the name of the
song you want to backup to the computer.
Display the AW1600 internal hard disk on
the computer screen.
6
information on how the folders are organized.
● In the case of Windows XP:
The two windows will appear.
HINT
• Verification and repair of the internal hard disk can be carried
out from the computer. From a Windows computer enter the
“chkdsk” command at the command prompt, or from a Macin-
tosh computer running OS X use the Disk Utility First Aid
function.
NOTE
• For 24-bit songs, the audio data contained in the “Audio” fold-
ers is stored in 32-bit WAV format. If your waveform editor
application cannot handle 32-bit data, first export the WAV
file(s) to the “Transport” folder.WAV files imported or exported
via the “Transport” folder are automatically converted to 24-bit
format that can be edited using most waveform editor soft-
ware.
• Do not change the names of any folders/files other than those
in the Transport folder. Any folder/file names that have been
added or changed outside the Transport folder from the com-
puter will be automatically deleted. Be especially careful not
to change a song folder or song file name.
• Files larger than 4 GB cannot be copied.
NOTE
Once the required WAV file transfer and/or
editing operations have been finished, be
sure the “unmount” the AW1600 hard disk
from your computer after closing all
AW1600 windows.
8
• If the windows shown above do not appear, choose to display
the “AW1600-1” and “AW1600-2” drives from the Windows →
Start → My Computer menu.
12
● In the case of Mac OS X:
● In the case of Windows XP:
The “AW1600-1” and “AW1600-2” drive icons will
appear on the desktop.
Click the “Safely Remove Hardware ” icon in the task-
bar and remove the corresponding two “USB mass
storage devices”.
NOTE
NOTE
• If the icons are not displayed properly, use the Disk Utility to
temporarily un-mount the appropriate volume, and then
mount it again.
• If an error message appears, execute “Safely Remove Hard-
ware” one or two more times.You should then be able to
remove the device without seeing an error message.
● In the case of Mac OSX:
Drag the “AW1600-1” and “AW1600-2” icons from
the desktop to the trash.
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Exporting WAV files and importing audio CD or WAV files
•
•
...........Indicates that a WAV file is selected.
In the AW1600 screen, move the cursor to
the CANCEL button and press the [ENTER]
key.
9
...........Indicates that a folder in the same level is
selected.
•
...........Indicates that the folder in the next higher
level is selected.
A popup window confirming whether the AW1600 has
been safely removed from the computer will appear.
B Mono/stereo
Indicates whether the WAV file selected for importing
is monaural (M) or stereo (S). This field is for display
only, and cannot be changed.
C Size
To return to the normal mode move the cur-
sor to the OK button and press the [ENTER]
key.
10
Indicates the playback length (in msec) of the WAV
file selected for importing. This field is for display
only, and cannot be changed.
D LISTEN button
You can move the cursor to this button and press the
[ENTER] key to repeatedly hear the currently selected
WAV file.
Importing WAV Files
This procedure allows you to import WAV files transferred
from a computer to the “Transport” folder to be imported
into specified audio tracks. This is useful when importing
WAV files you have edited on your computer into the
AW1600.
E To TR
Selects the track number into which the WAV file will
be imported.
F To V.TR
Selects the virtual track number (1–8) into which the
WAV file will be imported.
NOTE
• For information on importing WAV file data into the AW1600 pads,
G To Start
Specifies the starting location (in counter-display for-
mat) of the import-destination to which the WAV file
will be imported.
Begin by transferring the requiredWAV files
1
from your computer to the AW1600 “Trans-
NOTE
• Only 16-bit or 24-bit, 44.1 kHz, mono or stereo WAV files can
be imported. Also, WAV files having a different bit depth from
the song cannot be imported.
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the TRACK screen WAV
IMPORT page.
2
]
Move the cursor to the FromWAVE file field,
and turn the [DATA/JOG] dial to select the
WAV file that you want to import.
The WAV files stored in the “Transport” folder will be
3
4
This page shows the following information.
2
1
3
4
12
NOTE
• The maximum number of WAV files that can be displayed is
100.
Use theToTR,To V.TR, andTo Start fields to
specify the track number, virtual track num-
ber, and starting location into which the
WAV file will be imported.
5 6
7
NOTE
1 From WAVE File
Selects the WAV file that will be imported.
• If the import-destination already contains data, it will be over-
written. Be careful not to accidentally overwrite important
data.
If the media contains folders (directories), move to the
folder that contains the WAV file you want to import,
and then specify the desired WAV file.
The icons shown here have the following meaning.
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Exporting WAV files and importing audio CD or WAV files
When you have finished making settings,
move the cursor to the EXEC button and
press the [ENTER] key.
A popup window will ask you to confirm the opera-
tion.
and if you accept these terms, move the
cursor to the OK button and press the
[ENTER] key.
The button display will change from OFF to ON, and
digital recording and importing from a CD will be
enabled.
5
3
4
NOTE
• The DIGITAL REC button will return to the OFF setting each
time you turn on the power.
To execute the import operation, move the
cursor to the OK button and press the
[ENTER] key.
Importing will begin. If you move the cursor to the
CANCEL button and press the [ENTER] key, import-
ing will be cancelled.
6
Insert a CD into the CD-RW drive.
You can import data from the following types of
media.
● Audio data (CD-DA)
• Audio CD
HINT
• CD-Extra (only the first session of CD-DA)
• Even after you press the [ENTER] key, you can press the
[UNDO/REDO] key to return to the state prior to importing, as
long as you have not executed any editing or recording opera-
tion since the import.
• Mixed Mode CD (only CD-DA data of the second
and later tracks)
● WAV files
NOTE
• ISO9660 Level 1 format CD-ROM, CD-R,
CD-RW*
• You cannot execute the Import operation while the AW1600 is
running.
• Mixed Mode CD
* The directory name and file name cannot use charac-
ters other than uppercase alphanumeric characters
and the “_” (underscore) character.
Importing from the CD-RW drive
In the Work Navigate section, repeatedly
press the [TRACK] key or hold down the
[TRACK] key and use the CURSOR [ ]/[
keys to access the CD IMPORT page of the
TRACK screen.
The READ CD INFO button will appear in the center
of the display.
5
6
CD audio data (CD-DA) or a WAV file from a CD-ROM
or CD-R can be imported (loaded) into an AW1600 audio
track. After being imported, this data can be handled in the
same way as any recorded audio track.
]
If you want to import from an audio CD,
1
repeatedly press the Work Navigate section
[UTILITY] key or hold down the [UTILITY]
key and use the CURSOR [ ]/[ ] keys to
access the D.IN • HDD page of the UTILITY
screen.
12
Immediately after the AW1600 is powered-on, it will
be set to prohibit digital recording from an external
source or importing from a CD. Before you can
import, you will need to disable this prohibition in the
D.IN • HDD page of the UTILITY screen.
Press the [ENTER] key.
The display will indicate “Read CD Info...,” and infor-
mation will be read from the CD inserted in the CD-
RW drive.
Depending on the import-source data, the screen will
change as follows.
● When importing from audio CD/CD-Extra
1
2
3
4
Move the cursor to the DIGITAL REC button,
2
and press the [ENTER] key.
A message will ask you to confirm that you will
observe the applicable copyright laws.
5 6
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Exporting WAV files and importing audio CD or WAV files
B Mono/stereo
1 From CD TRACK
Indicates whether the WAV file selected for importing
is monaural (M) or stereo (S). This field is for display
only, and cannot be changed.
Specifies the audio track number (01–99) of the
import-source CD.
B From Start
C Size
Specifies the beginning of the data that will be
Indicates the playback length (in msec) of the WAV
file selected for importing. This field is for display
only, and cannot be changed.
imported, in minutes/seconds/frames (1/75 second).
C From End
Specifies the end of the data that will be imported, in
D LISTEN/ENTER/UP button
minutes/seconds/frames (1/75 second).
The name and function of the button displayed here
will change depending on the item that is selected by
the From WAVE file parameter.
HINT
• The “frames” referred to here are the minimum time-axis units
used in CD-DA. Do not confuse them with the frames used in
MTC or SMPTE.
● If a WAV file ( ) is selected
The LISTEN button will be displayed, allowing you
to hear the WAV file repeatedly.
D LISTEN button
You can move the cursor to this button and press the
[ENTER] key to repeatedly hear the currently selected
region of the CD-DA.
● If a folder in the same level ( ) is selected
The ENTER button will be displayed, allowing you
to move into that folder.
E To TR
● If the next higher folder ( ) is selected
Selects the track number into which the data will be
imported. If the import-source is an audio CD or a ste-
reo WAV file, you will only be able to select a pair of
tracks 1/2–15/16.
The UP button will be displayed, allowing you to
move to the next higher folder.
E To TR
F To V.TR
G To Start
F To V.TR
Selects the virtual track number (1–8) into which the
These fields are the same as when you are importing
data will be imported.
from audio CD or CD-Extra.
G To Start
NOTE
Specifies the starting location (in counter-display for-
mat) of the import-destination to which the data will
be imported.
• If a Mixed Mode CD is inserted in the CD-RW drive, a popup
window will appear, allowing you to select AUDIO (CD-DA) or
WAVE (WAV files) to import. Move the cursor to the button for
the data that you want to import, and press the [ENTER] key.
• Only 16-bit or 24-bit, 44.1 kHz, mono or stereo WAV files can
be imported.
● When importing a WAV file
• When the import source is an audio CD or CD Extra disc and
the song is 24-bit, the audio data will be automatically con-
verted to 24-bit format during the import operation.
2
1
3
4
• When you move the cursor to the LISTEN button and press
the [ENTER] key, there will be a slight time lag while the data
is read from the CD before you hear it.
12
If you are importing a WAV file, move the
7
cursor to the From WAVE file field, and turn
the [DATA/JOG] dial to select the WAV file
that you want to import.
5
6
7
1 From WAVE file
Selects the WAV file that will be imported.
To move to a lower level, display the
field, then move the cursor to the ENTER button in the
screen and press the [ENTER] key.
icon in this
If the media contains folders (directories), move to the
folder that contains the WAV file you want to import,
and then specify the desired WAV file.
To move to the next higher level, display the
in this area, then move the cursor to the UP button and
press the [ENTER] key.
icon
The icons shown here have the following meaning.
•
•
.......... Indicates that a WAV file is selected.
If you are importing from audio CD or CD-
Extra, use the From Start and From End
fields to specify the region that will be
imported.
8
.......... Indicates that a folder in the same level is
selected.
•
.......... Indicates that the folder in the next higher
level is selected.
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Exporting WAV files and importing audio CD or WAV files
Use theToTR,To V.TR, andTo Start fields to
9
specify the track number, virtual track num-
ber, and starting location into which the
data will be imported.
When you have finished making settings,
move the cursor to the EXEC button and
press the [ENTER] key.
10
A popup window will ask you to confirm the opera-
tion.
To execute the import operation, move the
cursor to the OK button and press the
[ENTER] key.
11
Importing will begin. If you move the cursor to the
CANCEL button and press the [ENTER] key, import-
ing will be cancelled.
HINT
• Even after you press the [ENTER] key, you can press the
[UNDO/REDO] key to return to the state prior to importing, as
long as you have not executed any editing or recording opera-
tion since the import.
NOTE
• You cannot execute the Import operation while the AW1600 is
running.
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Chapter 13
Song management
This chapter explains how to perform song management operations such as
copying, deleting, backing up, and restoring songs.
About songs
■ Song Organization
■ Song Bit Depth
On theAW1600, your recorded compositions are managed
in units called “songs.” When you save a song on the hard
disk, the audio data, the sample data used by the quick
loop sampler, scene memories, and the data for each
library are all stored together. By loading a saved song,
you can return it to the original condition at any time.
You can store as many songs on the internal hard disk as
its capacity allows. Songs stored on hard disk are divided
into a song file containing all the basic setup information
for the song, and WAV files containing the audio data.
The AW1600 allows the bit depth of individual songs to be
set to either 16 or 24 bits. 24-bit songs are capable of pro-
viding higher audio quality than 16-bit songs, but the fol-
lowing limitations on the number of simultaneous record/
playback tracks apply.
Max. Simultaneous
Record Tracks
Max. Simultaneous
Play Tracks
Song Bit Depth
8
:
8
:
16 bits
1
0*
8
:
15
16*
0
:
24 bits
1
0*
7
8*
* For mixdown the number of simultaneous record tracks is two, and the
number of simultaneous playback tracks is 16 for 16-bit songs, or 8 for
24-bit songs.
Only 24-bit audio data can be used in 24-bit songs. 16-bit
WAV files cannot be imported from a computer or CD-
RW drive. Audio data imported from audio CDs, however,
will be automatically converted to 24-bit format. In the
same way, only 16-bit audio data can be used in 16-bit
songs.
HINT
13
• The bit depth of a song can be checked via the SONG screen
LIST page.
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About songs
■ Song Folder Organization
Song and related data stored on hard disk can be accessed from a computer
connected via USB in the same way as the hierarchical files and folders on the
computer’s hard disk. The folders are organized as follows:
“AW1600-1” Drive
“AW1600-2” Drive
Song1
001 Song Name.AWS 001 Song Name.AWS
Song2
002 Song Name.AWS
004 Song Name.AWS
0.WAV
1.WAV
2.WAV
3.WAV
Audio
Lib
001 Library Name.AWL 001 Library Name.AWL
0L.WAV
Audio
0R.WAV
Render
1L.WAV
1R.WAV
002 Library Name.AWL
003 Library Name.AWL
003 Song Name.AWS
005 Song Name.AWS
2L.WAV
2R.WAV
Transport
File Name1.WAV
File Name2.WAV
AW1600_SYS.BIN
■ “Song1” Folder
■ “Song2” Folder
Songs are stored in either the “Song1” or “Song2” folder.
Songs are stored in either the “Song1” or “Song2” folder.
■ Individual Song Folders
■ “Lib” Folder
Each song is stored in a folder bearing the song’s name
Sample library data is stored in the “Lib” folder.
(extension .AWS).
■ Individual Sample Library Folders
Sample library data is stored in a folder bearing the name
● Song Files
The following song settings are stored in a file bearing
of the sample library (extension .AWL).
the name of the song (extension .AWS):
● Sample Library Files
Sample library settings are stored in a file bearing the
name of the sample library (extension .AWL).
• Recorder section settings (SONG screen, TRACK screen).
• Mixer section settings (channels, effects).
• Quick loop sampler settings.
13
• Library settings (excluding the sample library).
• REMOTE screen settings.
■ “Audio” Folder
Sample library samples are stored as WAV files. The
pads use stereo samples which are stored as separate
left- and right-channel mono files: “*L.WAV”, “*R.WAV”.
For 24-bit songs the samples are saved as 32-bit WAV
files.
• Pad track event data.
■ “Audio” Folder
The following song audio data is saved in WAV file for-
mat. File names are automatically created in the order of
recording, as in: “0.WAV”, “1.WAV”, “2.WAV”, etc. 24-bit
song data is saved as 32-bit WAV files.
■ “Transport” Folder
This folder is used to store WAV files for import and export.
Data is stored as 16-bit or 24-bit WAV files.
• 16 + 2 (stereo track) audio x 8 virtual tracks.
• Quick loop sampler sample data.
• Sound clip audio data.
• Audio data for undo and redo operations.
● System File (AW1600_SYS.BIN)
Stores UTILITY screen settings and information for data man-
agement.
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The following operations are possible by directly access-
ing the data on the internal hard disk from a computer. For
• Specified audio data on the internal hard disk can be
directly edited from a computer using an appropriate
waveform editor application. The song will become
unplayable if you change the sampling frequency or
quantization of the audio data, but you can change the
length of the waveforms without problems.
NOTE
• For 24-bit songs, the audio data contained in the “Audio” folders is
stored in 32-bit WAV format. If your waveform editor application
cannot handle 32-bit data, first export the WAV file(s) to the “Trans-
port” folder. WAV files imported or exported via the “Transport”
folder are automatically converted to 24-bit format that can be
edited using most waveform editor software.
• Song data is created in either the “Song1” or “Song2” folder.You
may have to check both of these folders to locate a specific song.
• To restore the sample library data to it’s initial factory state, restore
the sample library data from the supplied CD-ROM.
• WAV files transferred from a computer to the “Transport”
folder can be imported to the AW1600 audio tracks or
pads as required, and specified regions of audio data
can be exported to the computer as WAV files which can
then be imported into computer-based DAW applica-
tions.
• If you initialize the AW1600 hard disk from your computer it will
become unreadable by the AW1600. Always use the UTILITY
screen D.IN • HDD page to initialize the AW1600 hard disk.
• The song folders also contain audio data for undo and redo opera-
tions that is not normally used.The undo/redo data can be deleted
• The entire contents of the internal hard disk or individual
songs can be backed up to the computer.
Editing the song name
Here’s how to edit the song name that is assigned when you create a new song.
NOTE
• This setting applies only to the current song. Before you perform this procedure, load the song
whose name you want to edit.
In the Work Navigate section, press the
[SONG] key.
The SONG screen will appear.
To edit the song name, move the cursor to
the NAME button and press the [ENTER]
key.
The TITLE EDIT popup window will appear, allowing
you to edit the song name.
1
2
3
4
Repeatedly press the [SONG] key or hold
down the [SONG] key and use the CURSOR
[
]/[ ] keys to access the SETUP page.
13
Input the new name.Then move the cursor
to the OK button and press the [ENTER]
key.
The new name will be applied, and the popup window
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Editing various settings for the song
Editing various settings for the song
Here’s how to make various settings for a song, such as switching protect on/off and selecting
the counter display format and time code format.
NOTE
• These settings apply only to the current song. Before you perform this proce-
dure, load the song whose settings you want to edit.
• The counter display mode (with the exception of REMAIN) and timecode frame
rate changes will be saved with the song data when the song is saved.
In the COUNTER DISPLAY area, use the following
buttons to select the display format for the counter that
is shown in the center of the top line in the display.
In the Work Navigate section, press the
[SONG] key.
The SONG screen will appear.
1
2
• ABS (absolute time)
............ Display the current location in hours/
minutes/seconds/milliseconds, with the
absolute time zero location as 0.
Repeatedly press the [SONG] key or hold
down the [SONG] key and use the CURSOR
[
]/[ ] keys to access the SETUP page.
• REL (relative time)
1
............ Display the current location in hours/
minutes/seconds/milliseconds, with the
relative time zero location as 0.
• SEC.......... Display the current location in hours/
minutes/seconds/milliseconds, with the
Start point as 0.
• T.C............ Display the current location in time code
(hours/minutes/seconds/frames), with
the Start point as 0.
• REMAIN ... When this button is on, the remaining
recordable time with the selected num-
ber of recording tracks will be displayed
instead of the current location.
3
2
This page contains the following items.
1 PROTECT button
Switches protect on/off.
NOTE
• The counter in the upper right of the display always shows the
current location in measure/beat units, relative to the Start
point.
B COUNTER DISPLAY
Selects the display format for the counter that appears
in the center of the top line in the display.
• The measure/beat display will depend on the settings in the
TEMPO page of the SONG screen. For details, refer to “Cre-
C TIME CODE BASE
Selects the format (the number of frames per second)
for the time code used by the AW1600.
To change the time code frame rate, move
the cursor to one of the buttons in theTIME
CODE BASE area, and press the [ENTER]
key.
5
To switch the protect setting on/off, move
the cursor to the PROTECT button and
press the [ENTER] key.
3
4
13
In the TIME CODE BASE area you can choose one of
the following frame rates to specify the minimum unit
of time code.
Protect is a setting that prohibits any change to the
song data. If protect is turned on, the PROTECT but-
ton will be highlighted, and it will not be possible to
perform additional recording or editing, or to erase the
song.
• 24 ............ 24 frames/second
• 25 ............ 25 frames/second
• 30 ............ 30 frames/second (30 non-drop frame)
• 30D........... 29.97 frames/second (30 drop-frame)
HINT
• We recommend that you turn protect on for important songs.
and adjust the mixer settings.
HINT
• This setting affects both the counter time code display and the
MTC that the AW1600 transmits and receives. If the AW1600
is sending or receiving MTC to or from an external device, you
must set both devices to the same frame rate.
To change the counter display format, move
the cursor to one of the buttons in the
COUNTER DISPLAY area and press the
[ENTER] key.
NOTE
• With the exception of COUNTER DISPLAY, the settings in the
SETUP page of the SONG screen cannot be changed while
the AW1600 is running.
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Copying or deleting a song
Copying or deleting a song
Here’s how to copy or delete a song in the hard disk.
NOTE
• You cannot copy or delete a song while the AW1600 is running.
• A deleted song will be lost forever. Use great caution when deleting a song.
• You cannot delete a song for which protect is on, or delete the current song (the highlighted song). If you
want to delete such a song, you must first turn off the protect setting or switch the current song.
In the Work Navigate section, press the
[SONG] key.
The SONG screen will appear.
To execute the copy, move the cursor to the
OK button and press the [ENTER] key.
A popup window will prompt you to enter new song
name.
1
2
5
6
Repeatedly press the [SONG] key or hold
down the [SONG] key and use the CURSOR
[
]/[ ] keys to access the LIST page.
Enter a new song title, move the cursor to
the OK button and press the [ENTER] key.
The song you selected in step 3 will be copied, and
you will return to step 2. If you move the cursor to the
CANCEL button and press the [ENTER] key, the copy
operation will be cancelled.
1 2
This page contains the following items.
1 DELETE button
Displays a popup window that allows you to delete a
song.
■ To delete a song
Following step 3, move the cursor to the
DELETE button and press the [ENTER] key.
B COPY button
Displays a popup window that allows you to copy a
4
song.
A popup window will ask you to confirm the delete
operation.
Turn the [DATA/JOG] dial to select the song
that you want to copy or delete.
3
The line that is enclosed by a dotted frame indicates
the selected song.
To delete the song, move the cursor to the
OK button and press the [ENTER] key.
The song you selected in step 3 will be deleted, and
you will return to step 2. If you move the cursor to the
CANCEL button and press the [ENTER] key, the
delete operation will be cancelled.
5
13
■ To copy a song
Move the cursor to the COPY button and
press the [ENTER] key.
4
A popup window will ask you to confirm the copy
operation.
NOTE
• If you have selected the current song as the song to be
deleted, a popup window will warn you that it is not possible to
delete the current song.
HINT
• If you have selected the current song as the song to be cop-
ied, a popup window will ask you whether you want to save
the current song. Move the cursor to either the YES button (if
you want to save) or the NO button (if you don’t want to save),
and then press the [ENTER] key.
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Optimizing a song
Optimizing a song
“Optimize” is an operation that deletes the undo/redo audio data and the unused sample data
maintained within the song. When you have finished recording and editing a song, you can exe-
cute the Optimize operation on that song to increase the amount of free space on the hard disk.
NOTE
• The deleted undo/redo audio data will be lost forever. Use this operation with caution.
In the Work Navigate section, repeatedly
press the [SONG] key or hold down the
[SONG] key and use the CURSOR [ ]/[
To execute the optimize operation, move
the cursor to the OK button and press the
[ENTER] key.
1
4
]
keys to access the LIST page of the SONG
screen.
The undo/redo audio data and unused sample data of
the song you selected in step 2 will be deleted, and you
will return to step 1. If you decide not to execute the
optimize operation, move the cursor to the CANCEL
button and press the [ENTER] key.
Turn the [DATA/JOG] dial to select the song
that you want to optimize.
The line enclosed by the dotted frame indicates the
selected song.
2
3
Move the cursor to the OPTIMZ button, and
press the [ENTER] key.
A popup window will ask you to confirm the optimize
operation.
HINT
• You may select the current song to be optimized. In this case,
a popup window will ask you whether you want to save the
current song. Move the cursor to the OK button (if you want to
save) or the CANCEL button (if you don’t want to save), and
press the [ENTER] key.
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Creating a tempo map
Creating a tempo map
The “tempo map” contains data to change the tempo or time signature at the beginning of the
song or at any measure or beat within the song. The measure/beat display counter, the Quick
Loop Sampler, the internal metronome, and the MIDI clock data generated within the AW1600
are all based on this tempo map.
that are played by the Quick Loop Sampler.
HINT
• The Start point of the song corresponds to the starting location of the tempo map.
• The data (“tempo map events”) recorded in the tempo map will continue to apply until the
location at which the next event of the same type has been input.
NOTE
• If you modify the tempo map after recording on an audio track, the measure/beat counter
display values will be affected. For this reason if you want to use MIDI clock to synchro-
nize with an external MIDI device, or if you want to control the song in measure units, you
should create the tempo map before you record. If you modify the tempo map after a
track has already been recorded, a popup window will ask you for confirmation.
This page contains the following items.
■ Editing a tempo map event
When you create a new song, the following tempo map
event will be input at the beginning of the tempo map (the
first beat of the first measure).
1 List
This area lists the tempo map events that have been
input for the current song. The line enclosed by a dot-
ted frame is the currently selected tempo map event.
• Time signature: 4/4
• Tempo: 120.0
B LOCATE button
By moving the cursor to this button and pressing the
[ENTER] key, you can move the song to the location
of the tempo map event currently selected in the list.
• Pad sample bank: Pad 1=A, Pad 2=A,
Pad 3=A, Pad 4=A
• Scene number: not assigned
C DELETE button
Here’s how to edit the values of this tempo map event.
To delete the tempo map event currently selected in
the list, move the cursor to this button and press the
[ENTER] key.
In the Work Navigate section, press the
[SONG] key.
1
The SONG screen will appear.
D INSERT button
To insert a blank event at the step preceding the tempo
map event currently selected in the list, move the cur-
sor to this button and press the [ENTER] key.
Repeatedly press the [SONG] key or hold
down the [SONG] key and use the CURSOR
2
13
[
]/[ ] keys to access the TEMPO page.
E NEW button
In this page you can input or edit tempo map events
for the current song.
To create an event at the beginning of the measure fol-
lowing the last step, move the cursor to this button and
press the [ENTER] key.
2 6 7
8
9
J
K
F STEP
Indicates the step number of the tempo map event.
G MEAS
Indicates the location (measure/beat) at which the
tempo map event is input.
H METER
I TEMPO
J PAD BANK 1–4
34 5
1
K SCENE
These fields show the time signature, tempo, pad sam-
ple bank, and scene number of each tempo map event.
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Creating a tempo map
Move the cursor to the item that you want to
edit, and turn the [DATA/JOG] dial to edit
the value.
If the METER, TEMPO, PAD BANK 1–4, or SCENE
value is “–”, move the cursor to the item and press the
[ENTER] key before you edit the value.
3
■ Adding a tempo map event
Access the TEMPO page, move the cursor
to the NEW button, and press the [ENTER]
key.
1
A blank tempo map event will be created after the last
step that is currently input.
NOTE
HINT
• The METER, TEMPO, and PAD BANK 1–4 at the beginning of
the song cannot be set to “–”.
• If you use the INSERT button instead of the NEW button, a
blank tempo map event will be inserted before the currently
selected step. However, you cannot insert an event before the
tempo map event at the beginning of the song (i.e., the tempo
map event that is input when you create the song).
• You cannot change the METER value to other than “–” for a
step that is not located at beat 1.
The range for each item is as follows.
Event
Range
Content
Make sure that the cursor is outside the list,
and turn the [DATA/JOG] dial to select a
tempo map event that you created.
When the cursor is located outside the list, you can
turn the [DATA/JOG] dial to scroll the contents of the
list.
2
1/4 to 8/4, –
Specifies the time signature of the
song.
METER
30.0 to 250.0, – Specifies the tempo of the song.
You can set the tempo in units of
0.1 over a range of 30.0–250.0
BPM.
TEMPO
PAD
BANK 1–4
A to D, –
Selects the sample bank that will
be used for each pad 1–4.
Move the cursor to the MEAS field of the
3
00 to 96, –
Switches the scene number used
by the song.
