Log: 7, the E-16 OUTPUT 1-16 signals are connected to the channels 1 - 16 INPUT faders (17) (GROUP/SUB selector (2) - SUB). Then, VO and SYN are connected to INPUT faders of channels 17, 18 (GROUP/SUB selector (2) - GROUP). GROUP buss 1, 2 are used for sends to TRK 15, 16 and the signal to be monitored is sent to the STEREO buss (Be careful in setting assign switches (10), (11), (12) and PAN (13). If the channels 15,16 assign 1-2, in particular, is switched ON, it will create a loop and thus result
OUT) The output jacks of the post fader (post equalizer) signals of each channel. These can be used for sends to the effect unit. 39. AUX OUT JACKS (AUX OUT 1, 2, 3, 4) Output jacks of the AUX buss 1 ~ 4. Used for sending the mixed signal of the AUX 1 ~ 4 send (8) to the digital reverb. 6 40. GROUP OUT JACKS (GROUP OUT 1, 2, 3, 4) Output jacks of the GROUP buss 1 ~ 4 which are normally used for sends to the multltrack recorder. 41. GROUP IN JACKS (GROUP IN 1, 2, 3, 4) Input jacks of the
AUX SEND I (11) *0 liwtf 8(. “10" and AUX RTN level 1-2 (13) adjusted as required In frits case, if tte reverb inpot control pot « at Jhe reference level point and. at tf-e aame irne, ns level in~ter imitates ovettoad. redice He srt rc level by equity retardng AUX 1 (4) ar»J AUX 3 (7| hsead o( retardrg AUX SGND 1 <11) •Overall amount of chorus, same as for revert* Is adjust ec by .AUX RTN level 3-4 <13). Also when Iho chows tevel rrc-ter ¡trícales overtcod, tf-e emr level s r«»jcea try ecryaly
3 Initializing procedure Selecting the kind of MIDI message.............................................3 Selecting the NOTE message.........................................................4 Selecting the CONTROL CHANGE message..............................4 Operation Controlling the 2412 from the MIDI keyboard...........................6 Automation by MIDI sequencer ..................................................8 When selecting the NOTE message....................................8
However, as the PEAK LED (6) will be lit during overloading at EQ (7), each gain of EQ (7) should be kept flat when adjusting TRIM (1). After setting TRIM (1), if the PEAK LED should be lit during testing of the tone by EQ (7), there is overloading at the EQ stage (7) and the corresponding gain should be decreased, or re-adjust TRIM (1). SECTION 3. CONNECTIONS WITH 7 In regards to level matching of external equipment TAPE IN jack (36) of this unit, refer to NOTE 1: TAPE Trimmer, page7. As in
TABLE OF CONTENTS SECTION 1 Controls, Indicators & Connectors PAGE 1 SECTION 2 Introduction 6 SECTION 3 Initial Recording (Cutting Original Tracks) 7 SECTION 4 Sync Recording (Overdubbing) 11 SECTION 5 Mixdown (Remixing) 13 SECTION 6 Combining Tracks (Ping-Pong) 15 SECTION 7 Stereo Recording 17 SECTION 8 Inserts (Punch-ln Recording) 21 SECTION 9 Interface Details 22 SECTION 10 Cleaning and Demagnetization 24 SECTION 11 BLOCK DIAGRAM 26 SECTION 12 Specifications 27 SAFETY INSTRUCT
CONTROLS, INDICATORS AND CONNECTORS MAIN PANEL FEATURES Input Channels 1—4 1. INPUT FADER This fader controls the signal level from either of two sources: that channel's input jack or playback from the cassette recorder—depending on the position of the INPUT BUTTON (3). To ensure low distortion and to achieve the best signal-to-noise ratio, set this fader in the range of OdB ±2 scales {nominal position). When the INPUT BUTTON is up, the TRIM control also affects signal level for that channel.
Press PLAY to begin rehearsal. 6. Balance the mix with the INPUT faders (2) and adjust EQ controls (7) for channels 1 ~4 as required. NOTE: If you wish, you can take advantage of the AUX 2 bus (8) and send an independent mono mix to an external processor and patch its output to AUX RTN (14), which places the processed signal on the stereo bus. 7. When levels are properly set and rehearsal is complete, press RECORD and PLAY simultaneously to begin recording the “take". y I < ADDITIONAL PING
When the DETECT LIMIT LED (reference (10)) flashes, the maximum gain reduction will be 32dB. (4) ATTACK The signal level of the compressor is controlled by an internal VCA (Voltage Control Amplifier). The response time of that VCA is determined by this rotary control, which is continuously variable from 0.2 through 20 msec. (5) RELEASE The amount of time it takes the control circuit to recover from processing and return to unity gain is determined by setting this continuously variable rotary
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