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Akai RE32 Operator's Manual

Multitrack
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re32
MULTITRACK REMOTE CONTROLLER
Operator's Manual
WARNING
To prevent fire or shock hazard, do not
expose this appliance to rain or moisture.
000420-3 Printed in Japan

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Summary of Contents for Akai RE32

  • Page 1 MULTITRACK REMOTE CONTROLLER Operator’s Manual WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture. 000420-3 Printed in Japan...
  • Page 2 Important Notice The material in this document is copyright to AKAI professional M.I. Corp., and may not be quoted or reproduced in any form without written permission from the company. LIMITED SOFTWARE WARRANTY POLICY All the software provided with, or purchased especially for, AKAI professional products has been tested for functionality.
  • Page 3 • Use only a household AC power supply. Never use a DC power supply. • If water or any other liquid is spilled into or onto the RE32, disconnect the power, and call your dealer. • Make sure that the unit is well-ventilated, and away from direct sunlight.
  • Page 4 WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows: 1) Remove the fuse cover and old fuse. 2) Fit a new fuse which should be a BS1362 5 Amp A.S.T.A or BSI approved type. 3) Refit the fuse cover.
  • Page 5 31C-En COPYRIGHT NOTICE The AKAI RE32 is a computer-based device, and as such contains and uses software in ROMs. This software, and all related documentation, including this Owner’s Manual, contain proprietary information which is protected by copyright laws. All rights are reserved. No part of the software or its documentation may be copied, transferred or modified.
  • Page 6 If the warranty is valid, AKAI professional will, without charge for parts or labour, either repair or replace the defective part(s). Without a valid warranty, the entire cost of the repair (parts and labour) is the responsibility of the product’s owner.

  • Page 7: Table Of Contents

    SETTING MACHINE ID NUMBERS .................... 8 SETTING MACHINE ID NUMBERS - DR16pro ................8 SETTING MACHINE ID NUMBERS - DD8 .................. 8 POWERING UP THE RE32 SYSTEM ..................9 RE32 PANEL LAYOUT ....................... 10 VGA DISPLAY ..........................12 NAVIGATING THE RE32 ......................15 CURSOR KEYS .........................
  • Page 8 OUT KEY ........................... 61 TO SELECT A WHOLE TRACK ....................62 TO SELECT A TRACK FROM THE IN POINT TO THE END ............ 62 TO SELECT A TRACK FROM THE OUT POINT TO THE START ..........63 TO SELECT A TRACK FROM THE SYNC MARK TO THE START OR END ......63 SELECT Q KEY .........................
  • Page 9 RESTORING A BACKUP ....................121 PERFORMING A RESTORE ..................122 RESTORING THE ENTIRE BACKUP ................125 NOTES ABOUT BACKUP/RESTORE ................126 SUGGESTIONS FOR BACKUP/RESTORE ..............127 TAKING CARE OF YOUR TAPE DRIVE ..............128 ARCHIVING DATA TO DAT ..................129 RESTORING FROM DAT .....................
  • Page 10 Page ix...

  • Page 11: Introduction

    INTRODUCTION The staff at AKAI professional would like to thank you for buying the RE32 Multi-track Remote Controller. We are confident that the RE32 will be a sound investment, offering many years of reliable service and will be a product you can rely on in your daily work.

  • Page 12: About This Manual

    This owner’s manual has been written to provide you with the information to get the best from the RE32. Although it hoped that the RE32 is easy enough to use without constant reference to this manual, please take the time to read it in order to understand the system fully. The manual takes you through the available functions from scratch, assuming you have just installed it and you are using it for the first time.

  • Page 13: Terminology

    INTRODUCTION As with any piece of new gear, there is always a bit of new jargon to get to grips with. The RE32 is no exception! What follows, therefore, is a short list of some of the terms you will come across during the course of this manual.
  • Page 14 For example, in a system with two DR16pro machines, selecting ‘Track 17’ on the RE32 will actually select Track 1 on the second machine. This method of operation is referred to in this manual as MULTI-MODE.

  • Page 15: Multi-Machinesystem

    However, there may be times when you want to do something specifically on one machine and the RE32 will allow you to do this as well if you wish as explained during the course of this manual. Of course, your setup need not be as elaborate as the one shown above and an RE32 with just one or two 16-track machines is a powerful combination.

  • Page 16: Rear Panel

    INTRODUCTION REAR PANEL In this section, we take a look at the RE32’s rear panel connections. Actual operation of the RE32 will be discussed later. DISPLAY This connects to any standard S-VGA monitor such as you would use with any PC. You will probably have bought a monitor with the system as supplied by your dealer but, if not, any reputable computer store will be able to sell you one.

  • Page 17: System Connections

    If you plan to do a lot of naming of recordings and files, an external PC keyboard is recommended. All the machines in the system are connected together (and to the RE32) using standard Ethernet BNC cables. These are chained between the AKNET BNC connectors on each machine using BNC ‘T’...

  • Page 18: Setting Machine Id Numbers

    When multiple machines are connected to the RE32, each must be assigned a unique MACHINE NUMBER before the system is used for the first time. These must be assigned sequentially from 1 to the number of machines in the system and are used to allocate tracks to machines by the RE32. Example 1: With two DR16pro machines: Machine “1”...

  • Page 19: Powering Up The Re32 System

    (DR16pro, DD8plus etc.). The machines will ‘talk to’ their disk drives and you will see some disk activity as they do this. When this has settled down, turn on the RE32. The external monitor screen can be switched on at any time and will have no effect on the system.

  • Page 20: Re32 Panel Layout

    PANEL LAYOUT The RE32 is an MTR style remote controller with many commonly used functions available on dedicated keys. If you break down the RE32’s panel into its various sections, it really is quite straightforward to understand and use. Data Entry...
  • Page 21 The +/- DATA ENTRY keys allows you to set parameter values whilst the CURSOR keys are used for selecting parameter fields in the RE32’s LCD. The +/- DATA ENTRY keys can also be used to nudge audio into sync and to go to the next and previous cues and the CURSOR keys double as vertical and horizontal zoom keys.

  • Page 22: Vga Display

    INTRODUCTION VGA DISPLAY The RE32’s VGA display is designed to present all the information you will need in a simple and easy to digest manner. There are no multiple windows stacked on top of each other to confuse you, and ALL work (including recording, editing, slipping, syncing, etc..) is done here ensuring that operations are consistent throughout.
  • Page 23 The waveforms/blocks scroll during playback and you may zoom in horizontally or vertically for more precise editing and the RE32’s real-time operating system even allows you to zoom in or out when the machine is currently busy doing other things such as playing back, recording, etc..
  • Page 24 This is used instead of the normal convention on other hard disk recorders where the name is shown within the cue itself because with short cues, the name often gets abbreviated into something meaningless. This can also make the screen very cluttered. On the RE32, you see the entire name regardless of its length.

  • Page 25: Navigating The Re32

    The external monitor is used purely for referencing your work to see what is going on. You can think of it as an animated track sheet. In theory, the RE32 could be used without it as most work is done from the RE32’s front panel LCD.
  • Page 26 5-8. In the SHOW ON VGA monitor page, you may set the RE32 so that tracks selected for edit are those that are shown on the VGA as you zoom in. For example, with tracks 3 and 4 selected for edit, when you zoom to two tracks, 3 and 4 would automatically be placed at the top of the screen.

  • Page 27: Numeric Keypad

    INTRODUCTION NUMERIC KEYPAD The NUMERIC KEYPAD has two main functions. It is used to store and recall up to 10 edits in what we call the EDIT CLIPBOARD (see the section on editing that describes this). It is also used for timecode and numeric entry.
  • Page 28 EXECUTE Nearly all actions on the RE32 require completion using the EXECUTE key located beneath the soft keys. This key has a LED in it that will flash indicating that it should be pressed to complete the action.