SCENE
event that is selected in the list, and turn
the [DATA/JOG] dial to specify the location
of the event.
HINT
You can adjust the location of a tempo map event in
units of measures or beats. However, you cannot move
an event past the preceding or following event.
• You cannot delete the tempo map event located at the begin-
ning of the song, or change its location. If you want to change
the tempo or time signature during the song, you can insert a
new event.
• If you set METER, TEMPO, PAD BANK 1–4, or SCENE to a
value of “–”, that event will be disabled. For example if you
want to specify only the time signature and tempo, you should
set the pad bank and scene to “–”.
Move the cursor to the item that you want to
edit, and turn the [DATA/JOG] dial to adjust
the value.
4
If necessary, you can play back the song to check that
the tempo map event works as you expect.
In the same way, use the NEW or INSERT
button to add new events, and set their
parameters.
5
■ Deleting a tempo map event
Here’s how to delete an unwanted event from the tempo
map. (However, you cannot delete the event that is located
at the beginning of the song.)
13
Access the TEMPO page, and scroll the list
to select the tempo map event that you
want to delete.
1
Move the cursor to the DELETE button and
press the [ENTER] key.
2
The selected event will be deleted.
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Importing data from an existing song
Importing data from an existing song
Here’s how selected items of data such as scenes, libraries, or individual tracks of audio data
from a song saved on the hard disk can be imported into the current song.
NOTE
• When you execute this import operation, the previous data (for that item) in the current
song will be lost. Use this procedure with caution.
■ Selecting the song from
■ Importing library/
which you will import data
scene/tempo map data
In the Work Navigate section, press the
[SONG] key.
The SONG screen will appear.
Move the cursor to either the LIBRARY,
SCENE, or TEMPO MAP button, and press
the [ENTER] key.
1
4
A popup window will ask you to confirm the import
operation.
Repeatedly press the [SONG] key or hold
down the [SONG] key and use the CURSOR
2
[
]/[ ] keys to access the IMPORT page.
1 2
To execute the import, move the cursor to
the OK button and press the [ENTER] key.
5
Importing will begin. When the data has been
imported, you will return to the screen of step 2.
3
4
■ Importing a specific track
This page contains the following items.
Move the cursor to the TRACK button and
press the [ENTER] key.
1 LIBRARY button
Imports all libraries into the current song.
4
A popup window will ask you to select the track to be
imported.
B SCENE button
Imports all scenes into the current song.
C TRACK button
Imports the audio data of a single track into the current
1
song.
D TEMPO MAP button
Imports the tempo map into the current song.
13
2
3
Turn the [DATA/JOG] dial to select the song
from which you want to import data.
3
The line enclosed by the dotted frame is the song you
have selected as the import-source.
1 TRACK
Specify the import-source track number.
NOTE
B V.TR
• The songs whose bit depth differs from the current song can-
not be imported.
Specify the import-source virtual track number.
C NAME
Displays the name of the currently selected virtual
track.
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Move the cursor to the TRACK field and
V.TR field, and turn the [DATA/JOG] dial to
specify the track number and virtual track
number.
The name of the selected import-source track will be
displayed in the NAME field.
1 TRACK
Specify the import-destination track number.
5
6
B V.TR
Specify the import-destination virtual track number.
C NAME
Displays the name of the virtual track that you selected
as the import-destination.
NOTE
• You can import only one track at a time.
NOTE
• When ST (stereo track) is selected as the import source, the
destination track will also be ST (stereo track).
Move the cursor to the OK button and press
the [ENTER] key.
A popup window will ask you to select the import-des-
tination track.
Move the cursor to the TRACK field and
V.TR field, and turn the [DATA/JOG] dial to
specify the track number and virtual track
number for the import-destination.
7
8
1
To execute the import, move the cursor to
the OK button and press the [ENTER] key.
Importing will begin. When the track has been
imported, you will return to the state of step 2.
2
3
Backing up songs and sample libraries
Here’s how you can back up songs or sample libraries from the internal hard disk to CD-R/RW
media.
NOTE
• To backup AW1600 data to a computer, connect the AW1600 to the computer via a USB cable
and copy the song folders directly from the internal AW1600 hard disk to the computer. For
This page contains the following items.
Insert CD-R/RW media into the CD-RW
drive.
1
2
1 List
This area lists the songs or sample libraries that are
saved on the hard disk. The symbols at the right of the
list indicate whether an item of data has been selected
(●) or disabled ( ) for backup.
In theWork Navigate section, press the [CD]
key.
The CD screen will appear.
13
B PAD button
Repeatedly press the [CD] key or hold down
3
When this button is off, the list will show the songs
that are saved on the hard disk. When this button is on,
the list will show the sample libraries that are saved on
the hard disk.
the [CD] key and use the CURSOR [ ]/[
keys to access the BACKUP page.
]
In this page you can back up songs or sample libraries
from the internal hard disk to CD-R/RW media.
C ALL button
3
2
1
If you turn this button on and then turn the ENABLE/
DISABLE button on, all data displayed in the list will
be selected for backup.
D ENABLE/DISABLE button
Selects whether an item of data will be selected for
backup (ENABLE) or not selected (DISABLE).
5 6
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Backing up songs and sample libraries
E AS AW2816 button
Backs up the audio tracks within a song in the format
of an AW2816 backup file.
Move the cursor to the OK button and press
the [ENTER] key.
Writing to the CD-R/RW media will begin. If you
decide to cancel the backup operation, move the cursor
to the CANCEL button and press the [ENTER] key.
6
Select this format when restoring data on aYamaha
AW-series Audio Workstation other than the AW1600
(AW4416, AW2816, AW2400, AW16G). This format
can only be used with 16-bit songs.
While the backup operation is being executed, a popup
window will indicate the progress. When the backup
has been completed, you will return to step 3.
If you turn this button on, you will be able to back up
only one song at a time.
If the backup data does not fit on a single volume of
media, a message of “Number Ejected Media, Insert
Blank Media.” will appear, and the media will be
ejected. Insert a new volume of media. Then move the
cursor to the OK button and press the [ENTER] key.
F EXECUTE button
Executes the backup operation for the selected song(s)
or sample library(ies).
Turn the [DATA/JOG] dial to select the song
or sample library data that you want to back
up.Then move the cursor to the ENABLE/
DISABLE button and press the [ENTER]
key.
The symbol for the selected data will change to the ●
symbol, indicating that this data has been selected for
backup. You can repeat this step to select multiple
items of data for backup.
4
NOTE
• You cannot execute the backup operation without selecting
data.
• If you execute the backup operation with the AS AW2816 but-
ton turned off, system data (the settings you make in the
UTILITY screen) will be backed up on the media together with
the selected data.
• If you execute the backup operation with the AS AW2816 but-
ton turned on, data other than audio tracks will not be backed
up. All virtual tracks for tracks 1–16 will be backed up. For the
stereo track, only the current track will be backed up. 24-bit
songs are not compatible.
If you turn on the ALL button and then move the cur-
sor to the ENABLE/DISABLE button and press the
[ENTER] key, you can select all data in the list in one
step.
• When you restore data that was backed up to more than one
volume of media, you must insert the media in the order in
which it was backed up. Be sure to make a note of the backup
sequence on the label surface of each CD-R/RW media.
HINT
• If you turn on the NAME or OLD button, the data in the list will
be sorted alphabetically or by the order in which it was saved.
To execute the backup, move the cursor to
the EXECUTE button and press the
[ENTER] key.
5
A popup window will ask you to confirm the opera-
tion.
NOTE
13
• If previously-recorded CD-RW media is inserted in the CD-
RW drive, a popup window will ask you if it is OK to erase the
media first. Move the cursor to the OK button and press the
[ENTER] key, and the media will be erased.
• If a CD-ROM or previously-recorded CD-R media is inserted
in the CD-RW drive, a popup window with a message of
“Change Media, Please” will appear, and the media will be
ejected. Remove the media, and replace it with writable
media.
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Restoring songs or sample libraries
Restoring songs or sample libraries
Here’s how data that you backed up to CD-R/RW media can be restored to the hard disk of the
AW1600.
E SYSTEM button
Selects the system data (AW1600 settings you make in
the UTILITY screen) for restoring.
Insert the CD-R/RW media containing the
backup data into the CD-RW drive.
If the backup data occupies more than one volume of
media, insert the first volume.
1
F EXECUTE button
Executes the restore operation
In theWork Navigate section, press the [CD]
key.
2
3
NOTE
The CD screen will appear.
• You cannot operate the items in the RESTORE page until the
inserted CD-R/RW media has been read.
Repeatedly press the [CD] key or hold down
the [CD] key and use the CURSOR [ ]/[
keys to access the RESTORE page.
In this page, data that you backed up to CD-R/RW
media can be restored to the internal hard disk.
]
Turn the [DATA/JOG] dial to select the data
that you want to restore.Then move the
cursor to the ENABLE/DISABLE button and
press the [ENTER] key.
5
The symbol at the right will change to the ● symbol,
indicating that this data has been selected for restor-
ing.
Make sure that the cursor is located at the
READ CD INFO button, and press the
[ENTER] key.
Information will be read from the inserted CD-R/RW
media. When the information has been read, a display
like the following will appear.
4
If you turn on the ALL button and then move the cur-
sor to the ENABLE/DISABLE button and press the
[ENTER] key, all data shown in the list will be
selected in one step.
3
2
1
NOTE
• The maximum number of songs or sample libraries that can
be displayed is 100.
If you want to restore the system data,
move the cursor to the SYSTEM button and
press the [ENTER] key.
The button will be turned on, and the system data will
be selected for restoring.
6
7
6
54
To execute the restore operation, move the
cursor to the EXECUTE button and press
the [ENTER] key.
1 List
This area lists the data that has been backed up on the
CD-R/RW media. The symbols at the right of the list
indicate whether an item of data has been selected (●)
or disabled ( ) for restore.
A popup window will ask you to confirm the opera-
tion.
13
B PAD button
When this button is off, the list will show the songs
that were backed up on the CD-R/RW media. When
this button is on, the list will show the sample libraries
that were backed up on the CD-R/RW media.
C ALL button
You can use this button to select all the data that
appears in the list. If you turn this button on and then
turn the ENABLE/DISABLE button on, all data dis-
played in the list will be selected for restore.
D ENABLE/DISABLE button
Selects whether an item of data will be selected for
restore (ENABLE) or not selected (DISABLE).
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Move the cursor to the OK button if you
want to execute the restore operation (or to
the CANCEL button if you decide not to
8
NOTE
• When a song or sample library with the same name already
exists, the name of the restored song or sample library will
automatically be changed. For example, if “001_Song”
already exists, the song name will be altered as in:
“001_Song0”, “001_Song1” … etc.
restore), and press the [ENTER] key.
The current song will be saved automatically, and the
restore operation will begin.
A popup window will indicate the progress of the
restore operation. When the operation is finished, you
will return to step 3.
If the backup occupied more than one volume of CD-
R/RW media, a message of “Exchange Next Media
#XXX” (where XXX is a number) will be displayed
during the restore process. Exchange the CD-R/RW
media for the media of the corresponding number.
Then move the cursor to the OK button and press the
[ENTER] key.
Exchanging Song Data With Other AW-series Audio Workstations
You can back up an AW1600 song in a format that is compatible with the other AW-series
(AW4416/AW2816/AW2400/AW16G). Conversely, a song that was backed up by the other AW-
series can be restored into the AW1600.
NOTE
• Only the audio data recorded in a song can be exchanged with the other AW-series. Mix
parameters, libraries, and system data cannot be backed-up/restored in this way.
■ Backing up an AW1600 song in a format
■ Restoring the other AW-series songs
compatible with the other AW-series
Insert CD-R/RW media containing the other
AW-series song backup into the AW1600.
1
If you turn on the AS AW2816 button in the BACKUP
page of the CD screen, the data will be saved in the
AW2816 backup file format.
An AW2816 backup file can be restored into the other
AW-series (version 2.0 or later for AW4416).
For the procedure, refer to “Backing up songs and sample
libraries,” earlier in this manual.
In theWork Navigate section, press the [CD]
key.
2
The CD screen will appear.
13
Repeatedly press the [CD] key or hold down
the [CD] key and use the CURSOR [ ]/[
keys to access the RESTORE page.
3
]
NOTE
• Backup in the AW2816 backup file format is limited to one song at
a time.
Make sure that the cursor is located at the
READ CD INFO button, and press the
[ENTER] key.
4
• When you perform a backup in the AW2816 backup file format,
data other than the audio tracks will not be backed up. All virtual
tracks of tracks 1–16 will be backed up. For the stereo track, only
the current track will be backed up. 24-bit songs are not compati-
ble.
Data will be read from the inserted CD-R/RW media.
When the data has been read, a screen like the follow-
ing will appear.
• Depending on the data size, some songs can’t be saved as
AW2816 backup files. If this problem occurs use the Optimize
function to reduce the data size.
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Exchanging Song Data With Other AW-series Audio Workstations
Turn the [DATA/JOG] dial to select a song
that you want to restore.
5
Move the cursor to the ENABLE/DISABLE
button and press the [ENTER] key.
6
The symbol at the right of the data will change to ●,
and the data will be selected for restoring.
NOTE
• The list will show all the songs that were backed up to CD-R/
RW media, but you can execute the restore operation only for
44.1 kHz/16-bit songs.
Repeat steps 5 and 6 to select all of the
other AW-series songs that you want to
restore.
7
To execute the restore operation, move the
cursor to the EXECUTE button and press
the [ENTER] key.
8
The restore operation will begin. While the song data
is being loaded, a popup window will indicate the
progress.
NOTE
• When a song with the same name already exists, the name of
the restored song will automatically be changed. For exam-
ple, if “001_Song” already exists, the song name will be
altered as in: “001_Song0”, “001_Song1” … etc.
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Chapter 14
MIDI and utility functions
This chapter explains basic MIDI-related settings, functions that use MIDI,
and various utility functions.
What you can do using MIDI
On the AW1600, you can use MIDI to do the following things.
● Synchronize operation with an external
● Automate scene changes and mix parame-
device
ter operations
You can synchronize an AW1600 song with the playback
of an external device (such as a MIDI sequencer) by
exchanging synchronization messages such as MTC
(MIDI Time Code) or MIDI Clock with the external
device.
When you recall a scene on theAW1600 or operate its mix
parameters, the corresponding messages (program
changes or control changes) can be transmitted to an
external device.
If you record these messages on a MIDI sequencer that is
synchronized to the AW1600 song, these scene recall
operations or realtime mix parameter operations can be
reproduced whenever you want.
● Remote control of the transport
You can transmit MMC (MIDI Machine Control) mes-
sages from a MIDI sequencer or other external MIDI
device to the AW1600 to remotely control the AW1600’s
transport. Conversely, you can also transmit MMC from
the AW1600 to an external device to control its transport.
• Example of recording/playing scene selections and
mix parameter operations on a MIDI sequencer
(computer)
Control changes
Program changes
• Example of using MTC/MMC to synchronize the
operation of the AW1600 and a MIDI sequencer
(computer)
MIDI OUT/
THRU connector
MIDI IN
MIDI IN
connector
MIDI OUT
MIDI OUT/
MTC
THRU connector
MIDI IN
Control changes
Program changes
MIDI IN
connector
MMC
MIDI OUT
or
AW1600
or
External MIDI
device
(e.g., computer)
MTC/MMC
USB cable
AW1600
External MIDI
device
USB cable
(e.g., computer)
● MIDI Remote
“MIDI Remote” is a function that lets you use the
AW1600 as a physical controller for an external device.
You can assign the desired MIDI messages to the faders
and [TRACK SEL] keys of the top panel, and use them to
remotely control a MIDI device or computer program.
14
• Example of using the AW1600 as a physical con-
troller for a MIDI sound module
Control changes
System exclusive messages, etc.
MIDI OUT/THRU
connector
MIDI IN
or
Control changes
System exclusive
messages, etc.
AW1600
External MIDI
device
USB cable
(e.g., computer)
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Basic MIDI Settings
The UTILITY screen MIDI 1 page lets you specify the connector/port to be used for MIDI mes-
sage transmission and reception to and from external MIDI devices.
To access this page, repeatedly press the Work Navigation
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
C THRU
Selects the THRU input/output connector/port separately
from the IN PORT and OUT PORT listed left. When this
setting is enabled, no internally generated AW1600 MIDI
data is transmitted.
3 2 1
• MIDI ↔ USB 1
..........MIDI messages received via the MIDI IN
connector are retransmitted via USB output
port 1, and MIDI messages received via
USB connector input port 1 are retransmitted
via the MIDI OUT/THRU connector.
• MIDI ↔ USB 2
..........MIDI messages received via the MIDI IN
connector are retransmitted via USB output
port 2, and MIDI messages received via
USB connector input port 2 are retransmitted
via the MIDI OUT/THRU connector.
This page contains the following items.
1 IN PORT
Selects the input connector/port to be used for MIDI mes-
sage reception.
• USB 1 ↔ USB 2
• MIDI ......................MIDI IN connector.
• USB 1 ...................USB connector input port 1.
• USB 2 ...................USB connector input port 2.
• --- ..........................Disabled.
..........MIDI messages received via the USB con-
nector input port 1 are retransmitted via USB
output port 2, and MIDI messages received
via USB connector input port 2 are retrans-
mitted via the USB connector output port 1.
B OUT PORT
• --- ↔ ---....No THRU settings.
Selects the output connector/port to be used for MIDI
transmission. MIDI data internally generated by the
AW1600 is transmitted via this connector/port.
NOTE
• It may be necessary to install an appropriate USB MIDI driver in
order to use the USB connector for MIDI communication on com-
• MIDI ......................MIDI OUT/THRU connector.
• USB 1 ...................USB connector output port 1.
• USB 2 ...................USB connector output port 2.
• --- ..........................Disabled.
Setting MIDI messages
In the MIDI 2 page of the UTILITY screen, you can make various MIDI-related settings such as
selecting the MIDI messages that will be output from the MIDI OUT/THRU or USB connector,
and specifying MTC/MMC transmission and reception.
14
To access this page, repeatedly press the Work Navigation
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
This page contains the following items.
1 SYNC OUT
Selects the type of MIDI messages that will be output
from the MIDI OUT/THRU connector or USB connector.
1
2
4
7
• CLK button........If this button is on, MIDI Clock (and
Start, Stop, Continue, and Song Posi-
tion Pointer) messages will be trans-
mitted while the recorder is running. If
you turn this button on, the MTC but-
ton will be defeated.
• MTC button........If this button is on, MTC (MIDI Time
Code) will be transmit while the
recorder is running. If you turn this
button on, the CLK button will be
defeated.
3
6
5
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Setting MIDI messages
B MMC MODE
E AVRG (Average)
Specifies how MMC will be transmitted/received.
Select one of the following to specify how closely the
AW1600 will follow the incoming MTC data when func-
tioning as an MTC slave.
• MASTER button....If this button is on, the AW1600 will
be the MMC master. When you
operate the transport, the corre-
sponding MMC command will be
transmitted from the MIDI OUT/
THRU or USB connector. Use this
setting when you want to remotely
control an external MIDI device
from the AW1600.
• 0 ............... The AW1600 will synchronize to the incom-
ing MTC data at the highest precision. How-
ever if the incoming MTC has significant
instability, synchronization may be inter-
rupted or become unreliable.
• 1 ............... This setting allows more tolerance of MTC
instability than the “0” setting.
• SLAVE button .......If this button is on, the AW1600 will
be the MTC slave, and will follow
MMC commands that it receives at
the MIDI IN or USB connector. Use
this setting when you want to
• 2 ............... This setting allows the maximum tolerance.
Use this setting if the MTC master is an
external MIDI device that has significant
instability.
remotely control the transport of the
AW1600 from an external MIDI
device.
HINT
• When the AW1600 is functioning as an MTC slave and is operat-
ing in synchronization to an external MIDI device, and the accu-
racy of the incoming MTC becomes unstable, the AW1600 will
make slight adjustments in its playback pitch in an attempt to fol-
low. The AVRG parameter specifies the range of MTC variance
that will be tolerated.
C DEV (device number)
Specifies the MMC device number (1–127) that the
AW1600 will receive.
NOTE
F OFST (Offset)
• The MMC device number is an identifying number used to distin-
guish devices that transmit and receive MMC commands. When
using MMC, the AW1600 and the external MIDI device must be set
to the same MMC device number.
When using the AW1600 as an MTC slave, this parameter
shifts the absolute time within the AW1600 forward or
backward relative to the incoming MTC. The range is
–24:00:00:00.00 to +24:00:00:00.00.
• The MMC device number is displayed as a decimal number start-
ing from one. Some devices display the MMC device number as a
hexadecimal number starting from zero. In this case, the numbers
will correspond as follows.
OFST = 00:00:00:00.00
AW1600 display → hexadecimal display
Incoming time
code
00:00:10:00.00
00:00:10:00.00
00:00:15:00.00
00:00:15:00.00
00:00:20:00.00
00:00:20:00.00
1 → 00h
127 → 7Eh
Time code
display (ABS)
• The AW1600 always transmits MMC commands using the “All”
device number (7Fh in hexadecimal).
Song
D MTC MODE
OFST = +00:00:05:00.00
Specifies how the AW1600 operate when synchronized
with an external MIDI device using MTC (MIDI Time
Code).
Incoming time
00:00:10:00.00
code
00:00:15:00.00
00:00:20:00.00
00:00:20:00.00
00:00:25:00.00
Time code
display (ABS)
00:00:15:00.00
• MASTER button....If this button is on, the AW1600 will
be the MTC master. When you
Song
operate the transport of the
AW1600, MTC will be transmitted
from the MIDI OUT/THRU or USB
connector. Use this setting if you
want to the external MIDI device to
follow the AW1600, or if you are
using the AW1600 by itself.
OFST = 00:00:05:00.00
Incoming time
code
00:00:10:00.00
00:00:15:00.00
00:00:10:00.00
00:00:20:00.00
00:00:15:00.00
14
Time code
display (ABS)
00:00:05:00.00
• SLAVE button .......If this button is on, the AW1600 will
be an MTC slave, and will follow
Song
MTC data it receives at the MIDI IN
or USB connector. Use this setting
if you want to synchronize with a
second AW1600 unit, or if you want
to synchronize the AW1600 with an
external MIDI device that can func-
tion only as the MTC master.
HINT
• The OFST setting has no effect on the MTC that is transmitted
from the AW1600’s MIDI OUT/THRU or USB connector.
HINT
• When using the AW1600 as the MTC master, make sure that the
MTC button in the SYNC OUT area is turned on.
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Setting MIDI messages
G MIDI CH
HINT
Selects the MIDI channel that will be used to transmit and
receive MIDI messages such as program changes and con-
trol changes. This area contains the following two items.
• For details on the mix parameters that correspond to each control
change, refer to the tables that follow.
• When you operate a mix parameter of track channel 9/10–15/16
on the AW1600, two types of control changes will be transmitted.
• TX .............Selects the transmit MIDI channel, in a
range of 1–16. While MIDI messages are
being transmitted, the characters “TX” will
be highlighted.
• RX.............Selects the receive MIDI channel, in a
range of 1–16 or ALL. If you select ALL,
MIDI messages of all MIDI channels will be
received (Omni mode). While MIDI mes-
sages are being received, the characters
“RX” will be highlighted.
● When CTRL CHG MODE = 1
MIDI CH
CC#
7
PARAMETER
FADER
PAN
EFF1 SEND
EFF2 SEND
FADER
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
7
10
91
93
1
TRACK CHANNEL 1
TRACK CHANNEL 2
TRACK CHANNEL 3
TRACK CHANNEL 4
TRACK CHANNEL 5
TRACK CHANNEL 6
TRACK CHANNEL 7
TRACK CHANNEL 8
TRACK CHANNEL 9
TRACK CHANNEL 10
TRACK CHANNEL 11
TRACK CHANNEL 12
TRACK CHANNEL 13
TRACK CHANNEL 14
TRACK CHANNEL 15
TRACK CHANNEL 16
H PGM CHG MODE
Switches program change transmission and reception on/
off.
If program change reception is on, the AW1600 will recall
the corresponding scene when it receives a program
change at the MIDI IN or USB connector. If program
change transmission is on, the AW1600 will transmit the
corresponding program change from the MIDI OUT/
THRU or USB connector when a scene is recalled on the
AW1600.
PAN
2
3
EFF1 SEND
EFF2 SEND
FADER
PAN
EFF1 SEND
EFF2 SEND
FADER
PAN
4
EFF1 SEND
EFF2 SEND
FADER
You can select the following choices.
PAN
5
• OFF...........Program changes will not be transmitted or
EFF1 SEND
EFF2 SEND
FADER
received.
• TX .............Program changes will only be transmitted.
• RX.............Program change will only be received.
PAN
6
EFF1 SEND
EFF2 SEND
FADER
• TX-RX .......Program changes will be transmitted and
received.
PAN
7
EFF1 SEND
EFF2 SEND
FADER
HINT
• In the SCENE screen PC TABLE page you can specify the scene
number that will correspond to each program change number (→
PAN
8
EFF1 SEND
EFF2 SEND
FADER
PAN
I CTRL CHG MODE
Specifies how control changes will be transmitted and
received.
If control change transmission and reception are enabled,
the corresponding control change will be transmitted
when you operate a mix parameter (fader, pan, effect send,
etc.) for track channel 1–16 on the AW1600.
When a control change is received, the corresponding mix
parameter will change.
9
EFF1 SEND
EFF2 SEND
FADER
PAN
10
11
12
13
14
15
16
EFF1 SEND
EFF2 SEND
FADER
PAN
EFF1 SEND
EFF2 SEND
FADER
You can select one of the following choices.
PAN
• OFF...........Control changes will not be transmitted or
EFF1 SEND
EFF2 SEND
FADER
14
received.
• 1................Control changes will be transmitted and
received on MIDI channels 1–16. (MIDI
channels 1–16 will correspond to AW1600
track channels 1–16.)
PAN
EFF1 SEND
EFF2 SEND
FADER
PAN
• 2................Control changes will be transmitted and
received only on the MIDI channel that is
selected in the MIDI CH field. (This mapping
is compatible with the other AW-series.)
EFF1 SEND
EFF2 SEND
FADER
PAN
• 3................This is the same as 2 in that control
changes of only one MIDI channel are
received and transmitted, but the parameter
mapping differs from 2. (A single MIDI chan-
nel will correspond to AW1600 track chan-
nels 1–16.)
EFF1 SEND
EFF2 SEND
FADER
PAN
EFF1 SEND
EFF2 SEND
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Setting MIDI messages
● When CTRL CHG MODE = 2
CC#
0
1
2
3
4
5
6
7
PARAMETER
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
MASTER
CC#
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
PARAMETER
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
BALANCE
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
NO ASSIGN
EFF1 SEND
NO ASSIGN
EFF1 SEND
NO ASSIGN
EFF1 SEND
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
PAD 1 L
PAD 1 R
PAD 2 L
PAD 2 R
PAD 3 L
PAD 3 R
PAD 4 L
PAD 4 R
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
PAD 1
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
FADER
FADER
FADER
PAD 2
PAD 3
PAD 4
FADER
FADER
FADER
FADER
FADER
FADER
FADER
RETURN 1
RETURN 2
STEREO OUT
AUX 1
MASTER
MASTER
MASTER
MASTER
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
AUX 2
EFF 1
EFF 2
PAN
STEREO OUT
96
97
98
99
FADER
BUS
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
PAD 1
ON
ON
ON
ON
ON
ON
ON
ON
ON
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
INPUT 7
INPUT 8
PAD 1
FADER
FADER
FADER
PAD 2
PAD 3
PAD 4
ON
ON
ON
PAD 2
PAD 3
PAD 4
14
ON
STEREO OUT
161
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Setting MIDI messages
● When CTRL CHG MODE = 3
CC#
0
1
2
3
4
5
6
7
PARAMETER
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
MASTER
CC#
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
PARAMETER
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
BALANCE
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
EFF1 SEND
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
FADER
FADER
FADER
FADER
FADER
FADER
FADER
RETURN 1
RETURN 2
STEREO OUT
AUX 1
MASTER
MASTER
MASTER
MASTER
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
AUX 2
EFF 1
EFF 2
PAN
STEREO OUT
96
97
98
99
FADER
BUS
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
NO ASSIGN
MASTER
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
FADER
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
TRACK 1
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
TRACK 8
TRACK 9
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
TRACK 16
14
ON
STEREO OUT
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Using the MIDI Remote function
Using the MIDI Remote function
Control change
number 64 (value= 127)
Control change
number 64 (value= 0)
About the MIDI Remote function
transmit
transmit
The AW1600 provides a MIDI Remote function that lets
you use the controls of the top panel to transmit the
desired MIDI messages.
