Alesis Recording Equipment ADAT XT User Manual

ALESIS

ADAT-XT

Reference Manual

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ADAT XT Reference Manual

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INTRODUCTION

Thank you for purchasing the Alesis ADAT-XT Digital Multitrack Tape Recorder. To

take full advantage of the XTÕs functions, and to enjoy long and trouble-free use, please

read this userÕs manual carefully.

HOW TO USE THIS MANUAL

This manual is divided into the following sections describing the various modes of the

XT. Though we recommend you take time to read through the entire manual once

carefully, those having general knowledge about multitrack recorders should use the

table of contents and index to reference specific functions while using the XT.

Chapter 1: Introduction. Deals with the necessary preparation before recording and

playing, including connections to external devices. This chapter also discusses the

difference between ÒthreadedÓ and ÒunthreadedÓ tapes.

Chapter 2: Your First Session with the ADAT-XT. This section provides a brief tour of

the XT, shows you how to format a tape, record and playback, set locate points, auto

punch-in and out, bounce tracks, and points out other various features.

Chapter 3: Connections. Details rear panel connections (like inputs and outputs,

footswitches and the ADAT Optical Digital Interface), and proper hook-up procedures.

Chapter 4: Basic Operations. Covers the user interface of the XT and the way to use its

basic control features, how to read the display, and how to navigate through and edit

parameters.

Chapter 5: Multiple ADAT Operation. How to lock together multiple ADAT

Compatibleª devices, and how to record and transfer digital audio between them.

Chapter 6: Applications. Describes several real-world examples of how the XT may be

used.

Appendices. Features an explanation of digital audio recording concepts, trouble-

shooting, maintenance and service information, specifications, a Glossary and an Index.

CONVENTIONS

All front panel buttons, LEDs, display icons and rear panel connectors are referred to in

this manual just as their names appear on the XT, using all capital letters and in

brackets (Examples: [PLAY] button, [AUTO INPUT] button, EDIT icon, etc.).

✪

When something important appears in the manual, an icon (like the one on the left)

will appear in the left margin. This symbol indicates that this information is vital

when operating the XT.

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Index

CONTENTS

1: SETTING UP

Unpacking and Inspection

AC Power

Avoiding Ground Loops 8

Line Conditioners and Protectors

About Audio Cables

Basic Audio Hookup 10

Input Normaling 10

ÒThreadedÓ vs. ÒUnthreadedÓ 11

A Word on ADATÕs S-VHS Cassette Tape

Operating Environment 12

Thermal Considerations in Rack Mounting

Mounting on a Shelf or Non-Rack Enclosure

Avoiding Electromagnetic Interference 12

2: YOUR FIRST SESSION WITH THE ADAT XT

Power-up, and Tape Insertion 13

Formatting A Tape Ð A MUST! 14

Recording While Formatting 14

Making A Recording

Track Selection and Setting Levels

Time Counter 15

Transport Buttons

Recording

Playback

Reviewing and Cueing 17

Locating 18

Creating A Loop

Automated Recording 20

Rehearsing 20

Pitch Control 21

Track Delay 21

Track Copy

Display Brightness

3: CONNECTIONS 23

Analog Audio Ð Unbalanced Inputs

Input jack characteristics

Typical input jack hookups

Analog Audio Ð Unbalanced Outputs

Analog Audio Ð Balanced Inputs and Outputs 24

Analog Audio Ð Input Mode 25

Sync In/Out 26

Digital Audio In/Out 27

Footswitches 28

The XT Remote 28

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Index

4: BASIC OPERATIONS 29

Tape Formatting 29

Formatting Considerations

Complete Format 30

Recording While Formatting 30

Format Extend 31

Write Protect Override 31

Reading The Display 32

Display Icons 33

TIME Counter & ABS/REL Button

Locate 0

Basic Editing 36

EDIT Value Button

▲ and ▼ Buttons

Entering Numeric Values

Editing Individual Digits

Input Select

Analog Input 37

Digital Input 37

Track Copy

Input Monitor 39

Auto Input Monitor

All Input Monitor

Meters 39

Peak Mode Button

Peak Clear Button

Fine Meter Mode

Recording a ÒBenchmarkÓ Tape 40

Record Enable 41

Setting Levels 41

Transport Controls

Eject 42

Rewind/Review

Fast Forward/Cue

Play 43

Record/Punch In or Out 43

Stop 44

Sample Rate (Clock) 44

Record Crossfade Time 45

Displaying Frames vs. 100ths/Seconds 45

Pitch Control 46

About Pitch Changing 46

Track Delay 47

Autolocation Controls 48

Absolute (ABS) Time vs. Relative Time48

Locate 0

Setting Locate Points 49

Locating 49

Auto Looping 50

Auto Return

Auto Play

Loop Limit

Auto Record

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Index

Looped Recording

Rehearsal 51

Tape Length 52

Footswitch Controls

Footswitch Controlled Punching

Footswitch Controlled Autolocating

Using the XT Remote 54

5: MULTIPLE ADAT-XT OPERATION 55

Overview 55

Synchronizing Machines

Master/Slave Interaction

Achieving Lock57

Independent Slave Mode

Formatting Multiple Tapes

Master Format Enabled, Complete Format

Master Format Enabled, Format Extend 57

Master Format Disabled

Master Format Disabled, Format Extend

Bouncing Tracks Between XTs 59

Reassigning Channels to Different Tracks

Making Digital Backups

Recording Digital Audio from Other Sources

Digital Clock Considerations 61

Tape Offset

Combining XTs and ADATs

XT Transport Speed 63

Sample rate vs. Pitch Control 63

Input Monitoring

Phase Inversion

Connections

6: APPLICATIONS 67

Overview 67

Combined Multitrack/Mastering Deck 67

Computer Control 69

MIDI Systems: Virtual Tracking

MIDI Machine Control: Virtual Remote Control69

Libraries and Archives 70

Modular Recording

Using Track Copy as a Digital Router 71

Calculating Tape Offset Using the Locates

APPENDIX A: DIGITAL RECORDING CONCEPTS

Analog Recording Basics

Digital Recording Basics

Why S-VHS? 74

APPENDIX B: TROUBLESHOOTING

Trouble-Shooting Index 75

Re-initializing 75

Checking Software Version

Error Rate Display 76

About Error Rate Readings

ADAT Head Life 76

ADAT Head Maintenance

Tape Maintenance: Safe Tape 78

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Index

Maintenance/Service 79

Cleaning 79

Maintenance 79

Obtaining Repair Service

APPENDIX C: ERROR CODES

Steps To Take Before Calling For Help 83

APPENDIX D: SPECIFICATIONS 84

GLOSSARY 86

INDEX 91

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CHAPTER 1

SETTING UP

UNPACKING AND INSPECTION

Your XT was packed carefully at the factory. The shipping carton was designed to

protect the unit during shipping. Please retain this container in the highly unlikely

event that you need to return the XT for servicing.

The shipping carton should contain the following items:

•

ADAT-XT with the same serial number as shown on shipping carton

Power Cable

Optical Cable

XT remote control unit

This instruction manual

Blank S-VHS ST-120 cassette

Alesis warranty card

It is important to register your purchase; if you have not already filled out your

warranty card and mailed it back to Alesis, please take the time to do so now.

AC POWER HOOKUP

With the XT off, plug the female end of the power cord into the XT’s [POWER INPUT]

socket and the male (plug) end into a source of AC power. It’s good practice to not

turn on the XT until all other cables are hooked up.

The XT works with any AC voltage from 90 to 250 volts, 50 to 60 Hz. This eliminates

the need for transformers or voltage switches. Your XT was supplied with the correct

power cord for your country or local area, however only the following alternative

power cords are approved for use with ADAT:

•

For 90-120 VAC 50/60 Hz operation in the US, Canada and/or Japan, use Alesis

UL/CSA power cord #7-41-0001.

•

For 240 VAC 50 Hz operation in England, use Alesis Power cord #7-41-0004.

For 220 VAC 50 Hz operation in Europe and Scandinavia, use Alesis EU power

cord #7-41-0002.

•

For 240 VAC 50 Hz operation in Australia, use Alesis AS power cord #7-41-0003.

The XT’s IEC-spec AC cord (do not substitute any other AC cord) is designed to feed

an outlet that includes three pins, with the third, round pin connected to ground. The

ground connection is an important safety feature designed to keep the chassis of

electronic devices such as the Alesis ADAT - XT, BRC and AI-1 at ground potential.

Unfortunately, the presence of a third ground pin does not always indicate that an

outlet is properly grounded. Use an AC line tester to determine this. If the outlet is not

grounded, consult with a licensed electrician. When AC currents are suspect of being

highly unstable in VAC and Hz, a professional power conditioner should be used.

Alesis cannot be responsible for problems caused by using the XT or any associated

equipment with improper AC wiring.

AVOIDING GROUND LOOPS

In today’s studio, where it seems every piece of gear has a computer in it, there are

many opportunities for ground loop problems to occur. These show up as hums,

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buzzes, or sometimes radio reception and can occur if a piece of equipment “sees”

two or more different paths to ground, as shown below.

shielded

cable

Device A

Device B

path 1

path 2

To AC power service

One path goes from device A to ground via the ground terminal of the three-

conductor AC power cord, but A also sees a path to ground through the shielded

cable and AC ground of device B. Because ground wires have a small amount of

resistance, small amounts of current can flow through ground and generate a voltage

along the cable shield. This signal may end up getting induced into the hot conductor.

The loop can also act like an antenna into which hum is induced, or can even pick up

radio frequencies. Furthermore, many components in a circuit connect to ground. If

that ground is “dirty” and contains noise, it might get picked up by the circuit. Ground

loops cause the most problems with high-gain circuits, since massive amplification of

even a couple millivolts of noise can give an audible signal.

Most ground loop problems can be solved by plugging all equipment into the same

grounded AC source. However, it is important to make sure that the AC source is not

overloaded and is properly rated to handle the gear plugged into it.

For really tough cases, you may need to break the connection that causes the loop

condition. One way to do this is to simply break the shield of the shielded audio

cable at some point, usually by disconnecting it from ground at one jack. (The other

end should remain connected so that the shielding properties are retained, even if

there is no direct path for ground.)

Please note that not all hums and buzzes are caused by ground loops; your cables

must be of very high quality, particularly with -10 dBV setups. Refer to section 2.1 for

more information.

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LINE CONDITIONERS AND PROTECTORS

Although the XT is designed to tolerate typical voltage variations, in today’s world the

voltage coming from the AC line may contain spikes or transients that can possibly

stress your gear and, over time, cause a failure. There are three main ways to protect

against this, listed in ascending order of cost and complexity:

•

Line spike/surge protectors. Relatively inexpensive, these are designed to protect

against strong surges and spikes, acting somewhat like fuses in that they need to

be replaced if they’ve been hit by an extremely strong spike.

•

Line filters. These generally combine spike/surge protection with filters that

remove some line noise (dimmer hash, transients from other appliances, etc.).

Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS

provides power even if the AC power line fails completely. Intended for computer

applications, a UPS allows you to complete an orderly shutdown of a computer

system in the event of a power outage, and the isolation it provides from the

power line minimizes all forms of interference—spikes, noise, etc.

ABOUT AUDIO CABLES

The connections between the XT and your studio are your music’s lifeline, so use

only high quality cables. These should be low-capacitance shielded cables with a

stranded (not solid) internal conductor and a low-resistance shield. Although quality

cables cost more, they do make a difference. Route cables to the XT correctly by

observing the following precautions:

•

Do not bundle audio cables with AC power cords.

Avoid running audio cables near sources of electromagnetic interference such as

transformers, monitors, computers, etc.

•

Do not place cables where they can be stepped on. Stepping on a cable may not

cause immediate damage, but it can compress the insulation between the center

conductor and shield (degrading performance) or reduce the cable’s reliability.

•

Avoid twisting the cable or having it make sharp, right angle turns.

Never unplug a cable by pulling on the wire itself. Always unplug by firmly

grasping the body of the plug and pulling directly outward.

•

Although Alesis does not endorse any specific product, chemicals such as Tweek

and Cramolin, when applied to electrical connectors, are claimed to improve the

electrical contact between connectors.

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BASIC AUDIO HOOKUP

When connecting audio cables and/or turning power on and off, make sure that all

devices in your system are turned off and the volume controls are turned down.