  • Page 29: Naming Files

    Naming is usually done from a PS/2 ASCII keyboard connected to the RE32. The computer keyboard is connected to the KEYBOARD input on the rear of the RE32.
  • Page 30 PROMPTS Two types of prompts are used on the RE32. One is a temporary one that is displayed for information only. I.e.: This pops up and lasts for a few seconds. Pressing any key while it is displayed will clear the message.

  • Page 31: Getting Around A Project

    INTRODUCTION GETTING AROUND A PROJECT There are many convenient ways to move around the GRID. TRANSPORT KEYS The most obvious way, perhaps, is to use the REWIND and FAST FORWARD keys. Pressing either once will cause the project to rewind or fast forward at 10 x normal play speed and pressing it again will cause the project to rewind or fast forward at 100 x normal play speed.
  • Page 32 INTRODUCTION JOG WHEEL The jog wheel allows you to ‘scrub’ audio much like reel-rocking on a conventional tape recorder. You may jog all tracks simultaneously. Normally, maximum jog speed is 1 x play speed but you may set this to be as much as 5 x maximum play speed. More conveniently, perhaps, you can set it so that normal operation gives a maximum jog speed of 1 x play speed but, when the SHIFT key is held, you can jog up to 5 x play speed.
  • Page 33 INTRODUCTION NOTE: When jogging or spooling at anything higher than nominal play speed, because of restrictions regarding disk speed and SCSI bandwidth, the connected machines will automatically drop some tracks to allow the high speed playback. However, in most cases this is fairly transparent and should not be particularly noticeable, especially on faster drives.

  • Page 34: Getting Started - Basic Concepts

    The basic operation is that you select a track (or tracks) for editing using the TRACK EDIT keys located along the top of the RE32’s panel. Once you have found the piece of audio you wish to edit, mark an IN time using the IN key located above the jog wheel. Now jog or play to where you want the edit to end and mark an OUT time.

  • Page 35: Getting Started

    You may now locate to the point you want to place the copy and press PASTE or INSERT. Of course, this is just a very simple example and there are many different ways the RE32 system may be used to edit and sync audio. However, whatever it is you are trying to achieve, you will find that all functions are consistent, making operation easy and fast.

  • Page 36: Basic System Settings

    The SETUP pages allow you to set certain parameters that will affect either the RE32, an individual machine or the system as a whole. These include setting sample rates, timecode types and inputs, external connections, etc.
  • Page 37 GETTING STARTED NOTE 1: This page will only allow selection of sample rates that are supported on all the connected machines. NOTE 2: Recordings made at a sample rate other than the selected sample rate will play back at the wrong speed. For example, if the sample rate is set to 44.1kHz and you try to play back a recording made at 48kHz, the recording will play back slow.

  • Page 38: Formatting Disks

    The DISK pages are used for general disk management such as renaming and deleting files, formatting disks, copying disks, etc.. For the moment, we will just look at formatting a disk as this needs to be done before you can start working with the Akai system. Pressing DISK displays this screen: Assuming you have not used the system yet, no files exist on disk and so the DISK page is empty.
  • Page 39 GETTING STARTED NOTE 1: While the Akai machines can properly format a Macintosh hard disk or MO, it does not install any type of Macintosh driver software on the disk. Therefore, disks formatted on the Akai system will require third-party mounting software in order to appear on the Macintosh desktop.
  • Page 40 “Disk Format Is Read-Only!”. EXTENDED format disks can be easily updated to DD-PLUS format and is described later. These are the basic settings one needs to make for operating the RE32 system. We will look at other DISK functions later on.

  • Page 41: Vga Setup

    GETTING STARTED VGA SETUP The SETUP key’s SHIFT function is VGA which allows you to setup various options related to the external display. When you press SHIFT+SETUP, the key’s LED will flash and you will receive the following screen display: The options are split across several pages.
  • Page 42 GETTING STARTED Pressing the METERS key (F3/F4) will take you to the following page where you may set certain parameters relating to signal metering on the RE32’s external monitor screen: The parameters are: METER SOURCE Here you may select what will be displayed on the meters on the VGA monitor.
  • Page 43 GETTING STARTED NOTE: When tracks are selected for edit, SHIFT+CURSOR UP/DOWN will toggle you between zooming in to the tracks selected for edit and the last selected vertical zoom level. NOW POSITION You may set the vertical NOW marker anywhere on the GRID. 50% is central, lower percentages move it further to the left, higher percentages to the right.
  • Page 44 GETTING STARTED INFORMATION This parameter selects whether the PROJECT NAME or MACHINE name is shown in the area at the top of the machine box. ERROR MESSAGES Here you can select to display system error messages in a large pop-up window on the VGA.

  • Page 45: Recording

    BASIC RECORDING Before we can do anything interesting with the RE32, we must first make a recording. Because the RE32 has many standard multi-track tape recorder (MTR) keys, recording is very simple. There are no special, separate record modes to encounter;...
  • Page 46 RECORDING When recording, you will see this screen: As you are recording, so the RECORD TIME field ‘counts down’ as disk space is used up. In the event of a mishap, you can abort the recording by pressing SHIFT and the red REC key simultaneously.

  • Page 47: Advanced Recording

    RE32. Press RETURN to complete the naming process. NOTE: The Akai DD/DR-Series of disk recorders have an ‘auto-increment’ function for names and so each new recording you make will have a new name based on the ‘seed’ name you give it here.
  • Page 48 RECORDING When DESTRUCTIVE recording mode is on, if you record over existing cues, the audio associated with the original cue may be erased from disk. However, you must either record over the original cue completely, or start recording from within a cue to past its end - dropping in and/or out half way through the cue will not cause the original cue’s audio to be deleted from disk.
  • Page 49 RECORDING ** WARNING ** BECAUSE OF THE DESTRUCTIVE NATURE OF THIS FUNCTION, PLEASE MAKE SURE IT IS NOT INADVERTENTLY SELECTED WHEN RECORDING AS YOU RUN THE RISK OF LOSING VALUABLE DATA. For example, if you are used to using non-destructive recording but receive a disk where DESTRUCTIVE record mode is enabled, you may be working in your usual way, thinking that new recordings are recoverable when, in fact, they are being deleted from disk every time you record over them.

  • Page 50: Record Disks

    RECORDING RECORD DISKS By default, all audio will be recorded onto the same disk as the current project. In a larger system, you may have other drives to extend the recording time. However, please note that recording to an external drive could cause playback problems later on. For example, in the case where you are playing back a project from an MO disk in Drive SCSI ID 0 but, for some reason, you record to a hard disk on SCSI ID 1, if the MO is removed and played back on another system, because some audio has been recorded on the other system’s hard disk,...

  • Page 51: Record Type

    The options available in this field depend on the format of the selected Record Disk. • AKAI: This is the DD’s native audio file format and is only available when the selected Record Disk is an AKAI format •...
  • Page 52 • 20-bit (packed): This is a special option that is only available when recording AKAI format audio files. Typically, 20-bit audio occupies the same space on disk as 24-bit audio (the extra 4-bits of storage space in each sample being wasted). The 20-bit ‘packed’ mode avoids this waste of space by writing the audio to disk in a special pattern.