By using the MIDI Remote function, you can use the
AW1600 as a physical controller for a computer program
or MIDI tone generator.
MIDI messages can be assigned to the following controls.
Alternatively, you can specify that a MIDI message with a
fixed value is transmitted only when you press the
[TRACK SEL] key to turn it on (lit). For example if you
assign program change #1, the program change of that
number will be transmitted each time you turn on the
[TRACK SEL] key.
● Mixer section
• Faders 1–8, 9/10–15/16
• [TRACK SEL] keys 1–8, 9/10–15/16
● Transport section
• RTZ [ ] key
• FF [ ] key
• PLAY [ ] key
• REW [
] key
Program change
number 1
Program change
number 1
• STOP [■] key
• REC [●] key
transmit
transmit
Of these, the MIDI messages assigned to the faders and
[TRACK SEL] keys can be freely reassigned. You can
assign the following types of message.
■ Messages that can
be assigned to faders
A MIDI message whose value
changes in a range of 0–127 can be
assigned to each fader. For exam-
ple if you assign control change #7
(volume) to a fader, you can move
the fader to control the volume of a
MIDI tone generator.
Control change
number 7
transmit
Using the MIDI Remote function
presets
Value = 127
The PRESET page of the REMOTE screen provides ten
different MIDI Remote presets. These presets have been
created with specific devices and computer sequencer pro-
grams in mind, and assign the necessary messages to the
AW1600’s faders and [TRACK SEL] keys. You can use
the MIDI Remote function immediately, just by selecting
a preset in this page and connecting the appropriate exter-
nal MIDI device.
Value =0
Sequencer programs that are supported
■ Messages that can be
● Windows
● Macintosh
assigned to the [TRACK SEL] keys
• Cubase SX 3.0.1
• Logic Platinum 5.5.1(*1)
• Nuendo 3.0.1
• Cubase SX 3.0.1
• Logic Pro 7.0.1(*1)
• Nuendo 3.0.1
14
A MIDI message whose value changes between the two
states of 0 or 127 can be assigned to each [TRACK SEL]
key. For example if you assign control change #64 (hold)
to a [TRACK SEL] key and specify that the control
change value alternates between 0 and 127, pressing the
[TRACK SEL] key to turn it on (lit) will transmit control
change #64 with a value of 127 (Hold on), and turning it
off (dark) will transmit control change #64 with a value of
0 (Hold off).
• Sonar 4.0.1 Producer
Edition
• Protools TDM 6.7(*2)
*1 Use the setting file from the included CD-ROM to map the
AW1600’s faders/[TRACK SEL] keys/transport keys to the Logic
key commands. Track assignments must be made within Logic as
appropriate for your system.
*2 Select the CS-10 settings as the MIDI controller type. For details
on the CS-10 settings, ask Digidesign.
163
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Using the MIDI Remote function
To access the PRESET page of the REMOTE screen,
repeatedly press the Work Navigate section [REMOTE]
key or hold down the [REMOTE] key and use the CUR-
SOR [ ]/[ ] keys.
● 05 Volume
Use this preset to control the volume of an external tone
generator.
• [TRACK SEL] key operations will transmit Volume
control change messages (CC#=07).
HINT
• When you turn a [TRACK SEL] key off (dark), volume
= 0 will be transmitted.
• The MIDI Remote function will automatically be on while this page
is displayed. The track channel faders and [TRACK SEL] keys will
not perform their usual functions, but will work as specified by the
preset you have selected in the PRESET page.
• When you turn a [TRACK SEL] key on (lit green), the
volume value corresponding to the fader position will
be transmitted.
• When a [TRACK SEL] key is on operating the fader
will transmit Volume control change messages
(CC#=07).
2
3
1
● 06 XG 1-16
● 07 XG 17-32
● 08 XG 33-48
● 09 XG 49-64
These presets let you use the AW1600 as a volume con-
troller for an XG tone generator. Each preset will control
the XG-compatible tone generator’s parts 1–16, 17–32,
33–48, and 49–64 respectively.
This page contains the following items.
1 List
Select one of the ten presets shown in this list. The line
enclosed in the dotted frame is the currently selected pre-
set. When you turn the [DATA/JOG] dial to select another
preset, the MIDI message assignments will be switched
immediately.
• [TRACK SEL] key operations will switch the part on/
off.
• Fader operations will control the volume of the part.
If you select preset 07–09, the button indications will
change as follows.
The AW1600 provides the following presets.
● Preset 07
● 00 Cubase
● 01 Logic
● 02 Sonar
● 03 ProTools
These presets let you use the AW1600 as a physical con-
troller for various software sequencers.
1-16 button → 17-32 button
1-12 button → 17-28 button
9-16 button → 25-32 button
● Preset 08
1-16 button → 33-48 button
1-12 button → 33-44 button
9-16 button → 41-48 button
• [TRACK SEL] key operations will control mute on/off
operations on the sequencer software.
• Fader operations will control the volume of the
sequencer software tracks.
You will need to install the appropriate setting file into
your sequencer software, and make the necessary settings.
For details, refer to the “Appendix” section “About the
● Preset 09
1-16 button → 49-64 button
1-12 button → 49-60 button
9-16 button → 57-64 button
B CH
Choose one of these buttons to select the MIDI channels
that will be assigned to the faders and the [TRACK SEL]
keys, as shown in the following tables.
● 04 Volume/RecTr
Use this preset to control the volume of an external tone
generator or the recording tracks of an external recorder.
14
• [TRACK SEL] key operations will transmit MMC com-
mands to select recording tracks.
• Fader operations will transmitVolume control changes
(CC#=07).
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Using the MIDI Remote function
● When the 1-16 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9/10
9/10
11/12
11/12
13/14
13/14
15/16
15/16
● When the 1-12 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
9/10
9
11/12
10
13/14
11
15/16
12
● When the 9-16 button is selected
Faders/[TRACK SEL] keys
MIDI channel
1
9
2
3
4
5
6
7
8
9/10
—
11/12
—
13/14
—
15/16
—
10
11
12
13
14
15
16
HINT
Using the user-defined Remote
function
• When the 1-16 button is on, operating a fader 9/10–15/16 or a
[TRACK SEL] key 9/10–15/16 will transmit two channels of MIDI
messages.
The USER page of the REMOTE screen lets you assign
your own MIDI messages to each fader and [TRACK
SEL] key.
To access this page, repeatedly press the Work Navigate
section [REMOTE] key or hold down the [REMOTE] key
and use the CURSOR [ ]/[ ] keys.
C TRANSPORT
Select one of the following to specify what will happen
when you operate the keys of the transport section while
using the MIDI Remote function.
• NORMAL button........The transport keys will perform
the same operations as nor-
HINT
mally; play, stop, or locate etc.
the current song. MTC/MMC/
MIDI Clock messages will be
transmitted and received as
• The MIDI Remote function will automatically be on while this page
is displayed. The track channel faders and [TRACK SEL] keys will
not perform their usual functions, but will work as specified by the
settings you have made in the USER page.
specified in the MIDI page of the
UTILITY screen.
1
2
3
4
5
• LOCAL button............The transport keys will play,
stop, or locate the current song.
However, MTC/MMC/MIDI Clock
messages will not be transmit-
ted or received.
• REMOTE button.........The transport keys will not oper-
ate the recorder, but will only
transmit the MIDI messages that
have been preset for each key.
6
7
8
9 J
HINT
This page contains the following items.
• These settings will also apply if you use a foot switch to operate
the song transport.
1 TRANSPORT
Selects what will happen when you operate the keys of the
transport section while using the MIDI Remote function.
B Selected channel
Indicates the name of the channel that is currently selected
for operations.
14
HINT
• When you operate a fader 1–8 or 9/10–15/16 or a [TRACK SEL]
key 1–8 or 9/10–15/16, the displayed contents of the page will
change to the corresponding channel.
C Fader/[TRACK SEL] key function name
Displays the name that is assigned to the currently dis-
played fader or [TRACK SEL] key.
D NAME button
Edits the name that is assigned to the fader/[TRACK SEL]
key. Move the cursor to the button and press the [ENTER]
key, and the TITLE EDIT popup window will appear.
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Using the MIDI Remote function
E ALL INIT button
J MIDI message
Resets all MIDI messages assigned to the faders/[TRACK
SEL] keys to the initial settings. To initialize, move the
cursor to this button and press the [ENTER] key.
This area displays (in hexadecimal form) the MIDI mes-
sage that is assigned to the currently selected fader or
[TRACK SEL] key.
You can move the cursor to each numeric box and turn the
[DATA/JOG] dial to edit the value of each byte (two-digi-
tal hexadecimal number).You can select the following val-
ues.
F FADER button
If you turn this button on, the MIDI message assigned to
the fader of the currently selected channel will be dis-
played.
This button will automatically be turned on when you
operate the fader of a track channel.
• 00–FF (hexadecimal)
..............Corresponds to the actual value of the
MIDI message that is transmitted.
G SEL SW button
• END.............Indicates the end of the MIDI message.
When you operate a fader or [TRACK
If you turn this button on, the MIDI message assigned to
the [TRACK SEL] key of the currently selected channel
will be displayed.
This button will automatically be turned on when you
operate the [TRACK SEL] key of a track channel.
SEL] key, the MIDI message starting with
the first byte and ending with the byte that
precedes END will be transmitted.
• SW ([TRACK SEL] key only)
..............Indicates the on/off status of the [TRACK
SEL] key. The byte you specify as SW will
be transmitted as 7F (hexadecimal) when
the key is turned on, or 00 (hexadecimal)
when the key is turned off.
H LATCH/UNLATCH button
Selects how the [TRACK SEL] key of a track channel will
operate when pressed.
• LATCH ............The setting will alternate on/off each
time you press the [TRACK SEL] key.
• FAD .............Indicates the current position of the fader.
If the message is assigned to a fader, the
byte you specify as FAD will be transmit-
ted as a value of 00–7F (hexadecimal)
corresponding to the fader position when
you operate the fader.
MIDI data transmitted
(SW=7F)
MIDI data
transmitted (SW=00)
on
off
off
If the message is assigned to a [TRACK
SEL] key, this byte will be transmitted as a
value corresponding to the current posi-
tion of the fader when the [TRACK SEL]
key is turned on, and will be transmitted as
a value of 00 (hexadecimal) when the
[TRACK SEL] key is turned off.
• UNLATCH.......The setting will be on while you hold
down the [TRACK SEL] key, and will
turn off when you release the key.
HINT
• The MIDI message assigned to a single fader or key cannot be
longer than sixteen bytes.
MIDI data
transmitted (SW=7F)
MIDI data
transmitted (SW=00)
• If a SW byte is not assigned to a [TRACK SEL] key, the MIDI mes-
sage you input will be transmitted only when you turn the key on.
(In this case you will normally use the UNLATCH setting.)
on
off
off
• When you use the LEARN button to assign a control change to a
fader, the END byte will automatically be input at the end of the
MIDI message.
• When you use the LEARN button to assign a control change to a
fader, the FAD byte will be automatically input as the variable
value.
I LEARN button
When this button is on, the MIDI message received from
the MIDI IN connector will be assigned to the currently
selected fader or [TRACK SEL] key. This is a convenient
way to assign MIDI messages quickly.
NOTE
14
• If you assign a MIDI message manually, be sure to input END at
the end of the MIDI message.
• When you assign a MIDI message to a fader, FAD must be input
for one of the bytes. If FAD is not input, operating the fader will not
do anything.
HINT
• If two or more MIDI messages are received while the LEARN but-
ton is on, the last-received MIDI message will be input in the MIDI
message field.
• If you input the values manually, it is possible that an invalid MIDI
message will be input. For this reason, you should use the 9
LEARN button to assign MIDI messages whenever possible.
• If a system exclusive message longer than sixteen bytes is
received, the first sixteen bytes will be displayed.
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Using the test tone oscillator
Using the test tone oscillator
The OSC page of the UTILITY screen lets you send the signal of the AW1600’s built-in test oscil-
lator (the test tone oscillator) to the desired bus.
To access this page, repeatedly press the Work Navigate
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
B LEVEL knob
Adjusts the output level of the oscillator.
C AUX 1/2 buttons
Send the oscillator output to AUX buses 1/2.
1
2
34
D EFF 1/2 buttons
Send the oscillator output to effect buses 1/2.
E BUS L R button
Sends the oscillator output to the L/R bus.
F ST L R button
Sends the oscillator output to the stereo bus.
G Level meter
Indicates the output level of AUX 1/2, effect bus 1/2, and
6 5
7
the L/R bus.
This page contains the following items.
NOTE
1 WAVEFORM
• Sine waves and white noise have a higher sound pressure than
they perceptually appear. These signals may damage your speak-
ers if played at a high volume, so please use caution.
Selects one of the following signals for output from the
oscillator.
• OFF button.......................Oscillator is off
• 100Hz button ...................100 Hz sine wave
• 440Hz button ...................440 Hz sine wave
• 1kHz button .....................1 kHz sine wave
• 10 kHz button ..................10 kHz sine wave
• NOISE button...................White noise
When you turn on a button, the oscillator output will
immediately be sent to the specified bus. Use the 3–6
buttons to specify the bus to which the signal will be sent.
HINT
• If the LEVEL knob is raised when you output the oscillator signal,
a high volume level may be produced suddenly. Be sure to lower
the LEVEL knob before you switch on the oscillator.
14
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Digital input settings and Initializing the internal hard disk
Digital input settings and Initializing the internal hard disk
In the D.IN HDD page of the UTILITY screen you can make settings for digital input, and initialize
the internal hard disk.
To access this page, repeatedly press the Work Navigation
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
B ATT knob
Adjusts the level of the signal that is sent from the DIGI-
TAL STEREO IN jack to the stereo bus.
HINT
1
4
6
• The ATT knob is meaningful only if DIGITAL IN PATCH is set to
STEREO BUS.
C DIGITAL REC ON/OFF button
Enables (ON) or disables (OFF) digital recording from the
DIGITAL IN jack, and importing of digital audio data
from an audio CD or WAV file inserted in the CD-RW
drive.
When you switch this setting ON, the following message
will be displayed.
2
3
5
G
This page contains the following items.
OBSERVE Copyright Notice
Written in Owner’s Manual?
[Cancel] [OK]
1 DIGITAL IN PATCH
Selects one of the following as the destination to which
the signal from the DIGITAL IN jack will be sent.
If you agree to the conditions described in “Copyright
recording and importing of digital audio data will be
enabled.
• DISABLE ................The DIGITAL STEREO IN jack will
be disabled.
• INPUT 1/2–7/8 ........The signal will be sent to input
channels 1/2–7/8. If you select this
setting, the MIC/LINE input jacks
for the corresponding input chan-
nels will be disabled.
HINT
• The DIGITAL REC ON/OFF button is always set to OFF when you
turn on the power.
• STEREO BUS.........The signal will be sent to the ste-
reo bus.
D VARI PITCH ON/OFF button
Selects whether the sampling frequency will be adjustable
(Vari-pitch function) when DIGITAL IN PATCH is set to
DISABLE. If you turn this button on, vari-pitch will be
enabled, and you can use the VARI PITCH knob to adjust
the sampling frequency.
HINT
• If you select DISABLE, the AW1600 will operate using its own
internal clock. If you select any other setting, the AW1600 will syn-
chronize to the clock contained in the input signal from the DIGI-
TAL STEREO IN jack. However when playing an audio CD, the
AW1600 always operates using its own clock.
E VARI PITCH knob
Adjusts the sampling frequency of the current song in a
range of –5.97 to +6.00%.
NOTE
• You cannot switch this setting while the recorder is running.
NOTE
• If you select a setting other than DISABLE, a message of
“((((WRONG WORD CLOCK!!))))” will be displayed if appropriate
clock data is not being sent to the DIGITAL STEREO IN jack.
While this message is displayed, all channels will be muted and
the recorder section will not operate. To make the AW1600 oper-
ate, you must either input the correct clock signal or switch the
DIGITAL IN PATCH setting to DISABLE.
• Vari-pitch is not available if DIGITAL IN PATCH is set to other than
DISABLE, or if you have selected MTC Slave in the MIDI 2 page of
the UTILITY screen.
14
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F FORMAT button
G AUTO SAVE button
Formats (initializes) the internal hard disk. When you
move the cursor to this button and press the [ENTER] key,
the hard disk will be formatted. During execution, a popup
window will indicate the progress. When formatting has
been completed, the popup window will close automati-
cally.
Enables or disables the Auto Save function. When the
Auto Save function is enabled the current song state will
be backed up to temporary memory when the following
operation occurs. If the power is accidentally turned off
before the unit is properly shut down, the song will be
restored from the backup data in temporary memory the
next time the power is turned on.
NOTE
• Recording is stopped.
• Track editing is ended.
• Import from the CD-RW drive is completed.
• Import of a WAV file is completed.
• Executing the Format operation will erase all data from the internal
hard disk, and the data cannot be recovered. We recommend you
to backup all data on the internal hard disk to a computer before
executing the Format operation.
• You cannot abort the Format operation once it has been started.
• Never turn off or disconnect the power during formatting, since this
may damage the hard disk and cause malfunctions.
Overall settings for the AW1600
In the PREFER page of the UTILITY screen, you can make settings that affect the overall opera-
tion of the AW1600, such as specifying whether or not popup windows will appear, and switching
copy protect on/off.
● When copy protect is enabled
To access this page, repeatedly press the Work Navigate
section [UTILITY] key or hold down the [UTILITY] key
and use the CURSOR [ ]/[ ] keys.
AW1600
D.OUT COPYRIGHT= ON
12
6 78
DIGITAL STEREO OUT jack
Digital recording
possible
3 5 4
J 9
This page contains the following items.
1 STORE CONFIRM ON/OFF button
Specifies whether the TITLE EDIT popup window (allow-
ing you to assign a name) will appear when you store a
scene/library.
Digital recording
not possible
DAT or MD, etc.
14
B RECALL CONFIRM ON/OFF button
Specifies whether a popup window will ask you to confirm
the operation when you recall a scene or library.
D PARAM DISP TIME
C D.OUT COPYRIGHT ON/OFF button
Specifies whether SCMS (Serial Copy Management Sys-
tem) copy protect flags will be written into the digital sig-
nal that is output from the DIGITAL STEREO OUT jack.
Protect is enabled if the button is on, and disabled if the
button is off.
Adjusts the duration for which the value will be displayed
in the upper right of the screen when you use the knobs of
the Selected Channel section to edit a parameter. This set-
ting has a range of 0–9 (seconds).
If copy protect is enabled, you will be able to copy the sig-
nal from the DIGITAL STEREO OUT jack on an MD or
DAT recorder, but it will not be possible to make a second-
generation digital copy from that data.
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Overall settings for the AW1600
E FADER FLIP
Specifies whether faders 1–8 and 9/10–15/16 will adjust
the track channel levels (TRACK) or the input channel/
pad levels (INPUT). When the power is turned on, this set-
ting will always return to TRACK.
NOTE
• Even if you select INPUT, the function of the [TRACK SEL] keys
will not be affected.
F NUDGE MODE
Selects the playback method that will be used by the
Nudge function (a function that lets you use the [JOG ON]
key and [DATA/JOG] dial to search for a location).
• AFTER............Play back repeatedly, starting at the cur-
rent location, for the duration specified
by the NUDGE TIME.
• BEFORE.........Play back repeatedly, ending at the cur-
rent location, for the duration specified
by the NUDGE TIME.
NUDGE MODE: BEFORE
NUDGE MODE: AFTER
Current location
Current location
G NUDGE TIME
Specifies the duration (Nudge Time) that will be played
repeatedly by the Nudge function. The nudge time can be
set in a range of 25–800 ms in 1 ms (millisecond) steps.
H SOUND CLIP TIME
Selects the recording time for the Sound Clip function.
This can be set in a range of 30 sec–180 sec, in 30 sec
(second) steps.
NOTE
• The SOUND CLIP TIME setting is used when you create a new
song.You cannot change the recording time for the sound clip
function after the song has been created.
I PREROLL TIME
Specifies the duration (preroll time) that will be played
back before the punch-in point when you use Auto Punch-
in. This can be set in a range of 0–5 seconds.
14
J POSTROLL TIME
Specifies the duration (postroll time) that will be played
back after the punch-out point when you use Auto Punch-
in. This can be set in a range of 0–5 seconds.
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Chapter 15
Using the AW1600 with external devices
This chapter describes various examples of how you can use the AW1600 in
conjunction with external devices.
Using the AW1600 with a “workstation synth”
There are numerous ways in which you can use the AW1600 together with a workstation synthe-
sizer (a synthesizer that has a built-in sequencer).
In the Work Navigate section, use the
[SONG] key to access the SETUP page of
the SONG screen, and select a frame rate in
5
Synchronizing the AW1600 with
the workstation’s sequencer
the TIME CODE BASE area.
Here’s how you can use MTC to synchronize the AW1600
song with the sequencer built into your workstation synth.
In this example we will also use MMC to remotely control
the transport of the AW1600 from your workstation synth.
Refer to the following diagram, and connect
the AW1600 to your workstation synthe-
sizer.
1
HINT
• The frame rate you specify here will affect not only synchroni-
zation with the external device, but also the time code that is
MTC
displayed in the counter, etc.
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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MIDI OUT
MIDI IN
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MIDI IN
MIDI OUT
Set your workstation synth to function as
MMC master and MTC slave, and set its
MMC device number and MTC frame rate to
the same settings as the AW1600.
For details on how to make these settings, refer to the
manual for your workstation synth.
6
7
Synthesizer with
built-in sequencer
MMC
AW1600
In the Work Navigate section, use the [UTIL-
ITY] key to access the MIDI 1 page of the
UTILITY screen. Set the IN PORT and OUT
PORT to MIDI.
2
3
Play back the sequencer (of your worksta-
tion synth).
When you play back the sequencer of your worksta-
tion synth, the corresponding MMC commands will be
sent to the AW1600, and the AW1600 will begin run-
ning.
In the Work Navigate section, use the [UTIL-
ITY] key to access the MIDI 2 page of the
UTILITY screen.Turn on the SLAVE button
in the MMC MODE field, and turn on the
MASTER button in the MTC MODE field.
At the same time, the AW1600 will transmit MTC to
your workstation synth, and the sequencer will run in
synchronization with it.
TheAW1600 will be set to function as MMC slave and
MTC master.
● Example settings for synchronization using
MTC and MMC
HINT
• You can synchronize using MIDI Clock and Start/Stop/Con-
tinue messages instead of using MTC and MMC. For details
on the settings in this case, refer to the section that follows,
“Recording/playing AW1600 mix operations on the worksta-
tion’s sequencer.”
15
Move the cursor to the DEV field, and set
the value to match the device number of
your workstation synthesizer.
4
When using MMC, you must set the AW1600 and the
external MIDI device to the same MMC device num-
ber. For details on the device numbers that your work-
station synth can use, refer to its owner’s manual.
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Using the AW1600 with a “workstation synth”
Make settings on your workstation synth so
that its built-in sequencer will follow exter-
nal MIDI Clock messages. Also set the
sequencer to record-ready mode.
For details on how to make these settings, refer to the
manual for your workstation synth.
4
Recording/playing AW1600 mix
operations on the workstation’s
sequencer
Here’s how you can synchronize the AW1600 and the
built-in sequencer of your workstation synth, and use the
sequencer to record/play the fader and pan operations you
perform on the AW1600.
Since operating the AW1600’s mix parameters will cause
a large number of control change messages to be transmit-
ted, we will use MIDI Clock (which uses less data) as the
synchronization signal rather than MTC.
NOTE
• If your workstation synth has a function by which MIDI mes-
sages received at its MIDI IN connector are retransmitted
from its MIDI OUT connector (a function called “MIDI Echo” or
“MIDI Thru”), you must turn it off. If this function is turned on
while you are recording, the control change messages trans-
mitted when you operate the AW1600 will be immediately
returned to the AW1600, causing malfunctions.
Connect the AW1600 and your workstation
as shown in the following diagram.
1
Play back the AW1600 song from the begin-
ning.
When the AW1600 begins playing, it will transmit a
Start message and MIDI Clock messages to the
sequencer, and the sequencer will begin running in
synchronization with the AW1600.
5
6
MIDI Clock
Control change
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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MIDI OUT
MIDI IN
MIDI IN
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MIDI OUT
Synthesizer with
built-in sequencer
Operate the AW1600’s mix parameters such
as fader and pan.
Control change
AW1600
The control changes assigned to each parameter will
be recorded on the sequencer.
In the Work Navigate section, use the [UTIL-
ITY] key to access the MIDI 2 page of the
UTILITY screen.Turn on the MASTER but-
ton in the MTC MODE area, and turn on the
CLK button in the SYNC OUT area.
With these settings, the AW1600 will transmit MIDI
Clock, Start/Stop/Continue, and Song Position Pointer
messages from its MIDI OUT/THRU connector when
it is running.
2
The type of mix parameters that can be recorded will
depend on the setting of the CTRL CHG MODE field
When you are finished recording, stop the
AW1600 song.
7
8
Switch the workstation’s sequencer to play-
back-ready mode, and play back the
AW1600 song from the beginning.
The recorded control changes will be transmitted to
the AW1600, and the corresponding mix parameters
will change.
● Example settings for synchronization using
MIDI Clock and Start/Stop/Continue
If necessary, you can use the editing functionality of
your sequencer to edit the values and timing of the
control changes that were recorded.
NOTE
• If you set CTRL CHG MODE to 1, operating track channels 1–
16 will transmit control changes on the corresponding MIDI
channel 1–16. For this reason, you should normally record
operations only for a single channel at a time, unless your
sequencer is able to record multiple MIDI channels simulta-
neously.
Move the cursor to the CTRL CHG MODE
area, and turn the [DATA/JOG] dial to select
1 out of the possible range of 1–3.
The CTRL CHG MODE lets you choose one of three
combinations (1–3) that specify how control changes
will correspond to the mix parameters of the AW1600.
(For details on the contents of each choice, refer to
3
15
If you want to divide your operations into a separate
MIDI channel for each of the AW1600’s track chan-
nels, choose 1. If you want all track channels to be
controlled on a single MIDI channel, choose 2 or 3.
If you chose 2 or 3, you will also need to set the MIDI
CH field to specify the MIDI channel that will be used
to transmit and receive the control changes.
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Using the AW1600 with a “workstation synth”
Repeat steps 3–4 to assign the desired
scenes to other program change numbers.
4
Switching AW1600 scenes from
the workstation’s sequencer
Here’s how you can transmit program changes from the
built-in sequencer of your workstation to switch scenes on
the AW1600.
HINT
• If you want to reset the scene assignments to the initial set-
ting, move the cursor to the INITIALIZE button and press the
[ENTER] key.
■ Assign scenes to program changes
■ Transmit program
In the Control section, use the [SCENE] key
to access the PCTABLE page of the SCENE
screen.