The XT provides eight -10dBV analog outputs via phono connectors. These should

be connected to your mixer’s tape or line inputs. Alternatively, a multi-pin connector

can be used with the XT’s +4dBu analog inputs and outputs (see Chapter 3).

Mixer Inputs

Bus Outputs

INPUT NORMALING

The XT has eight -10 dBV analog inputs, but you can choose between three different

Input Modes: 2-Input Mode, 4-Input Mode and 8-Input Mode. These can provide three

different analog audio input hookup options, and are available for both -10 dBV and

+4dBu analog inputs:

•

2 Bus Mixer. Connect the mixer’s two bus outputs to the XT’s INPUTS [1] and

[2]. Select 2-Input Mode on the XT by holding the [ANALOG INPUT] button and

pressing either Track Select buttons [1] or [2]; notice that the INPUT LEDs for

tracks 1 and 2 remain lit until you release the [ANALOG INPUT] button.

4 Bus Mixer. Connect the mixer’s four bus outputs to the XT’s INPUTS [1]

through [4]. Select 4-Input Mode by holding the [ANALOG INPUT] button and

pressing either Track Select buttons [3] or [4]; notice that the INPUT LEDs for

tracks 1 through 4 remain lit until you release the [ANALOG INPUT] button.

8 Bus Mixer/Direct Outputs. Connect the mixer’s eight bus outputs (or 8 direct

outputs) to the XT’s INPUTS [1] through [8]. Select 8-Input Mode by holding the

[ANALOG INPUT] button and pressing any Track Select button from [5] - [8];

notice that the INPUT LEDs for tracks 1 through 8 remain lit until you release the

[ANALOG INPUT] button.

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“THREADED” VS. “UNTHREADED”

Analog audio recorders typically move tape past the heads at anywhere from 1-7/8 to

30 inches per second. Higher speeds result in a higher bandwidth, or an ability to

record high-frequency signals. The XT’s digital audio signals require much higher

bandwidth than analog audio signals. In addition to moving the tape faster than

standard S-VHS VCRs, the XT increased the head/drum speed for increased

bandwidth. In contrast to analog multi-track recorders, the tape and rotating heads of

the XT remain in contact when the tape is stopped. This allows for going into play or

record faster, as well as “cue” and “review” functions that let you monitor the tape

audio in fast forward or rewind.

When the tape is unthreaded (the [STOP] LED will be flashing), the head is not

spinning and it takes slightly longer to go into play or record. This is because the tape

moves away from the head automatically after being stopped for 4 minutes, in order

to prolong tape and head life. When a tape is threaded, rewinding or fast forwarding

will operate 40 times faster than normal play speed. Cue and review functions are not

possible while the tape is unthreaded.

When the tape is threaded and stopped (the [STOP] LED will remain lit), you can

manually unthread it by pressing the [STOP] button. The [STOP] LED will flash,

indicating the tape is now unthreaded. Pressing either [PLAY] or [STOP] will re-

thread the tape (or by simultaneously pressing [PLAY] and [RECORD] to engage

recording).

If the tape is threaded, and no transport activity (play, record, rewind, etc.) occurs for

4 minutes, the tape will automatically unthread itself to minimize tape wear.

A WORD ON ADAT’S S-VHS CASSETTE TAPE

Alesis recommends you use only premium quality, name brand S-VHS cassettes. We

cannot overemphasize the importance of this. We recommend using AMPEX 489 DM

Digital Mastering Audio Tape, or Alesis ADAT Mastering Audio Cassettes. Other

acceptable brands include Maxell XR-S Black, JVC XZ, 3M Master Broadcast and

ASD 40+, and TDK SP Super Pro. The cassette shell, hubs, rollers and tape guides in

S-VHS cassettes are precision devices that properly handle and protect the tape

within them.

Do not use inexpensive, budget VHS tapes. ONLY USE S-VHS TAPES.

We do not recommend that you use inexpensive, budget VHS cassettes. While they

may work technically, their unpredictable quality and less than premium formulation

will decrease the reliability of your recording. Inferior tapes not only jeopardize the

recordings made on them, they may shed oxide and leave behind a coating of dirt

that will interfere with future recordings, even if you switch back to premium quality

tape. Defective tape may even clog the head, requiring service. Don’t trust your

work to anything less than premium quality S-VHS tape.

Accidents can happen – so, like computer floppy disks and hard disks, your XT tapes

should be backed up to prevent loss. Back up your tapes to another XT or ADAT

using the fiber optic digital connector (see Making Backups on page 60).

Treat your tapes as the precision, fragile components that they are. Do not expose

them to extremes of heat, cold, or humidity (in other words, don’t leave them in your

car). Never place tapes near magnetic fields (such as power amps, TVs, monitors,

magnets, etc.) and handle tapes gently.

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OPERATING ENVIRONMENT

THERMAL CONSIDERATIONS IN RACK MOUNTING

The XT can be mounted in an equipment rack (taking up 3 rack spaces) or placed on

a table or shelf. When you install it, keep in mind that heat is the major enemy of

electronic equipment. Please observe the following:

•

The XT is designed to perform properly over a range of ambient temperatures

from 10∞ C to +40∞ C (50∞ F to 104∞ F), in up to 80% non-condensing humidity.

These are not absolute limits, but Alesis cannot guarantee that the XT will meet

its published specs or remain reliable if operated outside of these ranges.

•

Always allow adequate ventilation behind the XT . Do not seal any enclosure that

holds the XT . It is not necessary to leave an empty rack space above or below

the XT unless it runs hot enough to affect equipment above or below it.

You will need to remove the screw-on feet from the bottom of the XT if any

equipment will be mounted directly below it.

MOUNTING ON A SHELF OR NON-RACK ENCLOSURE

To mount the XT on a shelf or other flat surface, Alesis recommends using the

attached screw-on feet to avoid scratching the shelf’s surface with the deck’s bottom.

Please observe the general comments on thermal considerations given under

“Thermal Considerations in Rack Mounting” no matter where or how the deck is

mounted.

AVOIDING ELECTROMAGNETIC INTERFERENCE

Like all tape machines, the XT uses magnetic tape that can be sensitive to

electromagnetic interference. Generally this is not a problem, but avoid mounting the

XT next to devices that generate strong magnetic fields such as power amplifiers,

monitors and video display devices, speakers, etc.

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CHAPTER 2

YOUR FIRST SESSION

WITH THE ADAT-XT

POWER-UP, AND TAPE INSERTION

Connect the power cord which accompanies the XT between the three-prong power

socket on the back panel and an AC outlet receptacle. Please note that there are

grounding considerations to be aware of. See pages 7–9 for more information.

The XT can produce a transient audio signal during power up and power down. When

turning the XT on or off, be sure to keep monitor levels low.

Turn the XT’s power on by pressing the [POWER] button. At power-up the display will

briefly look like this:

Ad At

In a few seconds, the display will change depending on the status of the tape

chamber.

•

If a formatted tape is present, the TIME counter will show the elapsed time since

the beginning of the tape (unless it is somewhere in the first two minutes of tape,

called the “lead” and “data” sections):

ABS

15M 48S 21

•

If an unformatted tape is present, the FORMAT icon will flash and the TIME

counter will read:

ABS

n0 F0

If there is no tape, the display shows:

ABS

-- -- -- --

Insert the tape with the hinged door end first, label side up, until you encounter a

slight bit of resistance. Push gently on the center of the tape cassette until the XT

draws the tape inward; never force the tape into the cassette door.

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FORMATTING A TAPE – A MUST!

Formatting prepares a tape for 8 channels of audio, and adds a master timecode

reference and sample rate information to the data section. Similar to formatting a

floppy disk to use on a computer or sampler, formatting an XT tape time-stamps the

tape to single-sample accuracy so that audio is referenced to an accurate time base.

This makes the synchronization process between XT and ADAT compatible

machines possible and provides both accurate tape counter readings and intelligent

autolocation functions. For more information, see Tape Formatting in Chapter 4. After

completing the following exercise, we recommend you perform a complete format.

Formatting a tape erases audio on all eight tracks. Be sure to check that the tape is

either blank or contains unwanted material before formatting. We recommend that

you format your tapes completely from beginning to end.

SAMPLE RATE SELECTION

Before formatting, select the sample rate you will be using (either 48 kHz or 44.1 kHz).

This is done by pressing the [CLOCK SELECT] button. Each time [CLOCK SELECT]

is pressed, the XT will cycle between INT 48K, INT 44.1K and DIG (the section on the

right side of the display labeled CLOCK will indicate the currently selected sample

rate). Note: For more information about the DIG option (Digital Audio Clock), see page

44.

FORMATTING A NEW TAPE

To Format a new tape:

¿ Insert a fresh, blank tape.

The XT will acknowledge that this is an unformatted tape; the FORMAT icon will

flash in the display while the counter display reads “noFO.”

Press the [FORMAT] button.

The word [FORMAT] in the display will stop flashing and remain lit. The

[RECORD] LEDs for tracks 1 through 8 will now be flashing.

Hold [RECORD], and then press [PLAY].

If the tape was not completely rewound, the XT will automatically rewind it to the

beginning. The XT then performs a complete format by recording 15 seconds of

leader (the LED display will read “LEAd”), followed by two minutes of data (the

display will read “dAtA”), then timecode starting at 0:00:00.00 and continuing to

the end of the tape.

RECORDING WHILE FORMATTING

You can record onto tape while formatting. Simply press any of the RECORD

ENABLE buttons [1]–[8] for any track(s) you wish to record on before pressing the

[FORMAT] button. Prepare your source material to start playback at 0:00:00.00 on

the XT or later (do not begin recording before 0:00:00.00). See next section for more

information on setting levels and recording.

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MAKING A RECORDING

Recording on the XT is very similar to most multitrack tape machines. The process

involves formatting a tape (see previous tutorial), putting one or more tracks into

record-ready, adjusting record levels on your mixer, setting the input monitor mode,

locating to the start tape address and engaging record. In this tutorial, we will be

recording from the analog audio inputs at the start of the audio portion of the tape

(0:00:00.00). For more information on this and recording from the digital bus, see

pages 37 through 41 of chapter 4.

TRACK SELECTION AND SETTING LEVELS

You’ll find the RECORD ENABLE buttons ([1]–[8]) for all eight tracks on the left side

of the front panel, beneath the display. A track is considered “safe” when its [REC]

LED is off, in “record-ready” when its [REC] LED is flashing, and in record when its

[REC] LED is lit solid.

To record-enable a track:

¿ Choose a track to record on, and press the track’s associated RECORD ENABLE

button [1]–[8]. The selected track’s [REC] LED will flash to indicate it is in record-

ready.

Send an audio signal to the track(s) you have placed into record-ready.

Adjust the levels on your mixer so that the “average” level is at -15 dB on the

peak meters of the XT and the loudest section never goes beyond 0 dB. Digital

audio recording is different from analog recording, and therefore requires a

different method when setting levels. For more information, see Setting Levels on

page 41 of chapter 4.

To take a track out of record-ready (safe), press its associated RECORD

ENABLE button again. The selected track’s [REC] LED will turn off to indicate it is

safe.

TIME COUNTER

Before recording, you should familiarize yourself with the transport buttons, and the

7-segment TIME counter in the top left corner of the display. Ordinarily, the TIME

counter will show Absolute (ABS) time, which is the exact time reference being read

directly off of the formatted tape. The tape position is displayed as hours:minutes:

seconds.hundredths-of-a-second. (This counter may be changed to show 30 frames

per second, see page 45 for more information.)

ABS

15M 48S 21

Pressing the [ABS/REL] button will toggle the display between ABS Time and

Relative Time. The display will either indicate ABS or REL to the left of the TIME

counter.

REL

01M 29S 03

Relative Time reflects the current tape position relative to where you set the Relative

0:00:00.00 position. This is similar to resetting the tape counter on a cassette deck.

However, the XT gives you the option of reading the actual tape position (ABS Time)

or the tape position relative to the location you marked as 0:00:00.00 (Relative Time).

Before you start recording, for the first time be sure the TIME counter is set to ABS

Time to avoid confusion. For more information, see page 35.

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TRANSPORT BUTTONS

During recording and playback, the following transport buttons are used frequently.

Get familiar with them by using them while watching the TIME counter.

REWIND

FAST FWD

STOP

High speed reverse. Press with [PLAY] to initiate review mode.

High speed forward. Press with [PLAY] to initiate cue mode.