  • Page 53: Record Setup

    RECORDING RECORD SETUP It is possible to select certain other options relating to recording in the RECORD SETUP page. This is accessed by pressing SETUP (F3/F4) from the main record page: The parameters are: CROSSFADE This allows a record crossfade of 0 to 80ms to be set. AUTO MONITOR Here you may select how you will monitor the input signal.
  • Page 54 RECORDING PUNCH MODE This selects how the system will respond if the record track selections are changed while the transport is in record. Available selections are : NORMAL This is the default setting. The record track selections can not be changed while the transport is in record.
  • Page 55 This is not so on the Akai system and it is possible to punch in and out seamlessly on mono and stereo tracks. However, in order to achieve this, it is necessary to drop tracks because, during recording, the track selected for recording is actually using two tracks - one for the actual recording and the other for the muted track.

  • Page 56: Auto Punch-In/Out

    REHEARSE When the REHEARSE key is switched on, the RE32 will ‘pretend’ to punch in and out but no audio will be recorded allowing you to rehearse a punch in/out prior to actually doing it. Version 1.00...

  • Page 57: Input Routing - Assigning Inputs To Tracks

    INPUT ROUTING INPUT ROUTING - ASSIGNING INPUTS TO TRACKS Depending on the specification of the machines in the system, there may be more tracks than there are inputs so some way of assigning the inputs to tracks is needed. This is achieved from the ROUTE INPUTS page which is accessed by pressing F5/F6 (ROUTE INPUTS) on the main record page.

  • Page 58: Input Routing - Dr16Pro

    INPUT ROUTING INPUT ROUTING - DR16 pro When a DR16pro is selected on entry to the ROUTE INPUTS pages, the following screen will be shown: This shows the default routing in a system with analogue inputs selected. If the DR16pro has an optional multi-channel digital interface installed (AES/EBU or ADAT), you can select between ANALOGUE or DIGITAL inputs 1..8 using the DATA ENTRY +/- keys when the cursor is over the INPUT TYPE field.

  • Page 59: Nput Routing - Dd8 (Or Dd8Plus)

    INPUT ROUTING INPUT ROUTING - DD8 (or DD8plus) When a DD8 (or DD8plus) is selected on entry to the ROUTE INPUTS pages, the screen will change to allow control of the input architecture on these machines: This shows the default routing in a system with analogue inputs. When the cursor is over the INPUT TYPE field, you can select between ANALOGUE or DIGITAL inputs using the DATA ENTRY +/- keys.

  • Page 60: Input Routing - Dd1500

    INPUT ROUTING INPUT ROUTING - DD1500 The selection of input routing options on the DD1500 depends very much on the options you have installed in the system. In a basic system with no ADCs connected (I.e. the only inputs you have are the digital inputs A and B), the default assignment would be: INPUTS TO TRACKS...
  • Page 61 INPUT ROUTING Inputs can be assigned to tracks 9..16 by pressing the SCROLL VIEW key. You will see this screen display: This shows the default assignment for a system with eight analogue inputs with each input being routed to tracks 9..16. With the cursor to the far left of the screen in the INPUTS column, you may assign inputs to tracks using the DATA ENTRY +/- keys.

  • Page 62: Recording Digitally

    INPUT ROUTING Should you wish to reset the input routing to the default setting, press the RESET key. The input selection and track routings you make can be saved as part of the system settings when you save them (see SYSTEM - SETTINGS). Of course, depending on your system, you may have more or less analogue and/or digital inputs.

  • Page 63: Playing Back Audio Material

    TRACK SELECT PLAY keys at the top of the RE32’s panel. When tracks are selected for play (i.e. their keys are lit), audio is shown in blue blocks on the monitor with a grey waveform. If a track is not selected for play (the keys are not lit), the monitor will display them as light grey blocks with slightly darker grey waveforms.
  • Page 64 This is useful for checking edits but can also be used for checking the last recording you made. Because the RE32 automatically places the IN and OUT times at the start and end of a new recording, you may use PLAY IN>OUT to check it immediately after recording.
  • Page 65 SOLOING A TRACK There is no dedicated SOLO key on the RE32. This is not an oversight on our part as the same thing can be achieved using ALL PB and ALL MUTE. To solo a track, press ALL MUTE (SHIFT+ALL PB) and select the track(s) you wish to solo.

  • Page 66: Grouping Tracks

    PLAYBACK GROUPING TRACKS It is also possible to group up to ten different combinations of tracks together. Actually, this is not specifically a playback feature because you may also group tracks together for record and/or edit. To store a group, assuming you have selected tracks as necessary, press the GROUP STORE key (SHIFT+GROUP).

  • Page 67: Autolocator

    AUTOLOCATOR AUTOLOCATOR However, you often need to go to very specific points in a project. To facilitate this, the RE32 has a powerful autolocator that allows you to store up to 100 numbered locate memories, 100 ‘grab’ markers as well as being able to locate to the start, the end and the IN, SYNC and OUT points. You may also locate to the next and previous cues and you may also locate directly to timecode values.

  • Page 68: Clearing Locate Memories

    AUTOLOCATOR There are actually two ways to store locate memories. One allows you to store single memories and leave the page, the other allows you to stay in the page and store multiple locate memories without having to keep re-entering the STORE page. To store a single memory, locate to the time you want to store using LOCATE, TIME and then press STORE, type in a locate memory 0-99 from the keypad and press ENT or EXECUTE.

  • Page 69: Cycle

    AUTOLOCATOR CYCLE With CYCLE switched on, the system will play repetitively between the IN/OUT points you have marked. This may also be used in combination with the PRE-ROLL key (see below) and the AUTO-PUNCH function. With PRE-ROLL switched ON, the repeat will play for a time before the IN time as set by the PRE- ROLL.

  • Page 70: Pre-Roll

    The principle use of PRE-ROLL is when synchronising mechanical tape players (VTRs, MTRs, etc.) to the Akai system. Because mechanical devices need a certain amount of time to get up to speed, it is necessary to locate to a point a few seconds before where you really want to be so that the external devices get up to sync by the time you reach the actual locate point.

  • Page 71: Editing

    EDITING EDITING In this section we will be looking at editing on the RE32. Before looking at the edit operations in detail, we will first describe the functions of some of the keys associated with editing in general. EDIT KEY Pressing the EDIT key will display the main edit page.

  • Page 72: To Select A Whole Track

    EDITING NOTE: Although the OUT time can be placed before the IN time, this is not a valid edit region. Should this happen and you try to do an edit, the LCD will display the prompt. The same message will also be displayed if you try to do an edit and an IN and OUT time are at the same time.

  • Page 73: To Select A Track From The Out Point To The Start

    EDITING This also works for stereo cues. Line the cues you are interested in on the NOW time, select both relevant tracks for EDIT and press SELECT Q. The IN and OUT will be placed at the start and end of the cues on both tracks and the SYNC marker placed at the point of selection.

  • Page 74: Multi- Machine Edit

    MULTI-MACHINE EDITING MULTI- MACHINE EDIT Multi-machine edit mode provides a quick and convenient method for copying audio from one region to another on the same track(s). For example, it can be used to copy the chorus of a song from one position to another. The only restriction in this mode is that audio cannot be moved from one track to another.
  • Page 75 MULTI-MACHINE EDITING At the time you press COPY (F1) to select the audio region, you will also notice that the LCD changes to show the following options: The parameters on this page show: LENGTH This is the length of the audio region selected EDIT REFERENCE This selects how the audio region selected is referenced to the current NOW time.

  • Page 76: Multitrack Paste

    MULTI-MACHINE EDITING MULTITRACK PASTE Pressing PASTE (F1) will paste the selected region over any material at the current NOW time. You will note that any gaps in the material being pasted will be pasted over any material that exists at the paste point. For example: SELECTED REGION TRACK BEFORE PASTE TRACK AFTER PASTE...