1
changes to switch scenes
Connect the AW1600 and your workstation
1
This page lets you assign a scene number to each pro-
gram change.
synth as shown in the diagram below.
1
MUSIC PRODUCTION SYNTHESIZER
Integrated Sampling Sequencer
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MIDI IN
MIDI OUT
Synthesizer with
built-in sequencer
Program
change
AW1600
In the Work Navigate section, use the [UTIL-
ITY] key to access the MIDI 2 page of the
UTILITY screen.
2
4
2
3
1 List
This lists the scenes of the current song. The line
enclosed by a dotted frame is the scene currently
selected for operations.
B Program change number
This indicates the program change number 001–128.
Move the cursor to this number and turn the [DATA/
JOG] dial to scroll the list upward or downward.
Set the PGM CHG MODE field to RX.
With this setting, the AW1600 will receive program
changes.
3
4
5
C Scene
Move the cursor to this area and turn the [DATA/JOG]
dial to select the scene that you want to assign to the
corresponding program number.
Move the cursor to RX in the MIDI CH area,
and select the MIDI channel on which MIDI
messages will be received.
D INITIALIZE button
Returns the program change assignments to the initial
state.
Transmit a program change message from
your workstation synth to the AW1600 on
the MIDI channel that you selected.
HINT
The scene assigned to that program change number
will be recalled.
• With the initial settings, program changes 1–96 correspond to
scenes 1–96, and program changes 97–128 are set to NO
ASSIGN (no assignment).
HINT
• If you insert program changes into the appropriate locations
of your sequencer track, scenes will be recalled automatically
as the AW1600 and your sequencer run in synchronization.
15
Move the cursor to the program change
number, and turn the [DATA/JOG] dial to
select the program change number whose
assignment you want to change.
2
3
Move the cursor to the scene in the list, and
turn the [DATA/JOG] dial to select the scene
that you want to assign to the correspond-
ing program change number.
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Remotely controlling a tone generator module
Remotely controlling a tone generator module
Here’s how you can use the AW1600’s MIDI Remote function to remotely control a tone genera-
tor module.
Connect the AW1600 to your tone generator
module as shown in the following diagram.
Turn the [DATA/JOG] dial to select the pre-
set that you want to use.
1
3
For example if you select preset 06 (XG 1-16), the
AW1600’s faders will control the volume of parts 1–
16 of your XG tone generator, and [TRACK SEL]
keys 1–16 will control the on/off status of parts 1–16.
Control changes
MIDI OUT
MIDI IN
Tone generator
module
If necessary, use the buttons in the CH area
to select the MIDI channels to which the
faders and [TRACK SEL] keys will corre-
spond.
The buttons in the CH area select the combination of
MIDI channels that are assigned to the faders and
[TRACK SEL] keys. For the combination of MIDI
channels used when each button is on, refer to “MIDI
4
AW1600
Use the Work Navigate section [REMOTE]
key to access the PRESET page of the
REMOTE screen.
2
The Remote function will be enabled.
Operate the faders and [TRACK SEL] keys
of the AW1600.
5
The messages assigned to the faders and [TRACK
SEL] keys will be transmitted from the MIDI OUT/
THRU connector, and the parameters of your tone
generator module will change accordingly.
HINT
• While the REMOTE screen is displayed, the functions of the
faders and [TRACK SEL] keys will be disabled; the faders and
keys will function as controllers that transmit MIDI messages.
HINT
• It is also possible to assign your own MIDI messages to the
AW1600’s faders and [TRACK SEL] keys. For details, refer to
• The MIDI Remote function is enabled whenever the REMOTE
screen is displayed.
15
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Using external effects
Using external effects
As an alternative to using the internal effects, you can use an external effect processor con-
nected to the STEREO/AUX OUT jacks. As an example, here’s how you can use AUX bus 1 to
apply a mono-in stereo-out reverb to the track channels during mixdown.
Lower the [STEREO] fader to the –∞ posi-
1 AUX 1 knobs
Adjust the send level of the signals that are sent from
each channel to AUX bus 1.
1
2
tion.
In the Selected Channel section, repeatedly
press the [PAN/BAL] knob or hold down the
[PAN/BAL] knob and use the CURSOR [ ]/
B PRE/POST (upper line)
Select the location from which the signal is sent from
each channel to AUX bus 1. Move the cursor to the
desired channel and press the [ENTER] key to switch
between the following two settings.
[
] keys to access the AUX OUT page of
the PAN screen.
In this page you can select one of the following as the
signal that will be output from the STEREO/AUX
OUT jacks.
• PRE (pre-fader)......... The signal immediately
before the fader will be sent.
• POST (post-fader)..... The signal immediately after
• STEREO .....................Stereo bus (default)
• AUX 1/2.......................AUX bus 1/2
the fader will be sent.
C AUX2 knobs
Adjust the send level of the signals that are sent from
each channel to AUX bus 2.
Move the cursor to the AUX 1/2 button and
press the [ENTER] key.
The AUX bus 1 signal will be output from the L chan-
nel of the STEREO/AUX OUT jacks, and the AUX
bus 2 signal will be output from the R channel of the
STEREO/AUX OUT jacks.
3
4
D PRE/POST (lower line)
Select the location from which the signal is sent from
each channel to AUX bus 2. Move the cursor and press
the [ENTER] key to switch between PRE and POST.
Raise the AUX knob 1 of each channel to an
appropriate level, and switch the PRE/POST
setting in the upper line as desired.
With the settings so far, the signal from the track chan-
nel will be sent from AUX bus 1 via the STEREO/
AUX OUT jack to the external effect processor.
6
7
As shown in the following diagram, connect
your external effect processor to the
AW1600.
Effect processor
MIC/LINE
INPUT 3/4
STEREO/
AUX OUT (L)
Use the Quick Navigate section [RECORD]
key to access the MIXDOWN page of the
RECORD screen, and make the settings
shown below.
MONITOR
OUT
AW1600
NOTE
• If you make the above connection with the [STEREO] fader
raised before performing steps 2 and 3, oscillation may occur.
Please use caution.
With these settings, the unprocessed sound of track
channels 1–16 and the effect sound returned to input
channels 3/4 will be sent to the stereo bus and mixed.
You can monitor these signals via the MONITOR
OUT jacks.
Press the [PAN/BAL] knob twice to access
the AUX page of the PAN screen.
5
15
21
34
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Using external effects
● Signal flow when using an external effect processor
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Effect processor
Stereo
output
channel
Input
channels
Track
channels
AUX bus 1
master
AUX bus
Stereo bus
Mixer section
In the Selected Channel section, repeatedly
press the [PAN/BAL] knob to access the
PAN page of the PAN screen, and spread
apart the pan settings of input channels 3/4.
The effect sound will be heard in stereo. If desired,
you can specify input channels 3/4 as a pair.
Raise the [STEREO] fader to the 0 dB posi-
tion, and while playing back the song,
adjust the input level of your external effect
processor and use the [GAIN] knobs to
adjust the input level of input channels 3/4.
If desired, return to step 5 and readjust the send level
to AUX bus 1 for each track channel. If you want to
adjust the AUX bus 1 master level, use the BUS page
of the VIEW screen (or the AUX OUT page of the
PAN screen).
8
9
NOTE
• If you use these settings, leave the AUX 1 knob and AUX 2
knob of input channels 3/4 set all the way to the left
(–∞ dB). If you raise these levels, the signal will loop, creating
oscillation.
15
In the MIXDOWN page of the RECORD
screen, switch the REC button on, and per-
form the mixdown.
10
NOTE
• When you are finished with the mixdown, turn the PAN screen
AUX OUT page setting back to its original setting of STEREO.
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Connecting a digital recorder such as MD or DAT
Connecting a digital recorder such as MD or DAT
By connecting a digital recorder to the AW1600’s DIGITAL STEREO IN or DIGITAL STEREO
OUT jack, you can mixdown to the digital recorder such as MD or DAT while keeping the signal in
the digital domain, or record an audio signal from the digital recorder into the AW1600.
Use the Quick Navigation section [RECORD]
key to access the MIXDOWN page of the
RECORD screen, and select the channels
that you want to send to the stereo bus.
3
Mixing down to a digital recorder
Here’s how you can connect a digital recorder to the
AW1600’s DIGITAL STEREO OUT jack and mix down.
The DIGITAL STEREO OUT jack always outputs the
same signal as is recorded on the stereo track. This means
that the procedure is essentially the same as for normal
mixdown.
Lower the [STEREO] fader to the –∞ posi-
1
tion.
Raise the [STEREO] fader to the 0 dB posi-
tion, and while you play back the song,
adjust the level, pan, EQ, and dynamics for
each track channel.
4
5
As shown in the diagram below, connect
the AW1600 to your digital recorder.
2
Digital recorder
(MD or DAT)
If desired, you can also use the mastering library.
When you have finished adjusting the
sound and the levels, put your digital
recorder in record mode, then play the
AW1600 from the beginning and perform
the mixdown.
DIGITAL
DIGITAL
STEREO OUT
STEREO IN
DIGITAL
DIGITAL
STEREO IN
STEREO OUT
You do not need to turn on the REC button in the
MIXDOWN page at this time.
MONITOR
OUT
When you have finished the mixdown, stop
the AW1600 and your digital recorder.
6
AW1600
● Signal flow when mixing down to a digital recorder
Digital recorder
(MD or DAT)
Recorder section
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
15
Track
channels
Stereo output
channel
Stereo bus
Mixer section
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Connecting a digital recorder such as MD or DAT
To play back your digital recorder and listen to the
recorded result, connect the DIGITAL STEREO OUT
jack of your digital recorder to the AW1600’s DIGI-
TAL STEREO IN jack, and perform the following
steps.
As shown in the diagram below, connect
your digital recorder to the AW1600.
2
Digital recorder
(MD or DAT)
DIGITAL
STEREO OUT
If you want to hear the result that was
7
recorded on the digital recorder, lower the
[STEREO] fader to the –∞ position, and
use the [UTILITY] key to access the D.IN -
HDD page of the UTILITY screen.
DIGITAL
STEREO IN
MONITOR
OUT
AW1600
Use the [UTILITY] key to access the D.IN •
HDD page of the UTILITY screen.
3
4
Move the cursor to the DIGITAL REC ON/
OFF button, and press the [ENTER] key.
Move the cursor to the DIGITAL REC ON/
OFF button, and press the [ENTER] key.
8
A message will ask you to confirm your observance of
copyright laws. If you accept the conditions described
OK button and press the [ENTER] key. The DIGITAL
REC ON/OFF button will be switched ON, and digital
audio data input will be enabled.
A message will ask you to confirm your observance of
copyright laws. If you accept the conditions described
OK button and press the [ENTER] key. The DIGITAL
REC ON/OFF button will be switched ON, and digital
audio data input will be enabled.
Move the cursor to the DIGITAL PATCH IN
field, and turn the [DATA/JOG] dial to select
“1/2”(input channels 1/2) as the destination
for the input signal from the DIGITAL STE-
REO IN jack.
5
6
Move the cursor to the DIGITAL PATCH IN
9
field, and turn the [DATA/JOG] dial to select
“STEREO BUS” as the destination for the
input signal from the DIGITAL STEREO IN
jack.
With this setting, the input signal from the DIGITAL
STEREO IN jack will be connected directly to the ste-
reo bus.
NOTE
• If necessary, use the INIT page of the MONITOR screen to
initialize the input channels.
NOTE
Use the Quick Navigation section
• Please note that the EQ and dynamics settings you made for
the stereo output channel during mixdown are still valid at this
point. If necessary, turn off EQ and dynamics.
[RECORD] key to access the DIRECT page
of the RECORD screen, and connect input
channels 1/2 directly to tracks 1/2.
Raise the [STEREO] fader to the 0 dB posi-
tion, and play back your digital recorder.
10
Recording audio data from
a digital recorder
Here’s how the signal from a digital recorder connected to
the DIGITAL STEREO IN jack can be recorded on an
AW1600 track while still in the digital domain.
Raise the [STEREO] fader, play back your
digital recorder, and check the recording
level and monitor level.
7
8
15
NOTE
• If you want to lower the recording level, access the FADER
page of the VIEW screen and lower the on-screen faders for
input channels 1/2. (The [GAIN] knobs have no effect on input
signals from the DIGITAL STEREO INPUT jack.)
Lower the [STEREO] fader to the –∞ posi-
1
tion.
When you are finished setting the levels,
put the AW1600 in record mode, and play
back your digital recorder.
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Appendix
Input library list
No.
Name
Initial Data
Effect Type
Description
00
Initialize to a default state in which EQ, DYN, and EFFECT are not applied.
EG: Electric guitar
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Multi Drive
Light Crunch
Studio Lead
Clean Lead
Hard Blues
Melody Drive
Pop Ryhthm
Heavy Rock
Stack Lead
Funk Cut
AmpSimulate
AmpSimulate
Dist->Delay
Rev->Sympho
AmpSimulate
Dist->Delay
Mono Delay
AmpSimulate
AmpSimulate
Dyna.Phaser
AmpSimulate
Dist->Delay
Delay+Rev
Mod.Delay
Drive sound usable in a wide range of situations from backing to lead.
Light crunch sound suitable for chords (that are allowed to ring).
Lead with delay sound, with an amp-like character.
Clean and transparent sound.
Hard blues sound with rich distortion.
Long sustaining sound suitable for melodies or ballades.
Clean backing sound with doubling.
Heavy rock sound with all frequency ranges distorted.
Sound that simulates an old amp stack.
Phase sound that adds an effect to the picking attack.
Simulation of a traditional blues guitar sound.
Trad Blues
NeoRockabily
Air Clean
Rockabilly sound using a short delay, warped by adding distortion.
Clean sound with a sense of air.
City Lead
Combination sound with lightly applied modulation and delay.
Chorus sound suitable for a wide range of uses, from chording to arpeggios.
A useful and original fuzz sound.
Pop Chorus
Fuzzy Drive
Jazzy Night
Retro Phase
Mistic Chord
Drive Amp
Smooth Lead
Crunch Box
Double Drive
Comp Driver
Rotary
Chorus
AmpSimulate
Reverb Room
Phaser
Comp sound that lets you express nuances by your picking dynamics.
Simulation of a classic compact phaser.
Dual Pitch
SFX sound that produces a mystical effect from chords or harmonics.
Natural-sounding overdrive that simulates overdriving a combo amp.
Smooth distortion lead with a smooth playing feel.
Crunch sound with a nice amount of distortion, usable for anything from backing to lead.
Heavy distortion with doubling.
AmpSimulate
AmpSimulate
AmpSimulate
Dist->Delay
AmpSimulate
Rotary
Overdrive with compressor to bring out the nuances of your picking.
The familiar rotary speaker sound, optimized for guitar.
AG: Acoustic guitar
26
27
28
29
30
Arppegio
Chorus
Lead
Rev+Sympho
Chorus
Graceful arpeggio sound with good definition.
Deep chorus sound usable in any situation.
Mod.Delay
ReverbRoom
Symphonic
Light modulation sound, suitable for lead guitar.
Suitable for finger strumming or walking-bass phrases.
Symphonic sound effective on single-note melodic playing.
Finger Cut
Stroke
BA: Bass
31
32
33
34
35
Pick Drive
AmpSimulate
AmpSimulate
AmpSimulate
AmpSimulate
Rev->Chorus
A sound ideal for root-note picking.
Finger Pick
Rock Boost
Best Slap
Melody
Sound suitable for finger-picking, with emphasis on response.
Heavy and solid distortion sound.
Slap bass sound for everyone (reminiscent of when slap became fashionable).
Sweet-toned sound for lead melodies.
VO: Vocal
36
37
38
39
40
Pop Vocal
ReverbPlate
MonoDelay
MonoDelay
Symphonic
RingMod
Clear and transparent effect for vocal, that cuts the low range.
Effect for rock vocal that uses doubling to create depth.
Vocal effect that uses a basic delay.
Rock Vocal
Delay Vocal
Ballad Vocal
ROBOT
Vocal effect with symphonic, effective on ballades etc.
SFX sound for vocal and speech, also usable as a sound-effect.
Speaker simulation
01
02
03
04
05
SMALL TYPE
REAL FEEL
HIGH RANGE
STACK TYPE
MID RANGE
—
—
—
—
—
Small cabinet simulation.
Creates realism (picking produces grit).
Cabinet with boosted highs.
Large cabinet simulation.
Simulation of a cabinet with distinctive mid-range.
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Mastering library list
Mastering library list
No.
00
Name
Initial Data
Description
Initialize to a state in which EQ and DYN are not applied.
01
VITAL MIX
Standard mastering effect that enhances the overall loudness, creating a mix with extended low and high ranges.
Use on the two-track mix for any type of song.
02
03
04
SOFT COMP
HARD ATTACKY
SOFT ATTACKY
Soft compressor that enhances the overall loudness without greatly changing the original nuances (dynamics).
Ideal for songs in which the mid and low ranges are important.
Limiter that emphasizes the attacks and produces an overall “flattened” feel. Ideal for songs that emphasize the
rhythm.
Soft compressor that enhances the overall loudness and emphasizes the attacks without greatly changing the origi-
nal nuances (dynamics). Ideal for songs in which the low and mid ranges are important, and that emphasize the
rhythm.
05
06
LO-FI
Limiter that produces a “lo-fi” character.
DARK/SOFT
Soft limiter that produces the slightly flattened feel characteristic of the 60’s and 70’s.
(Ideal for Beatles-type rock of the 60’s and 70’s, or more recently for a Vincent Gallo feel.)
07
DARK/HARD
Hard limiter that produces a strongly flattened feel characteristic of the 60’s and 70’s.
(Ideal when you want to make the song sound like 60’s or 70’s rock such as the Beatles.)
08
09
10
11
12
13
BRIGHT
Compressor that produces a boosted high range.
LO BOOST
HARD LIMIT
LIMITER
NARROW
DIST
Compressor that produces a boosted low range.
Limiter that produces an extremely flattened feel. Ideal for hard-edged songs.
Limiter without EQ. Ideal when you need only limiting.
Limiter that produces a sound like that of a small AM radio.
Limiter that distorts the sound within the effect.
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EQ library list
EQ library list
These are the preset equalizer settings provided by the library.
No.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041–128
Name
Bass Drum 1
Bass Drum 2
Snare Drum 1
Snare Drum 2
Tom-tom 1
Cymbal
Description
Emphasizes the low range of the bass drum and the attack created by the beater.
Creates a peak around 80Hz, producing a tight, stiff sound.
Emphasizes snapping and rimshot sounds.
Emphasizes the ranges of that classic rock snare drum sound.
Emphasizes the attack of tom-toms, and creates a long, “leathery” decay.
Emphasizes the attack of crash cymbals, extending the “sparkling” decay.
Use on a tight high-hat, emphasizing the mid to high range.
High Hat
Percussion
E.Bass 1
Emphasizes the attack and clarifies the high-range of instruments, such as shakers, cabasas, and congas.
Makes a tight electric bass sound by cutting very low frequencies.
Unlike program 009, this emphasizes the low range of the electric bass.
Use on a synth bass with emphasized low range.
E.Bass 2
Syn.Bass 1
Syn.Bass 2
Piano 1
Emphasizes the attack that is peculiar to a synth bass.
This is used to make a piano sound brighter.
Piano 2
Emphasize the attack and low range of the piano sound by using a compressor.
Use for line-recording an electric guitar or semi-acoustic guitar to get a slightly hard sound.
Adjusts the tonal quality of a slightly distorted guitar sound.
This is a variation on program 016.
E.G.Clean
E.G.Crunch 1
E.G.Crunch 2
E.G.Dist 1
Makes a heavily distorted guitar sound clearer.
E.G.Dist 2
This is a variation on program 018.
A.G.Stroke 1
A.G.Stroke 2
A.G.Arpeg. 1
A.G.Arpeg. 2
BrassSection
Male Vocal 1
Male Vocal 2
Female Vo. 1
Female Vo. 2
Chorus&Harmo
Total EQ 1
Total EQ 2
Total EQ 3
Bass Drum 3
Snare Drum 3
Tom-tom 2
Piano 3
Emphasizes the bright tones of an acoustic guitar.
This is a variation on program 020.You can also use it for the electric gut guitar.
Corrects arpeggio technique of an acoustic guitar.
This is a variation on program 022.
Use with trumpets, trombones, or sax. With one instrument, adjust the HIGH or H-MID frequency.
Use as a template for male vocal. Adjust the HIGH or H-MID setting according to the voice quality.
This is a variation on program 025.
Use as a template for female vocal. Adjust the HIGH or H-MID setting according to the voice quality.
This is a variation on program 027.
Use as a template for a chorus. It makes the entire chorus much brighter.
Use on the STEREO bus during mixdown. For more effect, try it with a compressor.
This is a variation on program 030.
This is a variation on program 030. Also use these programs for stereo inputs or external effect returns.
This is a variation on program 001. The low and mid range is removed.
This is a variation on program 003. It creates rather thick sound.
This is a variation on program 005. Emphasizes the mid and high range.
This is a variation on program 013.
Piano Low
Piano High
Fine-EQ Cass
Narrator
Use for the low range of the piano sound when it is recorded in stereo. Use with program 038.
Use for the high range of the piano sound when it is recorded in stereo. Use with program 037.
Use for recording to or from cassette tape to make the sound clearer.
Use for recording a voice reading a text.
[
No Data!
]
User area.
HINT
• The EQ programs were programmed for recording acoustic musical instruments. If you are
using them for a sampler, synthesizer, or rhythm machine, adjust the parameters accordingly.
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Dynamics Parameters
Dynamics Parameters
Dynamics processors are generally used to correct or control signal levels. However, you can
also use them creatively to shape the volume envelope of a sound. The AW1600 features com-
prehensive dynamics processors for all the input channels, tape returns, and the bus and stereo
outputs. These processors allow you to compress, expand, compress-expand (compand), gate,
or duck the signals passing through the mixer, giving you unparalleled sonic quality and flexibil-
ity.
• Out Gain — sets the compressor’s output signal level.
■ Compressor
Compression tends to reduce the average signal level. Out
Gain can be used to counter this level reduction and set an
appropriate level for the next stage in the audio path.
dB
+20
+10
0
• Knee — sets the transition of the signal at the threshold.
With a hard knee, the transition between uncompressed
and compressed signal is immediate. With the softest
knee, knee5, the transition starts before the signal reaches
the threshold and gradually ends above the threshold.
Compression ratio = 2:1
–10
–20
–30
–40
–50
–60
–70
Threshold = –20dB
Knee = hard
• Release — determines how soon the compressor returns
to its normal gain once the trigger signal level drops below
the threshold. If the release time is too short, the gain will
recover too quickly causing level pumping-noticeable gain
fluctuations. If it is set too long, the compressor may not
have time to recover before the next high level signal
appears, and it will be compressed incorrectly.
dB
–70 –60 –50 –40 –30 –20 –10
0
+10 +20
Input Level
A compressor provides a form of automatic level control.
By attenuating high levels, thus effectively reducing the
dynamic range, the compressor makes it much easier to
control signals and set appropriate fader levels. Reducing
the dynamic range also means that recording levels can be
set higher, therefore improving the signal-to-noise perfor-
mance.
Compressor (CMP) parameters:
Parameter
Threshold (dB)
Ratio
Value
–54 to 0 (55 points)
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0,
6.0, 8.0, 10, 20, ∞ (16 points)
Attack (ms)
Outgain (dB)
Knee
0 to 120 (121 points)
0 to +18 (36 points)
hard,1,2,3,4,5 (6 points)
6 ms to 46.1 sec (160 points)
Release (ms)
• Threshold — determines the level of input signal
required to trigger the compressor. Signals at a level below
the threshold pass through unaffected. Signals at and
above the threshold level are compressed by the amount
specified using the Ratio parameter. The trigger signal is
determined using the KEYIN SOURCE parameter.
• Ratio — controls the amount of compression-the change
in output signal level relative to change in input signal
level. With a 2:1 ratio, for example, a 10 dB change in
input level (above the threshold) results in a 5 dB change
in output level. For a 5:1 ratio, a 10 dB change in input
level (above the threshold) results in a 2 dB change in out-
put level.
• Attack — controls how soon the signal is compressed
once the compressor has been triggered. With a fast attack
time, the signal is compressed almost immediately. With a
slow attack time, the initial transient of a sound passes
through unaffected.
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Dynamics Parameters
■ Expander
■ Compander
dB
dB
+20
+10
0
+20
+10
0
Expansion ratio = 2:1
Width
Knee = knee5
–10
–20
–30
–40
–50
–60
–70
–10
–20
–30
–40
–50
–60
–70
Threshold = –10dB
Threshold
dB
dB
–70 –60 –50 –40 –30 –20 –10
0
+10 +20
–70 –60 –50 –40 –30 –20 –10
0
+10 +20
Input Level
Input Level
An expander is another form of automatic level control.
By attenuating the signal below the threshold, the
expander reduces low-level noise and effectively increases
the dynamic range of the recorded material.
A compander is a compressor-expander-a combination of
signal compression and expansion. The compander attenu-
ates the input signal above the threshold as well as the
level below the width. For very dynamic material, this
program allows you to retain the dynamic range without
having to be concerned with excessive output signal levels
and clipping.
Expander (EXP) parameters:
Parameter
Threshold (dB)
Ratio
Value
–54 to 0 (55 points)
CompanderH (CPH) and
CompanderS (CPS) parameters:
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0,
6.0, 8.0, 10, 20, ∞ (16 points)
Attack (ms)
Outgain (dB)
Knee
0 to 120 (121 points)
Parameter
Threshold (dB)
Ratio
Value
0 to +18 (36 points)
–54 to 0 (55 points)
hard,1,2,3,4,5 (6 points)
6 ms to 46.1 sec (160 points)
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5, 4.0, 5.0,
6.0, 8.0, 10, 20 (15 points)
Release (ms)
Attack (ms)
Outgain (dB)
Width (dB)
0 to 120 (121 points)
–18 to 0 (36 points)
• Threshold — determines the level of input signal
required to trigger the expander. Signals above the thresh-
old pass through unaffected. Signals at and below the
threshold level are attenuated by the amount specified
using the Ratio parameter. The trigger signal is deter-
mined using the KEYIN SOURCE parameter.
1 to 90 (90 points)
Release (ms)
6 ms to 46.1 sec (160 points)
• Threshold — determines the level of input signal
required to trigger the compander. Signals above the
threshold pass through unaffected. Signals at and below
the threshold level are attenuated by the amount specified
using the Ratio parameter. The trigger signal is deter-
mined using the KEYIN SOURCE parameter.
• Ratio — controls the amount of expansion-the change in
output signal level relative to change in input signal level.
With a 1:2 ratio, for example, a 5 dB change in input level
(below the threshold) results in a 10 dB change in output
level. For a 1:5 ratio, a 2 dB change in input level (below
the threshold) results in a 10 dB change in output level.
• Ratio — controls the amount of companding-the change
in output signal level relative to change in input signal
level. With a 2:1 ratio, for example, a 10 dB change in
input level (above the threshold) results in a 5 dB change
in output level. The hard compander (CPH) has a fixed
ratio of 5:1 for expansion and the soft compander (CPS)
has a fixed ratio of 1.5:1 for expansion.
• Attack — controls how soon the signal is expanded once
the expander has been triggered. With a fast attack time,
the signal is expanded almost immediately. With a slow
attack time, the initial transient of a sound passes through
unaffected.
• Attack — controls how soon the signal is companded
once the compander has been triggered. With a fast attack
time, the signal is companded almost immediately. With a
slow attack time, the initial transient of a sound passes
through unaffected.
• Out Gain — sets the expander’s output signal level.
• Knee — sets the transition of the signal at the threshold.
With a hard knee, the transition between unexpanded and
expanded signal is immediate. With the softest knee,
knee5, the transition starts before the signal reaches the
threshold and gradually ends above the threshold.
• Out Gain — sets the compander’s output signal level.