Stops transport and disables recording.

While the transport is stopped, this button toggles between

threaded (LED is lit) and unthreaded modes (LED is flashing).

Starts playback. Initiates recording when pressed with [RECORD].

Stops recording when in record mode while continuing to play.

Press with [FAST FWD] to initiate Cue mode.

PLAY

Press with [REWIND] to initiate Review mode.

RECORD

Press with [PLAY] to initiate recording.

RECORDING

Recording takes place only on tracks that are in record-ready. When you start

recording, the [RECORD] LED lights, and the [REC] LEDs for those tracks in record-

ready will stop flashing and remain lit. If no tracks are in record-ready when recording

takes place, the [RECORD] LED will flash to indicate that pressing any of the

RECORD ENABLE buttons will initiate recording on the selected track.

To make a recording:

¿ Use the [REWIND] or [FAST FWD] button to locate to the desired tape position

Either the [REWIND] or [FAST FWD] LED will light (depending on which button

was pressed), indicating that the transport is moving in that direction. The TIME

counter will indicate the current tape location status while the transport is in

motion.

When you’ve arrived at the desired tape address, press the [STOP] button.

The [STOP] LED lights.

Hold [PLAY], and then press [RECORD].

Both the [PLAY] and [RECORD] LEDs will light to indicate you are recording.

To go in and out of record on the individual tracks while record mode is engaged,

press any of the RECORD ENABLE buttons [1] – [8].

Record-enabled tracks will have their REC LED lit. If no tracks are record-

enabled during recording, the [RECORD] LED will flash.

To punch out without stopping, press [PLAY].

The [RECORD] LED turns off, while the [PLAY] LED remains lit.

To punch out and stop the transport, press [STOP]

The [RECORD] and [PLAY] LEDs turn off; the [STOP] LED lights.

Note: When recording for the first time, be sure the Auto Input function is off. When

recording over previous material (also known as punching), turn the Auto Input

function on. Use the [AUTO INPUT] button to turn Auto Input on and off. The AUTO

INPUT icon will light in the display when Auto Input is on. See page 39 for more info.

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PLAYBACK

There are several ways to quickly play back your recording. You’ll use the transport

buttons first.

To play back a recording:

¿ Press [REWIND] to locate back to a tape position before you engaged recording.

The [REWIND] LED will light and the TIME counter will roll backward to indicate

the current tape location status while the transport is in motion.

Once you have arrived at the desired tape address, press the [STOP] button.

The [REWIND] LED will turn off and the [STOP] LED will light.

Press [PLAY].

The [PLAY] LED will flash briefly, and then will light to indicate play mode has

been engaged.

Press [STOP] to stop playback.

The [PLAY] LED will turn off and the [STOP] LED will light.

REVIEWING AND CUEING

When you are trying to locate a particular section of a recording, it is often helpful to

use the review and cue modes on the XT. Review mode lets you play the tape in

reverse at a speed 3 times faster than play while hearing “fragments” of audio. Cue

mode, on the other hand, plays forward at a speed 3 times faster than Play mode

while also letting you hear “chunks” of audio. By listening to the audio in either mode,

you can quickly find the section you are looking for.

To engage Review mode:

¿ Simultaneously press [REWIND] and [PLAY].

The [PLAY] LED will light and the [REWIND] LED will flash.

Press [PLAY] to resume Play mode.

The [PLAY] LED will remain lit while the [REWIND] LED will turn off.

Alternatively, you can press [STOP] to stop the transport.

Both the [PLAY] and [REWIND] LEDs will turn off, and the [STOP] LED will turn

on.

To engage Cue mode:

¿ Simultaneously press [FAST FWD] and [PLAY].

The [PLAY] LED will light and the [FAST FWD] LED will flash.

Press [PLAY] to resume Play mode.

The [PLAY] LED will remain lit while the [FAST FWD] LED will turn off.

Alternatively, you can press [STOP] to stop the transport.

Both the [PLAY] and [FAST FWD] LEDs will turn off, and the [STOP] LED will

turn on.

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LOCATING

Up to 10 tape positions can be stored for easy recall. These are called Locate Points,

and can be stored either “on the fly” while the transport is engaged, or when the

transport is stopped. Once a Locate Point is stored, its corresponding tape position

can be edited. For more info about locating and editing Locate Points, see page 48.

Each Locate Points’ tape position will be shown in either ABS Time or Relative Time,

depending on which is selected. The tape positions themselves, however, do not

move when switching between these modes.

To store locate points “on the fly”:

¿ Press [PLAY], [FAST FWD] or [REWIND] to set the tape transport in motion.

Press or hold [SET LOCATE].

The LOCATE icon will appear in the display immediately followed by a flashing

dash (–).

While holding [SET LOCATE] (or within two seconds after releasing [SET

LOCATE]), press one of the [LOCATE 1] through [LOCATE 9] buttons.

The current tape position is transferred into the selected Locate Point.

To edit locate points:

¿ Press the [EDIT VALUE]button.

The EDIT icon will appear in the display along with one of three icons appearing

below it: LOCATE, TAPE OFFSET or TRACK DELAY.

Use [LOCATE 0] through [LOCATE 9] buttons to select a Locate Point Memory.

The LOCATE icon will appear (if not already present) and a number from 0 to 9

will appear to its right to reflect the button you have pressed.

Hold [EDIT VALUE] and use the [LOCATE 0] – [LOCATE 9] buttons as a numeric

key-pad (0-9) to enter the tape position you wish to set for the selected Locate

Point.

Enter the tape position from left to right. Example: To enter 0:05:00.00, you would

hold [EDIT VALUE] and type [LOCATE 5], [LOCATE 0] , [LOCATE 0], [LOCATE

0], [LOCATE 0] .

Use the [s] and [t] buttons to fine adjust the Locate Point address as desired.

To recall a locate point:

¿ Press one of the [LOCATE 1] through [LOCATE 9] buttons.

Either fast forward or rewind will engage, as indicated by either button’s LED.

When the locate function is complete, the transport will stop, and the [STOP] LED

will light. If you wish the transport to automatically go into play after the locate

function is complete, turn on Auto Play (see next section).

To set the Relative 0:00:00.00 position (Locate 0):

¿ Press [PLAY], [FAST FWD] or [REWIND] as required to move the tape to the

position you wish to regard as “0:00:00.00” (Relative Time).

Remember, ABS Time is the timecode being read from tape. Setting the Locate 0

position is always done in Relative Time.

Press [SET LOCATE], immediately followed by pressing [LOCATE 0].

The current tape position is stored into Locate 0, and the TIME counter will

display :

REL

00M 00S 00

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CREATING A LOOP

The Auto Return function causes the XT to automatically rewind back to a specified

tape position (Locate 1) when playback or recording has reached a specified position

(Locate 4). Both Locates 1 and 4 are assignable to any tape position using the

methods described in the previous section.

The Auto Play function is used to automatically engage playback whenever a locate

function is completed. By using both the Auto Return and Auto Play functions, a loop

can be created whereby the same region of tape is repeatedly played back. For more

information on related functions, see the section entitled Autolocation Controls in

Chapter 4.

To loop a section of tape:

¿ Store the tape position where you want the loop to begin into [LOCATE 1].

Refer to the previous section for instructions.

Store the tape position where you want the loop to end into [LOCATE 4].

Press [AUTO RETURN] to enable Auto Return.

In the right side of the display, the AUTO-RETURN icon will appear indicating

that Auto Return is enabled. The XT will now automatically rewind back to the

tape position stored in Locate 1 upon reaching the tape position stored in Locate

Press [AUTO PLAY] to enable Auto Play.

In the right side of the display, the AUTO-PLAY icon will appear indicating that

Auto Play is enabled. The XT will now automatically engage playback upon

completing a locate.

If necessary, press [REWIND] to rewind the tape to a location that is before

Locate 4’s position.

Alternatively, you can press [LOCATE 1] to locate directly to its stored tape

position.

D Press [PLAY] to engage playback.

The [PLAY] LED will light and the transport will go into Play mode. When Locate

4’s position is reached, the tape will automatically rewind back to Locate 1’s

position and then automatically go back into Play mode.

If the current Locate 1 position is set beyond the current Locate 4 position and Auto

Return is turned on, the AUTO-RTN icon in the display will flash to indicate that

Locate 1 or 4 will have to be set properly before this function will operate.

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AUTOMATED RECORDING

So far, all of your recording has been done manually — you pressed the transport

buttons when you wanted to start and stop recording. Auto recording stops and starts

recording automatically at predetermined times. This is useful when you want to

precisely punch in to a specific place on one or more tracks.

In this section, we will be storing the punch points (called Punch In and Punch Out)

“on the fly” while playback is engaged. You can, however, manually modify the

precise Punch In and Out points. Auto Return and Auto Play (described in the

previous section) help make Auto Recording more functional. For more information,

see page 51.

To automatically punch in and out:

¿ Store the tape position where you want to begin recording into [LOCATE 2].

Refer to page 18 for instructions.

Store the tape position where you want to end recording into [LOCATE 3].

Press [AUTO RECORD] to enable Auto Record

In the right side of the display, the AUTO-REC icon will appear indicating that

Auto Record is enabled. Note: If Locate 2’s position is past Locate 3’s position,

the TIME counter will temporarily read “invALid”.

Press [REWIND] to rewind the tape before Locate 2’s position.

Record enable the track(s) you wish to record on.

The selected tracks’ [REC] LEDs flashes.

Simultaneously press [PLAY] and [RECORD].

The [PLAY] LED lights, the [RECORD] LED flashes and the transport will engage

Play mode. When Locate 2’s position is reached, the XT will automatically punch-

in ([PLAY], [RECORD] and track [REC] LED(s) stop flashing and remain lit).

Recording will continue until Locate 3’s position is reached, at which point the XT

will automatically punch-out, returning to play mode ([PLAY] LED lit, [RECORD]

LED off, track [REC] LEDs flashing).

D Press [STOP] to stop the transport.

If none of the tracks are in record-ready (all eight [REC] LEDs off) when the punch-in

point is reached, the [RECORD] LED will continue flashing instead of lighting solid.

If a record is initiated past Locate 2’s position, but before Locate 3’s position, then

record is entered immediately. If the record is initiated after Locate 3’s position, then

the record command is ignored and the transport is left in play mode.

REHEARSING

By pressing the [REHEARSE] button (the REHEARSE icon will light in the display),

you can run through the Auto-Record process without actually recording anything.

However, the input monitors on the tracks that enabled for recording will switch from

tape to input when the punch-in occurs, and back to tape when the punch-out occurs

(this requires that the Auto Input function be turned on, see page 39). The [RECORD]

LED will continue flashing throughout the punch in and out. This way you can try out

your punch locations first without recording over anything. In other words, you can

measure twice (or more), and cut only once!

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PITCH CONTROL

The Pitch function controls the speed of the tape, and thus the pitch of the audio

recorded on tape. The XT’s Pitch control has a range of -300 to +100 cents when

using a sample rate of 48kHz, and a range of -200 to +200 cents when using

44.1kHz. Use the PITCH [s] and [t] buttons to control the amount of pitch change.

When either button is pressed once, the PITCH icon lights in the display, and the

TIME counter immediately displays the current amount of Pitch change. The Pitch

amount is displayed both as a percentage (%) and as cents.

00 00^%00 00

ABS

(Percentage)

(Cents)

To set the Pitch amount:

¿ Press and hold either PITCH [s] or [t].

After holding for more than two seconds, the Pitch amount will start either

increasing or decreasing, depending on which button was pressed.

TRACK DELAY

The XT allows you to delay the playback of any track in relation to the other tracks

(and the TIME counter) by a maximum of 170 milliseconds. This can be very useful

when some tracks are slightly “off”, or when you need to move a particular instrument

to get it “in the pocket”, or when you just want to create an interesting effect (like

copying a track and delaying the copy).

To delay a track:

¿ Press [EDIT VALUE].

The EDIT icon will light in the display.

Press [TRACK DELAY].

The TRACK DELAY icon will light, just below the EDIT icon.

Choose a track to edit by pressing one of the RECORD ENABLE buttons [1]–[8].

A number will appear to the left of the EDIT icon representing the track you are

editing.

Use the [s] and [t] buttons to adjust the delay amount in .1 ms increments.

Hold the [EDIT VALUE] button and enter a specific delay value using the

[LOCATE 0] thought [LOCATE 9] buttons.

