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Welcome to Cubase free download page.
Cubase that has been at one time generally known as Cubit is often a MIDI music sequencer and digital audio editing software. The first version was on the Atari in 1989.
Cubase Studio 4 may be the higher end version of cubase studio. The free cubase download currently is demo only, and it is available in both Mac and PC format. Cubase is really a powerful streamlined music sequencer with plenty of features, rendering it one with the top softwares in their category.
Some with the newer features in Cubase Studio 4 are; new plug-in set based around the new VST3 standard, software instruments with many sounds. The SoundFrame system has latest features like Track Presets, Instrument Tracks and also the new MediaBay database likewise.
Here are several more things that may be of great interest.
Search Through 7, 560 Sounds
Welcome to your Cubase free download page.
Cubase which has been at one time called Cubit is usually a MIDI music sequencer and digital audio editing software. The first version was really on the Atari in 1989.
Cubase Studio 4 would be the higher end version of cubase studio. The free cubase download we provide is demo only, which is available in both Mac and PC format. Cubase can be a powerful streamlined music sequencer with a great deal of features, turning it into one with the top softwares in their category.
Some in the newer features in Cubase Studio 4 are; new plug-in set based about the new VST3 standard, software instruments with numerous sounds. The SoundFrame system has additional features like Track Presets, Instrument Tracks along with the new MediaBay database likewise.
Here are a couple of more goods that may be interesting.
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This download updates a current Cubase 7 installation to your latest version!
Windows 7 g Windows 8 g Windows 8.1
The Cubase 7 installers here contain all data important for a complete offline installation image DVD image.
Use any common burning software to generate installation DVDs in the ISO images. On Mac OS X and Windows 8, ISO images is usually opened as virtual drives directly by double-click. To be able to do it on older Windows releases, you will need for instance WinCDEmu.
Alternatively, you need to use the Cubase 7.0.2 installer below, that is more compact as it is provided by 50 % operating system specific versions.
Here you may download the Cubase 7 core installer separately when your main computer doesn't provide an active connection to the web or if the text is unstable or not quick enough and you were forced to abort the download as part in the DVD installation.
Please remember that the DVD content ought to be installed at the same time to have having access to all Cubase 7 features.
Without a real Cubase 7 license about the USB-eLicenser, this download is not used!
The VST Connect Performer application runs within the performer-s end and handles audio data to record and all of chat communication about the performer-s side. It is really a free download for all those users who would like to connect with a Cubase 7 or Nuendo 6 recording session.
In case you concentrate on setting up a whole new system or upgrading a current one, weve gathered many useful tips and tips about how to configure your Digital Audio Workstation DAW.
As generally software, the retail value is reflected inside the license to work with this product. Read up on what measures you are able to take in case of any defective or lost USB-eLicenser.
Our YouTube channel not simply offers a choice of product presentation videos but several worthwhile and informative training videos.
2015 Steinberg Media Technologies GmbH All rights reserved.
This download updates a pre-existing Cubase Artist 8.0 installation for the latest version!
Windows 7 g Windows 8 g Windows 8.1 g Windows 10
This patch updates an active Groove Agent SE 4 installation to include the support for Retina displays.
Windows 7 g Windows 8 g Windows 8.1 g Windows 10
This download updates a current Halion Sonic SE 2 installation towards the latest version and full compatibility with OS X 10.10 Yosemite.
No DVD drive available? Lost the purchased download installation files?
With Cubase Artist 8 registered inside your MySteinberg account it is possible to find all necessary files for an extensive installation under My products - Downloads.
Download the Zip package.
Unzip the downloaded file und save the contained folder Eight Good Reasons at any location on the hard disc.
Additionally, you might also use the demo projects for Cubase 7.5. Just take into consideration that in many of these demo projects Groove Agent One is used. This VST Instrument isn't included in Cubase Artist 8. If needed, it is usually installed additionally. Detailed instructions on the best way to do this could be found here.
In case you concentrate on setting up a brand new system or upgrading a pre-existing one, weve gathered many useful tips and tips on how to configure your Digital Audio Workstation DAW.
As generally software, the retail value is reflected inside the license to utilize this product. Read up on what measures you may take in case of any defective or lost USB-eLicenser.
Our YouTube channel not just offers a variety of product presentation videos and also several very useful and informative video clips.
2015 Steinberg Media Technologies GmbH All rights reserved.
Reproduction of the manual, in whole or even in part, in the slightest, is prohibited.
OPERATION MANUAL ZOOM Corporation Reproduction on this manual, in whole or perhaps in part, in the slightest, is prohibited.
Special top features of H4n Thank you very much for choosing our ZOOM H4n Handy Recorder hereinafter abbreviated to H4n. The H4n contains the following special features. An all-in-one handy recorder. any sound source. You can enjoy recording and creating your personal music whenever, anywhere with all the H4n.
Safety precautions for users Alterations In this manual, the warning and caution symbols are being used the batteries from your unit. to spotlight dangerous accidents and troubles for users to switch the product the slightest bit since this can happen read to ensure accidents is usually prevented. The meanings of compartment and battery terminals carefully to in damage to your unit.
Many artists and a lot live venues never allow recording and photography and may check for cameras and recorders in the entrance. Even if recording is allowed, it can be prohibited to trade, distribute, or upload towards the Internet without worrying about organizer s authorization.
recording mode and audio quality setting is right for the problem. Set-up Connecting Set-the Select along with other audio recording the Mode 1 The H4n has built-in microphones also as 2 input jacks with phantom power in order to use with any 2 You can select among 4
RE-RECORDING Edit Output Recording again on your own 5 The H4n has very convenient 6 In MTR mode the punch-in/7 The recordings are saved as solutions to swiftly review/playback punch-out function assits you FILES and PROJECTS, so you a recording likewise as marking to re-record just the section you'll be able to edit them in several ways.
The following is basic recording instructions with all the built-in stereo microphones and built-in speaker in STEREO MODE. RECORD READY OR STANDBY CONDITION Input through the built-in microphones light on Press. blinks Recording STEREO TOP SCREEN standby mark blinks MIC button light on Monitor the input sound activate from built-in rec
PLAYBACK STOP Press. Press. Press. Press. light on light off Counter turns Now recording Counter returns 0:00:00:00:000 mark Remaining time on SD CARD Adjust the input sound rec level Output: Built-in speaker Counter doesn t return 0 In detail In detail Places Mark at specific amount of time in WAV file
The following accessories are included inside the H4n package. Inspect the package contents to be certain all accessories are included.
When recording outside inside the field, within the built- in microphones using this windshield, you are able to reduce wind noise. Use a microphone adapter optional attachment to set up Operation from the H4n unit plus the stand can handy remote control grip the adapter firmly.
NOTE: normally use about 6 hours You can use conventional alkaline and nickel metal hydride batteries. Alkaline battery in stamina mode about 11 hours the computer together with the power switch off, and power is automatically Approximate lifetime when it can be used for continuous recording on WAV 44.1 kHz/16bit format.
NOTE powered down. the actual of instruments and monitors connected towards the H4n. ing up, ensure inserted correctly. w h e n b o o t i n g up, the starting time and date are set on the primary value. POWER switch HOLD switch
The H4n carries a HOLD function to create any button operation inactive, preventing errors during recording. To engage the hold function, slide plunge to hold position. Key Hold display de-activate screen If you press any button as the HOLD function is engaged, the screen will display HINT Key
Buttons like REC, STOP, PLAY/PAUSE, FF, REW each have different functions depending within the H4n s operation MODE. REC button REC button Enter recording standby mode and Stop reset the counter to 0 Stop Recording Standby Start recording and counter Stop recording Record, Recording Standby Record
The buttons of TRACK 1 4 have different functions depending around the MODE. Switch from RECORDING to PLAYBACK on the Move on the tracks, or even the other way around FOLDER SELECT menu Move on the FILE menu Move to your SPEED menu That track button will likely then become illuminated.
These buttons have different functions depending about the various modes. Select INPUT MIC or INPUT 1 2 plus the corresponding button illuminates. Whether you end up picking the INPUT 1 or INPUT 2 button, they may both respond a similar Both buttons glow after the selection. Once lighted the buttons usually do not respond Any other settings about input sources like REC LEVEL, needs to be made towards the lighted target.
These keys permit you to adjust the amount of recording input and output volume. All the modes are precisely the same The recording levels coming on the INPUT 1 2 can REC LEVEL Target setting: choose the input source 1 100 that you want to : Increase reception adjust the
DIAL and MENU buttons are utilized for various settings while recording and during playback. Here are some basic explanations about each operation. DIAL Rotate the DIAL, as well as the cursor around the display will move on the DIAL Select Press down DIAL, your selection is confirmed.
DIAL operation within the top screen the superior screen, cursor moves. The item letters or numbers are reversed alter the numbers justment or calls inside the setting menu. a n d l e t t e r s P r e s s your selection.
The SD card needs to record. Make sure to switch off power before inserting or detaching the SD card. NOTE: destroy the information. the slot. ht tp://www. zoom. co. jp/when booting - up. computer, digicam or other machine, formatting inside H4n is needed.
Each file will automatically record the date/time. To facilitate looking for files by date, you'll want to set the date/time after every battery change. Press. Select the item on DATE/TIME : Select SYSTEM and press. You can choose the item while moving in the DIAL.