• Width — is used to determine the distance, in decibels,
between the expander and the compressor. With a width of
90 dB, the expander is effectively switched off and the
compander is simply a compressor-limiter. With a smaller
width (30dB) and a high threshold (0dB), the compander
is an expander-compressor-limiter.
• Release — determines how soon the expander returns to
its normal gain once the trigger signal level drops below
the threshold.
• Release — determines how soon the compander returns
to its normal gain once the trigger signal level drops below
the threshold.
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Dynamics Parameters
• Range — controls the level to which the gate closes. It
can be used to reduce the signal level rather than cut it
completely. At a setting of –70 dB, the gate closes com-
pletely when the input signal falls below the threshold. At
a setting of –30 dB, the gate only closes so far allowing an
attenuated signal through. At a setting of 0 dB, the gate
has no effect. When signals are gated abruptly, the sudden
cutoff can sound odd.
■ Gate and Ducking
dB
+20
+10
0
Threshold = –10dB
–10
–20
–30
–40
–50
–60
–70
For ducking, a setting of –70 dB causes the signal to be
virtually cutoff. At a setting of –30 dB the signal is ducked
by 30 dB. At a setting of 0 dB, the duck has no effect.
Range = –30dB
Range = –70dB
dB
• Attack — determines how fast the gate opens when the
signal exceeds the threshold level. Slow attack times can
be used to remove the initial transient edge of percussive
sounds. Too slow an attack time makes some signals
sound backwards.
For ducking, this controls how soon the signal is ducked
once the duck has been triggered. With a fast attack time,
the signal is ducked almost immediately. With a slow
attack time, ducking fades the signal. Too fast an attack
time may sound abrupt.
–70 –60 –50 –40 –30 –20 –10
0
+10 +20
Input Level
dB
+20
+10
0
–10
–20
–30
–40
–50
–60
–70
Threshold = –20dB
• Hold — sets how long the gate stays open or the ducking
remains active once the trigger signal has fallen below the
threshold level.
Range = –30dB
dB
–70 –60 –50 –40 –30 –20 –10
0
+10 +20
• Decay — controls how fast the gate closes once the hold
time has expired. A longer decay time produces a more
natural gating effect, allowing the natural decay of an
instrument to pass through.
For ducking, this determines how soon the ducker returns
to its normal gain after the hold time has expired.
Input Level
A gate, or noise gate is an audio switch used to mute sig-
nals below a set threshold level. It can be used to suppress
background noise and hiss from valve (tube) amps, effects
pedals, and microphones.
Ducking is used to automatically reduce the levels of one
signal when the level of a source signal exceeds a speci-
fied threshold. It is used for voice-over applications
where, for example, level of background music is auto-
matically reduced, allowing an announcer to be heard
clearly.
Gate (GAT) and Ducking (DUK) parameters:
Parameter
Threshold (dB)
Range (dB)
Attack (ms)
Hold (ms)
Value
–54 to 0 (55 points)
–70 to 0 (71 points)
0 to 120 (121 points)
0.02 ms to 2.14 sec (216 points)
6 ms to 46.1 sec (160 points)
Decay (ms)
• Threshold — sets the level at which the gate closes, cut-
ting off the signal. Signals above the threshold level pass
through unaffected. Signals at or below the threshold
cause the gate to close.
For ducking, trigger signal levels at and above the thresh-
old level activate ducking, and the signal level is reduced
to a level set by the Range parameter.
The trigger signal is determined using the KEYIN
SOURCE parameter.
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Dynamics library list
Dynamics library list
These are the preset dynamics settings provided by the AW1600. For details on the function of
each parameter, refer to page 182.
001 A.Dr.BD (CMP)
021 BrassSection (CMP)
Compressor intended for brass sounds with fast and strong
attack.
002 A.Dr.BD (EXP)
003 A.Dr.BD (GAT)
004 A.Dr.BD (CPH)
Use these presets to apply CMP, EXP, GAT, or CPH respec-
tively to the bass drum of an acoustic drum kit.
022 Syn.Pad (CMP)
This has a restraining effect on sounds that tend to become
diffuse. For example, this is ideal for some rich-sounding
synth pads that conversely lack definition.
005 A.Dr.SN (CMP)
006 A.Dr.SN (EXP)
007 A.Dr.SN (GAT)
023 SamplingPerc (CPS)
008 A.Dr.SN (CPS)
024 Sampling BD (CMP)
These presets modify preset programs 1 – 4 for use with a
snare drum.
025 Sampling SN (CMP)
026 Hip Comp (CPS)
It is effective to apply these programs to sampled sounds
(such as from a CD-ROM) that are used among acoustic
instruments, so that they will not seem to lack power and clar-
ity. Four variations are provided; for Perc, BD, SN, and for
looped materials (Hip Comp).
009 A.Dr.Tom (EXP)
Expander for acoustic toms automatically reduces the volume
when the toms are not played, helping to differentiate the
bass and snare drums clearly.
010 A.Dr.OverTop (CPS)
027 Solo Vocal1 (CMP)
Soft compander to emphasize the attack and ambience of
cymbals using overhead microphones. It automatically
reduces the volume when the cymbals are not played, helping
differentiate the bass and snare drums clearly.
028 Solo Vocal2 (CMP)
These are variations that are suitable for solo vocal sources.
029 Chorus (CMP)
This variation of Vocal is suitable for choruses.
011 E.B.finger (CMP)
Compressor to equalize the attack and volume level of a fin-
ger-picked electric bass guitar.
030 Compander(H) (CPH)
031 Compander(S) (CPS)
A template for the compander program.
012 E.B.slap (CMP)
Compressor to equalize the attack and volume level of a slap
032 Click Erase (EXP)
electric bass guitar.
Expander to remove click track sounds that may bleed out of
the monitor headphones the musicians are using.
013 Syn.Bass (CMP)
Compressor to adjust and/or emphasize the level of a synth
033 Announcer (CPH)
bass.
Hard compander reduces the level during the interval
between the words, making the voice sound even.
014 Piano1 (CMP)
015 Piano2 (CMP)
034 Easy Gate (GAT)
Piano1 brightens the sound to make it stand out slightly.
Piano2 uses a deeper threshold setting, producing a more
consistent overall level and sense of attack.
A template for the gate program.
035 BGM Ducking (DUK)
Ducking background music for voiceovers, typically keyed
from the announcer’s channel.
016 E.Guitar (CMP)
Suitable for electric guitar chording or arpeggios. Try various
adjustments depending on your tone or playing style.
036 Limiter 1 (CPS)
037 Limiter 2 (CMP)
017 A.Guitar (CMP)
A limiter template. 1 has a slow release, and 2 is a peak stop-
Compressor intended for acoustic guitar playing rhythm
ping type.
chords or arpeggios.
038 Total Comp1 (CMP)
039 Total Comp2 (CMP)
018 Strings1 (CMP)
040 Total Comp3 (CMP)
019 Strings2 (CMP)
020 Strings3 (CMP)
Since these presets are effective in restraining the overall
level or improving the overall definition, it is useful to apply
them to the stereo output during mixdown. You can apply the-
ses presets to a stereo source, and adjust them to create inter-
esting effects.
Compressor suitable for strings. Numbers 19 and 20 can also
be used on low-range instruments (cello, contrabass).
185
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Effects library list
Effects library list
detailed parameter information. Effects programs that use the HQ. PITCH effect can be used
only with Effect 2.
■ Reverb-type Effects
No.
01
02
03
04
05
Title
Reverb Hall
Reverb Room
Reverb Stage
Reverb Plate
Early Ref.
Type
Description
REVERB HALL
REVERB ROOM
REVERB STAGE
REVERB PLATE
EARLY REF.
Reverb simulating a large space such as a concert hall.
Reverb simulating the acoustics of a smaller space (room) than REVERB HALL.
Reverb designed with vocals in mind.
Simulation of a metal-plate reverb unit, producing a feeling of hard-edged reverberation.
An effect which isolates only the early reflection (ER) component from reverberation.
A flashier effect than reverb is produced.
06
07
Gate Reverb
Reverse Gate
GATE REVERB
REVERSE GATE
A type of ER designed for use as gated reverb.
A reverse-playback type ER.
■ Delays
No.
Title
Type
Description
08
Mono Delay
MONO DELAY
Mono delay with simple operation. Use when you don’t need to use complex parameter
settings.
09
10
11
12
Stereo Delay
Mod.delay
Delay LCR
Echo
STEREO DELAY
MOD.DELAY
DELAY LCR
ECHO
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.
■ Modulation-type Effects
No.
13
14
15
16
17
18
19
Title
Type
CHORUS
Description
Three-phase stereo chorus.
Chorus
Flange
FLANGE
The well-known flanging effect.
Symphonic
Phaser
SYMPHONIC
PHASER
A Yamaha proprietary effect that produces a richer and more complex modulation than chorus.
Stereo phaser with 2–16 stages of phase shift.
An effect which cyclically moves the sound between left and right.
Tremolo.
Auto Pan
Tremolo
AUTO PAN
TREMOLO
HQ.Pitch
HQ.PITCH
(Effect 2 only)
Only one note is pitch-shifted, but a stable effect is produced.
20
21
22
Dual Pitch
Rotary
DUAL PITCH
ROTARY
Stereo pitch shift with left and right pitches set independently.
Simulation of a rotary speaker.
Ring Mod.
RING MOD.
An effect that modifies the pitch by applying amplitude modulation to the frequency of the input.
On the AW1600, even the modulation frequency can be controlled by modulation.
23
Mod.Filter
MOD.FILTER
An effect which uses an LFO to modulate the frequency of the filter.
■ Distortion-type Effects
No.
24
Title
Type
Description
Distortion
Amp Simulate
DISTORTION
AMP SIMULATE
Distortion.
25
Guitar Amp Simulator.
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Effects library list
■ Dynamic Effects
No.
26
Title
Dyna.Filter
Type
Description
DYNA.FILTER
DYNA.FLANGE
DYNA.PHASER
Dynamically controlled filter. Responds to MIDI Note On velocity when SOURCE set to MIDI.
Dynamically controlled flanger. Responds to MIDI Note On velocity when SOURCE set to MIDI.
27
Dyna.Flange
Dyna.Phaser
28
Dynamically controlled phase shifter. Responds to MIDI Note On velocity when SOURCE set to
MIDI.
■ Combined Effects
No.
29
30
31
32
33
34
35
36
37
38
39
40
Title
Rev+Chorus
Rev->Chorus
Rev+Flange
Rev->Flange
Rev+Sympho.
Rev->Sympho.
Rev->Pan
Type
REV+CHORUS
REV->CHORUS
REV+FLANGE
REV->FLANGE
REV+SYMPHO.
REV->SYMPHO.
REV->PAN
Description
Reverb and chorus in parallel.
Reverb and chorus in series.
Reverb and flanger in parallel.
Reverb and flanger in series.
Reverb and symphonic in parallel.
Reverb and symphonic in series.
Reverb and auto-pan in parallel.
Delay and early reflections in parallel.
Delay and early reflections in series.
Delay and reverb in parallel.
Delay+ER.
DELAY+ER.
Delay->ER.
Delay+Rev
DELAY->ER.
DELAY+REV
DELAY->REV
DIST->DELAY
Delay->Rev
Dist->Delay
Delay and reverb in series.
Distortion and delay in series.
■ Other Effects
No.
Title
Multi.Filter
Type
Description
41
MULTI.FILTER
Three-band parallel filter (24 dB/octave).
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Effects Parameters
Effects Parameters
■ REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE
Parameter
REV TIME
Range
0.3 – 99.0 s
Description
Reverb time
INI.DLY
HI.RATIO
LO.RATIO
DIFF.
0.0 – 500.0 ms
0.1 – 1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Low-frequency reverb time ratio
Reverb diffusion (left–right reverb spread)
Reverb density
0.1 – 2.4
0 – 10
DENSITY
E/R DLY
E/R BAL.
HPF
0 – 100%
0.0 – 100.0 ms
0 – 100%
Delay between early reflections and reverb
Balance of early reflections and reverb (0% = ER, 100% = reverb)
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Level at which gate kicks in
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
OFF, –60 to 0 dB
0 – 120 ms
LPF
GATE LVL
ATTACK
HOLD
Gate opening speed
0.02 ms – 2.13 s
6.0 ms – 46.0 s
0 – 100 [%]
Gate open time
DECAY
MIX BAL.
Gate closing speed
Mix balance of the effects and dry sounds
■ EARLY REF.
Parameter
Range
Description
TYPE
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection simulation
ROOMSIZE
LIVENESS
INI.DLY
0.1 – 20.0
Reflection spacing
0 – 10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
Reverb diffusion (left–right reverb spread)
Reverb density
0.0 – 500.0 ms
0 – 10
DIFF.
DENSITY
ER NUM.
FB.GAIN
HI.RATIO
HPF
0 – 100%
1 – 19
Number of early reflections
–99 to +99%
0.1 – 1.0
Feedback gain
High-frequency feedback ratio
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
LPF
MIX BAL.
■ GATE REVERB, REVERSE GATE
Parameter
TYPE
Range
Type-A, Type-B
Description
Type of early reflection simulation
Reflection spacing
ROOMSIZE
LIVENESS
INI.DLY
0.1 – 20.0
0 – 10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
Reverb diffusion (left–right reverb spread)
Reverb density
0.0 – 500.0 ms
0 – 10
DIFF.
DENSITY
ER NUM.
FB.GAIN
HI.RATIO
HPF
0 – 100%
1 – 19
Number of early reflections
–99 to +99%
0.1 – 1.0
Feedback gain
High-frequency feedback ratio
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
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Effects Parameters
■ MONO DELAY
Parameter
Range
0.0 – 2730.0 ms
–99 to +99%
Description
DELAY
FB.GAIN
HI.RATIO
HPF
Delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
High-frequency feedback ratio
0.1 – 1.0
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
MIX BAL.
Mix balance of the effects and dry sounds
■ STEREO DELAY
Parameter
Range
0.0 – 1350.0 ms
–99 to +99%
Description
DELAY L
FB.G L
Left channel delay time
Left channel feedback (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
DELAY R
FB.G R
0.0 – 1350.0 ms
–99 to +99%
Right channel delay time
Right channel feedback (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
HI.RATIO
HPF
0.1 – 1.0
High-frequency feedback ratio
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ MOD.DELAY
Parameter
Range
0.0 – 2725.0 ms
–99 to +99%
Description
DELAY
FB.GAIN
HI.RATIO
FREQ.
DEPTH
WAVE
Delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
0.1 – 1.0
High-frequency feedback ratio
Modulation speed
0.05 – 40.00 Hz
0 – 100%
Modulation depth
Sine, Tri
Modulation waveform
HPF
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ DELAY LCR
Parameter
Range
0.0 – 2730.0 ms
0.0 – 2730.0 ms
Description
Left channel delay time
DELAY L
DELAY C
DELAY R
LEVEL L
LEVEL C
LEVEL R
FB.DLY
Center channel delay time
0.0 – 2730.0 ms
–100 to +100%
–100 to +100%
–100 to +100%
0.0 – 2730.0 ms
–99 to +99%
Right channel delay time
Left channel delay level
Center channel delay level
Right channel delay level
Feedback delay time
FB.GAIN
HI.RATIO
HPF
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
High-frequency feedback ratio
0.1 – 1.0
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
MIX BAL.
Mix balance of the effects and dry sounds
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Effects Parameters
■ ECHO
Parameter
Range
0.0 – 1350.0 ms
0.0 – 1350.0 ms
Description
DELAY L
FB.DLY L
FB.G L
Left channel delay time
Left channel feedback delay time
–99 to +99%
Left channel feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
DELAY R
FB.DLY R
FB.G R
0.0 – 1350.0 ms
0.0 – 1350.0 ms
–99 to +99%
Right channel delay time
Right channel feedback delay time
Right channel feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
L->R FBG
R->L FBG
–99 to +99%
–99 to +99%
Left to right channel feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
Right to left channel feedback gain (plus values for normal-phase feedback, minus values for
reverse-phase feedback)
HI.RATIO
HPF
0.1 – 1.0
High-frequency feedback ratio
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100 [%]
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Mix balance of the effects and dry sounds
LPF
MIX BAL.
■ CHORUS
Parameter
FREQ.
Range
0.05 – 40.00 Hz
0 – 100%
Description
Modulation speed
PM DEP.
AM DEP.
MOD.DLY
WAVE
Pitch modulation depth
0 – 100%
Amp modulation depth
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
LSH F
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Low-shelving filter frequency
Low-shelving filter gain
LSH G
EQ F
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
HSH G
MIX BAL.
Mix balance of the effects and dry sounds
■ FLANGE
Parameter
FREQ.
Range
0.05 – 40.00 Hz
0 – 100%
Description
Modulation speed
DEPTH
MOD.DLY
FB.GAIN
WAVE
Modulation depth
0.0 – 500.0 ms
–99 to +99%
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Modulation waveform
Sine, Tri
LSH F
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Low-shelving filter frequency
LSH G
Low-shelving filter gain
EQ F
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
HSH F
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
HSH G
MIX BAL.
High-shelving filter gain
Mix balance of the effects and dry sounds
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Effects Parameters
■ SYMPHONIC
Parameter
Range
0.05 – 40.00 Hz
0 – 100%
Description
FREQ.
DEPTH
MOD.DLY
WAVE
LSH F
LSH G
EQ F
Modulation speed
Modulation depth
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
EQ G
EQ Q
HSH F
HSH G
MIX BAL.
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
Mix balance of the effects and dry sounds
■ PHASER
Parameter
FREQ.
Range
0.05 – 40.00 Hz
0 – 100%
Description
Modulation speed
Modulation depth
DEPTH
FB.GAIN
OFFSET
STAGE
–99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Lowest phase-shifted frequency offset
Number of phase shift stages
0 – 100
2, 4, 6, 8, 10, 12, 14, 16
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
LSH F
Low-shelving filter frequency
LSH G
Low-shelving filter gain
HSH F
High-shelving filter frequency
HSH G
High-shelving filter gain
MIX BAL.
Mix balance of the effects and dry sounds
■ AUTOPAN
Parameter
FREQ.
Range
0.05 – 40.00 Hz
0 – 100%
Description
Modulation speed
DEPTH
DIR.
Modulation depth
L<->R, L—>R, L<—R, Turn L, Panning direction
Turn R
WAVE
LSH F
LSH G
EQ F
Sine, Tri, Square
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Modulation waveform
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
HSH F
HSH G
MIX BAL.
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
Mix balance of the effects and dry sounds
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Effects Parameters
■ TREMOLO
Parameter
Range
0.05 – 40.00 Hz
0 – 100%
Description
FREQ.
DEPTH
WAVE
LSH F
LSH G
EQ F
Modulation speed
Modulation depth
Sine, Tri, Square
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Modulation waveform
Low-shelving filter frequency
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
Parametric equalizer band width
High-shelving filter frequency
High-shelving filter gain
EQ G
EQ Q
HSH F
HSH G
MIX BAL.
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
Mix balance of the effects and dry sounds
■ HQ.PITCH (Effect 2 only)
Parameter
PITCH
Range
–12 to +12 semitones
–50 to +50 cents
0.0 – 1000.0 ms
–99 to +99%
Description
Pitch shift
FINE
Pitch shift fine
Delay time
DELAY
FB.GAIN
MODE
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Pitch shift precision
1 – 10
MIX BAL.
0 – 100 [%]
Mix balance of the effects and dry sounds
■ DUAL PITCH
Parameter
Range
Description
Channel 1 pitch shift
PITCH 1
FINE 1
PAN 1
–24 to +24 semitones
–50 to +50 cents
L16–1, C, R1–16
0.0 – 1000.0 ms
–99 to +99%
Channel 1 pitch shift fine
Channel 1 panpot
DELAY 1
FB.G 1
Channel 1 delay time
Channel 1 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
LEVEL 1
PITCH 2
FINE 2
–100 to +100%
–24 to +24 semitones
–50 to +50 cents
L16–1, C, R1–16
0.0 – 1000.0 ms
–99 to +99%
Channel 1 level (plus values for normal phase, minus values for reverse phase)
Channel 2 pitch shift
Channel 2 pitch shift fine
Channel 2 panpot
PAN 2
DELAY 2
FB.G 2
Channel 2 delay time
Channel 2 feedback gain (plus values for normal-phase feedback, minus values for reverse-phase
feedback)
LEVEL 2
MODE
–100 to +100%
1 – 10
Channel 2 level (plus values for normal phase, minus values for reverse phase)
Pitch shift precision
MIX BAL.
0 – 100 [%]
Mix balance of the effects and dry sounds
■ ROTARY
Parameter
ROTATE
SPEED
DRIVE
Range
STOP, START
SLOW, FAST
0 – 100
Description
Rotation stop, start
Rotation speed (see SLOW and FAST parameters)
Overdrive level
ACCEL
LOW
0 – 10
Accelation at speed changes
Low-frequency filter
0 – 100
HIGH
0 – 100
High-frequency filter
SLOW
0.05 – 10.00 Hz
0.05 – 10.00 Hz
0 – 100 [%]
SLOW rotation speed
FAST
FAST rotation speed
MIX BAL.
Mix balance of the effects and dry sounds
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Effects Parameters
■ RING MOD.
Parameter
Range
OSC, SELF
0.0 – 5000.0 Hz
Description
SOURCE
OSC FREQ
FM FREQ
FM DEPTH
MIX BAL.
Modulation source: oscillator or input signal
Oscillator frequency
0.05 – 40.00 Hz
0 – 100%
Oscillator frequency modulation speed
Oscillator frequency modulation depth
Mix balance of the effects and dry sounds
0 – 100 [%]
■ MOD.FILTER
Parameter
Range
0.05 – 40.00 Hz
0 – 100%
Description
FREQ.
DEPTH
TYPE
Modulation speed
Modulation depth
LPF, HPF, BPF
0 – 100
Filter type: low pass, high pass, band pass
Filter frequency offset
Filter resonance
OFFSET
RESO.
PHASE
LEVEL
MIX BAL.
0 – 20
0.00 – 354.38°
0 – 100
Left-channel modulation and right-channel modulation phase difference
Output level
0 – 100 [%]
Mix balance of the effects and dry sounds
■ DISTORTION
Parameter
Range
Description
DST TYPE
DST1, DST2, OVD1, OVD2,
CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
DRIVE
0 – 100
Distortion drive
MASTER
TONE
0 – 100
Master volume
–10 to +10
0 – 20
Tone
N.GATE
MIX BAL.
Noise reduction
0 – 100 [%]
Mix balance of the effects and dry sounds
■ AMP SIMULATE
Parameter
Range
Description
AMP TYPE
STK-M1, STK-M2, THRASH, Guitar amp simulation type
MIDBST, CMB-PG, CMB-VR,
CMB-DX, CMB-TW, MINI,
FLAT
DST TYPE
DST1, DST2, OVD1, OVD2,
CRUNCH
Distortion type (DST = distortion, OVD = overdrive)
N.GATE
DRIVE
0 – 20
Noise reduction
0 – 100
Distortion drive
MASTER
CAB DEP
BASS
0 – 100
Master volume
0 – 100%
0 – 100
Speaker cabinet simulation depth
Bass tone control
MIDDLE
TREBLE
EQ F
0 – 100
Middle tone control
0 – 100
High tone control
99 – 8.0 kHz
–12 to +12 dB
10.0 – 0.10
0 – 100 [%]
Parametric equalizer frequency
Parametric equalizer gain
Parametric equalizer bandwidth
Mix balance of the effects and dry sounds
EQ G
EQ Q
MIX BAL.
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Effects Parameters
■ DYNA.FILTER
Parameter
Range
INPUT, MIDI
0 – 100
Description
Control source: input signal or MIDI note on velocity
SOURCE
SENSE
TYPE
Sensitivity
LPF, HPF, BPF
0 – 100
Filter type
OFFSET
RESO.
DIR.
Filter frequency offset
Filter resonance
0 – 20
UP, DOWN
6.0 ms – 46.0 s
0 – 100
Upward or downward frequency change
Filter frequency change decay speed
Output Level
DECAY
LEVEL
MIX BAL.
0 – 100 [%]
Mix balance of the effects and dry sounds
■ DYNA.FLANGE
Parameter
Range
INPUT, MIDI
0 – 100
Description
SOURCE
SENSE
FB.GAIN
OFFSET
DIR.
Control source: input signal or MIDI note on velocity
Sensitivity
–99 to +99%
0 – 100
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Delay time offset
UP, DOWN
Upward or downward frequency change
Decay speed
DECAY
LSH F
6.0 ms – 46.0 s
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
100 – 8.00 k [Hz]
–12 to +12 [dB]
10 – 0.10
Low-shelving filter frequency
LSH G
EQ F
Low-shelving filter gain
Parametric equalizer center frequency
Parametric equalizer gain
EQ G
EQ Q
Parametric equalizer band width
High-shelving filter frequency
HSH F
HSH G
MIX BAL.
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
High-shelving filter gain
Mix balance of the effects and dry sounds
■ DYNA.PHASER
Parameter
Range
INPUT, MIDI
0 – 100
Description
Control source: input signal or MIDI note on velocity
Sensitivity
SOURCE
SENSE
FB.GAIN
OFFSET
STAGE
DIR.
–99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Lowest phase-shifted frequency offset
Number of phase shift stages
0 – 100
2, 4, 6, 8, 10, 12, 14, 16
UP, DOWN
Upward or downward frequency change
Decay speed
DECAY
LSH F
6.0 ms – 46.0 s
21.2 – 8.00 k [Hz]
–12 to +12 [dB]
50.0 – 16.0 k [Hz]
–12 to +12 [dB]
0 – 100 [%]
Low-shelving filter frequency
LSH G
Low-shelving filter gain
HSH F
High-shelving filter frequency
HSH G
MIX BAL.
High-shelving filter gain
Mix balance of the effects and dry sounds
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Effects Parameters
■ REV+CHORUS
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
PM DEP.
AM DEP.
MOD.DLY
WAVE
Pitch modulation depth
Amp modulation depth
0 – 100%
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV/CHO
MIX BAL.
0 – 100%
Reverb and chorus balance (0% = chorus, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ REV->CHORUS
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
PM DEP.
AM DEP.
MOD.DLY
WAVE
Pitch modulation depth
0 – 100%
Amp modulation depth
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV.BAL
MIX BAL.
0 – 100%
Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ REV+FLANGE
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
MOD.DLY
FB.GAIN
WAVE
Modulation depth
0.0 – 500.0 ms
–99 to +99%
Sine, Tri
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Modulation waveform
REV/FLG
MIX BAL.
0 – 100%
Reverb and flange balance (0% = flange, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
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Effects Parameters
■ REV->FLANGE
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
MOD.DLY
FB.GAIN
WAVE
Modulation depth
0.0 – 500.0 ms
–99 to +99%
Sine, Tri
Modulation delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Modulation waveform
REV.BAL
MIX BAL.
0 – 100%
Reverb and flanged reverb balance (0% = flanged reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ REV+SYMPHO.
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
MOD.DLY
WAVE
Modulation depth
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV/SYM
MIX BAL.
0 – 100%
Reverb and symphonic balance (0% = symphonic, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ REV->SYMPHO.
Parameter
Range
0.3 – 99.9 s
0.0 – 500.0 ms
Description
REV TIME
INI.DLY
HI.RATIO
DIFF.
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0.1 – 1.0
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
MOD.DLY
WAVE
Modulation depth
0.0 – 500.0 ms
Sine, Tri
Modulation delay time
Modulation waveform
REV.BAL
MIX BAL.
0 – 100%
Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
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Effects Parameters
■ REV->PAN
Parameter
REV TIME
INI.DLY
HI.RATIO
DIFF.