The TIME counter will display the selected track’s delay amount.

1 70. 0

Simultaneously, the peak meter for the selected track will rise to indicate the

amount of track delay you have selected.

Repeat steps 3 and 4 for any other tracks you wish to delay.

D Press [EDIT VALUE] to exit Edit mode.

The EDIT icon will turn off.

Press [TRACK DELAY] to enable the Track Delay feature.

The TRACK DELAY icon will light, indicating that track delays are now in effect.

If necessary, repeat steps ¿ through ƒ to edit the delay value of any track.

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TRACK COPY

It is possible to copy the audio material from one track to another on the same tape

within the XT without leaving the digital domain and without the need for any audio

cables. In fact, you can copy up to 4 tracks at a time using the Track Copy feature.

For more information on using the Track Copy function, see page 38.

To bounce audio from one track to another:

¿ Press and hold [TRACK COPY].

The TRK COPY icon will light in the display.

While holding [TRACK COPY], select a source track (up to 4) by pressing any of

the RECORD ENABLE buttons [1]–{8].

The INPUT LEDs for the selected track(s) will light. Note: You can’t select a

track that is already in record-ready (REC LED lit) as a source track; if its

RECORD ENABLE is pressed, its INPUT LED won’t light while holding the

[TRACK COPY] button.

Release [TRACK COPY], and choose a destination track (up to 4) by pressing

one of the RECORD ENABLE buttons [1]–[8].

The REC LEDs for the selected track(s) will light. Note: You cannot select a

source track as a destination track; if its RECORD ENABLE is pressed, its REC

LED won’t light.

Use the [REWIND], [FAST FWD] or [LOCATE 0] through [LOCATE 9] buttons to

move to the section of tape which holds the audio you wish to copy.

Simultaneously press [RECORD] and [PLAY] to initiate recording.

The [RECORD] and [PLAY] LEDs will light and recording will begin.

When you are finished, press [STOP].

The [STOP] LED will light and the transport will stop.

While the TRK COPY icon is lit (indicating that Track Copy mode is selected) you will

not be able to record any audio being fed to the analog or digital inputs. To record

from the analog inputs, you must press the [ANALOG INPUT] button (the ANALOG

icon will light in the display).

DISPLAY BRIGHTNESS

If necessary, the brightness of the XT’s display may be adjusted to allow more

suitable viewing under various lighting conditions.

To adjust the display brightness:

¿ Hold the [PEAK CLEAR] button.

While still holding [PEAK CLEAR], press either PITCH [s] or [t] to dim or brighten.

The display will immediately respond by either dimming or brightening,

depending on which button was pressed.

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CHAPTER 3

CONNECTIONS

ANALOG AUDIO – UNBALANCED INPUTS

INPUT JACK CHARACTERISTICS

The XT includes eight unbalanced, phono jack inputs. These are compatible with low-

impedance, unbalanced, -10 dBV outputs typical of equipment such as mixers,

synthesizers, samplers, direct boxes, etc.

The unbalanced input jack wiring convention is as follows:

Sig na l

Tip

Gro und

Sle e ve

Tip

Sle e ve

TYPICAL INPUT JACK HOOKUPS

The input jacks are typically hooked up in one of three ways:

•

To the console’s direct tape outs (these patch a single channel directly to

tape, bypassing most mixer circuitry). This is preferred when the signals going

to tape require none of the mixer’s features (effects, grouping, routing, etc.).

•

To eight mixer bus outputs. You can use the mixer for grouping, premixing,

effects, etc. This puts more circuitry between the input signals and XT, although

since most routing can be done at the mixer, you’ll seldom need to do any

repatching.

•

To a combination of direct outputs and bus outputs. Some situations require

a combination of the two approaches. Example: Consider a live gig you want to

record with two vocal mics, four mics on drums, two direct feeds from guitar and

bass amps, and one direct feed from keyboards. The vocals, bass, guitar, and

keyboards could be taken direct and go to five XT tracks. The four drum mics can

be mixed to stereo within your mixer sent to the submix outs, then go to two XT

tracks. The remaining XT track could be used to record audience sounds or

capture one of the instruments in stereo, if applicable.

ANALOG AUDIO – UNBALANCED OUTPUTS

The -10 dBV outputs use RCA jacks, and carry signals at a nominal -10 dBV level.

These should be connected to your mixer’s channel line inputs or tape returns. The

unbalanced outputs wiring scheme is similar to that of the unbalanced inputs (see

previous section).

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ANALOG AUDIO – BALANCED INPUTS AND OUTPUTS

The +4 dBu balanced line inputs and outputs use an ELCO multipin connector. The

balanced in/out connector wiring scheme is as follows:

Note: The larger of the two outer key notches is at the bottom.

Both the unbalanced and balanced inputs and outputs may be used simultaneously.

Pin out letters are referenced to the alphabetical designation on a standard 56-pin

ELCO connector.

Channel

In 1

In 2

In 3

In 4

In 5

In 6

In 7

In 8

GND NEG POS

Channel

Out 1

Out 2

Out 3

Out 4

Out 5

Out 6

Out 7

Out 8

GND NEG

POS

Additional grounds:

r, s, h, j, e, f, X, and Y.

ELCO is a registered trademark of Elco Corporation - a Kyocera Group Company

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ANALOG AUDIO – INPUT MODE

The XT lets you choose one of three Input Modes for both the Unbalanced and

Balanced inputs:

2-Input Mode

4-Input Mode

Input 1 feeds Tracks 1, 3, 5 and 7.

Input 2 feeds Tracks 2, 4 , 6 and 8.

Input 1 feeds Tracks 1 and 5.

Input 2 feeds Tracks 2 and 6.

Input 3 feeds tracks 3 and 7.

Input 4 feeds tracks 4 and 8.

Each Input feeds its own track.

8-Input Mode

The reason for these three modes is to take equal advantage of 2, 4 and 8 bus

mixing consoles. If you have two buses, connect them to inputs 1 and 2. If using four

buses, connect them to inputs 1 through 4.

To select the appropriate Input Mode, hold the [ANALOG INPUT] button and press

one of the RECORD ENABLE buttons ([1]–[8]). The [INPUT] LEDs, located along the

bottom of the display below the VU meters, will light up to indicate the Input Mode

you have selected.

While holding [ANALOG

INPUT]

Result

[INPUT] LEDs lit for...

Press [1] or [2]...

Press [3] or [4]...

Press [5], [6], [7] or [8]...

...to select 2-Input Mode.

...to select 4-Input Mode.

...to select 8-Input Mode.

Tracks 1 and 2

Tracks 1 through 4

All Tracks (1 – 8)

When using a 2 bus mixer, connect its two outputs to the XT’s unbalanced inputs 1

and 2 and select 2-Input Mode. Anytime you want to record on an odd number track

you will route the signal(s) to bus #1 or left. Likewise, to record onto an even number

track, route the signal(s) to bus #2 or right. By simply putting the desired track into

record, the proper signal will get there, although not directly connected to the track’s

input jack.

When using a 4 bus mixer, connect its four outputs to the XT’s unbalanced inputs 1

through 4 and select 4-Input Mode. Anytime you want to record on tracks 1 or 5 you

will route the signal(s) to bus #1. Likewise, to record onto tracks 2 or 6, route the

signal(s) to bus #2, and so on.

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SYNC IN/OUT

The two DB 9 connectors marked [SYNC IN] and [SYNC OUT] are used for

synchronizing two or more XTs together, or a combination of XTs and ADATs. This

requires a male-to-male, 9-pin D connector cable for each additional machine in the

chain. In such a system, you are basically treating all connected machines as though

they were a large multitrack unit. The first XT or ADAT in the chain is called the

“master”, and all other connected units are referred to as “slaves”. However, each

slave can also be used independently when the master machine is stopped.

For more information about using multiple XTs and/or ADATs, refer to chapter 5.

To synchronize multiple XTs and/or ADATs:

¿ Locate the [SYNC IN] and [SYNC OUT] connectors.

Connect one end of a male-to-male, 9 pin connector cable to the master’s [SYNC

OUT] jack.

Connect the other end of the cable to the first slave’s [SYNC IN] jack.

For additional slaves, connect one end of a male-to-male, 9 pin D connector

cable to the first slave’s [SYNC OUT] jack, and the other end to the second

slave’s [SYNC IN] jack. Its [SYNC OUT] jack then connects to the third slave’s

[SYNC IN] jack, and so on.

The following illustration depicts two XTs synchronized together.

INPUT

OUTPUT

INPUT

OUTPUT

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DIGITAL AUDIO IN/OUT

The Digital input and output carries all eight tracks on a single fiber optical cable. This

allows you to bounce audio between multiple machines within the digital domain. This

also lets you route digital audio between multiple XTs and ADATs, and to ADAT

Compatible™ products such as the QuadraVerb 2. Since the fiber optic connector

carries the digital information for all 8 tracks, it is also useful for backing up all tracks in

one pass (see Chapter 6 for more on digital audio).

Digital bussing requires a fiber optical cable (included) for each XT in the system (or

any other ADAT compatible product). This connection can be made while power is on

or off, and the machines do not need to be turned on in any particular order. Note: To

bounce tracks within a single XT, it is not necessary to connect the optical network.

To connect the digital optical network:

¿ Locate the [DIGITAL IN] and [DIGITAL OUT] connectors.

Remove the connectors’ plugs (if present) and store for later use.

Connect one end of the fiber optic cable into the [DIGITAL OUT] jack of the first

machine in the system.

Remove the clear, plastic tube covering each end of the cable (if present). The

cable is non-polarized, so either end can be inserted into the optical output.

Connect the other end of the fiber optic cable to the [DIGITAL IN] of the second

machine in the system.

For each additional machine, connect one end of an additional fiber optic cable to

the second machine’s [DIGITAL OUT] jack, and the other end to the third

machine’s [DIGITAL IN] jack. Its [DIGITAL OUT] jack then connects to the fourth

machine’s [DIGITAL IN] jack, and so on.

Finally, connect one end of a fiber optic cable to the last machine’s [DIGITAL

OUT] jack, and the other end to the first machine’s [DIGITAL IN] jack.

This last step creates a loop, and thus makes the digital bus accessible to all

machines that are connected to it.

When connecting more than two machines, always connect the optical cables in the

same order as the sync cables (1 to 2, 2 to 3, etc.), so that the digital routing will

work correctly.

INPUT

TPU

INPUT

TPU

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FOOTSWITCHES

The XT provides two footswitch connectors using 1/4" mono (T/S) jacks. One, labeled

[LOCATE/PLAY/LRC REMOTE], allows locate and play commands; the other,

labeled [PUNCH IN/OUT], is for punch in/out control.

The two footswitch jack functions are designed to be used with any momentary

single-pole/single-throw footswitch (either normally open or normally closed). These

should be plugged in prior to power-up so that the XT can configure itself for the type

of footswitch being used.

The Punch In/Out footswitch and XT Remote both work in conjunction with the

Rehearse and Auto Record features.

THE XT REMOTE

Both the [LOCATE/PLAY/LRC REMOTE] and [PUNCH IN/OUT] footswitch

connectors can be used to connect the hand-held XT remote control unit to provide

remote access of transport functions. You can even connect two XT remote controls

into the XT, one in each footswitch jack.

If using a normally open footswitch, the footswitch and remote control can be

interchanged, or used simultaneously with a Y-cord, without restarting the XT

(powering down and powering up). However, if using a normally closed footswitch,

the XT should be restarted after switching from footswitch to remote control or vice-

versa.

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CHAPTER 4

BASIC OPERATIONS

This chapter is designed for operators who may not have experience working with

digital audio. All functions of the XT (with the exception of synchronization and digital

audio) are explained here in detail. If you are already familiar with multitrack

recording concepts, you may not need to read this chapter. Instead, use the

Operational Reference chapter to look up specific functions and how to access them.

TAPE FORMATTING

Formatting a tape is a simple yet necessary operation before recording can begin.

This process involves recording sample rate information in the data section, and time-

stamping the tape with a highly accurate time reference which, because of its single-

sample resolution, has greater resolution than SMPTE timecode. Formatting a tape is

what allows for accurate synchronization, autolocation and auto recording functions,

as well as accurate TIME counter readings. You can either format a tape completely

before recording, or format while you are recording for only as long as you need to, or

you can extend the format of a tape that was not completely formatted to begin with.