The H4n offers versatile connectivity with alternatives for any recording application. Stereo Headphones
These are special features from the H4n s built-in microphones. LOCATION OF THE MICROPHONES UNDER XY SYSTEM Capturing sound in the stereo image. General stereo microphones Stereo images without any phase cancellation. S t e r e o r e c o r d i n g i s o f t e n d o n e b y p l a c i n g t w o microphones in a very V shape.
6-3 Setting up: Built-in microphones/outside microphone with plug-in power The input jack with the external microphone works for microphones that want PLUG-IN power. Press the MENU button more than 2 seconds, you need to Please put H4n 30 - 50 cm away on the When you make use of the external microphone, you'll want to operation in the top screen.
6-4 Setting up: INPUT 1, 2 connections and phantom power source Using INPUT 1 and INPUT 2 you'll be able to connect to an acoustic guitar, a bass, a keyboard, etc. Press the MENU button for over 2 seconds, and initiate For musical instrument or a bass, you'll be able to operation through the top screen.
Setting up: USB connection, H4n used just as one Audio Interface The H4n is usually used to be a two-in/two-out USB interface at 44.1kHz or 48kHz. Connect H4n to and press. Connect H4n displayed input or output level to computer with USB cable. Press within the top screen.
NOTE: rate while computer is recognizing H4n as a possible audio interface. Press. matches film software and playback file. EFFECT recording and playback. TUNER HINT: MONITOR PHANTOM PLUG-IN DISCONNECT signals straight to and through your Select and press. nals. sampling minute rates are set to 44.1kHz. When you ultimately choose an input the attached To monitor input signals, you should turn the interface.
6-6 Setting up: USB connection, H4n used being a SD card reader When you utilize the H4n like a SD card reader, have the following settings. NOTE: make sure you perform the safely remove hardware function about the Press around the top screen. this function damages files.
The H4n comes with a built-in mono speaker. This can be a mono speaker for playback. Without connecting headphones to LINE/PHONE jack, you'll be able to easily playback the recorded data and listen. NOTE: HINT: there isn't a output on the input signals. The built-in speaker can not be used mode.
There are four operational modes in H4n: STEREO/STAMINA, 4 CH CHANNEL, MTR MULTI TRACK mode. You can pick the mode as outlined by your need. You can easily produce a stereo recording This mode permits longer battery In 4Ch mode, you may record two You can record using effects.
Be sure to simply select the appropriate mode for you. HINT: Press. when put off. STEREO indicator MODE STAMINA mode display here. mode, make use of the switch located inside the battery compartment.
Input and output levels at the same time as saving and formatting data are very different in each mode. In STEREO mode, it is possible to select 2 different inputs In 4CH MODE the H4n records two stereo You can record tracks in MONO or STEREO from either INPUTMIC or INPUT1 and INPUT2, WAV files: one stereo WAV file for your built-in INPUT 1, INPUT 2 or perhaps the internal microphones.
Counter REMAINING BATTERY LIFETIME during battery running Recording lapse and playback lapse: Display: 00time:00minute:00second:0001/1000second Recording Standby blink it truly is time to switch battery. REC button REC button blinks lights on blink FILE NAMES during selecting, recording and playback work. The clip meter light activates when the playback quality Indicator of option settings: ON or OFF and playback level reach 0dB and remains lit before file ends or stop button is pressed.
Counter REMAINING BATTERY LIFETIME during battery running Recording lapse and playback lapse: Display: 00time:00minute:00second:0001/1000second Recording Standby blink it truly is time to improve battery. REC button REC button blinks lights on blink FILE NAMES during selecting, recording and playback work. Indicator of option settings: ON or OFF The clip meter light switches on when the playback quality and playback level reach 0dB and remains lit until When each optional function is ON,
The Menu icon list is displayed by MENU button. Press. and press.
In it and playback menu, the latest re- cording condition is displayed in the bottom left in the screen. On the proper bottom from the screen the latest folder number i s d i s p l a y e d O n S t e r e o, 4 c h a n d it when operating with battery pack.
When you utilize the optional remote controller, it is possible to operate the H4n coming from a distance. Stop counter resets to 0. Start recording plus the counter sets out to Recording Standby move VOLUME Recording Playback INDICATOR red 0-100 REC button This is usually used only when it standby track available. 1-100 INPUT buttons, MIC 1 2 : increase
SettingRecording: Set input source and recording level Control settings for your targets, built-in microphones or external input jacks. Use both MIC and INPUT 1 2 stereo input. Use the stereo input way to obtain either MIC or INPUT 1 2. Built-in Microphones Both light All lights
Any of tracks 1-4 is usually set for mono or stereo input. SELECT the input per track one at a time and adjust. Use the REC LEVEL SELECT the input to 2 tracks and adjust. HINT: TRACK 1 TRACK 2 TRACK 4 multiple passes.
SettingRecording: Recording in STEREO and STAMINA mode RECORDING DIRECTION press. press. The number figures rotate. a different file light blinks name here light on blinks the origin Select an input press. source and press. stop, Start recording again, The counter returns back in 0.
HINT: Recorded files are named light blinks record in 19 different apply for- a u t o m a t i c a l l y. Yo u c a n Press pick from two formats: Recording format have to be b u t t o n w h i l e re c o rd i n g.
This could be the method to record 4 channel stereo sounds coming from your built-in mic as well as the external input jack. RECORDING DIRECTION in the input sources. press. press. The number figures rotate. a fresh file name here light blinks light on blinks the cause.
HINT: On 4CH mode the input from If you want change, operate before light blinks t h e b u i l t - i n a n d t h e e x t e r n a l recording.
Change to REC MODE, OVERWRITE/ALWAYS NEW Press. and press. the foundation the original source Start recording This means you'll be able to record without setting.
1. Input source emanates from either INPUT 1 or INPUT 2. 1. Input source arises from either INPUT 1 or INPUT 2. The same signals are shipped to both tracks. 2. Input sources result from both MICs or INPUT 1 2. 2.
SettingRecording: Recording OVER WRITE in MTR mode You can decide upon two recording modes. Choose the appropriate Input setting P.055 settings for the job Recording functions press. light on The selected press. displays input level Press. light off light on You will get back to your beginning from the file using the REW button.
SettingRecording: Recording ALWAYS NEW in MTR mode Choose the appropriate Input setting P.055 settings for you Recording functions press. light on The selected TRACK light on. press. displays input level Press. light off blink Counter return to 0. The PLAY/PAUSE button will let you listen back for the recorded file.
HINT HINT: Select a target project and commence P.119 Set the output level of your track On the superior screen select TRACK MENU ICON and press. file names invested in tracks fader Icon changes pan Icon changes currently selecting
Only on MTR MODE NOTE: NOTE: NOTE: out of stock during recording, playback and as well when tracks are armed. HINT: returns to your previous one. HINT: Setting stereo link on makes a stereo track from tracks Select STEREO LINK and press. Select
Page 62: SettingRecording: Re-recording, SettingRecording: Re-recording, PUNCH IN/OUT automatic On the most notable screen select TRACK MENU ICON and press. Select PUNCH IN PUNCH OUT ICON and press. Find the desirable position for PUNCH IN Select any desirable FILE and press. and press. Icon
Only on MTR MODE NOTE recording. Press the desirable position for PUNCH OUT. confirmed light is on during recording and blinks during record standby. PLAY PLAY Start Stop the practical re-recording parts HINT: recording begins. stopped by with all the counter. First set each and every time and move blink and recording stop.
Page 64: SettingRecording: Re-recording, SettingRecording: Re-recording, PUNCH IN/OUT manual during playback, from that pressed position you are able to start re-recording. On the highest screen select TRACK MENU ICON and press. light on Select any desirable FILE and press.
The H4n can detect once the input level surpasses your predetermined level, which enables it to automatically start recording in the recording standby position. HINT: Display of Wait for Signal Press. Signal appears during recording standby. That watches regardless of if the present input level goes over the playback quality start level.
Press. Set the input level where recording will eradicate HINT: Select AUTO STOP and press. appears during recording. Select AUTO REC and press. Stop level Present input level NOTE: Select STOP LVL and Press. function during recording and playback. i s o n, y o u c a n f i n i s h recording with pressing recording as soon as the signals have
previous 2 seconds for a recording. Press. HINT onds ahead of the record button is pressed. Select PRE REC and press.
Select the setting input source. Press. Select the cutoff frequency. HINT: numbers, it is best to verify the actual end result before recording.
level input signals are lifted up and high level input signals are controlled down when recording. Select the setting input source. Press. Select the setting target. HINT: Select COMP/LIMIT and press. Standard compressor The compressor can compress Compressor ideal for vocal higher-level sounds Compressor well suited for drum and and raise the exact level.
This function automatically sets the extent for recording. HINT: Press. determines it levels with all the signal present dur- ing recording standby. If the actual surpasses 6dB during recording, the input level is automatically adjusted together with the new level displayed about the screen for just two seconds. Present input level Select LEVEL AUTO and press.
screen. Press. Select INPUT and press. HINT: Select MONITOR and press. NOTE: You cannot monitor the input sound throughout the built-in speaker.
Select MONO MIX and press. Press.
Press. ONOFF MID LEVEL flick targets. Select INPUT and press. Select Select Select MS MATRIX and press. Select Make each setting accordingly.