  • Page 77: Multitrack Overlay

    MULTI-MACHINE EDITING MULTITRACK OVERLAY Pressing OVRLAY (F2) will paste the selected region over any existing material at the point of pasting but, if there are any gaps in the material being pasted, these are ‘transparent’ and will reveal any audio ‘underneath’. For example: BEFORE OVERLAY AFTER OVERLAY Compare this with PASTE where the gap in the pasted material obscures the material beneath:...

  • Page 78: Cut

    MULTI-MACHINE EDITING This allows you to remove a selected region of audio copy on any combination of tracks from the GRID and close the gap(s) thus created, shifting all audio after the edit accordingly. For example: BEFORE CUT AFTER CUT First, mark the region you want to cut using the IN and OUT keys and select the tracks containing audio you wish to remove using the EDIT TRACK SELECT keys.

  • Page 79: Split Edit

    MULTI-MACHINE EDITING SPLIT EDIT As its name suggests, SPLIT allows CUES to be split in two. Each cue may then be edited separately. I.e. SPLIT BEFORE SPLIT CUE 1 AFTER SPLIT CUE 1 CUE 2 The process can be repeated almost indefinitely within one cue, splitting it up into smaller sections each time.

  • Page 80: Single Machine Edit

    SINGLE-MACHINE EDITING SINGLE MACHINE EDIT Multi-machine edit mode provides a quick and convenient method for copying audio from one region to another on the same track(s). However, it is restricted in that audio cannot be moved from one track to another. This is to prevent you trying to copy audio from a track on one machine to a track on a different machine.
  • Page 81 SINGLE-MACHINE EDITING The EDIT CLIPBOARD is a very convenient way of having edits readily available for immediate access at any time. In a way, if you consider the analogy of tape editing, the clipboard is the digital equivalent of putting certain useful edits to one side and hanging them up for use later on. CLIPBOARD 0 is the default clipboard and unless another clipboard number is specifically selected, this is the clipboard number you will copy, cut or erase to or paste or insert from.

  • Page 82: Copy To Clipboard

    However, when you come to paste this back in, the other cues in the region will retain their original names. If you have a PS/2 keyboard attached to the RE32, you can name the edit prior to copying it. As you type the name on the keyboard, the CLIPBOARD NAME field will ‘open’: You may enter a name of up to ten characters.
  • Page 83 SINGLE-MACHINE EDITING Selecting ONLY WHOLE CUES will copy only the whole cues whose’ start and end fall within the edit region: EDIT EDIT PLAY PLAY EDIT EDIT PLAY PLAY BLUE (PLAY) OCHRE (SELECTED) Cues whose start and end fall outside the edit region will not be copied. When ONLY WHOLE CUES is selected, the selected cues will be highlighted ochre on the external monitor.

  • Page 84: Cut To Clipboard

    PS/2 keyboard connected to the RE32. Press RETURN to complete the naming process and RETURN again to complete the CUT.

  • Page 85: Cut Forwards To Clipboard (Shift+Cut)

    You may also name the edit prior to cutting it to the clipboard by typing a suitable ten character name on a PS/2 keyboard connected to the RE32. Press RETURN to complete the naming process and RETURN again to complete the CUT.

  • Page 86: Erase To Clipboard

    1-9. You may also name it prior to erasing it by entering a suitable ten character name from a PS/2 keyboard connected to the RE32. You may also select the type of edit you wish to erase using F1 - TYPE?. There are two choices you can make.

  • Page 87: Discard

    SINGLE-MACHINE EDITING DISCARD The DISCARD function will discard material either side of the IN/OUT area but will not slip any subsequent audio. BEFORE DISCARD AFTER DISCARD The DISCARD function is accessed from the second group of edit functions shown when the MORE (F6) key is pressed on the main edit page.

  • Page 88: Paste From Clipboard

    SINGLE-MACHINE EDITING So far we have seen how to copy and remove audio from the GRID. Now let’s have a look at how to put material into the GRID. PASTE FROM CLIPBOARD This will paste an edit over any material at the current NOW time. You will note that any gaps in the material being pasted will be pasted over any material that exists at the paste point.

  • Page 89: Pasting To Out And Sync References

    SINGLE-MACHINE EDITING PASTING TO OUT AND SYNC REFERENCES It is also possible to paste material in a variety of different ways. The default is to paste the IN point of the source material at the current NOW time. For example: BEFORE PASTE AFTER PASTE However, you may paste in material referenced to the source material’s OUT point simply by...

  • Page 90: Insert From Clipboard

    SINGLE-MACHINE EDITING INSERT FROM CLIPBOARD This will insert an edit at the current NOW time and will cause any audio after the insert point to be shifted. BEFORE INSERT AFTER INSERT Pressing INSERT (F5) from SINGLE-MACHINE EDIT will give you this screen: The default selection is to insert material from clipboard 0 but you may, of course, insert material from any of the clipboards 1-9 by selecting the appropriate number on the numeric keypad.

  • Page 91: Inserting To Out And Sync References

    SINGLE-MACHINE EDITING INSERTING TO OUT AND SYNC REFERENCES As with PASTE and OVERLAY, you may also insert material referenced to the source material’s OUT point by pressing INSERT, OUT, EXECUTE. The REFERENCED TO field in the LCD will show OUT and the effect would be as follows: BEFORE INSERT AFTER INSERT + OUT In this example, the inserted material all audio before the NOW time would slip allowing you to...

  • Page 92: Overlay From Clipboard

    SINGLE-MACHINE EDITING OVERLAY FROM CLIPBOARD Overlay is similar to PASTE in that it pastes over any existing material at the point of pasting but, if there are any gaps in the material being pasted, these are ‘transparent’ and will reveal any audio ‘underneath’.

  • Page 93: Move Region

    SINGLE-MACHINE EDITING MOVE REGION The MOVE function allows you to move a cue or an edit region to another track. This is faster and more convenient than using ERASE to remove the cue/region from one selected track, de-selecting that track and selecting the destination track and then pasting it back in. The MOVE function is accessed from the second group of edit functions shown when the MORE (F6) key is pressed on the main SINGLE-MACHINE EDIT page.

  • Page 94: Nudging In/Sync/Out Times

    SINGLE-MACHINE EDITING NUDGING IN/SYNC/OUT TIMES This allows you to use the DATA ENTRY +/- keys to slip and nudge edits or audio into position. The NUDGE function is accessed from the second group of edit functions shown when the MORE (F6) key is pressed on the main SINGLE MACHINE EDIT page.

  • Page 95: Undoing A Nudge

    SINGLE-MACHINE EDITING To select the whole track to nudge, press and hold SYNC then press IN and OUT together. This will mark the whole of the selected track and it will be highlighted green on the external monitor. You may, of course, have multiple tracks selected for editing. However you mark it, as soon as you press the DATA ENTRY + or - keys, the selected audio will slip forwards or backwards in increments of one frame or press +/- keys while holding the SHIFT key down to slip in smaller increments of sub-frames (however, please see below - NUDGE SET...

  • Page 96: Split Cue

    SINGLE-MACHINE EDITING SPLIT CUE As its name suggests, SPLIT will split a cue in two. Although this can be done in other ways (NUDGE, IN->NOW, CUT, ERASE, etc.), these all involve either removing audio or moving it. SPLIT just splits the cue in two, making two cues out of one. Each cue may then be edited separately. I.e.: SPLIT BEFORE SPLIT...