Formatting a tape erases the audio on all 8 tracks. Be sure to label your tapes clearly,

so you don’t accidentally erase something valuable. We recommend that you

completely format your tapes from beginning to end.

FORMATTING CONSIDERATIONS

•

Blank tapes will automatically be rewound to the beginning before formatting.

•

Before formatting, select the sample rate that you will be using (either 48 kHz or

44.1 kHz). See page 44 for more information.

•

To record on or erase/format a S-VHS cassette, the write protect tab (located on

the spine of the cassette) must be intact. If you try to record on a tape that has

had the write protect tab broken off, the PROTECT icon in the display will light

and the XT will not record on the tape. This prevents accidental erasure of

valuable recordings. To record on a tape that has had the tab broken off, use the

Write Protect Override feature (see page 31).

Caution: If you re-format over a previously formatted tape, do not stop in the

middle of re-formatting. Reason: When the tape transitions from the newly-

formatted section to the previously formatted section, there will be timing

discontinuities and the audio will do unpleasant things. Also, during that transition the

tape will be non-functional and you will not be able to record anything over it. When in

doubt, either re-format the entire tape, from beginning to end, or back up a bit and

perform a format extend (see page 31).

•

The only way to stop formatting is to press [STOP]—punching out is not sufficient.

Tapes can be bulk-erased with a video tape eraser.

In a multiple XT setup where one is the master and the other XTs are slaves,

there are a few other considerations. See Multiple ADAT Operation in chapter 6.

COMPLETE FORMAT

To format or reformat/erase an entire tape:

¿ Insert a fresh, blank tape.

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Be sure the tape is completely rewound.

Press the [FORMAT] button.

If the tape was unformatted, the FORMAT icon will have been flashing prior to

pressing it. Once pressed, the FORMAT icon will stop flashing and remain lit to

indicate that formatting will begin if the XT enters record mode. Also, all eight

REC LEDs will flash to indicate all eight tracks will be recorded. Pressing the

eight RECORD ENABLE buttons ([1] – [8]) has no effect while the FORMAT icon

is lit.

Hold [RECORD] and press [PLAY].

The XT briefly enters play mode to achieve proper speed and check if the tape is

formatted. The XT performs a complete format by recording 15 seconds of leader

(the LED display will read “LEAd”), followed by two minutes of data (the LED

display will read “data”), then time reference starting at -0:00:05.00 and

continuing to the end of the tape.

Le a d

Da ta

Aud io

-02:00:00

-02:15:00

00:00:00

40:00:00

If an unformatted tape is not at the very beginning, it will automatically be rewound to

the beginning. However, if any formatting is detected while rewinding, the transport

will stop rewinding and leave the tape at this position, ready for a format extension

(see next page).

•

If the tape has been previously formatted and is in the data portion (before

0:00:00.00), the tape will be automatically rewound to the beginning of the

tape and the XT performs a complete format.

If the tape has been previously formatted and is in the audio portion of tape

(past 0:00:00.00), the tape will be formatted from that point upon entering

record mode (this is called Format Extend; see page 31).

RECORDING WHILE FORMATTING

Audio can be recorded while formatting a tape, just in case you need to record

something immediately and have no formatted tapes available. To place a track into

record-ready, press the RECORD ENABLE button(s) [1] – [8] for the track(s) to be

recorded before turning on the Format function. When a RECORD ENABLE button is

pressed, the INPUT LEDs for the selected track(s) will light and the REC LEDs will

flash. Pressing RECORD ENABLE again takes the track(s) out of record-ready. While

formatting, record-ready tracks will be recorded with audio from the inputs (analog or

digital, depending on the Input Select setting; see page 37). However, audio will not

be recorded until the audio portion of tape is reached (0:00:00.00). Tracks not in

record-ready (safe) will be recorded with silence while formatting.

FORMAT EXTEND

It is possible to extend the formatting on a tape that has only been partially formatted.

When performing a format extend, you must enter format mode before the end of the

previously formatted section by “punching-in”. The XT begins “time-stamping” from

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the last valid time-stamp it reads from tape. This insures continuous time-stamping

when a tape plays from beginning to end.

To extend the format on a partially formatted tape:

¿ Use [FAST FWD], [REWIND] and/or [PLAY] to locate to the section of tape just

before where formatting was discontinued.

Press [FORMAT].

The FORMAT icon lights.

Press [PLAY] to engage playback.

When the LOCKED icon appears in the display, hold [PLAY] and press

[RECORD].

The EXT icon lights. The XT reads the time reference from tape from the

formatted portion and begins formatting starting from that time onward.

Exception: If the tape is already formatted but is in the leader or data sections of the

tape (i.e., prior to time 0:00:00.00), entering format mode will automatically rewind the

tape to the beginning and start reformatting. While rewinding, the TIME counter will

read “FO” (which means “format over”) and the [REWIND] LED will flash. This

indication is telling you that the XT must format over from the lead (beginning) portion

of the tape.

WRITE PROTECT OVERRIDE

If necessary, you can still record on a tape which has had its write-protect tab

removed or damaged. The write-protect tab (located on the cassette spine) can be

removed when you want to protect the information on an important tape from

accidental erasure. The XT scans for the presence of a write-protect tab when a tape

is inserted. If no tab exists, recording is prevented. You can, however, tell the XT to

ignore the absence of a write-protect tab, and permit recording to take place anyway.

To override the Write Protect function:

¿ Hold the [SET LOCATE] button and press RECORD ENABLE [1];

The TIME counter will briefly display:

ABS

Pr 0t 0 FF

The PROTECT icon will turn off indicating that Write-Protect is being overridden.

Repeat step 1 to switch Write-Protect Tab Check back on;

The TIME counter will briefly display:

ABS

Pr 0t 0 n

The PROTECT icon will turn on indicating that Write-Protect is in effect.

Note: This override will automatically be deactivated when you eject a tape, or turn

the power off.

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READING THE DISPLAY

The XT’s display serves many functions. It shows the current level of each of the

eight audio tracks, it shows the current tape position numerically in hours, minutes,

seconds, and 100ths of seconds, and shows the current modes of the many

parameters available. It also is used as a window for editing parameters such as

pitch, track delay, tape offset, and locate points. With all segments lit (which would

not happen in normal operation), the display looks as follows:

When in a typical play situation, the display may look like this:

The meters show the current level of each playback track. Tracks 4 and 6 are both in

record (as indicated by the REC LEDs) and monitoring their inputs (as indicated by

the INPUT LEDs). The TIME counter (directly above the meters) shows the current

tape position, in this case relative to the user-defined 0:00:00.00 point (RELative

Time). The display example above indicates that the CLOCK is currently set to

INTernal and 48KHz, the AUTO INPUT MONitor is on, and the Analog input is

selected. The

icon indicates that a tape is detected, and the LOCKED icon tells

us that playback is engaged.

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DISPLAY ICONS

The following icons appear in the display at different times. They indicate that the

parameter for which they are named has been selected or turned on. These icons

are:

ABS

This icon lights whenever Absolute Time mode is selected (by pressing

the [ABS/REL] button).

REL

This icon lights whenever Relative Time mode is selected (by pressing

the [ABS/REL] button).

The PITCH group of icons relates information regarding pitch change.

Whenever the Pitch setting is above 0, the upper triangle will appear.

Whenever the Pitch setting is below 0, the lower triangle will appear.

When either PITCH buttons ([s] or [t]) are pressed, the PITCH icon will

appear indicating that the TIME counter is now displaying the current

Pitch setting using two values: Percentage (%) and Cents (C). See page

45.

Indicates whether Format mode is turned on or off. The FORMAT icon

will flash whenever an unformatted tape is inserted. If the [FORMAT]

button is pressed, the FORMAT icon will light. If the [FORMAT] button is

pressed again, the FORMAT icon will turn off. See page 29.

This icon will light when performing a format extend. See page 31.

This icon will light whenever a tape is inserted which has its write-protect

tab removed, indicating it cannot be recorded on. This, however, can be

overridden using the Protect Overwrite function. See page 31.

This icon will light whenever a tape is inserted.

If connected to a multiple ADAT system, the ID icon lights when the XT is

turned on. The number appearing to the right of the ID icon will indicate

the ID number of the unit (1–16). You can check the unit’s ID without

turning the unit on and off by holding [SET LOCATE] and pressing

[PLAY]. See chapter 5.

This icon will light whenever edit mode is selected (by pressing the [EDIT

VALUE] button). See page 36.

Indicates that the transport is shuttling to a Locate Point (0–9). When in

Edit mode, this icon indicates that you are editing a Locate Point’s

address, which will appear in the TIME counter. A number (from 0 to 9)

will appear next to the EDIT icon to indicate which Locate Point is being

edited. See page 47.

This icon indicates that you have the Tape Offset function turned on with

a value that is not equal to 0:00:00.00. This function is only available

when the XT is used as a slave within a multiple ADAT/XT system. When

in Edit Mode, this icon indicates that you are editing the Tape Offset

amount, which will appear in the TIME counter. See chapter 5.

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This icon indicates that you have the Track Delay function turned on.

When in Edit Mode, this icon indicates that you are editing a tracks delay

amount, which will appear in the TIME counter. A number (from 1 to 8)

will appear next to the EDIT icon to indicate which track is being edited.

The VU meters will also show a bar-graph representation of the current

delay values for all eight tracks. See page 46.

When this icon appears, it indicates that the Auto Record function has

been turned on. See page 48.

This icon indicates that the Rehearse function is turned on. See page 50.

This icon indicates that the Auto Play function is turned on. See page 48.

This icon indicates that the Auto Return function is turned on. See page 48.

When this icon appears, it indicates that the XT is slaving to an external

timecode source coming from the master ADAT in a multiple ADAT

system. See Chapter 5.

When this icon appears, it indicates that the transport is properly

engaged in either playback or recording. When the XT is a slave in a

multiple ADAT system, this icon will light to indicate that the tape is

properly synchronized and the audio is sample locked to the timecode of

the master ADAT machine. See chapter 5.

The CLOCK group of icons indicates which clock source is being used.

The [CLOCK SELECT] button lets you toggle through the various options,

including: INT 48K (internal clock at 48kHz), INT 44.1K (internal clock at

44.1 kHz) and DIG (external clock source connected to the [DIGITAL IN]

connector on the rear panel). Additionally, if the XT is being used as a

slave in a multi-ADAT system, the EXT icon will light, indicating that the

XT is deriving its clock from the master ADAT in the system. See page 44.

The INPUT MON group includes two icons: ALL and AUTO. The ALL

icon will light whenever the All Input function is enabled (by pressing the

[ALL INPUT] button). The AUTO icon will light whenever the Auto Input

function is enabled (by pressing the [AUTO INPUT] button). See page

39.

The INPUT group of icons indicates which input source is being used.

The ANALOG icon will light whenever the Analog Inputs are selected (by

pressing the [ANALOG INPUT] button). The DIGITAL icon will light

whenever the Digital Inputs are selected (by pressing the [DIGITAL

INPUT] button). The TRK COPY icon will light whenever the Track Copy

function is selected (by pressing the [TRACK COPY] button). See page

37 & 38.

This is the Interpolation Indicator. When it flashes, it indicates that errors

have been detected and corrected using an interpolation scheme. It is a

good idea to clean the tape heads and/or make a backup copy of your

tape if you ever see this icon light. See Appendix C for more information.

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TIME COUNTER & ABS/REL BUTTON

The TIME Counter (found at the top left section of the display) is used to indicate the

current tape position.

ABS

15M 48S 21

The [ABS/REL] button toggles the TIME counter between Absolute Time mode and

Relative Time mode. The XT will indicate which Time mode is selected by either

displaying ABS (for Absolute Time) or REL (for Relative Time) just to the left of the

TIME counter.

REL

01M 29S 03

ABS

REL

Absolute Time: This is the XT’s time reference, which is created when a

tape is formatted.

Relative Time: This is based on the XT’s time reference of a formatted tape,

but is relative to where the tape was positioned when LOCATE 0 was stored.

The Locate Points ‘ addresses are displayed in the format of the display mode you’ve

selected.

See the Autolocation section later in this chapter for more information about the

difference between ABS Time and Relative Time.

•

When no tape is present the counter will display “-- -- -- --”.

When an unformatted tape is played, the display will read “noFo” and the

FORMAT icon will flash.