NOTE: SIDE LEVEL SOURCE CH SETTING You cannot take advantage of this function inputs between 12.0dB Select Select Select Select
The H4n includes a tuner with multiple tuning modes. Press. The indicator shows the input signals are higher or a lesser amount than the High T h e s e d o t s s h o w h o w much gaps exist between input signals and also the nearest one for the input signals.
Press. The indicator shows the input signals are higher or less than the High These dots show the amount of gaps between your input signals and also the String number currently selected. HINT: the tuning target. Select the tuning mode and press. NOTE: Display of tuning Relationship between string numbers and
This function enables you to calibrate the tuner. Press. HINT:
Only on 4CH MODE In 4CH mode you may select the input source with the tuner. HINT: String number/note name Tuner type BASS Select input source and press.
The metronome has other convenient functions for example click, pre-count, tempo, sound, etc. Press. CLICK PRE COUNT This setting turns the metronome on or off dur- Set the count number just ahead of the ing recording, playback or both. This setting beginning of recording.
NOTE: The metronome starts for the beginning of recording and playback. If you start within the middle of an song or track, the metronome beats is probably not in sync using the song. TEMPO SOUND PATTERN LEVEL Set the metronome speed. Set the metronome tone.
Select the pre-set that s closest on your desired sound. Edit the modules Adjust the level in the patch Change the name from the patch Select modules PRE AMP EFX Adjust the parameter Store the items in editing:
Only on MTR MODE change corresponding to your input sources and recording tracks. One
Only on MTR MODE Select No.: PATCH NAME and press. Press. will demonstrate off. Select PATCH and press. patch list NOTE: Pressing MENU for longer than two seconds returns you to your top screen. 60 patches can be found programmed.
Only on MTR MODE You can create your personal patch by combining effects and adjusting the parameter settings. Select the actual required sound No. PRE AMP LEVEL Adjust PATCH level. guitar and bass amp model- ing effects. RENAME EFX lation, chorus and delay ef- fects.
Effect EDIT PRE AMP, editing PRE AMP modules Only on MTR MODE ICON PRE AMP MODULE CONDITION EFFECT TYPE: SET THE AMP TYPE and press. PRE AMP module
Only on MTR MODE ICON HINT: PRE AMP MODULE CONDITION modules, make setting after changing the module status is OFF, no parameters or settings are shown. When OFF, you can not select modules. and press. EFX module
Only on MTR MODE Adjust the levels with the patch and modify the name. press. press. and press. NOTE: the patch. To return on the top without saving the
Only on MTR MODE NOTE: the latest patch. To save without overwriting an exist- ing patch, select a vacant tion. Patch changes are simply stored to the current project.
Only on MTR MODE The patch selected at step6 is actually imported on the present project. Select an import patch and press. NOTE: Project! display can look when there is HINT: S t a r t i m p o r t i n
Prepare the stereo files for that Select TRACK MENU icon and press. Select TRACK MENU icon and press. Select TRACK MENU ICON and open the TRACK MENU Select KARAOKE and press. Adjustment from the Karaoke tracks Select an optional file and press.
Only on MTR MODE Make CENTER CANCELATION in the KARAOKE track Select TRACK MENU icon Select TRACK MENU icon and press. and press. HINT: Select CNT CANCEL and press. TRACK vary from a LEVEL CNT CANCEL KEY Convert that into ON and press. FINE FILE KARAOKE
A sing-along machine KARAOKE recording Only on MTR MODE A slight adjustment of KARAOKE TRACK KEY. Select TRACK MENU icon and press. towards the connected input jack. Select the track menu icon and press. Press PRACTICE no recording. NOTE: Make adjustment and press. Press REC button and make You cannot take advantage of this function recording standby condition.
Playback: Playback files stereo, 4ch and stamina modes If you would rather call in the files for later playback, grab the following steps. Select SELECT and press. Press. Press. You can simply select the file within the folders for the top screen. Short
Aside from general playback, you are able to also select Press. Press. Select PLAY MODE and press. Select a play mode and press. Playback all of the files from the folder. Playback one file. Playback repeat of merely one composition only. Playback all files from the folder. NOTE: Select desirable mode.
You can move easily on the spot during playback. How to playback the marked file You can move towards the marked position files with marks. Current position NOTE: HINT: create marks. Ref. MARK
Press. point A moves. Select AB REPEAT and press. A mark is positioned at point A, then mark B appears and moves until set Playback continues repeatedly relating to the indicated locations.
HINT: NOTE: After setting up A and B you simply can't make any settings it is possible to cancel all settings. the button for just 2 seconds quick a mark, it's going to move towards the marked point. a good press. greater than 2 seconds you may move with a desired point.
Only on STEREO MODE You can adjust playback speed from the file. Short cut Pressing TRACK about the top screen. Press. You can create playback Select TOOL and press. NOTE: Select SPEED and press. HINT: screen of the mode.
Only on 4CH MODE Press. press. Indicates should you be modifying name of parameter the spot that the cursor is put and its setting value fader Icon pan pod Icon the cursor setting the after setting, confirm parameter with all the
Only on MTR MODE assign the crooks to tracks and play rid of it simultaneously. Initial recording Press. Press. Press. Press. Press. recording OVER WRITE Press. ALWAYS NEW Press. allocate random files Ref. TRACK
Only on MTR MODE Select the figures according Select the counter on the appointing figures around the top screen and press. counter Change the figures and press.
Select the folder which contains your targeted file. Press. Short cut Pressing TRACK within the top screen. Select an optional folder and press. NOTE: HINT: present
Selecting playback files in the file list. Press. Short cut Pressing TRACK within the top screen. Select an optional file and press. HINT: the highest screen. button for the top screen.
This function displays the selected file information. SELECTING THE FILES P.104 FILE SELECT The recorded date on the file, or even the renewal date if it created by PC or some other device. The format on the file. The recording time in the file.
SELECTING THE FILES P.104 FILE SELECT a deleting file NOTE: Caution; Once deleted, you are unable to retrieve the file.
SELECTING THE FILES P.104 FILE SELECT The name with the folder or project to delete files. NOTE: Once deleted, you simply can't retrieve the file.
Only on MTR MODE This function is advantageous when you wish to preserve the first master copy. Press. Select your desired file and press. HINT: may change that if necessary. Ref. FILE
SELECTING THE FILES P.104 FILE SELECT Select. Press. Make change of every letter or number. Select and press. change is confirmed find the letter for being changed so the letter is
HINT: NOTE: In case of two files with all the same name. The display stick to the next order: shows This file name already exists!, the screen returns has greater than 12 letters, a to your previous one and you also triangle mark appears telling will need to make a different name.
Only on STEREO MODE SELECTING THE FILES P.104 FILE SELECT HINT: the screen says The file name already exists!, select press. different name. Bit rate that could be selected unit: kbps Ref. FILE
This function automatically adjusts the degree level of an recorded declare enhanced quality of sound and audio consistency. SELECTING THE FILES P.104 FILE SELECT
SELECTING THE FILES P.104 FILE SELECT You should select to generate MIXER settings effective once you begin encoding. and press. Select and press. Ref. MIXER means to generate setting effective. way to inactivate setting, basically mix two files
Only on 4CH MODE HINT: Select the folder on STEREO mode You cannot have two files to save lots of the encoded files. together with the same name. If the screen says File name exists!, and press. up some other name. Select the SAVE IN folder and press. The encoded files are stored within the folder.
SELECTING THE FILES P.104 FILE SELECT press. HINT: processing will not go in a serious amounts of Sound dropout happens. and if the work is heavy, STEREO MODE 4CH MODE This mark shows sounds issues happens. In that case, dropout happening. Heavy The mark an individual created.
Only on STEREO MODE SELECTING THE FILES P.104 FILE SELECT STOP with the file Holding the button Press. in excess of one one second. The marked file moves on the HINT: Below: the latest time from the file. name.
NOTE: This function can be used to move files to a new folder or mode. Only stereo files can relocate to SELECTING THE FILES P.104 FILE SELECT cannot move for the stereo fold- ers. 4CH folders. you may need 44.1 kHz/16bit for- mat. the opposite format, the screen Format Only!.
Only on MTR MODE HINT: Press. press. projects automatically. Select PROJECT and press. number. name in multiple projects Select the letter to alter and press. Select NEW PROJECT and press. SELECT EXECUTE and press. You can produce a maximum of
Only on MTR MODE and press. Press. press. press.
Only on MTR MODE This function will delete a project. Press. deleted and press. press. NOTE: Once deleted, you are unable to retrieve the project. HINT: press. You cannot delete a project under protection. You need to release it from protection before delete operation. Ref.
Only on MTR MODE You can alter the name on the project. Select the letter to improve and press. Press. Select PROJECT and press. Change the letter and press. Select RENAME and press. HINT: ects automatically. this order: in multiple projects.
Only on MTR MODE Copy the project and produce a new project with a different number. Select a target project and begin operation. P.119 Press. HINT: Automatically displays the minimum unused number
Select a target project and commence operation. P.119 Select the name to bounce to. If you have no change, start working on next. top screen and press. when you usually do not change the name, automatically given data name: FILE
Only on MTR MODE HINT: together the different music data divided in a variety of tracks and files in the stereo or monaural files. Select the file type and press. operation, a fresh file will probably be created from the same project. NOTE: You cannot make use of this setting during recording and playback.