  • Page 97: In->Now (Shift+In)

    NOW time and press SELECT Q). For example: Now, jog the video forward from the RE32’s jog wheel (ignore the audio for the moment) until you see where the dog’s mouth is just beginning to open. Jog back and forth until you get an exact sync point and press IN->NOW (SHIFT+IN) followed by EXECUTE.
  • Page 98 SINGLE-MACHINE EDITING Of course, you may not always want to slip the IN time to the NOW position - you may wish to move an edit region’s/cue’s SYNC marker or OUT point to the NOW time. As the screen informs you, these are selected using the SYNC and OUT keys. Pressing SYNC displays this screen: The effect of this would be as follows: SYNC...
  • Page 99 SINGLE-MACHINE EDITING To revert to slipping the IN time to the NOW time after selecting SYNC to NOW or OUT to NOW, press the IN key. NOTE: The IN->NOW (and SYNC and OUT->NOW) can paste over material (as in the above example of OUT->NOW).

  • Page 100: Edit Play Keys

    SINGLE-MACHINE EDITING EDIT PLAY KEYS The special play keys above the main transport keys are normally used when editing to check the location of edit points. Typical operation is to jog over an edit point and use PLAY TO or PLAY FROM to audition them quickly.

  • Page 101: Select Cue/Edit Cue

    SINGLE-MACHINE EDITING SELECT CUE/EDIT CUE EDIT CUE allows you to edit a cue’s level and fade up and fade down parameters. Typical operation is to move the cue you are interested in onto the NOW time, select the appropriate track for editing and press the SELECT Q key.
  • Page 102 To do this, move the cursor to this field and enter a ten character name from a PS/2 keyboard connected to the RE32. Press RETURN to complete the name and RETURN again to rename it.
  • Page 103 SINGLE-MACHINE EDITING Pressing INFO (F1) from the EDIT CUE screen gives the following information about the selected cue(s): Pressing FADE (F5) from the EDIT CUE screen gives you this screen: START TO NOW (F3/4) executes a fade up from the beginning of the cue to the NOW time. NOW TO END (F5/6) executes a fade down to the end of the cue, starting at the NOW time.

  • Page 104: Using Edit Cue To Affect Multiple Cues

    SINGLE-MACHINE EDITING USING EDIT CUE TO AFFECT MULTIPLE CUES You can also set the level and fade parameters for groups of cues by marking an IN and OUT time (or using SELECT Q). This will select all cues within the IN/OUT region thus: N O W SYNC EDIT...

  • Page 105: Crossfade Tools

    EDIT TOOLS CROSSFADE TOOLS The crossfade tools allow you to modify a cue’s start and end point to create a crossfaded overlap or to remove the gap between two cues and butt them together. While in the CROSSFADE TOOLS page, the width of the tracks is halved on the display in order to clearly show overlaps of cues sharing the same track: All the CROSSFADE TOOLS can be applied to a single track or across multiple tracks limited, in the case of cross fades, by the amount of audio buffer RAM you have fitted in each machine.
  • Page 106 EDIT TOOLS Pressing XFADE (F1) on the CROSSFADE TOOLS page takes you to this screen: The parameters are: AMOUNT The amount by which the two cues are to overlap. METHOD The method by which the overlap is to be achieved (TRIM or SLIP) and may be selected either using the DATA ENTRY +/- keys or more directly using F1 and F2.
  • Page 107 EDIT TOOLS Pressing BUTT (F2) on the main CROSSFADE TOOLS page gives you this screen: METHOD Selects the method by which the BUTT is to be achieved . With TRIM selected, one or both of the cues will be extended; this assumes that the cue in question has a handle available for extension.

  • Page 108: Disk Management

    When MULTI is selected in this field, the RE32 will tell each connected machine to save its local project. In other words, the system’s ‘multi- track’...
  • Page 109 DISK MANAGEMENT You can also choose to save the project on a specific machine. To avoid confusion, the machines are listed by the tracks they represent. For example, machine 1 will be shown as “1-16”, machine 2 as “17-32” etc.. DISK This shows the disk ID to which the project will be saved on the selected machine.
  • Page 110 DISK MANAGEMENT WRITE PROTECT This parameter allows machines in the system to be write protected. When a machine is write protected, it is prevented from writing any new data to disk. This can be used to avoid accidentally destroying valuable data as when write protection is enabled, all record and editing functions are prohibited.

  • Page 111: Saving A Project With A Different Name

    To save a project with a different name simply enter a suitable ten character name from a PS/2 keyboard connected to the RE32. As you type, you will receive this screen: The PROJECT NAME field is automatically ‘opened’ for naming. The bottom line will prompt you to enter the name and complete the action by pressing EXECUTE (or RETURN on the external keyboard).

  • Page 112: Load

    When MULTI is selected in the TRACKS field, the RE32 will tell each connected machine to load its local project and you will see the status bar change as each individual machine’s project is loaded on to the corresponding tracks.
  • Page 113 DISK MANAGEMENT In either case, once the project has been loaded you will leave the load page. The following prompt will flash up on the screen to confirm the project is loaded: If you have been working on a project and have not saved it, if you request the system to load a project (or create a new one), you will now see the following prompt: This is telling you that pressing EXECUTE will load the new project and any changes you may have made to the existing project will be lost.

  • Page 114: Creating A New Project

    The options available are: AKAI Create a new AKAI project on an Akai format disk PT 4 Create a new “Protools 4” Session on a Macintosh format disk PT 24 Create a new “Protools 24”...

  • Page 115: Disk Utilities

    To access the DISK UTILITIES page, press DISK UTILS (F5/F6) and you will see this display: As on other pages in the RE32, the TRACKS parameter is used to select the machine for which you want perform any of the DISK UTILITY functions. To avoid confusion, the machines are listed by the tracks they represent.

  • Page 116: Disk Directory

    DISK MANAGEMENT DISK DIRECTORY The Directory page allows you to view all files on a selected disk. The default is to show Project files on the disks, but there are other files as well. After selecting a machine and disk, pressing DIR (F2) on the DISK UTILITIES page will display something like this screen: Here, you can see a list of the projects on the currently selected disk.

  • Page 117: Copying Files/Disks

    DISK MANAGEMENT COPYING FILES/DISKS It is possible to copy data from one disk to another. You may copy individual projects and libraries or copy the whole disk. Pressing COPY (F5) will give you this screen: The parameters are: TRACKS Here you may select the machine that is connected to the disks drive you wish to copy between.
  • Page 118 DISK MANAGEMENT NOTE 1: When ALL PROJECTS or ALL LIBRARIES is selected in the COPY TYPE field, the FILE TYPE and FILE NAME fields are not shown: NOTE 2: You cannot copy single CLIPS. NOTE 3: It is not possible to copy from a disk to itself (i.e. from disk 0 to disk 0). You will receive the prompt: DISK CAN’T BE COPIED TO ITSELF! Version 1.00...
  • Page 119 DISK MANAGEMENT Pressing F5/F6 initiates the COPY process. You will receive this prompt: The selected source and the target disks are shown. The EXECUTE key’s LED will flash and you should respond accordingly, pressing EXECUTE to confirm or EXIT to cancel. During the copying process, the bottom line of the LCD will show something like this display: A highlighting display will move across the bottom of the LCD as the file is copied.
  • Page 120 DISK MANAGEMENT **IMPORTANT NOTES REGARDING COPY ** The COPY process copies the project/library and all referenced audio across to the target disk. This is to prevent audio becoming detached from the project or library with which it is associated. However, the copying process only copies across the audio associated with the cues plus a 10% ‘handle’...

  • Page 121: Delete Files

    DISK MANAGEMENT DELETE FILES In the disk DIRECTORY page, you can delete projects and/or libraries depending on the selection made in the FILE TYPE field. First select the type of file you wish to delete in the FILE TYPE field and then move the cursor to the file you wish to delete.