The TIME counter (in either Absolute Time or Relative Time modes) indicates time

code in hours:minutes:seconds.100ths-of-seconds.

minutes

seconds

hours

LOCATE 0

100ths-of-seconds

Pressing the [LOCATE 0] button will take you either to the absolute 0:00:00.00

position (if ABS Time mode is selected) or to the relative 0:00:00.00 position (if

Relative Time mode is selected). The Absolute 0:00:00.00 position never changes,

since it is derived from the timecode that was written onto tape during the formatting

process. The Relative 0:00:00.00 position is user-definable.

You can set the Relative 0:00:00.00 position at any time by pressing the [SET

LOCATE] button followed by the [LOCATE 0] button. This automatically switches the

TIME counter to Relative Time mode (if not already selected); the REL icon appears

to the left of the TIME counter. The counter will now read:

REL

00M 00S 00

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BASIC EDITING

EDIT VALUE BUTTON

The [EDIT VALUE] button is used to turn Edit mode on and off. When turned on, the

EDIT icon will light indicating you are now in Edit mode. At this point, you can press

any one of the [LOCATE 0] - [LOCATE 9], [TAPE OFFSET] or [TRACK DELAY]

Function buttons to view and/or edit their respective parameter settings in the display.

The icons just below the EDIT icon in the display will indicate which feature is

currently selected for editing (when in Edit mode), and which features are on or off

(when not in Edit mode). When Edit mode is selected, the TIME counter provides a

display of the selected parameter’s current setting.

The first time [EDIT VALUE] is pressed, Locate 0 will be selected. While the EDIT

icon is still on, you can press another Function button to access its parameter(s).

Press [EDIT VALUE] again to exit Edit mode; the EDIT icon will turn off. Pressing a

Function button now will toggle that function on or off. The next time Edit mode is

turned on, the display will return to the last function you were editing before exiting

Edit mode.

Function Button

[LOCATE 0]–[LOCATE Edit Locate Point address

When Edit Mode is on...

When Edit Mode is off...

Execute a locate

[TAPE OFFSET]

[TRACK DELAY]

Edit Tape Offset amount

Edit Track Delay settings

Tape Offset on/off

Track Delay on/off

s AND t BUTTONS

Once a function is selected, the s and t buttons are used to increment or decrement

its setting by single values. By holding either button, the increment or decrement

value increases its speed. By simultaneously pressing both buttons, the selected

parameter is reset to 0.

ENTERING NUMERIC VALUES

If [EDIT VALUE] is held while in Edit mode, you may use the [LOCATE 0] – [LOCATE

9] buttons as a 10-digit keypad (from 0 to 9) to enter a specific numerical value for the

currently selected parameter in the display. Numbers are entered from left to right.

Examples: If [LOCATE 1] is pressed using this method to edit Track Delay time

(displayed as XXX.X ms), the display would show .1 ms. If a [LOCATE 5] is now

entered, the display shows 1.5 ms. If the [EDIT VALUE] button is released at this

time, the display shows 001.5 ms and that would be the new Track Delay value.

Likewise, if this method is used to edit a Locate Point (X:XX:XX.XX) and the

sequence of numbers were entered as follows: [LOCATE 1] – [LOCATE 2] –

[LOCATE 3] , the display would successively show . 1, .12, 1.23. If the [EDIT

VALUE] button is then released, the display would show 0:00:01.23 and that would

be the Locate Point’s value.

EDITING INDIVIDUAL DIGITS

You can also select a specific digit in the display to edit, by holding the [EDIT VALUE]

button and pressing either [s] or [t]; the currently selected digit will flash. While still

holding the [EDIT VALUE] button you may press any of the [LOCATE 0] – [LOCATE

9] buttons to enter a specific numerical value for the currently selected digit. The

selected digit will replace the previous once and will stop flashing, and the next digit

to its right will be selected (flashing) so you may continue entering digits using the

[LOCATE 0] – [LOCATE 9] buttons.

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INPUT SELECT

There are three buttons for input select options. These three buttons are labeled

[ANALOG INPUT], [DIGITAL INPUT], and [TRACK COPY]. These determine what

signals will be recorded on the XT. The currently selected input mode is indicated in

the lower right corner of the display: ANALOG, DIGITAL or TRK COPY.

While any of the Input Select buttons are being held, the channel record and input

status indicators no longer indicate the current record or input status, and the REC

icon turns off. As long as one of these buttons is being held, the tracks’ INPUT LED

is used to indicate channel selection for that particular function, and the RECORD

ENABLE buttons [1] – [8] are used to select and de-select channels (see page 41).

ANALOG INPUT

Pressing the [ANALOG INPUT] button once selects the analog inputs (both

unbalanced and balanced) for recording and monitoring; the ANALOG icon will light

in the INPUT icon group in the display. While holding the [ANALOG INPUT] button,

the channel input indicators will show the number of analog inputs that are currently

selected. There are three selections possible: Two inputs, four inputs, or eight

inputs. This allows you to record from a 2 or 4 bus mixing console without repatching.

•

To choose 2-input mode: Press either the channel 1 or 2 RECORD ENABLE

buttons while holding [ANALOG INPUT]. This will cause both the channel 1 and 2

input lights to light up, indicating that only input channels 1 and 2 will be used. If

any of tracks 1, 3, 5, or 7 are record enabled, they will receive their input signal

from the analog input of channel 1. If any of tracks 2, 4, 6, or 8 are record

enabled, they will receive their input signal from the analog input of channel 2.

•

To choose 4-input mode: Press RECORD ENABLE button 3 or 4 while holding

the [ANALOG INPUT] button. This will cause channels 1 through 4 INPUT LEDs

to light up, indicating that only input channels 1 thru 4 will be used. In this case,

channels 5 through 8 receive their input from channels 1 through 4, respectively.

To choose 8-input (the most common) mode: Press RECORD ENABLE button 5

thru 8 while holding the [ANALOG INPUT] button. This will cause all eight track

INPUT LEDs to light. In this mode, each track receives its signal from its own input.

In 2-input mode, inputs 3-8 are disconnected and cannot be recorded or heard. In 4-

input mode, inputs 5-8 are similarly disconnected. To use all inputs, 8-input mode

must be selected.

DIGITAL INPUT

To record from the digital input, press the [DIGITAL INPUT] button; the DIGITAL icon

in the INPUT icon group will light. The digital input can be used to record from

another XT or ADAT-compatible optical signal. All eight channels will be received via

the fiber optic connection (see Digital In/Out in Chapter 3) and the analog inputs will

be ignored. However, by holding the [DIGITAL INPUT] button, you may reroute

incoming channels to record on different tracks; Example: Digital audio received on

channels 1 and 2 can be rerouted and recorded onto tracks 3 and 4. For more

information about recording from the digital input and digital track bouncing, see

chapter 5, page 59.

TRACK COPY

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The [TRACK COPY] button is used to digitally bounce tracks within a single XT. To

digitally bounce tracks, you must first press [TRACK COPY]; the TRK COPY icon in

the INPUT icon group will light. Next, select the source tracks, select (record enable)

the destination tracks, and initiate recording. The track copies will be an exact

duplicate of the original (i.e. it is exactly aligned with the original and is an exact

clone).

While holding the [TRACK COPY] button, the track’s INPUT LEDs will indicate the

selected source channel(s). While still holding the [TRACK COPY] button, the source

tracks may be selected and de-selected by pressing the RECORD ENABLE buttons

[1] – [8]. Releasing the [TRACK COPY] button will return the channel REC and

INPUT indicators and RECORD ENABLE buttons to their normal status. At this point,

you may record-enable the destination tracks (see next section).

When copying tracks:

•

The source tracks will be recorded onto the destination tracks in ascending order.

Example: If source tracks 1 and 3 are selected and tracks 5 and 6 are record

enabled, then track 1 will be copied to track 5 and track 3 to track 6.

•

If more destination tracks are selected than source tracks, the source tracks will

repeat (cycle). Example: If tracks 7 and 8 were added to the destination tracks of

the previous example, then track 1 would be copied to tracks 5 and 7 and track 3

would be copied to tracks 6 and 8. This scheme also allows for copying a single

track to multiple tracks.

•

Since no more than 4 tracks may be copied within a single machine, a maximum

of 4 source tracks will be allowed. This means that if 4 source tracks are already

selected, then no other tracks can be selected until one of the 4 tracks is de-

selected.

•

A digital source track cannot be selected as a digital destination track (i.e. digital

source tracks will not be allowed to be record enabled when Track Copy is

enabled).

If no source tracks are selected, you will not be able to place any tracks into

record-ready. If user attempt to record enable a track, the track will not be

enabled (REC LED will not light) and “noSovrcE” will be temporarily displayed in

the TIME counter.

•

When Track Copy mode is enabled (TRK COPY icon lit), the All Input Monitor will

not function. If the All Input Monitor is on when Track Copy is enabled, it will

automatically be turned off (ALL icon in the INPUT MON icon group will turn off).

See page 39 for more information about the All Input Monitor.

Any track delays that you have programmed will be in effect.

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INPUT MONITOR

The Input Monitor controls consist of two buttons: [ALL INPUT] and [AUTO INPUT].

AUTO INPUT MONITOR

This feature determines what you will hear from the XT’s output jacks when a track is

record-enabled (REC LED flashing): tape, or source. The [AUTO INPUT] button

toggles the Auto Input Monitor on and off. When a track is monitoring its input signal,

its INPUT LED will be lit.

•

When the Auto Input Monitor is off (AUTO icon in the INPUT MON icon group is

off), all record-enabled tracks will monitor the input signal and all other tracks will

monitor the taped signal.

•

When the Auto Input Monitor is on (AUTO icon is lit), it allows input monitoring of

record enabled tracks while in record, stop, rewind or fast fwd; but not in play.

The reason for having these two options is to accommodate different stages of the

recording process. Leaving the Auto Input Monitor off is the “normal” option and is

what you would use when first recording tracks. When performing punch-ins and

overdubs, you will probably want to turn the Auto Input Monitor on so that you can

hear what was recorded on tape for a given track right up to the point you want to

punch in. As soon as the XT punches into record mode, the tape signal is replaced by

the input signal so you can hear what’s being recorded to tape. After you punch-out,

the monitor reverts to tape.

Typically, Auto Input should be on when the Rehearse feature is used (see page 52).

ALL INPUT MONITOR

When the [ALL INPUT] button is on (ALL icon in the INPUT MON icon group is lit),

the Auto Input Monitor setting is overridden so that all tracks monitor their input

signals regardless of their record enable status. All eight track INPUT LEDs will be lit.

When All Input Monitor is off (ALL icon is off), the Auto Input Monitor setting

determines track monitoring.

The All Input Monitor will automatically be turned off if Track Copy mode is enabled

(by pressing the [TRACK COPY] button (see page 38).

The following table indicates the status of tracks that are record-enabled and tracks

that are not depending on the status of the [AUTO INPUT] and [ALL INPUT] buttons.

Record-enabled tracks = ■; Tracks not record-enabled = ❑

Transport Auto = Off

Auto = On Auto = Off/On

Function

All = Off

All = On

■= Input

❑ = Tape

■= Input

❑ = Tape

■= Input

❑ = Input

Stop,Pause,

Rew.,F.Fwd

■= Input

❑ = Tape

■= Tape

❑ = Tape

■= Input

❑ = Input

Play

■= Input

❑ = Tape

■= Input

❑ = Tape

■= Input

❑ = Input

Record

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METERS

The XT provides two buttons for meter display options: [PEAK MODE] and [PEAK

CLEAR].

PEAK MODE BUTTON

The [PEAK MODE] button selects the peak hold mode of the eight level meters. Each

time the [PEAK MODE] button is pressed, the peak meters switch between three

possible Peak Hold modes: Continuous, Momentary and Off. The currently selected

mode may be determined by observing the peak meters themselves.

•

Continuous: Each track’s peak LED indicator will remain lit, until the [PEAK

CLEAR] button is pressed, or the Peak Mode is changed.

•

Momentary: Each track’s peak LED indicator will remain lit for about two seconds.

Off: No peak indicators will be held on any tracks.

PEAK CLEAR BUTTON

The [PEAK CLEAR] button is used to remove any track peak LED indicators which

remain lit while either Continuous or Momentary Peak Mode is selected (see above).

This button will have no effect if the Peak Mode is turned Off.