Only on MTR MODE in this project. Select a target project you need to operation. P.119 Press. The mark shows the protected projects. NOTE: If you try to improve a file allocated in the track, the screen will say Project Protected. HINT: setting on the completed music could possibly be changed mistakenly.
Press the MENU button for longer than 2 seconds, and commence operation through the top screen. Press. press. Switch off the sunshine all the time. Switch around the light each of the time. operation. press. operation. NOTE: You cannot take advantage of this setting during recording and playback.
Adjust the display contrast. Press the MENU button for longer than 2 seconds, and commence operation from your top screen. Press. and press. press. A higher the amount corresponds to more contrast. weak get lighter strong get darker press. NOTE: You cannot make use of this setting during recording and playback.
By setting your battery type, H4n can correctly display the remainder of the lifetime from the battery. Press the MENU button for over 2 seconds, and commence operation on the top screen. Press. press. press. Alkaline battery press.
After it starts, the version of H4n might be confirmed. Press the MENU button more than 2 seconds, and commence operation from your top screen. Press. NOTE: system version You cannot make use of this setting during recording and playback. boot program
Returns all of the settings back towards the original default condition. Press the MENU button more than 2 seconds, and begin operation on the top screen. Press. press. and press. NOTE: settings trapped in this unit will probably be deleted along with the settings will return on the original default condition.
Press the MENU button for longer than 2 seconds, and initiate operation from your top screen. Press. NOTE: approximate remaining capacity You cannot take advantage of this setting during recording and playback. Remaining recording time about the current recording format.
Press the MENU button for longer than 2 seconds, and commence operation from your top screen. Press. press. HINT: ted for that H4n, during boot inside the NOTE: press. deleted. ought to be formatted because of the H4n before using. SD card of H4 and
it is possible to download H4n software upgrades. You can verify H4n version The version in the main body To set-up connection of H4n and PC, talk with USB cable. You can operate H4n through PC. Connect H4n to PC with and press.
the H4n. NOTE: H2/H4 unit. it can be displayed for H4 as H4. the very best numbered project. after transfer, the machine says, Project Full! and prevent moving. number in H4n and continue the transfer. HINT: If there would be the same file name inside moving folder, operate
RECT VNT 7 ZNR OFF, Adjusts the sensitivity with the noise reduction circuit DZ DRIVE ZOOM Noise Reduction TSFDcmb Combination of Fender Combo amp and Ibanez TS-9 registered trademarks of the respective owners. The names are employed only to illustrate SDMSstk FZMSstk The above 12 effect types have the identical parameters.
Adjusts the level in the signal after passing the 8 ZNR OFF, Adjusts the sensitivity from the noise reduction circuit 7 LEVEL ZOOM Noise Reduction 8 ZNR OFF, Adjusts the sensitivity from the noise reduction circuit ZOOM Noise Reduction registered trademarks in their respective owners. The names are being used only to
Modulation effect types This is really a compressor which attenuates high-level signals This is an auto wah effect that tracks the input signal RackComp AUTO WAH and boosts lowlevel signals. intensity. 1 THRSHOLD Adjusts the threshold level in the compressor. Before, 1 POSITION After 2
This effect makes a metallic ringing sound. Adjusting the This effect makes a resonating and strongly undulating RING MOD FLANGER sound. 1 DEPTH Adjusts the modulation depth. Before, 1 POSITION After 2 RATE Adjusts the modulation rate. Ref. P144 2 FREQ Adjusts the modulation frequency.
This effect lends spatial depth on the sound by reproduc- This effect varies the seem to be a talking modulator. ing the ambient atmosphere of your room. Adjusts the regularity range where the effect 1 SIZE Adjusts the size with the simulated space. 1 RANGE operates.
This can be a reverse delay with a good delay use of up to Table RvsDelay Parameters using a 1 TIME Adjusts the delay time. ms, 2 FEEDBACK Adjusts the feedback amount. Adjusts the delay sound damping characteristics 3 HIDAMP Half triplet Quarter note
H4n patch list Effect patches on this page Patch List might be used in 4track mode and audio interface func- tion. with sampling rate in 44.1kHz Category Fender Clean Basic clean sound optimized for recording. FD CLEAN Natural Cho ENSEMBLE FunkyCutting FD
Category Hartke HARTKE Bass Bassman BASSMAN SuperBass SUP-Bass SANSAMP SANSAMP Studio Pre Straightforward tube preamp sound is especially versatile. TUBE PRE Pick Bass HARTKE Chorus Bass Sound with chorus blend, suited to melody playing. BASSMAN ENSEMBLE Slap Comp RackComp Flanging bass sound like used in Fusion music. Flange Bass TUBE PRE
H4n products spec recording tracks Sampling frequency 44.1 kHz playback tracks Recording time Recorder Recording times are approximations. Actual times may differ based on recording conditions. Input impedance simultaneous recording file size Input level Inputs Projects 1000/card Built-in stereo mic Other functions Punch-in/out, Bounce, A-B repeat Input
If you can find problems during operation on the H4n, check these points first. P.020. protected. Slide the write-protect switch to your non-protected position. When playback is carried out which has a track in recording standby condition, a brief file is created within the H4n. If the remainder capacity on the SD card is low, the temporary file may also use up every one of the remaining space, causing playback to prevent.
Playback operation H4n used as a possible Audio Interface Recording operation Recording track selection Playback operation Recording operation Safety precautions for users Setting Audio Interface, use as CARIB Software version
This equipment has become tested and located to comply using the limits harmful interference to radio communications. However, there is no for the Class B digital device, pursuant to Part 15 in the FCC Rules. guarantee that interference will never occur within a particular installation. These limits are created to provide reasonable protection against If this equipment does cause harmful interference to radio or televi- harmful interference in the residential installation.
ITOHPIA Iwamotocho 2chome Bldg. 2F, 2-11-2, Iwamoto-cho, Chiyoda-ku, Tokyo 101-0032, Japan Web Site:
4 icon shown about the desktop. To bring inside the Sound window, select Control Panel from your The ZOOM H4 ASIO driver software is needed to enable usage of Start menu and then click Hardware and Sound, then click Sound. Cubase LE 4 for audio input and output that has a computer. Refer on the Install Cubase LE 4 within the Macintosh.
MacOS X Windows VistaXP Cubase LE 4 installation Connections and preparation Use Cubase LE 4 to record Continued from front From the Devices menu of Cubase LE 4, select VST HINT Check the recorded content. Connections and pick the device containing the When the monitoring button is enabled, the particular level meter next on the string Zm In
The ZOOM H4 ASIO driver software is necessary to enable utilization of Install Cubase LE 5 around the Macintosh. Cubase LE 5 for audio input and output that has a computer. Refer towards the To bring the
Windows MacOS X Continued from front Cubase LE 5 installation Connections and preparation Use Cubase LE 5 to record From the Devices menu of Cubase LE 5, select VST HINT Check the recorded content. Connections and find the device containing the When the monitoring button is enabled, the extent meter next towards the string H4 In
SettingRecording: Re-recording,
SettingRecording: Re-recording,
I got another request to touch upon yet another media declare that technology isn't good for our brains. It s actually additionally a good instance of really poor science reporting within the media, so I won t link it, however the topic seems generally of great interest and it appears for being based on a curious underlying folk
I was motivated to answer some questions coming from a middle school student doing research project on game titles. Since I am interested inside topic generally, I should probably figure out tips on how to answer these types of questions in an age-appropriate level. My attempt: Jose asks: 1. Do online games affect the mind?
This is often a very interesting piece about the philosophy of science and popular understandings of science: How our botched perception of science ruins everything /article/index/268360/how-our-botched-understanding-of-science-ruins-everything As an exercise on the reader, explain what's incorrect with his complaint that what most of the people think of science is really the opposite of science. Some helpful ideas
For some reason, I ve been obtaining a lot of requests lately to go into detail why were bad at remembering people s names lately. An email exchange with this with an Atlantic reporter got summarized online here: /health/archive/2014/08/why-do-we-forget-names-as-soon-as-we-meet-people/375815/Curiously, it then also got picked up on another site, Lifehacker: /why-its-so-hard-to-remember-peoples-names-1620881563 And then I was contacted earlier this
I m a major fan of Jerry, who posts to YouTube as ChessNetwork his videos of playing chess online. One with the things he does regularly is playing online speed chess ultra-rapid, bullet chess where each player has 1m for your whole game. Chess is really a different game whenever you have 60 seconds to generate
How and where memory occurs inside the brain, particularly memory acquired through practice
How experience shapes action, perception and considered pervasive mechanisms of plasticity throughout the neural
Investigating memory system interactions and intuitive selection using visual category learning.
Check the Presentations link within the right side bar to find out the most recent ideas and reports as presented as posters and talks at recent conferences.
I got another request to inquire into yet another media declare that technology is unappealing for our brains. It s actually fashionable good demonstration of really poor science reporting inside the media, so I won t link it, nevertheless the topic seems generally appealing and it appears for being based on a curious underlying folk style of cognition worth considering.
How would this work? How could technology make us less smart? The core idea is the fact that be looking things up, we memorize less and therefore we're also less smart than we might be otherwise. But this misses the situation of substitution. If you aren t memorizing something it is possible to look up, can you learn something different instead?