  • Page 122: Renaming Files

    It is also possible to rename files in the DIRECTORY page by placing the cursor over the file you wish to rename and typing a new name from a PS/2 keyboard connected to the RE32. As you start typing, you will receive this prompt: When you have finished, press RETURN (or EXECUTE on the RE32’s front panel) to complete...

  • Page 123: Backing Up Your Work

    A more cost effective method is to backup to some form of tape medium and the Akai DD/DR- Series machines allow you to backup the contents of your disk(s) to SCSI tape drives via the SCSI connection or, on the DD1500, to an ordinary DAT machine via the digital I/O.

  • Page 124: Formatting A Tape For Backup

    (i.e. move from the end of the chain to the middle or vice versa). If the problem still persists, contact you AKAI professional dealer. If a message such as THE SELECTED SCSI ID IS A DISK DRIVE is shown, this indicates you have selected the wrong SCSI ID in the TO SCSI TAPE field.
  • Page 125 DISK MANAGEMENT The fields on the SCSI BACKUP page are: TITLE You may give the backup a title of up to ten characters. This will be stored in the SCSI tape’s directory and you will be able to use this name to selectively restore the backup in future in the event of you archiving several different backups to tape.

  • Page 126: Backing Up Selected Files

    DISK MANAGEMENT BACKING UP SELECTED FILES Choosing SELECTED FILES in the BACKUP TYPE field will show this screen: SCSI BACKUP SCSI BACKUP Tracks: 1-16 Disk:4 Title : Title : Backup From disk : From disk : ( ) To SCSI tape : To SCSI tape : ( ) Backup type : SELECTED FILES Backup type : SELECTED FILES...

  • Page 127: Backing Up All Projects And/Or Libraries

    DISK MANAGEMENT NOTE: This is the same as selecting the ALL PROJECTS or ALL LIBRARIES or ALL PROJS&LIBS option in the SCSI BACKUP TYPE field. However, whilst this may seem like an unnecessary duplication of a function, it might be useful if you want to backup all projects except one or two - i.e.

  • Page 128: Performing The Backup

    DISK MANAGEMENT PERFORMING THE BACKUP Regardless of the backup type you have selected, to actually perform the backup, simply press the flashing EXECUTE key. You will see this screen: Here, the system is getting the tape ready for the backup. First of all, it will look at the tape’s directory to make sure that there is no backup of the same name.
  • Page 129 DISK MANAGEMENT At the end of the backup, you will see this screen: The system will rewind the tape to the start in readiness for the next backup. Exactly how long this takes depends on the amount of data on the tape. Finally, you will see this screen display: Press any key to continue.

  • Page 130: Verifying A Backup

    DISK MANAGEMENT VERIFYING A BACKUP Once you have performed a backup, you may like to verify it to check that everything has backed up correctly. This is done by pressing the VERIFY key followed by EXECUTE. You will see this screen: You should press EXECUTE to continue, EXIT to abort.

  • Page 131: Restoring A Backup

    DISK MANAGEMENT RESTORING A BACKUP To restore data, in the DISK UTILS page press BACKUP. You will see this screen: Select SCSI TAPE. You will see this screen: Press RESTORE (F5/6). You will see this screen: SCSI RESTORE SCSI RESTORE Tracks: 1-16 Disk:4 Title :...

  • Page 132: Performing A Restore

    DISK MANAGEMENT PERFORMING A RESTORE To perform the restore, select the disk you wish to restore to. Of course, make sure the correct SCSI ID is set for the tape drive in the FROM SCSI TAPE field. You need to enter the name of the backup you wish to restore. In the simplest example, the tape you are restoring from may contain just one backup that uses the default name BACKUP.
  • Page 133 DISK MANAGEMENT You can also select ENTIRE BACKUP as the restore type and this will restore everything in the selected backup. You may also select to restore only libraries by selecting ALL LIBRARIES. In this case, even if a backup contains projects, these will be ignored. Likewise, if you select ALL PROJECTS, only projects found will be restored and any libraries in the backup will be ignored.
  • Page 134 DISK MANAGEMENT Regardless of the type of restore you have selected , the process is initiated by pressing the EXECUTE key. You will see this screen display: Followed by this screen: After a short while (depending on how many cues are in the backup), you will see this screen: You will see the backup being restored onto the selected disk.

  • Page 135: Restoring The Entire Backup

    DISK MANAGEMENT If, when you perform the restore, a library or project on the disk you are restoring to shares the same name as one being restored, you will see this prompt: Pressing ABORT (F3) will abort the whole restore process. You will see this screen: If you press NO (F4), the restore will proceed as described on the preceding page but a new project or library will be created with a new automatically numbered name.

  • Page 136: Notes About Backup/Restore

    The RE32 will prompt you if this is the case and will tell you to insert another tape. If the tape is unformatted and unsuitable for use, you will be prompted to format the tape whereupon the backup will continue.

  • Page 137: Suggestions For Backup/Restore

    DISK MANAGEMENT SUGGESTIONS FOR BACKUP/RESTORE • Try not to re-use tapes. They are relatively inexpensive to buy and potentially carry very expensive data so it is not wise to economise. • Do not use ordinary audio tapes unless you’re really stuck as tapes made specifically for backup will be more reliable.

  • Page 138: Taking Care Of Your Tape Drive

    DISK MANAGEMENT TAKING CARE OF YOUR TAPE DRIVE Tape drives need to be taken care of quite carefully. You should refer to your drive’s operator’s manual for more details on this but some general guidelines are: • As routine maintenance, the heads should be cleaned after every 25 hours or so of use. Basically, clean the heads regularly.

  • Page 139: Archiving Data To Dat

    DISK MANAGEMENT ARCHIVING DATA TO DAT Selecting AUDIO DAT in the BACKUP page takes you to this page: Here you may backup the contents of your disk to a normal DAT machine via the digital audio I/O. The parameters in the ARCHIVE page are: DISK This selects which disk you will archive.
  • Page 140 Please ensure that you use a blank disk (or one you are happy to erase) when restoring. AKAI professional CANNOT BE HELD RESPONSIBLE FOR DATA LOST IN THIS WAY. Version 1.00...
  • Page 141 • Because DCC (digital compact cassette) and MiniDisk use data compression, although you can appear to be archiving successfully to either of these two mediums, the restore will fail. AKAI professional cannot be held responsible for the loss of data archived to DCC or MiniDisk.

  • Page 142: Restoring From Dat

    Here you may restore the contents of a DAT back to the disk via the digital audio I/O. To connect your DAT machine, connect the digital output of the DAT machine to the digital inputs of the selected Akai DD/DR series machine (you can set which one will be used in the DAT OPTIONS page).

  • Page 143: Cleanup Disk

    DISK MANAGEMENT CLEANUP DISK CLEANUP DISK allows you to clear out redundant recordings and so save valuable disk space. Pressing CLEAN (F4) from the DISK UTILITIES page shows this screen: It is possible to have a disk full of unreferenced audio files. These are pieces of audio that have no association with any project or library.

  • Page 144: Minimise Disk

    DISK MANAGEMENT If the audio associated with a project on a removable disk is on another hard disk and the removable disk is not in the system when you run CLEANUP, what will happen is that the system will search through all the projects/libraries it can find on the system in order to establish what audio should be kept and what should be deleted.
  • Page 145 DISK MANAGEMENT Pressing EXECUTE will cause this prompt to be displayed: As described above, because it is possible for projects and audio to exist on separate disks, if a project disk is missing from the system, you may cause data to be lost if a disk is missing from the system.