Range
0.3 – 99.9 s
Description
Reverb time
0.0 – 500.0 ms
0.1 – 1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Reverb diffusion (left-right reverb spreed)
Reverb density
0 – 10
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0.05 – 40.00 Hz
0 – 100%
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Modulation speed
LPF
FREQ.
DEPTH
DIR.
Modulation depth
L<->R, L—>R, L<—R, Turn L, Panning direction
Turn R
WAVE
Sine, Tri, Square
0 – 100%
Modulation waveform
REV BAL.
MIX BAL.
Reverb and panned reverb balance (0% = panned reverb, 100% = reverb)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ DELAY+ER.
Parameter
Range
0.0 – 1000.0 ms
0.0 – 1000.0 ms
Description
Left channel delay time
DELAY L
DELAY R
FB.DLY
Right channel delay time
0.0 – 1000.0 ms
–99 to +99%
0.1 – 1.0
Feedback delay time
FB.GAIN
HI.RATIO
TYPE
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
High-frequency feedback ratio
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection simulation
ROOMSIZE
LIVENESS
INI.DLY
DIFF.
0.1 – 20.0
Reflection spacing
0 – 10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
0.0 – 500.0 ms
0 – 10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
ER NUM.
HPF
0 – 100%
1 – 19
Number of early reflections
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY/ER
MIX BAL.
Delay and early reflections balance (0% = early reflections, 100% = delay)
Mix balance of the effects and dry sounds
0 – 100 [%]
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Effects Parameters
■ DELAY->ER.
Parameter
Range
0.0 – 1000.0 ms
0.0 – 1000.0 ms
Description
DELAY L
DELAY R
FB.DLY
Left channel delay time
Right channel delay time
Feedback delay time
0.0 – 1000.0 ms
–99 to +99%
0.1 – 1.0
FB.GAIN
HI.RATIO
TYPE
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
High-frequency feedback ratio
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection simulation
ROOMSIZE
LIVENESS
INI.DLY
DIFF.
0.1 – 20.0
Reflection spacing
0 – 10
Early reflections decay characteristics (0 = dead, 10 = live)
Initial delay before reverb begins
0.0 – 500.0 ms
0 – 10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
ER NUM.
HPF
0 – 100%
1 – 19
Number of early reflections
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY.BAL
MIX BAL.
Delay and early reflected delay balance (0% = early reflected delay, 100% = delay)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ DELAY+REV
Parameter
Range
0.0 – 1000.0 ms
0.0 – 1000.0 ms
Description
Left channel delay time
DELAY L
DELAY R
FB.DLY
FB.GAIN
DELAY HI
REV TIME
INI.DLY
REV HI
DIFF.
Right channel delay time
0.0 – 1000.0 ms
–99 to +99%
0.1 – 1.0
Feedback delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Delay high-frequency feedback ratio
Reverb time
0.3 – 99.9 s
0.0 – 500.0 ms
0.1 – 1.0
Initial delay before reverb begins
High-frequency reverb time ratio
0 – 10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY/REV
MIX BAL.
Delay and reverb balance (0% = reverb, 100% = delay)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ DELAY->REV
Parameter
Range
0.0 – 1000.0 ms
0.0 – 1000.0 ms
Description
Left channel delay time
DELAY L
DELAY R
FB.DLY
FB.GAIN
DELAY HI
REV TIME
INI.DLY
REV HI
DIFF.
Right channel delay time
0.0 – 1000.0 ms
–99 to +99%
0.1 – 1.0
Feedback delay time
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
Delay high-frequency feedback ratio
Reverb time
0.3 – 99.9 s
0.0 – 500.0 ms
0.1 – 1.0
Initial delay before reverb begins
High-frequency reverb time ratio
0 – 10
Reverb diffusion (left-right reverb spreed)
Reverb density
DENSITY
HPF
0 – 100%
Thru, 21.2 Hz – 8.0 kHz
50 Hz – 16.0 kHz, Thru
0 – 100%
High-pass filter cutoff frequency
LPF
Low-pass filter cutoff frequency
DLY.BAL
MIX BAL.
Delay and delayed reverb balance (0% = delayed reverb, 100% = delay)
Mix balance of the effects and dry sounds
0 – 100 [%]
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Effects Parameters
■ DIST->DELAY
Parameter
Range
Description
Distortion type (DST = distortion, OVD = overdrive)
DST TYPE
DST1, DST2, OVD1, OVD2,
CRUNCH
DRIVE
0 – 100
Distortion drive
Master volume
Tone control
MASTER
TONE
0 – 100
–10 to +10
0 – 20
N.GATE
DELAY
Noise reduction
Delay time
0.0 – 2725.0 ms
–99 to +99%
0.1 – 1.0
FB.GAIN
HI.RATIO
FREQ.
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
High-frequency feedback ratio
0.05 – 40.00 Hz
0 – 100%
Modulation speed
DEPTH
DLY BAL
MIX BAL.
Modulation depth
0 – 100%
Distortion and delay balance (0% = distortion, 100% = delayed distortion)
Mix balance of the effects and dry sounds
0 – 100 [%]
■ MULTI FILTER
Parameter
Range
HPF, LPF, BPF
HPF, LPF, BPF
Description
Filter 1 type: low pass, high pass, band pass
Filter 2 type: low pass, high pass, band pass
Filter 3 type: low pass, high pass, band pass
Filter 1 frequency
TYPE 1
TYPE 2
TYPE 3
HPF, LPF, BPF
28 Hz – 16.0 kHz
28 Hz – 16.0 kHz
28 Hz – 16.0 kHz
0 – 100
FREQ. 1
FREQ. 2
FREQ. 3
LEVEL 1
LEVEL 2
LEVEL 3
RESO. 1
RESO. 2
RESO. 3
MIX BAL.
Filter 2 frequency
Filter 3 frequency
Filter 1 level
0 – 100
Filter 2 level
0 – 100
Filter 3 level
0 – 20
Filter 1 resonance
0 – 20
Filter 2 resonance
0 – 20
Filter 3 resonance
0 – 100 [%]
Mix balance of the effects and dry sounds
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Sample library list
Sample library list
This is a list of the sample libraries that are installed on the internal hard disk when the AW1600
is shipped from the factory.
L : LOOP
O : ONESHOT
– : No assigns
PAD1
PAD2
PAD3
PAD4
Name
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
L
L
L
L
L
–
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
L
L
L
L
L
–
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
B
L
L
L
L
L
–
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
A
O
O
O
O
O
L
B
O
O
O
O
O
–
C
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
D
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
060Normal16
060Normal8
060NormShffl
064RnBsmooth
065Triplet
080Latin16
089Syncopatn
090MedSlow8
093Bounce8
093Southern
094Gangsta
096Hip
O
O
O
O
O
O
L
O
O
O
O
O
O
L
102OldSkool2
106BreakRock
106HipFunk
106OldSkool
108Funk1
L
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
L
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
–
108Funk2
110Med8
110NJS
114Simple16
118LoudFunk
120Normal16
120Normal8
120NormShffl
125Simple8
126BigBeat
126LatinRock
127Shffle16
128FlipHop
128GarageHs
129Detroit
O
–
130Latin8
L
130Shuffle8
134TecLectro
135_2Step
O
L
O
L
L
L
135Ibiza
L
L
135TrncHouse
137SambaEns
L
L
L
L
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Sample library list
PAD1
PAD2
PAD3
PAD4
Name
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140MedFast8
140Techno
147Drumn_Bs
154LatinSwng
170Fast8
Bang_Explosn
Bell_Beep
Birds
L
L
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L
L
L
L
L
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L
L
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O
L
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–
Car_Action
City_Noise
Dog_Cat
O
L
O
L
O
L
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L
O
O
O
O
L
O
O
O
O
–
O
O
O
O
L
O
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–
Door_Action
Female_Dry
Female_Wet
Fire
Guns
O
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L
O
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O
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L
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Hit_Swish
Human_Action
Jungle_Amb
Laser_Buzz
Male_Dry
Night_Amb
Other_Rides
Punch_Swish
Rain1
O
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Rain2
L
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River
L
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Robot_Voice
Scratch1
O
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O
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O
O
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L
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L
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O
O
O
L
Scratch2
SE_Analog
SE_Beep
SE_SFX
Sea
Stock_Farm
Storm
O
L
O
L
O
L
O
L
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Troubleshooting
Troubleshooting
■ Input sound is not output
Power does not turn on, operation not
possible
• Is the signal from the external device being input?
• The connection cable from the external device may be
broken.
■ Power does not turn on
• Is the AC adaptor connected to an AC outlet of the correct
voltage?
• Are cables connected to both the MIC/LINE INPUT 8
XLR/TRS connector and the HI-Z connector?
• Is the POWER switch turned ON?
• Is the [GAIN] knob set to an appropriate level?
• Is the input channel fader raised? Is it turned on?
• The input channel may have been set to DIGITAL IN.
• If the power still does not turn on, please contact your
Yamaha dealer.
• When recording, is the recording-destination track fader
(which adjusts the monitor level) raised?
■ LCD display is dim or dark
• Use the contrast knob located at the lower right of the
screen to adjust the contrast.
→ If you are recording, the sound of that input channel will not
be heard during playback.
■ Can’t use the [DATA/JOG] dial to control on-
screen parameters
• The [JOG ON] key may be on.
■ Recorded sound is not output
• Has audio data been recorded on the recorder?
• Is the virtual track set to the track that was recorded?
• Some parameters cannot be operated in certain states,
such as while the recorder is running.
• A recorded region shorter than 10 msec will not be played
back.
• Tracks 1–16 will not play back if the AW1600 is in Stereo
Track, Sound Clip, or Audio CD playback mode.
No sound
■ No sound, or sound is too faint
■ Can’t play back the STEREO track
• Is the stereo track turned on in the MONITOR screen
ST.TRACK page?
• Are speakers or headphones connected correctly?
• Is your amp and other external devices turned on?
• Are you using connection cables with built-in resistors?
• Does the stereo output channel meter move?
■ Metronome cannot be heard
• The metronome sound is normally sent only to the MONI-
TOR OUT and headphones.
• Is the stereo output channel fader raised? Is it turned on?
• The EQ gain may be set to an extremely low value.
• The metronome will not sound while the recorder is
stopped.
• The dynamics processor may be set to an extreme thresh-
old or ratio.
• In Sound Clip mode, the metronome will sound only dur-
ing recording.
• If you are connecting an electric guitar, is it connected to
the Hi-Z jack?
• Is the attenuator of the EQ screen or VIEW screen raised?
Can’t record, something is wrong with
the recorded sound
→ Check the level (meter movement) in the METER page of
the VIEW screen.
→ If you press the [SEL] key in the MONITOR screen INIT
page, that channel will be initialized to default values that
allow sound to be output.
■ Can’t record
• Is there sufficient free space on the internal hard disk?
→ You can check the remaining recordable time by setting the
counter display to REMAIN in the SONG screen SETUP
page.
→ If DIGITAL IN is set to other than DISABLE in the UTILITY
screen D.IN HDD page, and no signal is being input to the
DIGITAL INPUT jack, a message of “WRONG WORD
CLOCK” will appear, and sound will not be output.
• The song may be protected.
• The stereo track may be in playback mode.
• Is the input signal routed appropriately to the recorder?
• Check the recording-source and recording-destination in
the QUICK NAVIGATE page RECORD screen?
• DIGITAL REC may have been turned OFF in the UTIL-
ITY screen D.IN•HDD page.
before using digital input signals.
■ Can’t record on the STEREO track
• It is not possible to record on the STEREO track while
recording on other tracks.
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Troubleshooting
• The fader may be set to PRE FADE in AUX.
■ Noise is present in the recorded signal
• The oscillator may be functioning.
■ Pairing was specified, but the signal is mon-
aural
• Is the odd-numbered channel panned far left and the even-
numbered channel panned far right?
• Does the word clock setting match for the AW1600 and
the external device(s)?
• Go to the RECORD screen in the Quick Navigate section
and check the recording-source and recording-destination.
■ Pairing was specified, but the signal phase
does not match
• Even when channels are paired, the phase setting is not
linked.
■ Can’t select a record track
• The number of 24-bit song tracks that can be recorded or
played simultaneously is limited.
■ Signal is delayed
• An effect such as delay may be inserted.
Something wrong with the sound
■ Signal from the INPUT 8 jack is too loud
• A conventional line-level signal may be connected to the
Hi-Z jack.
■ Can’t use the internal effects
• Effect BYPASS may be turned ON.
• The effect may have been inserted into a different channel.
• Are the level of EFF.RTN 1, 2 faders raised?
■ Sound is distorted
• Is the [GAIN] knob set correctly?
• 019. HQ. Pitch can be used only with EFFECT 2.
• The connection cable from the external device may be
broken.
• These do not affect the stereo track, sound clip, or audio
CD playback.
• The fader of the input channel or monitor channel may be
raised excessively.
■ Playback pitch is wrong
• VARI PITCH may be adjusted.
• The stereo output channel fader may be raised excessively.
• Is the synchronized external device operating on the same
sampling frequency (44.1 kHz)?
• The stereo output channel attenuator may be raised exces-
sively.
• Is the master device operating in a stable way?
• The EQ or dynamics processor may have been set to pro-
duce an extreme gain boost.
• You may have executed the EDIT screen PITCH com-
mand.
• Did you record at an appropriate level?
• Is an effect such as HQ.Pitch or Dual Pitch selected for a
monitor channel?
→ Go to the VIEW screen METER page and check the level
(meter movement).
• Is the word clock setting correct for both the AW1600 and
the external device(s)?
■ A small amount of noise is produced when a
song is played back on a different AW1600
unit
• A small amount of noise may be heard at the beginnings
and ends of audio regions when a song created on an
AW1600 unit with Version 1.1 firmware is played back on
an AW1600 with Version 1.0 firmware. Please update all
AW1600 units you are using to the latest firmware ver-
sion. Information on the latest firmware version as well as
update procedure can be found at the internet address
below.
• 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 specified in the SONG screen
TEMPO page.
■ Can’t store a scene
• The store-destination scene may be protected.
http://www.yamahasynth.com/
• A scene cannot be stored in scene number 00.
Recorder operations
■ Can’t reproduce a scene
• One or more channels may be set to Recall Safe.
■ When you press the [PLAY] key it blinks,
and playback does not occur
• Is the AW1600 set to MTC SLAVE?
■ Can’t save to a library
• It is not possible to save to the factory-preset libraries.
→ Access the UTILITY screen MIDI 2 page, and check the set-
■ Meters move even though the faders are
lowered
ting.
■ 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.
• The meter display may be set to PRE FADER.
■ Moving a fader does not change the level
• In the VIEW screen FADER page, check whether the dis-
play moves in correspondence with fader operations.
→ You cannot control the level until the panel fader position
■ Can’t edit a recorded track
matches the position shown in the display.
• The song may be protected.
• In the UTILITY screen PREFER page, is FADER FLIP
set appropriately?
• Have you selected the virtual track that you recorded?
→ When the power is turned on, FADER FLIP will be set to
TRACK.
203
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Troubleshooting
■ Editing results are not heard in the sound
• Have you selected the virtual track that you recorded?
■ The display indicates MEMORY FULL, and
you can’t 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.
• Are you using the appropriate editing command?
■ 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).
■ WAV files to be imported are not displayed
• Have you copied WAV files with a different bit depth from
the song? 16-bit WAV files will not be displayed for a 24-
bit song, and 24-bit WAV files will not be displayed for a
16-bit song. WAV files with sampling frequency other than
44.1 kHz will also not be displayed.
• If the display mode is set to REL (relative time), the start
point may be specified.
→ Go to the SONG screen SETUP, POINT page and check the
settings.
■ Display indicates DISK FULL, MEMORY
FULL, or REGION FULL, and you cannot
record or edit
• There is insufficient free space, or too many recording
regions. Erase unneeded tracks and then perform the Opti-
mize operation to obtain more free space.
MIDI operations
■ Can’t exchange MIDI data
• Are the MIDI cables or USB cables connected correctly?
• A MIDI cable or USB cable may be broken.
• Is the power turned on for the transmitting and receiving
devices?
• If the “DISK FULL” message appears, erase unneeded
songs, sample libraries, or WAV files located under the
“Transport” folder. The WAV files under the “Transport”
folder can be erased from your computer when the USB
Storage mode is engaged.
• Do the channel settings match for the transmitted and
receiving devices?
• Have the appropriate settings been made in the UTILITY
screen MIDI 1/2 pages?
■ The display indicates DISK BUSY during
playback
→ Select the connector and port to be used (MIDI connector,
USB connector port 1/2) in the MIDI 1 page.
• The recorded data might be so fragmented that the read
speed is significantly reduced. It might be necessary to
backup all hard disk data to your computer and then re-ini-
tialize the hard disk.
• Is a scene assigned to the program change number being
transmitted?
• If a USB connection is being used, is the required USB-
MIDI driver properly installed on your computer?
■ MTC messages are not transmitted
• In the UTILITY screen MIDI 2 page, has the MTC button
been turned on?
Sampler operations
■ When you press a pad there is no sound, or
the wrong bank is heard
• Is MTC SYNC set to MASTER?
• Have you selected a bank to which the waveform is
assigned?
■ The AW1600 does not synchronize to
incoming MTC messages
• A bank change may have been specified in the SONG
screen TEMPO page.
• Is the MIDI cable connected to the MIDI IN connector?
• In the UTILITY screen MIDI 2 page, has MTC MODE
been set to SLAVE?
■ The sound is not what you loaded, or the
sound is different depending on whether
you are stopped or playing
• If the playback mode is set to LOOP, the sound will play
according to the monitor tempo specified in the SAMPLE
screen SETUP page while the recorder is stopped, and
will play according to the song tempo while the recorder is
playing.
• Is the connector and port to be used (MIDI connector,
USB connector port 1/2) selected in the UTILITY screen
MIDI 1 page?
■ MTC synchronization drifts
• Is a large amount of MIDI data (notes etc.) being received
together with the MTC messages?
• Does the frame rate match between the AW1600 and the
external device?
■ The sound you loaded only plays part of the
way
• In the UTILITY screen MIDI 2 page, the OFST (offset)
may have been set.
• Have you made trim settings to shorten the Start–End
region?
• If jumps occur in the synchronized time, change the
AVRG setting in the UTILITY screen MIDI 2 page, and
try again.
• If the playback mode is set to GATE, the sample will play
only while you continue pressing the pad.
• If the playback mode is set to LOOP and Slice is turned
off, the sample will play only for the length of a measure.
■ MMC messages is not transmitted
• Is the MIDI cable connected to the MIDI OUT connector?
• In the UTILITY screen MIDI 1 page, has MMC MODE
been set to MASTER? Does the DEVICE NO. match?
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Troubleshooting
■ Can’t receive MMC messages
WAV File Transfer To and From a
Computer
• Is the MIDI cable connected to the MIDI IN connector?
• In the UTILITY screen MIDI 2 page, has MMC MODE
been set to SLAVE? Does the DEVICE NO. match?
■ The computer doesn’t recognize the
AW1600 hard disk
• Is the USB cable properly connected?
■ Can’t use the preset remote settings
• Depending on the sequencer that you want to control, you
may need to make settings on the sequencer. For details,
• Is your computer running the appropriate operating sys-
tem?
→ Windows XP Professional/Home Edition SP1 or higher, or
Mac OS X 10.3 or higher. Operation is not guaranteed with
other operating systems.
• Select the connector and port to be used (MIDI connector,
USB connector port 1/2) in the UTILITY screen MIDI 1
page.
• Is the USB storage mode turned ON?
■ Can’t find WAV files copied from the com-
puter to the Transport folder
Song operations
• Have you copied WAV files with a different bit depth from
the song? Have you copied WAV files with sampling fre-
quency other than 44.1 kHz?
■ Can’t save a file
• Is there sufficient space on the internal hard disk to create
a new song?
• Did you perform the correct shut-down procedure when
you last turned off the power?
■ Can’t find WAV files copied from the com-
puter to the Audio folder
→ Disconnecting the power without performing the shutdown
operation will shorten the lifespan of the hard disk and CD-
RW drive, may damage the hard disk and CD-RW drive and
disc, and may result in loss of data.
• Did you change the bit depth of the WAV file when editing
it with waveform editing software?
→ For 24-bit songs audio data is saved in the Audio folder in
32-bit WAV file format.
• Is the internal hard disk be subjected to strong physical
shock?
• Have you changed the file name?
• Did you copy the file(s) to a different folder?
■ AW2816 backup files cannot be saved
• Songs with a large data size cannot be saved. Try execut-
ing the Optimize function from the SONG screen LIST
page.
■ Can’t copy files from the computer
• Files larger than 4 GB cannot be copied.
■ An error message appears when discon-
necting the AW1600 from a Windows com-
puter
• Before turning the USB storage mode OFF, remove the
device via the “Safely Remove Hardware” icon in the
taskbar.
■ Song file size is unnaturally large
• Even after you use recorder editing operations to erase a
track or other data, that sound file will remain on the disk.
Execute the Optimize command in the SONG screen LIST
page.
• Close all AW1600 windows before removing the device
via the “Safely Remove Hardware” icon.
CD operations
■ Can’t create an audio CD
• Is CD-R/RW media inserted?
Pitch Fix operations
• The inserted CD-R may have already been finalized.
• Is a signal recorded on the stereo track?
■ Can’t hear any pitch change?
• Make sure that RATE is NOT set to “000.”
• Make sure that BYPASS is off.
• The stereo track must be at least four seconds long.
• Have you saved a song after the stereo track has been
recorded?
■ The voice is not recognized
• When the voice is high, set TYPE to FEMALE; when it is
low, set TYPE to MALE.
■ An audio CD you created does not play back
on a conventional player
• An audio CD you created you not play back on a conven-
tional player unless the disc has been finalized.
■ Pitch correction doesn’t sound right
• In some cases, pitch correction may sound unnatural —
especially for parts sung with vibrato. To make the pitch-
corrected vocal sound more natural and subtle, set
DETECT to a relatively short value and set RATE to a rel-
atively slow value.
■ Audio recorded on CD-RW media does not
play back on some players
• In order for audio data recorded on CD-RW media to be
played back, the player must support CD-RW. Contact the
manufacturer of the player regarding CD-RW support.
■ The sound skips while playing an audio CD
that you created
• Depending on the CD-R media you use, there may be dif-
ferences in the quality of the completed CD.
205
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Display message list
Display message list
■ Messages
A/B POINTS NOT FOUND
CANNOT DEFEAT MUTE
Repeat Playback cannot be performed because A/B points are not specified.
Mute cannot be disengaged because the simultaneous playback limit will be
exceedced.
CANNOT REDO!
Redo (re-execution of an operation) is not possible.
CANNOT SET MARK
CANNOT UNDO!
It is not possible to specify a mark at an already-specified position.
Undo (cancellation of an operation) is not possible.
CD PLAY MODE NOW
CH. PARAMETER INITIALIZED
DIFFERENT TC FRAME TYPE
DISK BUSY!!
Since the AW1600 is in CD Play mode, this operation cannot be executed.
The mixer parameters of the channel have been initialized.
MTC of a different frame type than the internal setting is being received.
The reading speed of the internal hard disk is not fast enough, or the reading
speed has slowed down because the recorded data has become fragmented.
DISK FULL!!
There is insufficient space on the internal hard disk.
IN/OUT POINTS NOT FOUND
Auto-punch recording cannot be performed because in/out points are not specified.
IN/OUT POINTS REVERSE ORDER In/out points are set in wrong order.
IN/OUT POINTSTOO CLOSE
The auto punch-in/out interval is too short. It cannot be set less than approximately
100 msec.
LIBRARY: FOR EFFECT2 ONLY.
LIBRARY: PROTECTED.
LIBRARY: READ ONLY.
LOCATE POINT ERASED
LOCATE POINT SET
The selected parameter is for Effect 2 only.
The selected parameter is protected.
The selected parameter is read-only.
The locate point has been erased.
The locate point has been set.
MARK POINT ERASED
MARK POINT SET
The mark has been erased.
The mark has been set.
MEMORY FULL!!
There is no more free space in sampling pad memory.
Invalid MIDI data may have been received.
MIDI IN: DATA FRAMING ERROR!
MIDI IN: DATA OVERRUN!
MIDI: RX BUFFER FULL!
MIDI:TX BUFFER FULL!
MTC SLAVE MODE NOW
NO MARK LEFT
Invalid MIDI data may have been received.
Receiving more MIDI data than it can handle.
Attempting to transmit more MIDI data than it can handle.
Since the AW1600 is in MTC Slave mode, this operation cannot be executed.
The allowable number of marks has been exceeded.
Recording cannot be performed because you have not selected a record track.
The operation cannot be executed because the recorder is operating.
Since the recorder is recording or playing, this operation cannot be executed.
Redo (re-execution of the previous operation) has been completed.
The repeat interval is too short. It cannot be set to less than one second.
No sample is assigned to the selected pad.
RECORD TRACK NOT SELECTED
RECORDER BUSY!
RECORDER RUNNING NOW
REDO COMPLETED
REPEAT POINTS TOO CLOSE
SELECTED PAD NOT ASSIGNED.
SOUND CLIP MODE NOW
Since the AW1600 is in Sound Clip mode, this operation cannot be executed.
STEREO TRACK PLAYBACK MODE Since the AW1600 is in Stereo Track Playback mode, this operation cannot be exe-
cuted.
THIS SONG IS PROTECTED.
TOO MANY REGIONS!!
UNDO COMPLETED
This song is protected, and cannot be edited or recorded.
The maximum allowable number of regions* has been exceeded.
Undo (cancellation of the previous operation) has been executed.
Since the AW1600 is in USB Storage mode, this operation cannot be executed.
USB STORAGE MODE NOW
WRONG WORD CLOCK
An inappropriate word clock is being received from the connected device to which
you are synchronizing.
* A “region” is a continuous segment of audio data recorded on one track.
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Display message list
■ Popup messages
ALL Song Data Corrupt!
Format INT.HDD.
The file system is corrupt. The internal hard disk will be initialized.
Audio Data Too Short!
Buffer Underrun!
The sample is too short.
A buffer underrun error was encountered while writing to the CD.
Can’t import from a CD because DIGITAL REC is prohibited.
CD Import Prohibited!
Enable DIGITAL REC.
CD or HD Access Error!
CD-RW Drive Not Found!
An error was encountered while accessing the internal hard disk or CD-RW drive.
A problem occurred with the CD-RW drive.
Change Media,
The medium contains the wrong backup file. Insert the correct medium.
Different Archive ID!
Change Media,
Please exchange the media. The order of media volumes is incorrect.
Wrong Media Order!
Compare Error!
The data was not written correctly.
Corrupt File!
The file is corrupt.
Data Mismatch Found!
Data Too Long!
A data mismatch has been found in the song.
No more data can be written because the capacity of the CD has been exceeded.
The end of the backup file cannot be located.
End of Archive File Not Found!
End Range Over!
The operation could not be executed, since the end of the song would be later than
24 hours.
Erase CD-RW Media?
File in Use!
Is it OK to erase the CD-RW media?
Can’t save, erase, or edit the title because the file is in use.
The file list is full and cannot be appended.
File List Full!
File Name Already Exists!
File Number Full!
The specified file name already exists. Use a different file name.
No more songs can be created or restored, since this would exceed the maximum
number of files.
File Size Exceeds Limit!
HD Full!
The file is too large to be saved.
The internal hard disk is full and can accept no more data.
HD Status is Out Of Range!
The hard disk reliability status (the number of past errors) has exceeded the
threshold. Back up your data and have the hard disk replaced as soon as possible.
HDD Error!
A problem occurred with the internal hard disk.
An unrecognized or unsupported medium has been inserted.
Insert medium number ***.
Illegal/Unsupported Media!
Insert Next Media #***.
Invalid Parameter!
The parameter setting exceeds the allowable range.
An invalid region has been specified.
Invalid Region!
Marker Interval Under 4 sec!