To me, the interesting underlying idea is: Memory doesn t come with an off switch
We are constantly recording experiences from my environment. Of course, not everything gets remembered, so maybe we focus too much for the memory failures. But we aren t consciously turning our memories on and off over the day. So if we're trying to memorize arbitrary facts that we're able to look up on the search engines instead, during that time we aren t doing something else entirely that could have gone a useful memory trace. Note that I m describing this being an attention/perception bottleneck, however it could be described as a memory consolidation level bottleneck too which is most likely the actual constraint that keeps us from remembering everything we go through.
The only technique for this argument to truly make sense is to own a strong theory that everything we'd have memorized rather then relying on the search engines is more valuable to internal knowledge state than everything we learn instead. I think which is going for being a hard case to generate. And it won t be about technology.
There s another way to create a possible technology hurts your brain case according to skill learning/strengthening. If memory is often a skill that could be improved by intensive practice, then concentrated efforts to memorize arbitrary information could theoretically cause you to be better at remembering as well as over time, you d just get smarter. But there is absolutely no evidence anywhere that long-term memory may be strengthened using this method and many folks have tried to accomplish this.
Working memory looks to get trainable, in case anything, technology that creates you hold something in mind while putting inside the search terms to check it up will probably expand your WM instead of causing it to atrophy.
So no, technology will not be going to produce us less smart. It s almost certain for being overwhelmingly inside other direction the access provided because of the internet to incredibly rich and diverse forms of information means the common knowledge content on the average human brain inside the 21st century is usually a lot over the 20th and other prior time.
I was motivated to answer some questions at a middle school student carrying out a research project on games. Since I am interested from the topic generally, I should probably figure out how you can answer most of these questions with an age-appropriate level. My attempt:
1. Do games affect the neural? Do video gaming affect the thought process? Do games damage the thinking part in the brain?
Yes, video gaming can affect the human brain, like anything that you do a lots of. However, these changes can sometimes be for that better. There is recent proof improvements in visuospatial attention the way you see the world following gaming play. There may also be changes for your worse, like increasing aggression, but the are not yet well understood.
2. Can video gaming improve people s knowledge? Can they help people s grades improve in school? Or can they get bad grades?
Video games probably won t help you in class very much. They can make trouble in schoolwork when kids play a lot of games and don t match homework and assignments. If you are having your homework done, winning contests won t hurt and could actually help slightly.
3. Can game titles make people lose time? With friends? Time outside?
If you spend a lot of time on games and will not make time for friends, family, proper exercise and sleep, then that could very likely lead to further problems.
4. Can video gaming make people sick? Gain weight? Headaches or maybe a tumor?
Some people report dizziness and nausea upset stomach from games giving you first person perspective. This is probably related towards the kind of motion sickness you'll be able to get when riding within a car. In rare cases, some individuals may react badly to flashing lights/sounds in online games. In general, games won t cause you to sick. If you eat within an unhealthy way when playing videogames, which could lead to excess weight and other health issues.
5. Can games make people endlaved by what their mainly about? How do they try this? Why do people get addicted?
Gaming addiction just isn't well understood. Games aren t addictive just how other things resemble cigarettes. However, you will discover certainly a lot of people who have problems similar to 2 and 3 above. They seem to experience so much who's messes up a wide range of other things in life. That looks nearly the same as being addicted. It also looks like a wide range of other problems that teenagers often run across mood swings, depression, difficulty in pertaining to others. I will not think it truly is well known whether games may cause those problems or whether kids having those forms of problems for another excuse sometimes like to try out a wide range of videogames.
Thank you very much on your help.
As an exercise towards the reader, explain wrong with his complaint that what most of the people think of science is really the opposite of science.
Seems being a topic we needs to be discussing in 205. I think it s the right a higher level meta for just a class on experimental design.
For some reason, I ve been acquiring a lot of requests lately to describe why we're bad at remembering people s names lately. An email exchange about this with an Atlantic reporter got summarized online here:
Curiously, it then also got picked up on another site, Lifehacker:
And then I was contacted earlier this week and did a quick conversation around the phone using a radio show, Newstalk, in Ireland with host Sean Moncrieff.
All the conversations went well, although I m undecided I had much to state beyond the basics that names are difficult and arbitrary, unlike other facts you have a tendency to learn about people you meet.
A more interesting idea is the fact that I suspect there is often a reverse Dunning-Kruger effect for name memory. Dunning-Kruger effects are instances when everybody thinks they can be above average. For names, my sense is that many people think they're below average. I would guess they aren t, but simply that most people are bad at names. In theory, it wouldn t be very difficult to test this, but I don t think anybody has even operate a real experiment.
I m a huge fan of Jerry, who posts to YouTube as ChessNetwork his videos of playing chess online. One with the things he does regularly is playing online speed chess ultra-rapid, bullet chess where each player has 1m with the whole game.
Chess can be a different game after you have 60 seconds to generate every move in the whole game. I find it compelling because doing so exposes the absence of calculation in quite high level chess play. At 1-2 seconds/move, it truly is almost purely pattern matching, habit and processes we'd have to call intuition. There is almost no time for anything nevertheless the most rudimentary of calculation. And yet the degree of play is quite sharp.
Jerry is very entertaining when he keeps up a verbal stream of consciousness patter while playing. He notes positional principles that guide some move selection with his fantastic voice offers his excitement audibly when he senses a tactical play coming.
Understanding how this sort of cognitive process is accomplished would reveal a lot about human cognitive function. What they are doing here just isn't really hard for just about any chess player with decent playing experience I am decent at bullet chess not like Jerry, but I can engage in. And relevant for the old post about AI Hofstadter, the belief that computers are unequivocally dominant at chess has nothing about understanding how humans play bullet chess.
I ve spoken with chess professionals about speed chess from the past as well as the general sense is always that playing speed is not going to make you better at chess. But studying and playing chess slow will cause you to be better at speed chess. Perhaps a principle to train intuition in complex tasks is usually derived from that.
I got another request to discuss yet another media are convinced that technology is not good for our brains. It s actually another good illustration of really poor science reporting from the media, so I won t link it, however the topic seems generally of curiosity and it appears to become based on a curious underlying folk
Rapid learning of higher-order statistics in implicit sequence learning K. R. Thompson P. J. Reber Implicit learning involves extracting experienced regularities and statistical variation on the environment to be able to improve behavior. Because expertise in environmental structure is acquired away from awareness, it really is challenging to determine the actual nature in the information that
Abstract: Implicit learning involves extracting experienced regularities and statistical variation from your environment as a way to improve behavior. Because expertise in environmental structure is acquired outside awareness, it's challenging to determine the nature on the information that may be obtained from experience. A widely used paradigm to analyze this implicit learning process is
Thompson, K. R., Sanchez, D. J., Wesley, A. H., Reber, P. J. 2014. Ego Depletion Impairs Implicit Learning. PloS one, 910, e109370. Implicit skill learning occurs incidentally and without conscious knowing of what is learned. However, the pace and effectiveness of learning can still be affected by decreased accessibility of central processing resources during
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CONTENTS 45 NTRODUCTION INF HRUNG Scope of Delivery, Unpacking and Inspection.
WEEE, please call your local distributor. We are devoted to facilitate our very own electronic-waste-management-system, to the free of charge return of the EVI Audio GmbH products: Telex, DYNACORD, Electro-Voice and RTS. Arrangements are made using the dealer the place you purchased
However, should you rather face to allow for sufficient airflow through the operation. like to setup your CMS 1000-3 inside a 19 rack shelf, no pro- Before establishing the mains supply connection, please blem. The only thing you should do is usually to replace the ensure that that the product matches the voltage and fre- plastic side panels by the pair of metal rack mount ears.
2 Controls, Indicators and Connections 2.1 Input Mono HINT: When connecting signal sources, please ensure that to set the attached channel faders or otherwise the master faders thus to their minimum positions or engage the STANDBY switch. This will help save, your audience, plus the equipment from extensive wear from unpleasant pops.
HINT: Please, don't connect E-guitars or E-basses with passive, high impedance outputs instantly to a LINE input. The LINE inputs from the CMS much like the Line level inputs of mixers using manufacturers are designed for your connection from the relatively low source impedance of electronic instruments. The reproduction in the instrument s original sound characteristics will probably be unsatisfactory.
5 - LO CUT 80 H When the LO CUT switch is engaged, frequencies below 80 Hz are attenuated 18 dB octave slope. In most cases utilizing the LO CUT filter with microphone channels is really a good advice, because it efficiently suppresses popping sounds, rumbling noise and low-frequency feedback.
7 - EQ SECTION The mixer s EQ section allows very differentiated shaping in the incoming audio signal within miscellaneous frequency bands. Turning one of many EQ level controls for the right enhances/amplifies the attached frequency range while turning it on the left lowers/attenuates the signal of their specific frequency band. Before you begin to change the sound, all EQ controls must be set with their neutral position,
Play the sound source or talk in to the microphone. While this turn the regularity rotary control kHz slowly from left to right. Surely and within almost no time, you might detect how often range that will not be to your liking or caus- ing the feedback.
HINT: Use the MUTE button for muting temporarily not used input channels without changing the settings on the FX/AUX/MON controls along with the channel fader. 13 - PFL Engaging the PFL button routes the audio signal to your headphones bus, to ensure that it is present for the phones output con- nector.