  • Page 146: Disk Compatibility

    OMF file was created on a non-Macintosh system. NOTE: Due to the limited screen size, the RE32’s LCD does not show the individual folders on the disk that would normally be shown on a Macintosh screen. Instead, the display shows a list of all files of the selected type on the disk.

  • Page 147: Protools Import

    Akai DD/DR series machines themselves) do not actually render fade files. If Session files from these systems are loaded into the system with the ‘use pre-computed fades’ option, the fade regions will not contain any audio (and will be shown in yellow on the RE32’s VGA). Version 1.00...

  • Page 148: Creating Protools Sessions

    The options available will depend on the format of the selected disk. The options available are: AKAI To create a new AKAI project on an Akai format disk. PT 4 To create a new “Protools 4” Session on a Macintosh format disk.

  • Page 149: Waveframe

    DISK COMPATIBILITY WAVEFRAME Certain Akai DD/DR-Series machines (including the DD8plus and DD1500) are able to read project files created on Waveframe disks including those from the Timeline MMR-8. When a Waveframe format disk is selected by pressing the DISK key, you will see the following screen: The FILE TYPE field allows you to select the type of file you want to load.

  • Page 150: Fairlight Mfx3Plus

    This is identified with a ‘.DL’ suffix. The Akai system reads the MDL file rather than the Fairlight native project file, so it is necessary to ensure that this file is always created before the disk is removed from the MFX3 plus system.

  • Page 151: System Setup

    In this section, we will have a look at the SETUP functions we skipped earlier. SYSTEM SETUP The SETUP pages allow you to set certain parameters that will affect either the RE32, an individual machine or the system as a whole. These include setting sample rates, timecode types and inputs, external connections, etc.

  • Page 152: Setup - Multi

    SYSTEM SETUP SETUP - MULTI When MULTI mode is selected, pressing the SETUP key will display the following options: The MULTI SETUP pages are designed to allow easy configuration of parameters that should be set identically on each machine connected to the system. Pressing RATES (F1) will take you to the SYSTEM RATES page: This page is used to set the system’s global sample rate and frame rate.

  • Page 153: Display

    The parameters on this page are: DISPLAY STYLE This allows you to set the type of timecode you wish the RE32 to display. Normally, this is the same as the timecode type selected in the EXT. TIME SOURCE field on the SYNC page (and the RE32 will take care of this automatically) but you may choose to view another time display if you wish.

  • Page 154: Display Offset

    SYSTEM SETUP 25fps film (+4.1%) - display 25 frames per second but with a 4.1% playback speed offset for use when working with material that has been transferred from film to video. 24fps film (-4%) - display 25 frames per second but with a 4% playback speed offset for use in European film applications when working with material that has been transferred frame-by-frame from 24fps film to 25fps video.

  • Page 155: Record Setup

    SYSTEM SETUP RECORD SETUP Pressing RECORD (F2) on the main MULTI SETUP page will take you to the RECORD SETUP page that we looked at earlier in the section on recording: The parameters are: CROSSFADE This allows a record crossfade of 0 to 80ms to be set. AUTO MONITOR Here you may select how you will monitor the input signal.
  • Page 156 SYSTEM SETUP As mentioned, recording is non-destructive by default but, sometimes when recording, it is possible to build up a lot of redundant audio on your disk, especially if you are dropping in and out over the same point time and time again (for example, when recording vocals).
  • Page 157 SYSTEM SETUP The destructive record mode will go some way to avoiding the build up of unnecessary audio on your disk but, given the above points, there may be times when you will need to perform a manual cleanup or minimise.

  • Page 158: Speed

    SYSTEM SETUP NOTE: The TRACK KEYS and PRIMED punch modes are only available on 8 track machines (e.g. DD8, DD8plus). The PUNCH MODE parameter is not shown on this screen if other machines are being used in the system. Press EXIT at any time to leave this page and return to the main RECORD screen. SPEED Pressing SPEED (F4) on the main MULTI SETUP page will take you to takes you to one of two pages depending on the synchronisation status of the system:...

  • Page 159: Tempo Maps

    To achieve this, of course, your sequencer must be set to external sync so that the Akai DD/DR is in control of its tempo and time signature. ADDITIONALLY, THE SELECTED MACHINE MUST BE SET TO GENERATE MIDI SPP.

  • Page 160: Creating A Midi Tempo Map

    SYSTEM SETUP CREATING A MIDI TEMPO MAP To create a tempo map, use SONG 01 as the starting point. You will see that there is a tempo and t.sig (time signature) entry at the start of the song. These determine the map’s starting tempo and cannot be deleted.

  • Page 161: Deleting Tempo Map Steps

    SYSTEM SETUP You will note that as you add steps to the tempo map, once you exceed four steps, two up and down arrows will appear to indicate that there are steps ‘above’ and ‘below’ the screen: Use the cursor UP/DOWN keys to scroll through your tempo map. DELETING TEMPO MAP STEPS If you make a mistake or wish to delete any steps in the map, move the cursor to the step you wish to erase and press F6 - DELETE.

  • Page 162: More Setup Functions

    The second group of settings relate to the configuration of the RE32 itself. For example, the track zoom selection, LCD contrast and VGA display options. These settings are stored in the flash memory of the RE32 itself.

  • Page 163: Info

    SYSTEM SETUP INFO Pressing INFO(F2) on the second MULTI SETUP page will take you to the following page which displays information about devices connected to the system: This page displays the Operating system version and Ethernet address of the selected machine. These parameters are for information only and cannot be changed from here.

  • Page 164: Setup - Single Machine

    SYSTEM SETUP SETUP - SINGLE MACHINE The MULTI MACHINE SETUP pages allow the system to be configured quickly and easily for many applications. However, for more complex configurations, it may be necessary to setup certain parameters on individual machine. SINGLE MACHINE SETUP allows this individual parameter settings to be accessed.
  • Page 165 SYSTEM SETUP DIGITAL SYNC This allows you to synchronise the selected machine to a variety of video and wordclock synchronisation sources for precise system synchronisation. The options available (depending on the capabilities of the selected machine) are: INTERNAL CLOCK This selection uses the machine’s internal crystal as its sync source and so the system is ‘free running’.
  • Page 166 NOTE 1: If a wordclock sync source is selected and is being successfully received, the W/C RCV LED above the RE32’s timecode display will illuminate. If this LED flashes, this indicates that there is some kind of problem with the wordclock (i.e. it is not connected or the cable is faulty, whatever).

  • Page 167: Digital Output Format

    SYSTEM SETUP DIGITAL OUTPUT FORMAT If the selected machine has any digital audio interface options fitted, pressing the OUTPUT FORMAT key (F1/F2) on the DIGITAL SETTINGS page will give you this screen: In this page, you may set the output format for the digital audio outputs. The INDIVIDUAL field allows you to set the format for the individual digital outputs and you may choose PROFESSIONAL or CONSUMER.

  • Page 168: Sync Settings

    Here, you may choose the type of external timecode synchronisation you are using and works in conjunction with the ON-LINE key on the RE32. When the ON-LINE key is not switched on, the system is ‘free running’. With the ON-LINE key switched on, the system will not playback or record unless the timecode type selected here is received.
  • Page 169 America, Japan or Canada. and 30 drop when working with black and white. 30d NTSC BW is unlikely to be used very often but please do not confuse Akai’s 30 drop-frame with other equipment’s which may actually be 29.97fps drop.
  • Page 170 RS422 master controller (i.e. when all playback, locating, jogging, etc., of both the selected machine and VTR are controlled from the RE32). SMPTE/EBU from the VTR is still connected as usual via the EXT. TIME input and the ON-LINE key must be switched on. The selected...
  • Page 171 MIDI OUT. This may also be used for synchronising MIDI sequencers. NOTE: The Akai DD/DR Series machines can read one type of timecode and generate another. For example, they can receive SMPTE/EBU timecode at one rate and generate it at a different rate.