FINE METER MODE

The XT provides a special mode which rescales the peak meters for more specific

readings. This is necessary when making very fine level adjustments, such as when

recording test tones. When Fine Meter mode is enabled, the meters are rescaled

around a center point of -15 dB (middle point of the meters) and goes plus and minus

from there in .5 dB increments. This means the -15 dB icon will be the only level

marking that is correct in this mode. The meters’ actual range will be from -18.0 dB to

-12.5 dB. However, the MAX icon at the top of each meter will still indicate clipping.

To activate Fine Meter mode:

¿ Simultaneously press both [PEAK MODE] and [PEAK CLEAR] buttons.

The TIME counter will momentarily display “FinE db” and the dB stepped

markings will appear on the left side of the meters.

To exit Fine Meter mode, press either [PEAK MODE] or [PEAK CLEAR].

The dB stepped markings will turn off.

Note: The Peak Hold function is disabled (off) when Fine Meter mode is enabled.

RECORDING A “BENCHMARK” TAPE

We recommend that you format and record a new tape with any signal, such as a test

tone, in a single pass with no overdubs during the first week of operation. Store this

tape in a safe, dry location and don’t use it for any other purpose. Such a

“benchmark” tape is useful to determine if the error correction rate is increasing over

time because the heads need to be cleaned, or if a tape is defective (see page 75).

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RECORD ENABLE

To record enable a track, press the track’s RECORD ENABLE button.

When you press a track’s RECORD ENABLE button for the first time, the track’s red

REC LED will flash, indicating the track is in record-ready, and its INPUT LED will

light (unless Auto Input is on and the transport is in play), indicating you will be able

to monitor that track’s input. If the transport is put into record mode (see Transport

Controls in this chapter), recording will begin on this track; the track’s REC LED will

stop flashing and remain lit. To disable record-ready, press the track’s RECORD

ENABLE button once again. The track’s REC LED will turn off.

RECORD ENABLE buttons can be turned on or off while you are in record mode.

SETTING LEVELS

Unlike analog tape recorders, where signals routinely exceed 0 dB with no apparent

ill effects, 0 dB on the XT represents the maximum possible signal level. Signals

above 0 dB will be clipped and lead to digital distortion.

Because of the limitations of analog tape, there is always a tradeoff between noise,

level and distortion. More level improves the signal-to-noise ratio, but also increases

distortion. This distortion increases linearly, which is why signal-to-noise is often

specified for a certain amount of distortion (typically 3%). You can always record with

hotter levels or softer levels, but either more distortion or more noise will result—with

analog, you can’t have low noise, high levels and low distortion.

With digital recording, there is a much wider dynamic range, and distortion does not

increase with increasing level. Yet once a digital system runs out of headroom and

hits 0 dB, that’s it—the onset of distortion is immediate and very noticeable if the

signal is sustained several dB above the limit. Even though very short peaks above 0

may not last long enough to cause audible distortion, you aren't capturing the signal

in its original form. As a result, because of the XT’s signal to noise characteristics, it’s

better to err on the side of setting levels not quite high enough rather than having

them distort, especially during live recording when you don’t get a second chance. In

the studio, where you have more control over levels or are using compressor/

limiters, it’s OK to light up the MAX LED on the meter on the very loudest peaks, as

long as you're sure that signals aren't going beyond that point (by using the meters

on your console, if they go beyond +15 dB).

However, since 0 dB on the XT equals the maximum level, the input reference level is

set below 0 VU. With the XT, a 0 VU signal on a +4 dBu mixer plugged into the XT’s

+4 dBu connectors (or a 0 VU signal on a -10 dBV mixer plugged into the XT’s -10

dBV connectors) will register -15 dB on the XT’s meters. Therefore, you can run the

mixer over 0 VU and still have 15 dB of headroom on the XT before distortion occurs.

Just remember that no matter what, if the XT’s meters indicate over 0 dB, distortion is

occurring or is on the verge of occurring.

Be sure the output level of your mixer matches the inputs connected to the XT (+4 or

-10).

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TRANSPORT CONTROLS

The XT’s six transport control buttons resemble those of a conventional tape

recorder, although there are several extra features.

EJECT

Press the [EJECT] button to eject the tape from the XT. If the tape is moving, it will

stop before ejecting. In a multiple XT system where there is one master and one or

more slave XTs and/or ADATs, pressing [EJECT] on the master will eject the tapes

on all machines; pressing [EJECT] on a slave machine will only eject the tape on that

machine.

The [EJECT] button will not operate while recording or formatting to avoid interrupting

these processes.

REWIND/REVIEW

Press the [REWIND] button to rewind the tape; the [REWIND] LED lights. When fully

rewound, the [REWIND] LED turns off and the [STOP] LED lights.

•

Pressing [REWIND] while recording punches out before rewinding.

Threaded tapes rewind at about 40 times normal play speed. Unthreaded tapes

rewind slightly faster.

•

Pressing [REWIND] while holding the [PLAY] button initiates “Review” mode. The

tape rewinds at about 3 times normal play speed, and you can hear chunks of

attenuated audio so you know where you are on the tape. The [PLAY] LED will

be lit, and the [REWIND] LED will be flashing. Pressing the [PLAY] button alone

returns the transport to normal play mode.

FAST FORWARD/CUE

Press the [FAST FWD] button to fast forward the tape; the [FAST FWD] LED lights.

Upon reaching the tape’s end, the [FAST FWD] LED turns off, and the [STOP] LED

lights.

•

Pressing [FAST FWD] while recording punches out before fast forwarding.

Threaded tapes fast forward at about 40 times normal play speed. Unthreaded

tapes fast forward slightly faster.

•

Pressing [FAST FWD] while holding the [PLAY] button initiates “Cue” mode. The

tape fast forwards at about 3 times normal play speed, and you can hear chunks

of attenuated audio so you know where you are on the tape. The [PLAY] LED will

be lit, and the [FAST FWD] LED will be flashing. Pressing the [PLAY] button

alone returns the transport to normal play mode.

PLAY

Press the [PLAY] button to play the tape ([PLAY] LED will light). The [PLAY] button

by itself has no effect while playing, but it will terminate recording. While locating,

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pressing [PLAY] will cause the XT to start playing after it arrives at the corresponding

tape location ([PLAY] LED will flash to indicate deferred play mode).

Pressing [PLAY] while recording causes the XT to punch out (recording stops and

playback continues). Pressing [PLAY] in any mode other than locating causes the

transport to enter play mode, and the [PLAY] LED lights.

What occurs when you press [PLAY] after inserting a tape in the XT depends on

whether the tape being played is formatted or not.

•

Formatted. The tape plays normally and the tape counter shows elapsed time

since the beginning of the tape.

Unformatted tape. The XT will detect the lack of a format and flash the

FORMAT icon while reading “noFO” in the TIME counter.

Tape transitions from a formatted to unformatted section while playing

back. The XT will detect the lack of a format and flash the FORMAT icon while

reading “noFO” in the TIME counter.

•

Tape transitions from a formatted to unformatted section while recording.

The XT will detect the lack of a format and stop.

RECORD/PUNCH IN OR OUT

Use the [RECORD] button to enter or exit record mode, and to format a tape. There

are two methods of entering record mode. You can first enable the tracks you wish to

record on and then engage recording using the [PLAY] and [RECORD] buttons. Or

you can engage record mode and then use the RECORD ENABLE buttons to place

tracks in or out of record. If no tracks are enabled for recording and record mode is

engaged, the [RECORD] LED will flash to indicate that pressing any RECORD

ENABLE button will immediately initiate recording on that track.

To start recording:

•

Hold [PLAY] and press [RECORD] to cause any record-enabled track to enter

record mode. This is recommended for punching “on the fly.”

Hold [RECORD] and press [PLAY] to cause any record-enabled track to enter

record mode. This is recommended for initiating recording when the tape is

stopped, or for punching “on the fly.”

To punch out and stop the transport, simply press [STOP]. There are three ways to

exit record mode (punch out) yet have the transport continue to play; use whichever

method is most natural to you.

•

Press [PLAY].

Hold [RECORD] , and then press [PLAY].

Use the RECORD ENABLE buttons [1] – [8] to take tracks out of record.

STOP

The [STOP] button performs three functions.

•

Stop the transport. Push [STOP] to stop any function involving tape motion. A lit

[STOP] LED indicates that the tape is not moving and is threaded. A flashing

[STOP] LED indicates that the tape is not moving and is unthreaded.

•

Thread/Unthread the tape. While the [STOP] LED is lit, press [STOP] to

unthread the tape ([STOP] LED flashes). While the [STOP] LED is flashing, press

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[STOP] to thread the tape ([STOP] LED is lit). Entering play or record more will

also thread the tape, if it was previously unthreaded.

•

Punch out. When recording, pressing [STOP] will exit record mode and stop the

transport.

SAMPLE RATE (CLOCK)

The XT records digital audio in a similar manner as a DAT recorder or digital sampler.

You may select between two sample rates when using the XT’s internal clock: 48 kHz

and 44.1 kHz. Select the sample rate to match the balance of the recording system

you are connected to.

The currently selected sample rate is indicated by the CLOCK group of icons in the

display. When the INT and 44.1K icons are lit, the XT is set to an internal 44.1 kHz

clock. When the INT and 48K icons are lit, the internal 48 kHz clock setting is in use.

The default setting is internal 48 kHz (INT 48K).

Changing the clock from 48kHz to 44.1 kHz, or vice-versa, will change the reference

point upon which the Pitch controls are based. This will also cause the TIME counter

to change; the Locate Points (see pages 48 & 49) will be referenced to different time

positions (when viewed), although they still correspond to the same physical tape

positions as before.

To select the sample rate:

¿ Press the [CLOCK SELECT] button.

Each time the [CLOCK SELECT] button is pressed, the right side of the display

will cycle through the following settings: INT 48K, INT 44.1K, DIG 48K, and DIG

44.1K.

For more info on DIG and EXT clock settings, see chapter 5.

It is recommended that you select the sample rate you want to use before you format

a tape. During the formatting process, the sample rate information is written onto the

tape. This information allows the XT to know what sample rate the tape was originally

formatted at. When inserting a tape that was formatted at 48 kHz, the XT reads the

timecode from tape for a moment and automatically selects the 48 kHz clock setting.

If the clock is then manually changed to 44 .1 kHz, the 44.1K icon will flash, to

indicate that you are using 44.1 kHz but it isn’t the original sample rate used when the

tape was formatted. The same goes when you play a tape formatted using 44.1 kHz

with the clock set to 48 kHz; the 48K icon will flash.

If you play back a tape that was formatted on an original ADAT, it will not have any

sample rate information written on it (since this is a new feature not found on the

ADAT). In this case, the XT will assume the tape was formatted at 48 kHz. Therefore,

if you had been pitching-down such a tape on an ADAT to play at 44.1 kHz, you must

press the [CLOCK SELECT] button to manually change the clock to 44.1 kHz.

RECORD CROSSFADE TIME

Crossfading is the process of fading out the original audio on tape while fading in the

new audio when punching in (or vice-versa when punching out). Whenever recording

begins or ends, the XT provides a smooth transition between the audio on tape and

the audio being recorded. This prevents gaps and/or noises when punching in and

out of record.

The Record Crossfade Time setting determines how long it takes for the audio to

completely transition from the previous audio to the current audio when recording.

The default is 11 milliseconds but can be increased to 43 ms. The faster crossfade

time allows you to punch in and out quicker, and is best used when the audio on tape

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is similar to the audio you are recording. The longer crossfade time allows for a

smoother transition and is more useful when punching in new material that is very

different from what is already on tape, or when punching in low-frequency signals.

Crossfading always begins at the punch point and continues for the amount of time

you have specified.

To set the Crossfade Time:

¿ Press and hold the [SET LOCATE] button.

While holding the [SET LOCATE] button, press the [RECORD] button. This will

advance Crossfade setting to its next value, in this case it is 21 ms. The TIME

counter will briefly read:

FA dE 2 1

While still holding [SET LOCATE], each time you press [RECORD] will advance

the Crossfade setting to the next value. Select either 11 ms, 21 ms, 32 ms and

43 ms. These time values assume a playback rate of 48kHz, and are therefore

not exact if the Pitch amount is changed, or an external clock source is used. If

the Clock is set to 44.1 kHz, the available crossfade times are actually 12 ms, 23

ms, 35 ms and 46 ms (although they will not be labeled this way). To select the

sample rate (48 kHz or 44.1 kHz), see previous section.