2.2 Input Stereo Since most features AUX faders, controls and channel faders from the STEREO INPUTS are virtually identical towards the ones with the MONO INPUTS we won't discuss their functioning at length again. Thus, inside the following we merely point out the differences and love to ask one to refer for the analogous para- graphs with this owner s manual describing the MONO INPUTS.
Illustration 2-11: Unbalanced or balanced assignment of phone plus UNBALANCED BALANCED SHIELD SHIELD COLD Using RCA plugs The RCA inputs CD 1-2 and CD 3-4 are connected in parallel for the phone inputs. Do not connect signal sources to phone and RCA inputs on the same time.
HINT: If you use a keyboard as sound source on among the stereo inputs, ensure that no split zones or layers with channel separation are activated. The stereo channel mapping will oth- erwise appear like it really is set around the keyboard the bottom layer inside left and also the top layer inside right channel
23 - MON 1/2 These controls determine the amount from the summed L and R signal that may be sent to your MON 1 or MON 2 summing bus. The signal gets always split pre fader. For more details around the functioning of the controls, please refer on the Input Mono section of the owner s manual.
29 - FX ON/OFF Phone jack for the partnership of an elective DYNACORD FS 11 DC-FS11 footswitch to modify the effect mode from the internal FX units on or off. To accomplish this function, the FX 1 and FX 2 ON switches have to become engaged.
32 - FX 1/2 AUX 1/2 These controls allow adding the output signal pre fader of FX 1 or FX 2 on the AUX 1 or AUX 2 channel. 33 - FX 1/2 MON 1/2 These controls allow adding the output signal pre fader of FX 1 or FX 2 for the MON 1 or MON 2 channel. Experience has revealed that the result level within the monitor mix has to be under the level inside master mix, since distance between monitor speakers and artists is really a lot shorter.
2.4 AUX 1/2 Generally, the AUX 1/2 channel is employed for the text of an additional, external FX unit. De- pending within the setting in the AUX 1/2 POST button, it's also possible to configure the actual bus for monitoring purposes. Additionally the AUX 1/2 channels are available with the DIGITAL AUDIO IN- TERFACE.
44 - FEEDBACK FILTER The feedback filter is often a very narrow banded notch filter, that's only active in a very range that may be extremely susceptible for acoustical feedback. The FEEDB. FILTER rotary control sets the related frequency range. Pressing the corre- sponding button activates the filter.
2.6 MASTER with GEQ 49 - MASTER LED DISPLAY The CMS offers two 12-segment LED-chains for opti- cal monitoring the output levels from the L/R master sig- nals. The indication range with the LED-meter is 40 dB, indicating the degrees that are present on the master outputs in dBu.
54 - MASTER A OUT L/R The mixer s electronically balanced main outputs carrying the post master fader L/R signals for connection in the main PA. The MASTER outputs are switched via output relay that has a delay of approx. two seconds as soon as the mixer is powered on, which prevents power-on noise when switching the mixer on or off.
Please ensure that that the used lamp com- plies together with the here mentioned specifications and pin assignment. We recommend utilizing the gooseneck lamp DC-LITLITE-4P, available on the DYNACORD accessory assortment. For further information, please confer with your local dealer.
GEQ setting instructions: The frequency ranges also as the characteristics on the EQ faders have become praxis-oriented. In case you want to possess a clear and highly intelligible sound, which, like a side effect, provides cymbals with a lot more crisp, you need to raise the levels in the 12 kHz or 6.3 kHz band a tad.
HINT: The REC PEAK warning appears also in the event the DIGITAL AUDIO INTERFACE linked with a PC/Mac is useful for playback purposes only. In this case the warning could be ignored. ACTIVE The LIMIT indicator signals how the USB outcomes of CMS and PC/Mac is active along with the DIGITAL AUDIO INTER- FACE is ready for operation.
3 Display functions The CMS carries a premium OLED display. Compared to general LC displays the OLED display is brighter, incorporates a greater contrast ratio plus a wider viewing angle. 3.1 Effect mode The start screen appears after switching the CMS on. Af- Number Description ter a while the default effect for FX 1
ENU STRUCTURE Illustration 3-5: Menu structure of CMS REC STUDIO MIDI PEAK AUX 1 BRIGHT HALL MONO DELAY Main Menu Large Hall 3 230 ms 40% Edit FX 1 Device Setup FX Control Setup Footswitch Ctrl. Edit FX 2 Display Brightness TAP Button Ctrl.
QUALIZER OUTING Parameter Description Footswitch Ctrl. Select FX 1, FX 2 or FX 12 to manage one or both effect The 11 band Stereo Graphic Equalizer could be routed to units by using a footswitch. different CMS busses. This dialog allows selecting one among TAP Button Ctrl.
Show Device Name EVICE ETUP This dialog might be used for editing system parameters The indication in the Device Name instead on the status and checking system properties. Some menu entries indications from the top line in the display ultimately mode Display Brightness might be edited within the Device Settings is usually activated or deactivated.
Parameter Value USB Record Routing Live Equalizer Routing Left and right channel of master output Footswitch Ctrl. FX 12 TAP Button Ctrl. FX 12 FX 1 Start Preset FX 2 Start Preset FX 1 MIDI Channel FX 2 MIDI Channel MIDI PrgCh Count 1 - 128 Display
For with your CMS within the Cubase software execute follo- wing steps: Start the Cubase LE software. Select Devices Configure Devices. The Configure Devices dialog appears. Select VST-Audiosystem from the left section in the dialog. Select the ASIO driver ASIO for DYNACORD USB- AUDIO.
HINT: For sending MIDI data from the PC to your MIDI OUT CMS, open the Sounds and Audio Devices Prop- erties within the Windows Control Panel. Select DYNACORD USB-MIDI as Default Device for MIDI to Synthesizer MIDI music playback. Vice versa, all MIDI data input through the MIDI IN jack are passed through for the PC, as an example to be recorded utilizing a sequencer software.
The CMS functions as a possible external sound card in the PC/Device Setup Mac. In the system settings of the PC/Mac, simply select the CMS DYNACORD USB-AUDIO since the playback device. Show Device Name Audio signals are output through the PC/Mac through
enhance solo vocals or maybe a solo instrument at specific Illustration 4-9: USB Record Routing dialog Studio passages in order that they stand clearly in front on the mix. For USB Record Routing that, you'll need to assign respective input channels on the AUX bus while using AUX controls.
4.7 MIDI tone generator and multi-effect unit As already explained, the CMS may be used to transfer MIDI data as an illustration from a master keyboard to some PC/Mac. Using appropriate software, such to be a multi-track recording application and suitable PlugIns the sup- plied Cubase LE software, the whole world of most up- to-date sounds is often at your disposal.
5 Setting up a standard PA 5.1 Cabling The mains supply cord comes using the CMS. The quality is often the better solution. Today s modern audio coming from all other cables lies with your responsibility. Carefully equipment like amplifiers, equalizers, FX units, mixing chosen good quality cables work best precaution to pre- consoles, and in some cases some keyboards
5.2 Setting up Place the CMS within a way that allows unobstructed monitor. In this case, change its position. You operation and connect the mains cord. should also be aware on the individual characteris- tics on the employed microphones. Try to locate the most effective position where you need to place the loudspeaker systems.
If musical instruments are connected directly on the mon- age are needed, activate the 11-band equalizer and aural inputs, keep to the descriptions above describing the match the sound in your liking. By doing this, it is best to adjustment on the microphones. keep under consideration, that through the performance the sound is Make sure, that channel faders, gain and LINE CD/USB going to get altered considering that the audience is
6 Setup examples 6.1 CMS with D-Lite activeone Illustration 6-1: CMS with D-Lite activeone 2 x D 8A, 1 x PowerSub 212 as main PA, 2 x D 8A used as monitors CMS 1000 COMPACT MIXING
6.2 CMS with D-Lite activetwo Illustration 6-2: CMS with D-Lite activetwo 2 x D 8A 2 x PowerSub 112 as main PA, 2 x D 8A used as monitors CMS 1000 COMPACT MIXING
6.3 CMS with D-Lite activefour Illustration 6-3: CMS with D-Lite activefour 2 x D 11A 2 x PowerSub 212 as main PA, 2 x D 11A used as monitors CMS 1000 COMPACT MIXING
6.4 CMS with Xa-2 system Illustration 6-4: CMS with Xa-2 system 2 x FX 12, 4 x FX20, 2 x Xa 4000 as main PA, 2 x D 8A used as monitors Xa 4000 Xa 4000 CMS 1000 COMPACT MIXING
6.5 CMS with CORUS-Evolution system Illustration 6-5: CMS with CORUS-Evolution system 2 x C 25.2, 2 x Sub 2.18, 2 x LX 3000, 1 x DSP 260 as main PA, 2 x D 11A used as monitors LX 3000 LX 3000 DSP 260 CMS 1000 COMPACT MIXING
6.6 CMS mit VariLine System Illustration 6-6: CMS with VariLine system 2 x VL 152, 2 x Sub 18, 3 x LX 3000, 1 x DSP 600 as main PA, 2 x VL 122 and 1 x LX 2200 used as monitors LX 3000 LX 3000 LX
Regelungen zur WEEE-Umsetzung in den einzelnen EU-Staaten bitten wir Sie, sich an Ihren rtlichen H ndler zu wenden. Wir haben ein eigenes System zur Verarbeitung elektronischer Abf lle und gew hrleisten die kostenfreie Entgegennahme aller Produkte der EVI Audio GmbH: Telex, DYNACORD, Electro-Voice und RTS. Wir haben mit dem H ndler, bei dem Sie Ihr Produkt gekauft haben, eine Vereinbarung getroffen, dass alle nicht mehr verwenbaren Ger te zur umweltgerechten Entsorgung kostenfrei an das
1 Einf hrung 1.2 Garantie Die Compact Mixing Systeme CMS 1000-3, CMS 1600-3 und CMS 2200-3 sind professionelle Mischpulte die aufgrund der vielen integrierten Features, wie Equalizer Bewahren Sie neben der Garantiekarte auch den und Effektger te, eine optimierte Komplettl sung f r un- terschiedlichste Einsatzgebiete darstellen.