  • Page 172: Record Setup

    SYSTEM SETUP RECORD SETUP Pressing RECORD (F3) on the SINGLE MACHINE SETUP page will take you to the following page: This page is very similar to the RECORD SETUP page described earlier in the section on recording and includes all the same parameters. Additionally, it provides direct access to the ROUTE INPUTS page for the selected machine.

  • Page 173: Remote Pages

    SYSTEM SETUP REMOTE PAGES Pressing REMOTE (F5) on the SINGLE MACHINE SETUP page will take you to the following page: This page is used to setup a variety of options relating to external control of the selected machine. The available options are shown on the soft keys and will vary depending on the interfaces fitted in the selected machine.

  • Page 174: Gpio Setup

    SYSTEM SETUP GPIO SETUP Some machines may be fitted with an interface that offers several GPIs (General Purpose Inputs) and GPOs (General Purpose Outputs) that may be used for a variety of purposes. For example, the GPIs may be used for track arming control from an external mixing console with the GPOs providing track status tallies.
  • Page 175 SYSTEM SETUP Pressing ASSIGN (F6) will take you to the GPI assignment page. If the selected machine is a DD1500, the above parameters do not apply and pressing the GPIO key on the REMOTE page will take you directly to the GPI assignment page: NOTE: When the selected machine is a DD1500m, only 3 GPIs will be shown.
  • Page 176 SYSTEM SETUP GRAB OUT MARK - When a pulse is received, it will mark an OUT point. RESET BIPHASE - This will reset the biphase receiver. TOGGLE EXT.TIME - When a pulse is received, it will switch on/off the external time source. RECORD REHEARSE - This will switch on/off the record rehearsal function.
  • Page 177 SYSTEM SETUP EXT WORDCLOCK OK - The GPO will change level while external wordclock is being successfully received. EXT TIME LOCK - The GPO will indicate when the transport is successfully locked to external timecode. REC TRACK - These options allow a tally to be sent when any of the record tracks are switched on/off.

  • Page 178: User Keys

    SYSTEM SETUP USER KEYS USER KEYS allows the function of key presses on the RE32 to be redefined. The alternate key definitions are active while the USER KEY is switched on. In multi-machine setups, USER KEYS also allows commands to be send to the currently selected machine, all connected machines or any single machine.
  • Page 179 SYSTEM SETUP PLAY TRACK 1 Switch selected playback track on/off PLAY TRACK n REWIND Rewind transport FAST FORWARD Fast Forward transport STOP Stop transport PLAY Put transport into play RECORD Send record command when PLAY is also pressed PLAY REVERSE Play backwards BPH RCV RESYNC Resync biphase receiver...

  • Page 180: Rc15 Connection

    SYSTEM SETUP RC15 CONNECTION The RC15 is a small remote which connects to the EXPANSION port on the RE32. It has 8 functions keys, 6 transport keys and a jog/shuttle wheel which can be programmed in a similar way to the USER KEYS function described previously.

  • Page 181: Syncing To External Timecode

    When external timecode is being received successfully, the system will play synchronised to that timecode and the EXT T/C RCV LED above the RE32’s timecode display will be steadily lit. If at any time, the EXT T/C RCV LED flickers, this indicates a problem with the external timecode such as dropout.

  • Page 182: Setting Timecode Offsets

    SYNCHRONISATION SETTING TIMECODE OFFSETS Pressing OFFSETS (F5/F6) on the SYNC page will take you to the following page: Sometimes, it is necessary to set an offset between the system and an external machine. For example, your project may start at 00:00:00:00 but your timecode source start at 10:00:00:00. Using this page, you may set offsets so that the two machines play in sync without you having to extensively modify the project’s start time.

  • Page 183: Advanced Offsets

    Before we look at these functions, it must be said that some of the offset facilities provided on the RE32 are a bit specialised and apply only to certain applications. If you need these specialised functions, you will know what you want. However, if all you need to do is set an offset against...
  • Page 184 OFF, ON, LED ONLY. OFF and ON should be fairly self-explanatory. LED ONLY applies the offset to the LED timecode display on the RE32’s panel only - the timecode display on the external monitor does not show this offset.

  • Page 185: Rs422 Master Control

    RS422 RS422 MASTER CONTROL Any of the Akai DD/DR series machines can be used as an RS422 master using the Sony™ P2 protocol. This means that all play, jog, shuttle and locate commands are issued from the Akai machine allowing you to control a VTR equipped with RS422. Connections should be made as shown in the RS422 section of each machine’s manual.

  • Page 186: Layback Function In Rs422 Master

    RS422 making locking of the two machines tighter. LAYBACK FUNCTION IN RS422 MASTER LAYBACK is a process where you have material on the Akai system that you wish to ‘master’ onto a VTR or other such RS422 equipped machine (such as an RS422 DAT machine). For example, you may receive a video tape with just dialogue on it.

  • Page 187: Using The Layback Function

    RS422 USING THE LAYBACK FUNCTION The RE32’s IN and OUT markers set the record in/out points for the VTR. Assuming the functions described above are set as appropriate, you must first press PREROLL . You then press LAYBACK and the VTR will drop in/out of record at the IN/OUT points marked.

  • Page 188: Rs422 Master Control Of Non-Linear Video Recorders

    VTR and the non-linear video recorder will ‘stutter’ frame by frame much like a normal VTR. However, using the ‘RS422 only’ selection, slow speed jogging is exceptionally smooth and very tightly locked to the Akai system’s audio jogging and so is ideal for spotting audio to picture.

  • Page 189: Specifications

    SPECIFICATIONS RE32 SPECIFICATIONS Power Requirements : 120V AC 60 Hz 19 W 220 - 240V AC 50Hz Operating Temperature : 5°C ~ 40°C Operating Humidity : 30% ~ 80% (without condensation) Dimensions : 483 x 86 x 310 (330 maximum) (W x H x D, mm) EIA 7U Weight : 5.6kg...

  • Page 190: Index

    EDIT CLIPBOARD 17 , 71 , 72 , 74 , 76 , 78 , 80 , 82 Edit Cue/Q 91 ADVANCED RECORDING 37 EDIT KEY 61 AIFF 41 EDIT PLAY KEYS 90 AKAI audio files 41 EDIT REGION 3 , 24 AKAI Project 104, 138 EDITING 61 AKAI->FAIRLIGHT 41 EMPHASIS 157 AKAI->FAIRLIGHT audio files 41...
  • Page 191 INDEX INPUT MON 55 Input Routing 47 PANEL LAYOUT 10 INPUT ROUTING - DR16pro 48 Paste (Multi-machine) 66 Insert (Multi-machine) 66 Paste (Single Machine) 79 Insert (Single Machine) 80 PC Keyboard 19 Invalid Edit Region 61 Peak Hold 32 PLAY FROM 54 , 90 PLAY IN>OUT 54 , 90 JOG WHEEL 11 , 19 , 22 PLAY KEY 53...
  • Page 192 INDEX SET FUNCTIONS 19 Setting Up 26 Waveform Magnification 16 Setup (GPIO) 164 Waveframe Compatibility 139 Setup (MIDI) 163 Write Protect 100 Setup (Multi Machine) 142 WRITE PROTECTED Prompt 30 Setup (Record) 162 Setup (RS422) 163 Setup (Single Machine) 154 XFADE key 96 SHIFT 19 SHIFT key 10...

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