Since the song length divided by the markers would be less than four seconds, you
cannot divide it with a marker.
Media Too Small. Cannot Save!
No Data!
The medium does not have enough space available to save the data.
The selected region does not contain data.
No File!
Can’t save, erase, or edit the title because no file is found.
Media has not been inserted.
No Media!
No Pad Memory!
No Region!
There is no more free space in sampling pad memory.
No region* is found.
No Song to Write!
No Stereo Track!
Not 44.1kHz/16Bit Song!
No songs to write to the CD have been selected.
There is no song that includes a master track longer than four seconds.
The song cannot be restored since it is not a 44.1 kHz/16-bit song.
Number Ejected Media,
Insert Blank Media.
Make a note of the number of the medium which has been writen to, then insert a
blank medium.
Number of Media Exceeds Limit!
The maximum numberof media that can be handled at the same time has been
exceeded.
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Display message list
Protected!
Can’t edit the file because it is protected.
Read-Only File!
Region Full!
Can’t save, erase, or edit the title because the file is read-only.
The maximum allowable number of regions* has been exceeded.
No sample is assigned to the selected pad.
Selected Pad Not Assigned.
Song Data Corrupt!
Load Another Song.
The song data is corrupt. A different song will be loaded.
Song Too Large to Export!
System Error!
The song file is too large to be exported.
An internal system error has occurred.
This Song is Protected!
Too Many CD Tracks!
Can’t save, erase, or edit the title because the song is protected.
No new tracks can be added because the maximum number of allowable tracks
has been exceeded.
Track Not Recorded!
The track you selected does not contain any recorded data.
Wav File Link Error!
Delete Wrong Data?
A portion of the song data is corrupt. Erase the corrupt data?
If you move the cursor to the OK button and press the [ENTER] key, the corrupt
portion of the song will be erased. If you move the cursor to the CANCEL button
and press the [ENTER] key, another song will be loaded instead.
Wave File Link Error!
Wrong Bit Depth!
A WAV file link error has been found.
The bit depth of the selected file is incorrect.
The selected file is not PCM format.
Wrong File Format!
Wrong HD Format!
The internal hard disk is incorrectly formatted.The disk cannot be formatted from a
computer.
Wrong Number of Channels!
Wrong Sampling Frequency!
Wrong Wav Chunk Data!
Wrong Wav File!
The number of channels in the selected file is incorrect.
The sampling rate of the selected file is incorrect.
The WAV file’s chunk data is incorrect.
The WAV file cannot be used.
* A “region” is a continuous segment of audio data recorded on one track.
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About the CD-ROM included with the AW1600
About the CD-ROM included with the AW1600
Special Notices
• The software and this owner’s manual are the exclusive
copyrights of Yamaha Corporation.
Installing USB MIDI driver
If you are connecting the AW1600 to your computer via a
USB cable for MIDI message transmission and reception,
you need to install the Yamaha USB MIDI driver.
• Use of the software and this manual is governed by the
license agreement which the purchaser fully agrees to
upon breaking the seal of the software packaging.
(Please read carefully the Software Licensing Agree-
ment at the end of this manual before installing the
application.)
■ System Requirements
OS: Windows XP Professional/Home Edition SP1 or
higher, or Mac OS X 10.3 or higher
• Copying of the software or reproduction of this manual
in whole or in part by any means is expressly forbidden
without the written consent of the manufacturer.
■ Installing on Windows XP
Start your computer to launch Windows, then
log in as Administrator.
1
• Yamaha makes no representations or warranties with
regard to the use of the software and documentation and
cannot be held responsible for the results of the use of
this manual and the software.
Click the [Start] button, and then click [Con-
trol Panel].
2
• This disk is a CD-ROM. Do not attempt to play the disk
on an audio CD player. Doing so may result in irrepara-
ble damage to your audio CD player.
If the control panel appears as “Pick a category”, click
“Switch to Classic View” in the upper left of the win-
dow. All control panels and icons will be displayed.
• Future upgrades of application and system software and
any changes in specifications and functions will be
announced separately.
Go to [System Hardware] ➝ [Driver signa-
3
tures] ➝ [Driver signature options], select
“Ignore — Install software without asking for
confirmation,” and then click [OK].
Click [OK] to close the “System Properties”
window, and then click the Close button to
close the “Control Panel” window.
4
Contents of the CD-ROM
The included CD-ROM contains a backup file that you
can use to restore the AW1600 to its factory-set condition,
setting files that let you use the AW1600’s MIDI Remote
function with various DAW software, and a USB MIDI
driver that is necessary to allow MIDI message transmis-
sion and reception via the USB connector.
Insert the included CD-ROM into the CD-ROM
drive.
5
First, make sure the POWER switch on the
6
AW1600 is set to STANDBY, then use a USB
cable to connect the USB connector of the
computer to the USB connector of the
AW1600. When the AW1600 is turned on, the
computer automatically displays the “Found
New Hardware Wizard.”
Folder/
file name
Software name
Contents
Demo song
Backup file for restoring the
internal hard disk to its fac-
tory-set condition.
AW16_000.TAR
Sample library
Cubase/Nuendo
remote setup file
Setting file for remotely con-
trolling the Cubase/Nuendo
software from the AW1600.
If the “Can Windows connect to Windows
7
Update to search for software?” is displayed,
select “No, not this time”, and then click
[Next].
Logic preference file Setting file for remotely con-
trolling the Logic software
Remote
from the AW1600.
Select “Install software automatically (recom-
mended) (I),” and then click [Next].
The system starts the installation.
SONAR template file Setting file for remotely
8
(Windows only)
controlling the SONAR soft-
ware from the AW1600.
Yamaha USB MIDI
Driver
Driver file for exchanging
MIDI messages between
the AW1600 and a com-
puter via a USB cable.
USBdrv_
NOTE
• Some computers may take a few minutes to show this screen.
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About the CD-ROM included with the AW1600
When the installation is complete, the system
displays “Completing the Found New Hard-
ware Wizard.” Click [Finish].
Click [Continue].
The “Select a Destination” is displayed.
9
5
NOTE
• Some computers may take about a few minutes to show this
screen after the installation is complete.
Restart the computer.
The driver has been installed.
10
■ Installing on Macintosh computer
Start your computer, then log in as Adminis-
trator.
1
To confirm that the Administrator account is available,
select [System Preferences], then [Users (Account)].
Select a destination for the driver installation,
then click [Continue].
The message “Installing this software requires 100MB
of disk space” may appear. However, the actual
required free disk space is 2MB.
6
7
Double-click the “USBdrv_” folder on the
included CD-ROM.
2
Double-click “YAMAHA USB-MIDI Driver
v1.*****.mpkg” (***** represents the version
number).
An “Authenticate” window opens, prompting the pass-
word.
3
A window opens, displaying the message
“Click install to perform a basic installation of
this software.” Click [Install].
If the driver has already been installed, the [Upgrade]
button is displayed instead of the [Install] button.
If the window does not prompt you to enter the pass-
word, click the lock icon.
The driver is installed, and message “The software
was successfully installed” is displayed.
Click the [Close] button.
The driver installation is complete.
8
You can check the following locations to confirm that
the driver has been installed:
• Library ➝ Audio ➝ MIDI Drivers ➝
YAMAHAUSBMIDIDriver.plugin
• Library ➝ PreferencePanes ➝
YAMAHAUSBMIDIPatch.prefPane
Enter the password for the Administrator’s
account. If you have not set the password,
click [OK].
4
The “Welcome to the YAMAHA USBMIDI Driver
Installer” window is displayed.
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About the CD-ROM included with the AW1600
Move the cursor to the PAD button and press
the [ENTER] key.
Once again, loading from the CD-ROM will begin.
When loading is finished, the contents of the display
will change as follows.
5
Restoring the internal hard disk to the
factory-set condition
In order to restore the internal hard disk to the factory-set
condition, you will need to perform the following two pro-
cedures.
A Initialize the internal hard disk
B Load the demo song and sample library
■ Initializing the internal hard disk
When you initialize the internal hard disk, the system set-
tings will return to their factory-set state.
Move the cursor to the ALL button and press
the [ENTER] key.
6
7
Move the cursor to the DISABLE button and
press the [ENTER] key.
NOTE
• Executing this operation will erase all data from the internal hard
disk, and the data cannot be recovered. We recommend you to
backup all data on the internal hard disk to a computer before exe-
cuting this operation.
The DISPLAY button will change to ENABLE, and all
symbols at the right of the list will change to ●.
This selects all songs and sample libraries.
Move the cursor to the EXECUTE button and
press the [ENTER] key.
8
9
■ Loading the demo song and sample library
You can load the demo song and sample library from the
included CD-ROM to restore the AW1600 to its factory-
set condition.
A popup window will ask you for confirma-
tion, so move the cursor to the OK button or
CANCEL button, and press the [ENTER] key.
While the Restore operation is being executed, the
state of progress will be shown in a popup window.
When this popup window closes, the operation has
been completed.
Insert the included CD-ROM into the CD-RW
drive of the AW1600.
1
In the Work Navigate section, repeatedly
press the [CD] key to access the CD screen
RESTORE page.
2
Installing a remote file
Make sure that the cursor is located at the
READ CD INFO button, and press the
[ENTER] key.
Loading from the CD-ROM will begin. When loading
is finished, the contents of the display will change as
follows.
3
■ Supported DAW software
• Windows
(*1)
• Logic Platinum 5.5.1
• Cubase SX 3.0.1
• Nuendo 3.0.1
• Sonar 4.0.1 Producer Edition
• Macintosh
(*1)
• Logic Pro 7.0.1
• Cubase SX 3.0.1
• Nuendo 3.0.1
(*2)
• Protools TDM 6.7
Move the cursor to the DISABLE button and
press the [ENTER] key.
4
*1 Use the setting file from the included CD-ROM to map the
AW1600’s faders/[TRACK SEL] keys/transport keys to the
Logic key commands. Track assignments must be made
within Logic as appropriate for your system.
The DISABLE button will change to ENABLE, and
the symbol at the right of the list will change to ●.
*2 Select the CS-10 settings as the MIDI controller type. For
details on the CS-10 settings, ask Digidesign.
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About the CD-ROM included with the AW1600
Click the [Import] button.
5
6
■ Windows users
A dialog box like the following will appear.
Select the Cubase/Nuendo remote setup file
(Yamaha AW1600 Remote.xml) from the
included CD-ROM, and click the [Open] but-
ton.
NOTE
• In order to use a remote file, the corresponding software must be
installed.
• Please be aware that the menu names and screens that appear in
the explanation below may differ depending on the software you
are using.
● Installing the Cubase/Nuendo remote
setup file
Start up Cubase/Nuendo.
1
2
In the menu bar, select [Devices] menu ➝
[Device Setup...].
The Device Setup window will appear. Select
[Add Device] ➝ [Generic Remote].
3
Close the Device Setup window.
7
Fader and [TRACK SEL] key operations can be used
to control Cubase/Nuendo audio tracks. Create new
projects with more than 16 audio tracks.
● Installing the Logic preference file
Start up Logic.
1
In the menu bar, select [Options] menu ➝
[Preferences] ➝ [Key Commands...].
2
The Generic Remote setting display will
appear. Set the “MIDI Input” and “MIDI Out-
put” filed.
The Key Commands window will open. In the
menu bar, select [Options] ➝ [Import Key
Commands...].
4
3
MIDI Output : your MIDI output device
MIDI Input : your MIDI input device
A dialog box will appear. Select the Logic
4
preference file (Logic32.prf) from the included
CD-ROM, and click the [Open] button.
When you import the file, the following settings will
be made.
NOTE
• The content that is shown for “MIDI Input” and “MIDI Output”
will depend on the MIDI device(s) you are using. For details,
refer to the owner’s manual for the MIDI device(s) you are
using.
* Please note that all the previously-specified key com-
mands will be initialized. If you do not want to change
your existing user key command settings, you can manu-
ally make the MIDI channel and CC# settings shown
above.
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About the CD-ROM included with the AW1600
● Installing the SONAR template file
■ Macintosh users
Copy the SONAR template file from the
included CD-ROM to the folder in which
SONAR is installed.
1
NOTE
• In order to use a remote file, the corresponding software must be
installed.
Start up SONAR.
• Please be aware that the menu names and screens that appear in
the explanation below may differ depending on the software you
are using.
2
3
4
In the menu bar, select [File] menu ➝ [Open].
The “Open file” dialog box will appear.
● Installing the Cubase/Nuendo remote
Choose Cakewalk template files as the type of
file to be loaded. From the list in the dialog
box, choose “Yamaha AW1600 Remote” and
click the [OK] button.
setup file
For Cubase/Nuendo, the procedure is the same as for
In the menu bar, select [Option] ➝
[MIDI Devices].
5
● Installing the Logic Pro preference file
Start up Logic Pro.
1
2
The MIDI Ports window will open. In the Input
Ports field, assign the MIDI device that you
are using.
6
In the menu bar, select [Logic Pro] menu ➝
[Preferences] ➝ [Key Commands...].
The Key Commands window will open. In the
menu bar, select [Options] ➝ [Import Key
Commands].
3
If you changed the track structure from the
default settings of the template ...
With the Yamaha AW1600 Remote template started,
click the [CONFIG] button in the StudioWare panel
window. A cluster will open at the right.
Drag the [SET MIDI First Track] knob to the first
track number of the MIDI tracks.
A dialog box will appear. Select the Logic
preference file (Logic Preferences) from the
included CD-ROM, and click the [Open] but-
ton.
When you import the file, the following settings will
be made.
4
* If you use this template, you will not be able to control
the tracks correctly from the AW1600 unless the MIDI
tracks are continuous from 1 – 16.
* If you set the value to an invalid track (an unused track),
the panel knobs, buttons, or sliders may be shaded. If
this occurs, set the value back to the correct track.
* Please note that all the previously-specified key com-
mands will be initialized. If you do not want to change
your existing user key command settings, you can manu-
ally make the MIDI channel and CC# settings shown
above.
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About the CD-ROM included with the AW1600
● Setting Pro Tools remote control
You can remotely control the Pro Tools software from the
AW1600. No special setting file is required. Use the fol-
lowing procedure to make settings.
In the menu bar, select [Setup] ➝
[Peripherals...].
1
The Peripherals window will open. Click the
[MIDI Controllers] button.
2
In the MIDI Controllers window, make the following
settings. In the Receive From field and the Send To
field, specify the MIDI device you are using.
Type
Receive From
Send To
#ch’s
Your MIDI input
device
Your MIDI output
device
#1
CS-10
16
This completes preparations for using the AW1600’s
MIDI Remote function to control the Pro Tools software.
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MIDI data format
MIDI data format
1. Functions
2. MIDI data flow diagram
1.1. Scene Change
The settings of the [MIDI PROGRAM CHANGE TABLE] specify
the scene that is recalled when a Program Change message is
received.
MTC SLAVE
USB-1 IN
MTC (MTC Slave)
USB-2 IN
MIDI IN
EFF MIDI
PGM CHG
CTRL CHG
MMC SLAVE
LEARN
NOTE ON/OFF (Effect Control)
The settings of the [MIDI PROGRAM CHANGE TABLE] specify
the program number that is transmitted when a scene is recalled. If
more than one program number has been assigned to that scene
memory number, the lowest-numbered program number will be
transmitted.
PROGRAM CHANGE (Scene Recall)
CONTROL CHANGE (Parameter Edit)
MMC (Transport Control)
1.2. MMC Control
These messages allow basic recorder operations such as STOP/
PLAY/REC/LOCATE.
Channel Message/Exclusive Message
(MIDI REMOTE Learn)
THRU
USB-1 OUT
If you select the MIDI SETUP menu item MMC MASTER, MMC
commands will be transmitted according to the operation of the
transport. If you select MMC SLAVE, the internal recorder will oper-
ate according to the received MMC commands.
USB-2 OUT
MIDI OUT
PGM CHG
CTRL CHG
SW1
MIDI OUT
PROGRAM
CHANGE
CONTROL
CHANGE
1.3. Effect Control
Depending on the type of effect, note-on/off messages can be used
for control.
SW2
SW3
SW4
REMOTE
Transport
These settings are made for the parameters of each effect.
REMOTE
Fader/Sel
1.4. Pitch Fix Control
When the Pitch Fix mode is engaged, note-on/off messages can be
used to control pitches.
MMC MASTER
MMC
1.5. MIDI Clock transmission
If you set MIDI OUT to MIDI CLOCK, MIDI clock messages can be
transmitted during playback or recording.
In MIDI Clock transmission mode, Song Position Pointer and Start/
Stop/Continue commands will also be issued, and during playback or
recording, MIDI Clock will be transmitted according to the MIDI
Tempo Map.
MIDI OUT (MTC)
MIDI OUT (CLK)
MIDI
CLOCK
SW4
MTC
SW1 : REMOTE OFF
SW2 : REMOTE ON (Remote)
SW3 : REMOTE ON
SW4 : REMOTE OFF or
REMOTE ON (Normal)
1.6. MTC transmission (MTC Master)
If you set MIDI OUT to MTC, MTC can be transmitted during play-
back or recording.
3. AW1600 settings and operation
3.1. MIDI Setup
Set basic MIDI operation.
1.7. MTC reception (MTC Slave)
If you set MTC MODE to SLAVE, the internal recorder will operate
in synchronization with MTC messages received from the MIDI IN
connector.
3.1.1. MIDI OUT
Turn on/off the MIDI output other than MTC/MIDI CLOCK.
3.1.2. IN PORT
Specify the input port for MIDI communication.
1.8. Realtime control of parameters
Control changes can be used to send/receive internal parameters in
realtime.
3.1.3. OUT PORT
Specify the output port for MIDI communication.
1.9. MIDI Remote
3.1.4.THRU
The faders, SEL keys, and RTZ / FF / REW / STOP / PLAY / REC
keys can be used to control an external MIDI device.
In PRESET mode, operating the above controllers will transmit
MIDI data according to the preset settings of the AW1600.
In USER mode, operating the above controllers will transmit the
MIDI data that you specify.
Set the MIDI through function.
3.1.5. SYNC OUT
Turn on/off the output of MTC/MIDI CLOCK.
3.1.6. MMC MODE
Select whether the AW1600 will be the MMC MASTER or SLAVE.
3.1.7. MMC Dev.
Specify the ID number that will be used when transmitting or receiv-
ing MMC commands.
3.1.8. MTC SYNC MODE
Select whether the AW1600 will be the MTC MASTER or SLAVE.
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MIDI data format
3.1.9. MTC SYNC AVERAGE
5. MIDI format details
5.1. NOTE OFF (8n)
< Reception >
Received when [Rx CH] matches.
When the AW1600 is functioning as a MTC SLAVE, this setting
specifies how it will follow the MTC data. Set this to 0 if the incom-
ing MTC data has a highly accurate timing; set this to 1 or 2 if the
timing of the incoming MTC data is not as accurate (such as when
receiving MTC from a software sequencer).
Used to control Effects/Pitch Fix. Refer NOTE ON for details.
Note Off Message
Note No.
STATUS
DATA
1000nnnn 8n
0nnnnnnn nn
0vvvvvvv vv
3.1.10. MTC SYNC OFFSET
When the AW1600 is functioning as a MTC SLAVE, this setting
adds an offset to the received MTC data. The received time code
value shifted by this amount will correspond to the location indicated
by the internal time code of the AW1600.
Velocity (ignored)
5.2. NOTE ON (9n)
< Reception >
Received when [Rx CH] matches.
Used to control Effects/Pitch Fix. Refer below for details.
Velocity of 0x00 is equivalent to Note-Off.
3.1.11. MIDI Tx Ch
This sets the MIDI channel that will normally be used.
3.1.12. MIDI Rx Ch
This sets the MIDI channel that will be used for reception. If this is
set to ALL, data of all MIDI channels will be received.
Note On Message
Note No.
STATUS
DATA
1001nnnn 9n
0nnnnnnn nn
0vvvvvvv vv
Velocity (1-127:On, 0:Off)
3.1.13. Program Change Mode
Enable/disable reception and transmission. If MIDI Rx Ch is set to
ALL, these messages will be received regardless of their MIDI chan-
nel.
* Effect control by Note
1: Dynamic Flange/Dynamic Phase/Dynamic Filter
When the SOURCE parameter is set to MIDI, the note velocity (both
note-on and note-off) is used to control the Modulation frequency
width.
3.1.14. Control Change Mode
Enable/disable reception and transmission. If this is enabled, you can
specify the correspondence between control numbers and operations
of the mixer section. Three modes are available for correspondence
with control numbers. For mode 1, transmission and reception will
occur without regard to the MIDI Tx Ch and MIDI Rx Ch settings.
For modes 2 and 3, reception will occur without regard to MIDI
channel if you set MIDI Rx Ch to ALL.
5.3. CONTROL CHANGE (Bn)
< Reception >
If [Control Change Mode] is mode 1, control change messages will
be received and transmitted regardless of the MIDI Tx Ch and MIDI
Rx Ch settings. For modes 2 and 3, reception will occur regardless of
MIDI channel if MIDI Rx Ch is set to ALL.
< Transmission >
4. MIDI format list
4.1. CHANNEL MESSAGE
If [Control Change Mode] is TX or TX/RX, control change messages
will be transmitted on the [MIDI Tx Ch] channel when you operate a
parameter.
Command
Rx/Tx
function
Control the internal effect
Control the internal effect
Edit parameters
8n NOTE OFF
Rx
Control Change
STATUS
DATA
1011nnnn Bn
0ccccccc cc
0vvvvvvv vv
9n NOTE ON
Rx
Control No. (0-95, 102-119)
Control Value (0-127)
Bn CONTROL CHANGE
Cn PROGRAM CHANGE
Rx/Tx
Rx/Tx
Switch scene memories
The control value is converted into a parameter value according to
the following equation.
4.2. SYSTEM COMMON MESSAGE
Command
Rx/Tx
function
MTC transmission
Song position transmission
S= total number of steps in the parameter’s variable range
128 / S = X remainder Y
INT((Y+1)/2) = Z
F1 MIDI TIME CODE
Rx/Tx
F2 SONG POSITION POINTER Tx
If (MIDI DATA - Z) < 0, then Value = 0
If ((MIDI DATA - Z)/X) > MAX, then Value = MAX
Otherwise, Value = INT ((MIDI DATA -Z)/X)
4.3. SYSTEM REALTIME MESSAGE
Command
Rx/Tx
function
F8 TIMING CLOCK
Tx
MIDI Clock transmission
Start command transmission
Continue command transmission
Stop command transmit
Check MIDI cable connections
Clear running status
5.4. PROGRAM CHANGE (Cn)
< Reception >
Program change messages will be received if the [Program Change
Mode] is RX or TX/RX and the [MIDI Rx Ch] matches. However if
[MIDI Rx Ch] is ALL, this message is received regardless of the
channel.
FA START
Tx
Tx
Tx
Rx
Rx
FB CONTINUE
FC STOP
FE ACTIVE SENSING
FF RESET
A scene memory will be recalled according to the [PROGRAM
CHANGE TABLE] settings.
4.4. SYSTEM EXCLUSIVE MESSAGE
4.4.1. REALTIME SYSTEM EXCLUSIVE
4.4.1.1. MMC
< Transmission >
If [Program Change Mode] is TX or TX/RX, a program change will
be transmitted on the [MIDI Tx Ch] according to the [PROGRAM
CHANGE TABLE] settings when you recall a memory number. If
the recalled memory number has been assigned to more than one pro-
gram number, the lowest-numbered program number will be trans-
mitted.
Command
Rx/Tx
Rx/Tx
Rx
function
Transport stop
01 STOP
02 PLAY
Transport play
03 DEFERRED PLAY
04 FAST FORWARD
05 REWIND
Rx/Tx
Rx/TX
Rx/Tx
Rx
Transport play
Transport fast-forward
Transport rewind
Transport punch-in record
Transport punch-out
MMC reset
Program Change
STATUS
DATA
1100nnnn Cn
0nnnnnnn nn
06 RECORD STROBE
07 RECORD EXIT
0F RESET
Program No. ( 0-127)
Rx
Rx/Tx
Rx/Tx
44 LOCATE
Transport locate
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MIDI data format
5.5. MIDI TIME CODE QUARTER FRAME (F1)
5.13. EXCLUSIVE MESSAGE (F0-F7)
< Transmission >
5.13.1. MMC
5.13.1.1. MMC STOP
< Transmission >
When the STOP key is pressed, this message is transmitted with a
If [MIDI OUT] is set to MTC, Quarter Frame messages will be trans-
mitted according to the time code movements of the recorder when
the recorder is playing or recording.
< Reception >
device number of 7F.
This message is received if [MTC SYNC MODE] is set to SLAVE.
Quarter Frame messages received in realtime are internally assem-
bled into time code that controls the recorder.
< Reception >
If the AW1600 is operating as an MMC Slave, the transport will stop
when this message is received with a matching device number or a
device number of 7F.
Quarter Frame Message
STATUS
DATA
11110001 F1
0nnndddd dd
nnn = message type (0-7) dddd = data
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Stop (MCS)
STATUS
ID No.
11110000 F0
01111111 7F
5.6. SONG POSITION POINTER (F2)
< Transmission >
If [MIDI OUT] is set to CLK, a song position message will be trans-
mitted when STOP or LOCATE is performed on the recorder, to indi-
cate the song position from which the song should start at the next
START or CONTINUE message.
Device ID 0ddddddd dd
Command
EOX
00000110 06
00000001 01
11110111 F7
End Of Exclusive
5.13.1.2. MMC PLAY
< Reception >
Song Position Pointer
STATUS
DATA
11110010 F2
0ddddddd dd0
0ddddddd dd1
data ( H) high 7 bits of 14 bits data
data ( L) low 7 bits of 14 bits data
If the AW1600 is operating as an MMC Slave, the transport will
begin playback when this message is received with a matching
device number or a device number of 7F.
5.7. TIMING CLOCK (F8)
< Transmission >
If [MIDI CLK] is ON, this message is transmitted according to the
MIDI Tempo Map from when the recorder begins playing or record-
ing, until it stops.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Play (MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
00000110 06
00000010 02
11110111 F7
End Of Exclusive
EOX
Timing Clock
11111000 F8
STATUS
5.13.1.3. MMC DEFERRED PLAY
< Transmission >
This message is transmitted with a device number of 7F when the
PLAY key is pressed.
5.8. START (FA)
< Transmission >
If [MIDI CLK] is ON, this message is transmitted when the recorder
begins playing or recording at a location other than the first measure.
< Reception >
Start
11111010 FA
STATUS
If the AW1600 is operating as an MMC Slave, the transport will
begin playback when this message is received with a matching
device number or a device number of 7F.
5.9. CONTINUE (FB)
< Transmission >
If [MIDI CLK] is ON, this message is transmitted when the recorder
begins playing or recording at a location other than the first measure.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Deferred play (MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Continue
11111011 FB
Command
00000110 06
00000011 03
11110111 F7
STATUS
End Of Exclusive
EOX
5.10. STOP (FC)
< Transmission >
If [MIDI CLK] is ON, this message is transmitted when the recorder
5.13.1.4. MMC FAST FORWARD
< Transmission >
stops.
This message is transmitted with a device number of 7F when the FF
key is pressed.
Stop
11111100 FC
STATUS
< Reception >
5.11. ACTIVE SENSING (FE)
If the AW1600 is operating as an MMC Slave, the transport will
begin fast-forward when this message is received with a matching
device number or a device number of 7F.
< Reception >
Once this message is received, subsequent failure to receive any mes-
sage for a period of 300 ms will cause Running Status to be cleared,
and MIDI communications to be initialized.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Fast Forward (MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Active Sensing
11111110 FE
STATUS
Device ID 0ddddddd dd
Command
00000110 06
00000110 04
11110111 F7
5.12. RESET (FF)
< Reception >
End Of Exclusive
EOX
When a Reset message is received, MIDI communications will be
initialized by clearing Running Status etc.