2 Bedienelemente und Anschl sse 2.1 Input Mono HINWEIS: Achten Sie bitte darauf, dass vor dem Anschluss von Signalquellen die jeweiligen Kanalregler, mindestens jedoch die beiden Masterregler, geschlossen sind, oder der STANDBY-Schalter gedr ckt ist. Sie ersparen sich selbst, Ihrem Publikum und Ihrem Equipment unn tige Beanspruchungen durch Knackger usche.
HINWEIS: Betreiben Sie bitte keine E-Gitarre bzw. E-Bass mit passiver Elektronik und hochohmigem Ausgang direkt an einem Mischpult Line-Eingang. Diese Eing nge sind typischerweise, auch bei allen andern Herstellern, f r relativ niedrige Quellimpedanzen ausgelegt, wie sie elektronische Ger te aufweisen. Das Klangergebnis wird unbefriedigend sein und der Klangcharakteristik der Instrumente nicht gerecht werden.
5 - LO CUT 80 H CHALTER Mit dem LO CUT 80 Hz-Schalter k nnen Bassfrequenzen unterhalb 80 Hz mit einer Flankensteilheit von 18 dB pro Oktave unterdr ckt werden. Sinnvoll ist die Benutzung des LO CUT-Filters bei allen Mikro- fonanwendungen, wobei hier die Abnahme von Bassdrum oder Bass gesondert zu betrachten ist. Mit diesem Filter werden wirkungsvoll alle Rumpel- oder Poppger usche als auch tieffrequente Feedback- signale unterdr ckt.
7 - K HI-, MID-, LO-R LANGREGELUNG EGLER Die Klangregelung erlaubt eine sehr umfangreiche und effektive Beeinflussung des Eingangssignals innerhalb unter- schiedlicher Frequenzbereiche. Eine Drehung der Klangregler nach rechts bewirkt eine Anhebung/Verst rkung des ent- sprechenden Frequenzbereichs. Eine Drehung nach links bewirkt eine Absenkung/Abschw chung des entsprechenden Frequenzbereichs.
zur ck. Weiter Informationen finden Sie in den Abschnitten EFFEKT 1/2. Wenn Sie die eingebauten Effekteile nicht, bzw. zus tzliche externe Effektger te benutzen wollen, steht das jeweilige FX- Summensignal auch im Masterbereich an den FX 1/2-Buchsen zur Verf gung. 9 - AUX 1/2-R EGLER Die AUX 1- bzw.
14 - SIG/PK-A NZEIGE Die SignalPeak-Anzeige hat eine Schl sselfunktion bei der Pegelkontrolle im Betrieb. Durch Aufleuchten der PK-LED Peak sehen Sie bereits wenn bersteuerungsgefahr besteht und m ssen die Verzerrung nicht erst akustisch wahrnehmen. Wie bereits in den Einstellhinweisen Seite 47 beschrieben, sollte die SIG-LED Signal rhythmisch dem eingespielten Signal folgen.
2.2 Input Stereo Wir wollen Sie hier bei der Beschreibung des STEREO-INPUTS nicht langweilen, viele Funktionsgrup- pen wie AUX-Regler, MON-Regler, Kanalfader sind im STEREO INPUT identisch zum MONO INPUT aufgebaut und wurden dort bereits ausf hrlich erkl rt. Wir wollen hier nur die wesentlichen Unter- schiede herausarbeiten.
Abbildung 2-10: Unsymmetrische bzw. symmetrische Belegung von Klinkensteckern UNBALANCED BALANCED SHIELD SHIELD COLD Verwendung von Cinch-Steckern Die Cinch-Eing nge CD 1-2 und CD 3-4 sind den Klinken-Eing ngen parallel geschaltet. Um gegenseitige Beeinflussung zu vermeiden sollte nur an den Cinch- oder den Klinken-Eing ngen eine Quelle eingesteckt sein. Abbildung 2-11: Cinch-Eingangsbuchsen Je nach Ger tevariante sind die Eing nge CD 1-2 bzw.
19 - GAIN LINE CDUSB-R EGLER Mit diesem Regler wird das Signal an den Line-Eing ngen bzw. Cinch-/USB-Eing ngen im Stereokanal an den internen Arbeitspegel des Mischpultes angepasst. Der Regelbereich liegt bei 30 dB. Die Unity- Gain-Position, also 0 dB Durchgangsverst rkung, ist hier bei der Markierung 0 dB. Sie k nnen mit die- sem Regler das Signal um bis zu 10 dB abschw chen bzw.
23 - MON 1/2-R EGLER Mit diesen Reglern wird das aus dem linken und rechten Kanal summierte Signal PRE-FADER auf die MON 1- bzw. MON 2-Summenschienen ausgespielt. Die Funktionsweise wurde bereits im Abschnitt Input Mono erl utert. 24 - BAL-R EGLER hnlich wie beim Panorama-Regler im Monokanal, wird hier die Balance des Signals im Stereobild angepasst.
Die Klinkenbuchse FX ON/OFF dient zum Anschluss eines Fu schalters FS 11 DC-FS11 aus dem Zu- beh rprogramm von DYNACORD. Die eingebauten Effektteile k nnen damit ein- und ausgeschaltet werden. Zur Fernsteuerung mittels Fu schalter m ssen die Effektger te ber die FX 1 ON- bzw. FX 2 ON-Schalter im Effektkanal aktiviert sein.
30 - FX 1/2 SENDS-B UCHSEN An der Buchse FX 1 bzw. FX 2 steht die Abmischung, die Sie ber die jeweilige FX-Schiene erstellt haben, parallel zum Effektteil zur Verf gung. Sie k nnen hier z. B. ein externes Effektger t anschlie en. Das extern erzeugte Effektsignal kann dann ber einen Stereo-Input zur ckgef hrt werden.
2.4 AUX 1/2 Die Kanalz ge AUX 1/AUX 2 k nnen beliebig zum Monitoring oder als zus tzliche FX Sends bei gedr ckter AUX 1/2 POST Taste betrieben werden. Zus tzlich sind AUX 1 bzw. AUX 2 auf den Ka- n len USB 3 bzw. USB 4 des DIGITAL AUDIO INTERFACE verf gbar. 38 - AUX 1/2 SENDS-B UCHSEN Hier schlie en Sie entweder ein Effektger t oder im Monitorbetrieb eine Monitorendstufe bzw.
Terz- oder Oktavequalizer, Kompressor, Limiter, De-Esser, usw. in den MON-Kanal. Der Einschleifpunkt liegt schaltungs- technisch vor den MON-Fadern. Hier sind, wie auch bei den Inserts in den Monokan len, verschiedene DIRECT OUT Funktionen m glich. Beachten Sie hierzu den entsprechenden Abschnitt auf Seite 47. 44 - FEEDBACK FILTER-S CHALTER Das Feedback-Filter ist ein spezielles Notch-Filter zur schmalbandigen Unterdr ckung eines
2.6 MASTER mit GEQ 49 - MASTER LED-D ISPLAY Die Aussteuerungsanzeige im CMS besteht aus zwei LED-Ketten f r den rechten bzw. linken Kanal mit je 12 LEDs pro Kette. Der Anzeigebereich liegt bei 40 dB und stellt den Pegel in dBu an den Master Outputs dar.
54 - MASTER A OUT L/R-B UCHSEN Dies sind die elektronisch symmetrischen Hauptausg nge des Mixers, die nach den Masterfader L/R angeordnet sind. Hier wird die Haupt-Beschallungsanlange angeschlossen. Die MASTER Ausg nge sind mit Ausgangsrelais ausgestattet, durch die Knackger usche beim Ein- bzw. Ausschalten des Ger tes unterdr ckt werden. Bitte beachten Sie, dass das Mastersignal erst ca.
Lampe. Der Ausgang ist vor Kurzschluss und berlas- tung gesch tzt. Sollte die angeschlossene Lampe nicht leuchten, berpr fen Sie bitte das Leuchtmittel und die Pinbelegung des XLR-Steckers. Verwenden Sie m glichst nur die Schwanenhals-Lampe DC-LIT- LITE-4P aus dem DYNACORD-Zubeh rprogramm. Fragen Sie bei Ihrem Fachh ndler nach.
Abbildung 2-17: Belegung der LAMP 12V/5W-Buchse 67 - 11-BAND STEREO GRAPHIC EQUALIZER In den Masterkanal oder wahlweise in die Monitorkan le kann ein 11-Band Equalizer ber die ON-Taste eingeschaltet werden. Der EQ liegt dann schaltungstechnisch nach den Master-Schiebereglern und vor den MASTER A OUT L/R-Buch- sen.
Effekt-Betriebsart Das Display zeigt in der Effekt-Betriebsart die aktuell eingestellte Programmnummer des jeweiligen Effektteils an. Mit den vier Tasten unter dem Display werden die Effektprogramme angew hlt. Weitere Informationen finden Sie im Abschnitt Effekt-Betriebsart auf Seite 66. Men - Betriebsart Durch Dr cken des MENU/ENTER-Drehencoders wechselt die Anzeige von der Effekt-Betriebsart in die Men - Betriebs- art.
2.8 R ckseite 73 - N ETZBUCHSE Die Spannungsversorgung des CMS erfolgt ausschlie lich mit dem mitgelieferten IEC-Netzkabel ber eine verriegelnde Netzbuchse. Schlie en Sie das CMS nur an eine geeignete Netzversorgung an, die den auf dem Typenschild angegebenen Anforderungen entspricht. HINWEIS: Zum Abziehen des Netzkabels dr cken Sie die gelbe Entriegelung-Taste am Stecker. 74 - N POWER
3 Display Funktionen Das CMS ist mit einem hochwertigen OLED-Display ausgestattet. Im Vergleich zu blichen LC-Displays sind OLED-Dis- plays wesentlich heller, kontrastreicher und sind unabh ngig vom Blickwinkel optimal abzulesen. 3.1 Effekt-Betriebsart Nach dem Einschalten des CMS wird der Startbildschirm Nummer Beschreibung angezeigt.
EN Abbildung 3-5: Men struktur des CMS REC STUDIO MIDI PEAK AUX 1 BRIGHT HALL MONO DELAY Main Menu Large Hall 3 230 ms 40% Edit FX 1 Device Setup FX Control Setup Footswitch Ctrl. Edit FX 2 Display Brightness TAP Button Ctrl. USB Record Routing Screensaver FX1 Start
MENU/ENTER-Drehencoders bernimmt die gew hlte Zu- Parameter Beschreibung ordnung. Dr cken der BACK-Funktionstaste f hrt in das Footswitch Ctrl. Ein angeschlossener Fu schalter kann f r die Bedienung Men zur ck. Dr cken der ESC-Funktionstaste f hrt in eines einzelnen oder beider Effektteile verwendet wer- die Effekt-Betriebsart zur ck. den.
Abbildung 3-13: FX Control Setup nach links, um die Zeit bis zur Aktivierung zu verk rzen bzw. den Bildschirmschoner zu deaktivieren Off. FX Control Setup Drehen Sie den MENU/ENTER-Drehencoder nach rechts, um die Zeit bis zur Aktivierung zu verl ngern. Dr cken des Footswitch Ctrl.
ders zwischen YES und NO gew hlten werden. Bei Wahl Parameter Wert von YES werden durch den R cksetzvorgang auch alle USB Record Routing Live vorhandenen FX User Presets gel scht. Bei Wahl von NO Equalizer Routing Linker und rechter Kanal des Master-Ausgangs werden die vorhandenen FX User Presets nicht gel scht.
Audiosystem. aus. W hlen Sie als ASIO-Treiber den Eintrag ASIO for W hlen Sie im Startbildschirm die gew nschte DYNACORD USB-AUDIO. Sprache f r die Anwendung aus. Schlie en Sie den Dialog durch Klick auf OK. Starten Sie die Installation durch Klick auf Install HINWEIS: Informationen zur Verwendung von Cubase Cubase
4.4 PC-MIDI-Interface Das CMS stellt Ihnen ein vollwertiges PC-MIDI-Interface Beachten Sie, dass auch Steuerdaten f r die eingebauten zur Verf gung. Der im PC/Mac als DYNACORD USB-MIDI Effektteile, die Sie z. B. ber einen MIDI-Fu schalter bezeichnete Port kann berall ausgew hlt werden, wo fernbedienen, an den PC bermittelt werden.
Sollen MIDI-Daten mit der Medienwiedergabe von Windows an externen Ger ten wiedergegeben wer- den, m ssen Sie in der Windows-Systemsteuerung den Dialog Sounds und Audioger te ffnen und das Standardger t der MIDI-Musikwiedergabe auf DYNACORD USB-MIDI umstellen. 4.5 Anwendungsbeispiele Wiedergabe der Ausspielwege auf die Wiedergabekan le des
Auf diese Weise wird einer Klangverf lschung vor- gebeugt, die entstehen k nnte, wenn das USB-Signal ber die Stereofader und gleichzeitig den 2TRACK IN- Regler auf den Master gelangen w rde. 4.6 Anwendungsbeispiele Aufnahme Bei den folgenden Anwendungen wird Ihr PC/Mac zur HINWEIS: Beachten Sie, dass bei der Aufnahme die Aufnahme verwendet, das CMS fungiert hierbei als hoch- Signale der Raummikrofone nicht in
Fader des Mischpultes dazu verwenden, die Monito- wieder zum Mischpult zur ckgeleitet werden muss. Letz- rabmischung f r die Musiker zu erstellen. F r das Monito- teres ist prinzipbedingt immer mit einer gewissen Durch- ring sollten Sie selbstverst ndlich Kopfh rer verwenden, laufverz gerung Latenz verbunden. da Lautsprecher auch immer auf die Aufnahmemikrofone einwirken.
5 Aufbau einer Standard-PA 5.1 Verkabelung Das Netzkabel haben Sie mit dem CMS erhalten. F r alle meisten Audioger te wie Endstufen, Equalizer, Effekt- anderen Kabel sind Sie selbst verantwortlich und je sorg- ger te, Mischpulte und auch einige Keyboards verf gen f ltiger Sie bei der Auswahl der Kabel vorgehen, um so ber symmetrisch aufgebaute Eing nge bzw.
5.2 Aufbau Stellen Sie das CMS so auf, dass Sie auch im darauf, dass nicht eines der Mikrofone direkt auf Betrieb leichten Zugriff haben und schlie en Sie die die Monitore zielt. Beachten Sie auch die Charakte- Netzkabel an. ristik der verwendeten Mikrofone. Suchen Sie die g nstigste Position f r Ihre PA- Verkabeln Sie die Bassboxen, Monitorboxen und Boxen.
berpr fen Sie nun, ob bei allen nicht ben tigten ETZTE ORREKTUREN Eing ngen die Kanalfader und die GAIN-, GAIN MIC-, LINE CD- bzw. LINE USB-Regler geschlossen sind. Sie ver- Spielen Sie nun im komplett Setup und h ren Sie die meiden dadurch unn tiges Rauschen auf den Ausg ngen. Haupt-PA aus verschiedenen Entfernungen ab.
6 Aufbaubeispiele 6.1 CMS mit D-Lite activeone Abbildung 6-1: CMS mit D-Lite activeone 2 x D 8A, 1 x PowerSub 212 als Haupt-PA, zus tzlich 2 x D 8A f r die Monitorwege CMS 1000 COMPACT MIXING
6.2 CMS mit D-Lite activetwo Abbildung 6-2: CMS mit D-Lite activetwo 2 x D 8A 2 x PowerSub 112 als Haupt-PA, zus tzlich 2 x D 8A f r die Monitorwege CMS 1000 COMPACT MIXING
6.3 CMS mit D-Lite activefour Abbildung 6-3: CMS mit D-Lite activefour 2 x D 11A 2 x PowerSub 212 als Haupt-PA, zus tzlich 2 x D 11A f r die Monitorwege CMS 1000 COMPACT MIXING
6.4 CMS mit Xa-2 System Abbildung 6-4: CMS mit Xa-2 System 2 x FX 12, 4 x FX20, 2 x Xa 4000 als Haupt-PA, zus tzlich 2 x D 8A f r die Monitorwege Xa 4000 Xa 4000 CMS 1000 COMPACT MIXING
6.5 CMS mit CORUS-Evolution System Abbildung 6-5: CMS mit CORUS-Evolution System 2 x C 25.2, 2 x Sub 2.18, 2 x LX 3000, 1 x DSP 260 als Haupt-PA, zus tzlich 2 x D 11A f r die Monitorwege LX 3000 LX 3000 DSP 260 CMS 1000 COMPACT MIXING
6.6 CMS mit VariLine System Abbildung 6-6: CMS mit VariLine System 2 x VL 152, 2 x Sub 18, 3 x LX 3000, 1 x DSP 600 als Haupt-PA, zus tzlich 2 x VL 122 und 1 x LX 2200 f r die Monitorwege LX 3000 LX 3000 LX
7 Specifications Property CMS 1000 CMS 1600 CMS 2200 Order No. F01U138112 F01U138114 F01U138115 DC-CMS1000-3-UNIV DC-CMS1600-3-UNIV DC-CMS2200-3-UNIV Channels Mono Stereo 6 4 12 4 18 4 Auxiliarys MON, FX, AUX 2 Pre, 2 Post, 2 Pre/Post switchable MIC GAIN Mono 0 to 60 dB MIC GAIN Stereo
Property CMS 1000 CMS 1600 CMS 2200 Display 128 x 64 pixels, OLED Digital Audio Interface Channels 4 In4 Out AD/DA Conversion 24-bit Sampling Rate 44.14888.296 kHz PC Interface USB2.0, Female Type B Peak Display 6 dB before Clip MIDI
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