Reset
11111111 FF
STATUS
217
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MIDI data format
5.13.1.5. MMC REWIND
5.13.1.9. MMC LOCATE (TARGET)
< Transmission >
< Transmission >
This message is transmitted with a device number of 7F when the
REWIND key is pressed.
This message is transmitted with a device number of 7F when a
locate-related key such as MARK SEARCH/IN/OUT is pressed, a
FF/REW operation is performed, when the transport returns to the
auto-punch pre-roll point, or when repeating.
< Reception >
If the AW1600 is operating as an MMC Slave, the transport will
begin rewind when this message is received with a matching device
number or a device number of 7F.
< Reception >
This message is received if the AW1600 is operating as an MMC
Slave and the device number matches. The transport will locate to the
time code position specified within the command data.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Rewind (MCS)
STATUS
ID No.
11110000 F0
01111111 7F
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Locate
Device ID 0ddddddd dd
STATUS
ID No.
11110000 F0
01111111 7F
Command
EOX
00000110 06
00000101 05
11110111 F7
Device ID 0ddddddd dd
End Of Exclusive
Command
00000110 06
01000100 44
00000110 06
00000001 01
0hhhhhhh hh
0mmmmmmm mm
0sssssss ss
0fffffff ff
0sssssss ss
11110111 F7
byte count
5.13.1.6. MMC RECORD STROBE
< Reception >
This message is received if the AW1600 is operating as an MMC
Slave and the device number matches or is 7F. If the transport is
stopped, then recording will begin. If the transport is playing, then
punch-in will occur.
“target” sub command
hour (Standard Time Code)
minute
second
frame
sub-frame
End Of Exclusive
EOX
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Record strobe
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
EOX
00000110 06
00000110 06
11110111 F7
End Of Exclusive
5.13.1.7. MMC RECORD EXIT
< Reception >
This message is received if the AW1600 is operating as an MMC
Slave and the device number matches or is 7F. If the transport is
recording, then punch-out will occur.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Record Exit
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
00000110 06
00000111 07
11110111 F7
End Of Exclusive
EOX
5.13.1.8. MMC RESET
< Transmission >
This message is transmitted with a device number of 7F when song
loading is finished.
< Reception >
This message is received if the AW1600 is operating as an MMC
Slave and the device number matches or is 7F. MMC-related internal
settings will be reset to the power-on state.
System Exclusive Message
Real Time System Exclusive
Destination (00-7E, 7F:all call)
Machine Control Command (mcc) sub-id
Reset
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
Command
00000110 06
00001101 0D
11110111 F7
End Of Exclusive
EOX
AW1600 Owner’s Manual
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MIDI Implementation Chart
MIDI Implementation Chart
YAMAHA
Basic
[ Professional Audio Workstation ]
Model AW1600 MIDI Implementation Chart
Date :21-JUL-2004
Version : 1.0
Transmitted
Recognized
Remarks
Function...
Default
1 - 16
1 - 16
1 - 16
1 - 16
Memorized
Memorized
Channel Changed
Default
x
1, 3
Mode
Note
Messages x
Altered
x
x
**************
x
0 - 127
x
Number : True voice **************
Velocity Note ON
x
x
x
Note OFF x
After
Touch
Key's
Ch's
x
x
x
x
Pitch Bend
x
x
1-16 o
21-27 o
33-34 o
41-56 o
63-79 o
91-93 o
o
o
o
o
o
o
o
Assignable Cntrl
Assignable Cntrl
Assignable Cntrl
Assignable Cntrl
Assignable Cntrl
Assignable Cntrl
Assignable Cntrl
Control
Change
102-117 o
Prog
o 0 - 127
o 0 - 127
Assignable
Change : True #
**************
System Exclusive
o
o
*1
*2
: Song Pos. o
Common : Song Sel. x
x
x
x
: Tune
x
System :Clock
Real Time:Commands o
o
x
x
*2
*2
:All Sound Off x
x
x
x
x
o
o
Aux :Reset All Cntrls x
:Local ON/OFF
x
Mes- :All Notes OFF x
sages:Active Sense
:Reset
x
x
Notes:
MTC quarter frame message is transmitted.
MTC quarter frame message is recognized.(When MTC Slave mode)
*1 :MMC
*2 :When BCLK Sync mode
For MIDI remote, ALL messages can be transmitted.
Mode 1 : OMNI ON , POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON ,MONO
Mode 4 : OMNI OFF,MONO
o : Yes
x : No
219
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Specifications
Specifications
Built-in Hard Disk Drive
40 GB, 3.5" IDE
■ General Specifications
Frequency Response
0 +1/–3 dB @20Hz – 20kHz
(MIC/LINE INPUT to STEREO/AUX OUT, GAIN: min.)
Maximum Number of Songs
100 Songs
Recording Resolution
16-bit/24-bit Linear (non-compressed)
Total Harmonic Distortion (measured with 20kHz LPF)
Less than 0.03 % @1kHz/–10dBV
(MIC/LINE INPUT to STEREO/AUX OUT, GAIN: min.)
Maximum Number of Simultaneous Recording/
Playback Tracks
8 Recording Tracks/16 Playback Tracks (16-bit)
Dynamic Range (measured with IHF-A)
109 dB typ. : DA Converter (STEREO/AUX OUT)
8 Recording or Playback Tracks (24-bit)
103 dB min. : DA Converter (STEREO/AUX OUT,
INPUT CH SEL: all off)
Number of Tracks
144 Tracks
(16 Tracks + Stereo Tracks) x 8 Virtual
103 dB typ. : AD+DA (MIC/LINE INPUT to
STEREO/AUX OUT)
97 dB min. : AD+DA (MIC/LINE INPUT to
STEREO/AUX OUT, GAIN: min.)
Faders
45 mm x 13
AD Converter
24-bit Linear, 64-times Oversampling
Display
240 x 650 dot LCD (with contrast control)
DA Converter
24-bit Linear, 128-times Oversampling
MIDI
MTC (Master/Slave), MIDI Clock (Master),
MMC (Master/Slave), Program Change,
Control Change
Internal Processing
32-bit
Sampling Frequency
Memory
Internal : 44.1 kHz (–6% – +6%)
Scene Memory, EQ Library, Dynamics Library,
Effect Library, Channel Library, Sample Library
External : 44.1 kHz (–10% – +6%)
AC Adaptor
PA-300
Audio Input Section
MIC/LINE INPUT
: 8 CH (XLR/phone combo)
DIGITAL STEREO IN : 2 CH (coaxial stereo x 1)
Dimensions (W x H x D)
455 x 107 x 349 mm
Audio Output Section
MONITOR OUT
: 2 CH (stereo x 1)
: 2 CH (stereo x 1)
: 2 CH (stereo x 1)
Net Weight
6.2 kg
PHONES
STEREO/AUX OUT
Operating Temperature
5 – 35 °C
DIGITAL STEREO OUT : 2 CH (coaxial stereo x 1)
Mixer Input Section (Total 36 CH)
Optional Accessories
Foot switch Yamaha FC5
MIC/LINE INPUT
Internal Effect Return : 4 CH (stereo x 2)
Track : 16 CH
: 8 CH
Quick Loop Sampler : 8 CH (stereo x 4)
Internal Effect Section
2 Built-in Multi-Effect Processors
Master Section (Total 8 Bus)
BUS
: 2 CH
AUX
: 2 CH
STEREO : 2 CH (stereo x 1)
EFFECT : 2 CH
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Specifications
■ Mixer Section
■ Recorder Section
● Input/Output
Overview
Recording Resolution : 16-bit/24-bit
MIC/LINE INPUT 1 – 8 (balanced XLR/phone combo)
Phantom Power Supply : +48 3V
Sampling Frequency : 44.1 kHz
Input Impedance
: 3 kΩ
Edit Functions
Song Edit : OPTIMIZE, DELETE, COPY, IMPORT
Nominal Input Level
Minimum Input Level
Maximum Input Level
: –46 dBu to + 4 dBu
: –52 dBu
Track Edit : ERASE, DELETE, INSERT,
COPY, MOVE, EXCHANGE,
TIME COMP/EXPAND,
: +18 dBu
MIC/LINE INPUT (Hi-Z) 8 (unbalanced phone)
PITCH CHANGE, EXPORT,
CD IMPORT, WAV IMPORT
Input Impedance
: 500 kΩ
Nominal Input Level
Minimum Input Level
Maximum Input Level
: –46 dBu to + 4 dBu
: –52 dBu
Other Functions
Locate/Marker
: +18 dBu
Locate
: RTZ, A/B, LAST REC IN/OUT
Marker
: 1 – 99
STEREO/AUX OUT L, R (unbalanced phone)
Output Impedance : 150 Ω
Nominal Load Impedance : 10 kΩ
Punch-In/Out : Manual, Auto
Pitch Fix
Nominal Output Level
: –10 dBV
CD-RW Drive
Data Backup, Audio CD Burning and Playback,
WAV File Import, Audio CD Import
Maximum Output Level : +4 dBV
MONITOR OUT L, R (unbalanced phone)
Output Impedance
: 150 Ω
Nominal Load Impedance : 10 kΩ
Nominal Output Level
: –10 dBV
■ Quick Loop Sampler
Maximum Output Level : +4 dBV
Polyphony
4 voices (stereo)
PHONES (unbalancedTRS phone)
Nominal Load Impedance : 8 – 40Ω
Recordable Time
Total 47 seconds (16-bit stereo)
Maximum Output Level
: 25 mW (8 Ω load)
35 mW (40 Ω load)
Total 29 seconds (24-bit stereo)
DIGITAL STEREO IN/OUT (coaxial)
* 0 dBu = 0.775 Vrms, 0 dBV = 1 Vrms
Edit Functions
NAME, TRIM, PLAYBACK MODE, ERASE,
EXTRACT, CD IMPORT, TRACK IMPORT,
WAV IMPORT
● Digital Mixing Functions
Input Channels (INPUT 1-8,Track 1-16, PAD 1-4)
Attenuation, Phase (Normal/Reverse),
Equalizer (4-Band PEQ), Dynamics,
Pan, Bus Assign (STEREO, BUS, AUX, EFF)
■ External Control
MIDI IN
MIDI OUT/THRU : 5-pin DIN
FOOT SW
USB
: 5-pin DIN
Internal Effect Return Channels
Equalizer (4-Band PEQ), Pan,
Bus Assign (STEREO, AUX)
: phone
: USB 2.0
Master Channels
STEREO L, R : Attenuation,
Equalizer (4-Band PEQ),
Dynamics, Balance
BUS L, R
AUX 1 – 2
EFF 1 – 2
221
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Dimensions
Dimensions
107
98
5
455
Unit: mm
* Specifications and descriptions in this owner’s manual are for information purposes only.
Yamaha Corp. reserves the right to change or modify products or specifications at any time
without prior notice. Since specifications, equipment or options may not be the same in every
locale, please check with yourYamaha dealer.
For European models
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 13A
Conforms to Environments: E1, E2, E3 and E4
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Index
Index
Bus
A
D
D.OUT COPYRIGHT
C
Accessing a
CD-R/RW drive
Assigning input signals
DIGITAL IN jack
CD-ROM included
Assigning input signals
Basic settings .......................... 103
Disc At Once ........................... 102
Finalizing................................. 108
Track At Once ......................... 102
library list..................................185
B
KEYIN SOURCE ........................96
E
Accessing a
dynamics parameters .................96
screen/page/channel ............... 24
controlling a tone
Inputting text.............................. 25
Using the Selected
Channel section ...................... 26
Edit command
EXCHANGE.............................134
PITCH CHANGE ......................135
Convenient functions ................. 92
TIME COMP/EXP (Time
Compression/Expansion)........134
buck up
Responsibility .............................. 9
223
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Index
Sample library ............................78
terminology ................................16
G
H
library list................................. 186
A/B point ....................................65
Adjusting the position..................68
Locate points..............................68
Hard disk
I
Locator point/marker
display area .............................68
Relative zero point......................65
Start/end point............................65
library list................................. 181
Locator point/marker
Exporting WAV files and
WAV files................................... 136
digital recorder......................... 177
M
F
Adjusting the position..................68
J
Locate points..............................68
Locator point/marker
display area .............................68
CD-RW drive ............................. 14
Mixer section ............................. 13
Quick Loop Sampler section....... 14
Recorder section ....................... 14
L
library list..................................180
MASTERING LIBRARY
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Index
One shot mode.................112, 123
Pad Track ................................112
Slice function............................124
Trigger mode............................112
CTRL CHG MODE................... 160
DEV (device number)............... 159
MIDI data format...................... 215
MIDI Remote ........................... 163
PGM CHG MODE.................... 160
P
R
RECALL CONFIRM
Paired channels
user-defined Remote function... 165
S
check the level........................... 93
Convenient functions ................. 92
Preparing .................................. 83
Viewing all parameters............... 93
Sample bank and sample
terminology ................................16
popup window
library list..................................200
Restoring .................................154
Sampling
Editing the sample name...........121
AVRG (Average)...................... 159
OFST (Offset).......................... 159
scene
PROTECT button .......................79
Recall Safe function....................80
Q
N
Basic operation ..........................74
terminology ................................16
O
Importing from
225
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Index
D.OUT COPYRIGHT
ON/OFF button ......................169
Digital input settings..................168
FADER FLIP ............................170
AW-series ............................... 155
Editing the song name ............. 145
folder organization ................... 144
Importing data ......................... 151
management ........................... 143
tempo map .............................. 149
terminology................................ 16
initializing the internal
hard disk................................168
NUDGE MODE ........................170
NUDGE TIME...........................170
POSTROLL TIME.....................170
RECALL CONFIRM
ON/OFF button ......................169
STORE CONFIRM
ON/OFF button ......................169
V
Switching ...................................62
terminology ................................15
W
WAV file
STORE CONFIRM
System data
terminology................................ 16
T
Tempo map
Tempo map event...................... 47
terminology................................ 16
U
Locate point/marker ................... 15
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Block diagram
Block diagram
In
In
BSUL
BSUR
t
ETURN1(.30)
E1F(.2)
AXU1(.2)
STREOL
SETOR
F
FECT1(.2)R
FCET
[
[MNIROUT]
[
L
L
R
L
R
S
SoundClip
[GDIALSREOUT]
C
U
CODERINPUT
M
MTER
C
Slect
BAL
M
MTER
M
MTER
VEL
(
(EF)
M
MTER
ON
D
D
M
PHONES
X2
D
DA
FCET
VLE
V
VEL
1
8
mdoe
CDPLAY
NBALE
S E L E C T
S E L E C T
S E L E C T
S E L E C T
INSERT
L
AT
R
O
2
2
2
2
8
8
2
ON
Otu
30
D
DY-
(aGReduction)
METR
N
NAMICS
S
SoundClip
CDPlyBack
(QE)
(QE)
E1F(.2)
BSUL/R
O
OUT1(.8)
AXU1(.2)
M
MTER
S
STEOL/R
STREOL
STEOR
ITRSEND
TRNOME
4
4BANDEQ
H
HDIRECT
CDOER
A
AT
CW-DRIVE
E F F 2
E F F 1
A U X 2
A U X 1
S T E R E O R
S T E R E O L
B U S R
B U S L
EF
EF
OTU
A
AUX
A
EF
A
EF
M
M
AT
M
MTER
O
VEL
ON
HDIRECT
ON
ON
T
MTER
ON
NABLE
P
PAN
P
PAN
P
PAN
T
RE/POST
L
R
P
P
P
POST
VLE
VLE
VLE
VEL
ON
SCILATOR
O
O
ON
(BUSCADE)
DGALSTREOIN
D-Y
D
DY-
METR
NMAICS
(aGReduction)
METR
(aGReduction)
N
NAMICS
(QE)
DY-
METR
(aGReduction)
NMAICS
(QE)
(QE)
M
MTER
METR
(QE)
METR
4ABNDEQ
4ABNDEQ
4ABNDEQ
T
TUNRcbasnigedtoE2F
SrteoinX4
4
B
M
StreoinX4(90-5/16)
4
I
INSERT
SrteoinX2
MoinX8
ISNERT
INSERT
A
AT
QUCIKOSALMPER1(.)4
AT
CEDMNITOR(.16)
AT
INPUT1(.8)
ILAFCETURN1(.2)
H
)
T
SLECOUT1(.8)
I
MNITOR
I N P U T S E L E C T
E
CDPlyback
L
R
C
u
SondClipOut
I
MNITOR
I
MNITOR
2
2
16
AD
P
PAD1(.4)
(otBUSCADE)
C
EPRO(.16)
2
GIAN
+
(14/CH5-8)
LPO
DIRVE
QIUCK
C-DRW
SMAPLER
CDOER
L
PHANTOM
2
16
CXOIAL
CBMO
FCET1(.2)
FCET1(.2)R
OLNY
I
1-8
[MC/LEINPUT]
FCET
H
INPUT8
[GDALSTREOIN]
C
)
R
n
SoudClipIn
227
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authorizedYamaha dealer within fourteen days with a copy of the
receipt.Yamaha is not responsible for replacing media damaged by acci-
dent, abuse or misapplication. TO THE FULLEST EXTENT PERMIT-
TED BY LAW,YAMAHA EXPRESSLY DISCLAIMSANY IMPLIED
WARRANTIES ON THE TANGIBLE MEDIA, INCLUDING THE
IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS
FOR A PARTICULAR PURPOSE.
ATTENTION
SOFTWARE LICENSE AGREEMENT
PLEASE READ THIS SOFTWARE LICENSE AGREEMENT
(“AGREEMENT”) CAREFULLY BEFORE USING THIS SOFT-
WARE. YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE
PURSUANT TO THE TERMS AND CONDITIONS OF THIS
AGREEMENT. THIS AGREEMENT IS BETWEENYOU (AS AN
INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORA-
TION (“YAMAHA”).
BY BREAKING THE SEAL OF THIS PACKAGEYOU ARE AGREE-
ING TO BE BOUND BY THE TERMS OF THIS LICENSE. IFYOU
DO NOT AGREE WITH THE TERMS, DO NOT INSTALL, COPY,
OR OTHERWISE USE THIS SOFTWARE.
5. DISCLAIMER OF WARRANTY ON SOFTWARE
You expressly acknowledge and agree that use of the SOFTWARE is at
your sole risk. The SOFTWARE and related documentation are pro-
vided “AS IS” and without warranty of any kind. NOTWITHSTAND-
ING ANY OTHER PROVISION OF THIS AGREEMENT, YAMAHA
EXPRESSLY DISCLAIMS ALL WARRANTIES AS TO THE SOFT-
WARE, EXPRESS, AND IMPLIED, INCLUDING BUT NOT LIM-
ITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGE-
MENT OF THIRD PARTY RIGHTS. SPECIFICALLY, BUT WITH-
OUT LIMITING THE FOREGOING,YAMAHA DOES NOT
WARRANT THAT THE SOFTWARE WILL MEETYOUR
1. GRANT OF LICENSE AND COPYRIGHT
Yamaha hereby grants you the right to use one copy of the software pro-
gram(s) and data (“SOFTWARE”) accompanying this Agreement. The
term SOFTWARE shall encompass any updates to the accompanying
software and data. The SOFTWARE is owned byYamaha and/or
Yamaha’s licensor(s), and is protected by relevant copyright laws and all
applicable treaty provisions. While you are entitled to claim ownership
of the data created with the use of SOFTWARE, the SOFTWARE will
continue to be protected under relevant copyrights.
REQUIREMENTS, THAT THE OPERATION OF THE SOFTWARE
WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT
DEFECTS IN THE SOFTWARE WILL BE CORRECTED.
6. LIMITATION OF LIABILITY
• You may use the SOFTWARE on a single computer.
YAMAHA’S ENTIRE OBLIGATION HEREUNDER SHALL BE TO
PERMIT USE OF THE SOFTWARE UNDER THE TERMS HEREOF.
IN NO EVENT SHALLYAMAHA BE LIABLE TO YOU OR ANY
OTHER PERSON FOR ANY DAMAGES, INCLUDING, WITHOUT
LIMITATION, ANY DIRECT, INDIRECT, INCIDENTAL OR CON-
SEQUENTIAL DAMAGES, EXPENSES, LOST PROFITS, LOST
DATA OR OTHER DAMAGES ARISING OUT OF THE USE, MIS-
USE OR INABILITY TO USE THE SOFTWARE, EVEN IF
YAMAHA OR AN AUTHORIZED DEALER HAS BEENADVISED
OF THE POSSIBILITY OF SUCH DAMAGES. In no event shall
Yamaha’s total liability to you for all damages, losses and causes of
action (whether in contract, tort or otherwise) exceed the amount paid
for the SOFTWARE.
• You may make one copy of the SOFTWARE in machine-readable
form for backup purposes only, if the SOFTWARE is on media
where such backup copy is permitted. On the backup copy, you
must reproduce Yamaha’s copyright notice and any other propri-
etary legends that were on the original copy of the SOFTWARE.
• You may permanently transfer to a third party all your rights in the
SOFTWARE, provided that you do not retain any copies and the
recipient reads and agrees to the terms of this Agreement.
2. RESTRICTIONS
• You may not engage in reverse engineering, disassembly, decompi-
lation or otherwise deriving a source code form of the SOFTWARE
by any method whatsoever.
7. THIRD PARTY SOFTWARE
• You may not reproduce, modify, change, rent, lease, or distribute
the SOFTWARE in whole or in part, or create derivative works of
the SOFTWARE.
Third party software and data (“THIRD PARTY SOFTWARE”) may be
attached to the SOFTWARE. If, in the written materials or the electronic
data accompanying the Software, Yamaha identifies any software and
data as THIRD PARTY SOFTWARE, you acknowledge and agree that
you must abide by the provisions of any Agreement provided with the
THIRD PARTY SOFTWARE and that the party providing the THIRD
PARTY SOFTWARE is responsible for any warranty or liability related
to or arising from the THIRD PARTY SOFTWARE. Yamaha is not
responsible in any way for the THIRD PARTY SOFTWARE or your use
thereof.
• You may not electronically transmit the SOFTWARE from one
computer to another or share the SOFTWARE in a network with
other computers.
• You may not use the SOFTWARE to distribute illegal data or data
that violates public policy.
• You may not initiate services based on the use of the SOFTWARE
without permission by Yamaha Corporation.
• Yamaha provides no express warranties as to the THIRD PARTY
SOFTWARE. IN ADDITION, YAMAHA EXPRESSLY DIS-
CLAIMS ALL IMPLIED WARRANTIES, INCLUDING BUT
NOT LIMITED TO THE IMPLIED WARRANTIES OF MER-
CHANTABILITY AND FITNESS FOR A PARTICULAR PUR-
POSE, as to the THIRD PARTY SOFTWARE.
Copyrighted data, including but not limited to MIDI data for songs,
obtained by means of the SOFTWARE, are subject to the following
restrictions which you must observe.
• Data received by means of the SOFTWARE may not be used for
any commercial purposes without permission of the copyright
owner.
• Yamaha shall not provide you with any service or maintenance as to
the THIRD PARTY SOFTWARE.
• Data received by means of the SOFTWARE may not be duplicated,
transferred, or distributed, or played back or performed for listeners
in public without permission of the copyright owner.
• Yamaha is not liable to you or any other person for any damages,
including, without limitation, any direct, indirect, incidental or con-
sequential damages, expenses, lost profits, lost data or other dam-
ages arising out of the use, misuse or inability to use the THIRD
PARTY SOFTWARE.
• The encryption of data received by means of the SOFTWARE may
not be removed nor may the electronic watermark be modified with-
out permission of the copyright owner.
3. TERMINATION
8. GENERAL
This Agreement becomes effective on the day that you receive the
SOFTWARE and remains effective until terminated. If any copyright
law or provisions of this Agreement is violated, the Agreement shall ter-
minate automatically and immediately without notice fromYamaha.
Upon such termination, you must immediately destroy the licensed
SOFTWARE, any accompanying written documents and all copies
thereof.
This Agreement shall be interpreted according to and governed by Japa-
nese law without reference to principles of conflict of laws. Any dispute
or procedure shall be heard before the Tokyo District Court in Japan. If
for any reason a court of competent jurisdiction finds any portion of this
Agreement to be unenforceable, the remainder of thisAgreement shall
continue in full force and effect.
9. COMPLETE AGREEMENT
4. LIMITED WARRANTY ON MEDIA
This Agreement constitutes the entire agreement between the parties
with respect to use of the SOFTWARE and any accompanying written
materials and supersedes all prior or contemporaneous understandings
or agreements, written or oral, regarding the subject matter of this
Agreement. No amendment or revision of this Agreement will be bind-
ing unless in writing and signed by a fully authorized representative of
Yamaha.
As to SOFTWARE sold on tangible media,Yamaha warrants that the
tangible media on which the SOFTWARE is recorded will be free from
defects in materials and workmanship under normal use for a period of
fourteen (14) days from the date of receipt, as evidenced by a copy of
the receipt. Yamaha’s entire liability and your exclusive remedy will be
replacement of the defective media if it is returned toYamaha or an
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For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführ-
ten Niederlassung und bei Yamaha Vertragshändlern in den
jeweiligen Bestimmungsländern erhältlich.
Pour plus de détails sur les produits, veuillez-vous adresser à
Yamaha ou au distributeur le plus proche de vous figurant dans
la liste suivante.
Para detalles sobre productos, contacte su tienda Yamaha más
cercana o el distribuidor autorizado que se lista debajo.
THE NETHERLANDS
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
ASIA
Yamaha Music Central Europe,
THE PEOPLE’S REPUBLIC OF
Branch Nederland
Clarissenhof 5-b, 4133 AB Vianen,
The Netherlands
CHINA
Yamaha Music & Electronics (China)
Co.,Ltd.
25/F., United Plaza, 1468 Nanjing Road
(West), Jingan, Shanghai, China
Tel: 021-6247-2211
Tel: 0347-358 040
Tel: 416-298-1311
BELGIUM/LUXEMBOURG
Yamaha Music Central Europe GmbH,
Branch Belgium
Rue de Geneve (Genevastraat) 10,
1140 - Brussels, Belgium
Tel: 02-726 6032
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park,
Calif. 90620, U.S.A.
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend.
Gatot Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
Tel: 714-522-9011
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
KOREA
Yamaha Music Korea Ltd.
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
Tong-Yang Securities Bldg. 16F 23-8
Yoido-dong, Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0660
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
MALAYSIA
BRAZIL
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
Yamaha Musical do Brasil Ltda.
Av. Reboucas 2636-Pinheiros CEP: 05402-400
Sao Paulo-SP. Brasil
SPAIN/PORTUGAL
Yamaha-Hazen Música, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
Tel: 011-3085-1377
SINGAPORE
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización
Marbella, Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
891/1 Siam Motors Building, 15-16 floor
Rama 1 road, Wangmai, Pathumwan
Bangkok 10330, Thailand
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
Tel: +507-269-5311
Tel: 02-215-2626
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
OTHER EUROPEAN COUNTRIES
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen,
Germany
Tel: 01908-366700
Tel: +81-53-460-2317
Tel: +49-4101-3030
GERMANY
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen,
Germany
OCEANIA
AFRICA
AUSTRALIA
Yamaha Corporation,
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 04101-3030
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH,
Branch Switzerland
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
Tel: 3-9693-5111
Tel: +81-53-460-2313
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen,
Germany
Yamaha Corporation,
AUSTRIA
Yamaha Music Central Europe GmbH,
Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
Tel: 04101-3030
POLAND
OTHER COUNTRIES
Yamaha Music Central Europe GmbH
Sp.z. o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa,
Poland
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: +971-4-881-5868
Tel: 022-868-07-57
HEAD OFFICE
Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA12
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http://www.yamahasynth.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2005 Yamaha Corporation
511POCP2.3-02B0
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