DISPLAYING FRAMES VS. 100THS/SECONDS

If you are using the XT with the BRC, you will notice that the BRC’s TIME display

uses the “hours:minutes:seconds:frames” format, while the XT normally uses the

“hours:minutes:seconds:100ths/second” format. This may cause some confusion

when locating to a specific position on the BRC, since the XT will show a slightly

different value when looking at the last two digits of the TIME counter. The XT will

locate to the same physical position that the BRC displays, it is simply displaying

100ths/second instead of frames.

It is possible, however, to switch the XT’s TIME display so that it counts in a 30 FPS

format, instead of 100ths/second. This is done by holding [SET LOCATE] and

pressing RECORD ENABLE [4]. Repeat this process to toggle back and forth

between these two modes. When set to “frames-per-second” mode, the TIME counter

will briefly read “d1SP FPS”. When switched back to “100ths-of-a-second” mode, the

TIME counter will briefly read “d1SP rEG”. This feature is designed for the sole

purpose of aligning the displays of the XT and the BRC. The selected mode also

affects how the Locate Points are displayed and edited on the XT.

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PITCH CONTROL

The Pitch function controls the speed of the tape, and thus the pitch of the audio

recorded on tape. It displays speed as percentage and as cents. A cent is 1/100th of

a semitone. For example, if a song is originally recorded in the key of C, then played

back with the pitch raised 100 cents, it will be in the key of C#. The XT’s Pitch control

has a range of -300 to +100 cents when using a sample rate of 48 kHz, and a range

of -200 to +200 when using 44.1 kHz. The Pitch controls will not function while

locking to an external clock (i.e. while the XT is slaved to another ADAT or is locking

to an external digital clock).

The PITCH [s] and [t] buttons control the amount of pitch change. When either button

is pressed once, the PITCH icon lights in the display, and the TIME counter

immediately displays the current amount of Pitch change. The Pitch amount is

displayed both as a percentage (%) and as cents. After a few seconds, the TIME

counter reverts back to its normal mode.

00 00^%00 00

(Cents)

ABS

(Percentage)

To set the Pitch amount:

¿ If Edit mode is currently on (EDIT icon lit), press [EDIT VALUE] to exit Edit mode.

The EDIT icon should be off.

Press and hold either PITCH [s] or [t].

After holding for more than .5 seconds, the Pitch amount will start either

increasing or decreasing, depending on which button was pressed.

To immediately set the Pitch amount to +100, hold [SET LOCATE] and press [s].

To immediately set the Pitch amount to -300, hold [SET LOCATE] and press [t].

To reset the Pitch amount to 0, simultaneously press both [s] and [t].

Note: This is not possible while recording.

ABOUT PITCH CHANGING

Here are a few things to consider when chaning the XT’s pitch:

•

One of the PITCH arrow icons will remain lit in the display to remind you that the

pitch has been changed from standard pitch.

The counter will not elapse in real time when the pitch is set to a value other than

zero.

When you change the pitch on ADAT-XT, the sampling rate will also change.

The lowest sampling rate is 40.4 kHz, the highest is 50.8 kHz.

If the internal clock is set to 48 kHz, but the pitch is lowered -147 cents, the

sampling rate is 44.1 kHz. However, for accurate TIME counter display it is

better to set the pitch to 0 and change the clock rate (see page 44).

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TRACK DELAY

Track Delay lets you delay individual tracks up to 170 ms, in order to achieve a more

desirable “feel.” For example, if the bass track is anticipating the beat, you can push it

back so it’s “in the pocket” by delaying it a few milliseconds. If you need one track to

play back earlier than the others, try offsetting all other tracks by the same amount.

This will make the remaining track appear to be playing ahead of the others.

Track Delay times are set individually per track (or for a group of tracks) in the Track

Delay Edit page. Track Delay for all eight tracks may be turned on and off without

altering the Track Delay settings of each track.

To turn Track Delay on and off:

¿ If Edit mode is currently on (EDIT icon lit), press [EDIT VALUE] to exit Edit mode.

The EDIT icon should be off.

Press the [TRACK DELAY] button.

The TRACK DELAY icon will light, indicating that Track Delay values are in

effect.

Press [TRACK DELAY] again.

The TRACK DELAY icon will turn off, indicating that Track Delay values are

disabled.

To set the Track Delay amount:

¿ Press [EDIT VALUE], to turn on Edit mode.

The EDIT icon will light.

Press [TRACK DELAY].

The TRACK DELAY icon will light (if not already turned on).

Press one of the eight RECORD ENABLE buttons [1]–[8].

The selected track’s REC LED will light and the display will indicate the current

Track Delay amount for the selected track. Press a different RECORD ENABLE

button to select another track (1–8) to edit.

ABS

1 10 3

Use the [s] and [t] buttons to adjust the amount of delay for the selected track.

Alternatively, you may select a specific digit by holding [EDIT VALUE] and using

the [s] and [t] buttons.

The selected digit will flash.

While holding [EDIT VALUE], press any [LOCATE] button to enter a value.

The next digit to the right is automatically selected, so that you may continue

entering digits in this way. Releasing the [EDIT VALUE] button deselects the

digit, and the selected digit will stop flashing.

D To reset the Track Delay time to 000.0 ms, press both the [s] and [t] buttons

simultaneously; or, hold [EDIT VALUE] and press [LOCATE 0] .

Repeat steps ¬ through D to edit the Track Delay times of any other tracks.

To set multiple tracks to the same Track Delay value:

If you need to “advance” a single track, you can set all other tracks to the same delay

value by selecting multiple tracks in step ¬ above. Simply press and hold one

RECORD ENABLE button while pressing others you wish to adjust to the same

amount, then proceed with steps ÷ through D.

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AUTOLOCATION CONTROLS

The XT’s autolocation controls consist of 10 Locate Point memories which can be set

either manually or “on the fly”, and recalled instantly.

Each Locate Point’s address can be displayed and set using either Absolute or

Relative Time.

Generally, Absolute Time and Relative Time will differ in their values. The XT,

however, maintains a constant offset between them. This makes it possible to locate

to various tape positions using either time reference.

ABSOLUTE (ABS) TIME VS. RELATIVE TIME

The TIME counter indicates where you are on the tape by using a time reference.

There are two ways of displaying the time reference off tape: Absolute (ABS), the

actual time reference, or Relative, the same time reference but relative to a different

zero point. The Relative Time 0:00:00.00 point is set by holding the [SET LOCATE]

button and pressing [LOCATE 0], or by editing the Locate 0 point.

Use the [ABS/REL] button to select between Absolute Time and Relative Time

modes; one of two icons (ABS or REL) will appear to the left of the TIME counter.

When the display is in Absolute Time Mode (ABS icon lit), the display reflects the

actual tape time. When in Relative Mode (REL icon lit), the display reflects the tape’s

time reference relative to the 0:00:00.00 position. Once you hold the [SET LOCATE]

button and press [LOCATE 0] to establish a new 0:00:00.00 position on tape (see

below), Absolute and Relative times will be offset from one another. However, that

offset will remain constant until the next time the relative zero position is reset.

LOCATE 0

If the [LOCATE 0] button is pressed, the transport will immediately begin locating to

the 0:00:00.00 time location of the tape. If the TIME counter is in ABS mode when

[LOCATE 0] is pressed, the absolute 0:00:00.00 position is located. If the TIME

counter is in Relative mode when [LOCATE 0] is pressed, then the relative

0:00:00.00 position is located. [LOCATE 0] is different from the other [LOCATE]

buttons in this respect: it may wind the tape to different locations, depending whether

the TIME counter is in ABS or REL mode. All the other locate points represent the

same actual (physical) position on tape, regardless of whether the display is in ABS

or REL mode.

The [LOCATE 0] button is also used to set the relative zero time. When this button is

pressed while holding [SET LOCATE], the relative tape counter is reset to zero

(0:00:00.00). Once this occurs, you have changed the Relative Time zero point, and

the display will automatically change to Relative Time mode (REL icon lit).

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SETTING LOCATE POINTS

There are two ways of storing Locate Point memories: manually or “on the fly.”

To store a Locate Point memory “on the fly”:

¿ Press [PLAY] to engage playback.

Alternatively, the transport may be engaged in either Rewind, Review, Fast

Forward, Cue, Record or Stop mode (i.e. the transport does not have to be in

Play mode to store Locate Points in the following manner; it is simply the most

practical way to do it).

Press and/or hold the [SET LOCATE] button.

The LOCATE icon will light and a dash (–) will begin flashing to its right.

Immediately press one of the [LOCATE 0] – [LOCATE 9] buttons.

The current tape location will be stored into the Locate Point memory you

selected. If [LOCATE] button is not pressed within 2 seconds after releasing

[SET LOCATE], the flashing dash will disappear and none of the Locate Point

memories will be changed.

To store multiple Locate Points, you may continue holding the [SET LOCATE]

button and press any of the [LOCATE] buttons when the desired tape positions

are reached.

To edit a Locate Point memory:

¿ Press [EDIT VALUE] to enter Edit mode.

The EDIT icon will light.

Press one of the [LOCATE 0] – [LOCATE 9] buttons to select a Locate Point

address.

The LOCATE icon will light, the selected Locate Point’s number (0-9) will appear

next to it, and the address of the selected Locate Point will be displayed in the

TIME counter.

Use [s] and [t] buttons to fine tune the Locate Point’s address.

Alternatively, you may select a specific digit by holding [EDIT VALUE] and using

the [s] and [t] buttons.

The selected digit will flash.

While still holding [EDIT VALUE], press any of the [LOCATE 0] – [LOCATE 9]

buttons to replace the selected digit with.

The next digit to the right is automatically selected, so you may continue entering

digits.

LOCATING

Once you have stored one or more tape positions into the Locate Point memories,

pressing any of the [LOCATE 0] – [LOCATE 9] buttons while Edit mode is not

selected will initiate a locate to its respective address. The TIME counter will

momentarily display the selected Locate Point’s address and the Locate Point’s

number (0–9) will appear in the upper-right corner of the display; the transport will

either fast forward or rewind to the selected Locate Point’s address.

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AUTO LOOPING

Auto Looping is not a feature in and of itself, but is made up of two important features

that, when used together, provide a very useful tool. These two features are: Auto

Return and Auto Play. When both are enabled, and set correctly, a section of tape of

any length may be continuously repeated.

AUTO RETURN

When Auto Return is enabled, and the transport reaches the Locate 4 point (the end

of the loop), it will automatically rewind to the Locate 1 point (the start of the loop).

Notice the arrow on the front panel connecting the [LOCATE 1] and [LOCATE 4]

buttons.

To turn Auto Return on or off, press the [AUTO RETURN] button. The AUTO-RTN

icon will light when turned on. If Locate 1’s position is after Locate 4, the AUTO-RTN

icon will flash, and the transport won’t rewind as it passes through Locate 4. For Auto

Return to work, Locate 1 must be before Locate 4.

AUTO PLAY

The Auto Play function determines whether or not the transport will automatically go

into play when a locate function is completed. This function can also be used in

conjunction with the Auto Return function (see above) to create a “loop”, whereby a

section of tape is played over and over.

To turn Auto Play on or off, press the [AUTO PLAY] button. The AUTO PLAY icon will

light when turned on.

LOOP LIMIT

There is, however, a built-in safeguard that protects the tape and the XT‘s heads and

transport from unnecessary wear and tear by automatically disabling the Auto Loop

feature after completing 100 consecutive loops. If this is not to your liking, this

safeguard may be disabled. This is done by holding the [SET LOCATE] button and

pressing [AUTO RETURN]. However, Alesis recommends doing so only when you

absolutely have no other alternative. The 100 loop limit will be enabled again once

[STOP] is pressed.

While the Auto Loop feature is engaged, you may have a “loop count” displayed

temporarily by holding the [SET LOCATE] button and pressing [AUTO PLAY].

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AUTO RECORD

The Auto Record function lets you determine exactly where recording should begin

and end beforehand, so that the machine automatically takes you in and out of

record. Locate Points 2 and 3 determine the in and out points.

After setting both Locate Points 2 and 3, press the [AUTO REC] button to enable this

function; the AUTO REC icon will light. To execute a “take”, rewind to a position

before Locate Point 2, then hold [RECORD] and press [PLAY], just as you would to

record normally. When the Locate 2 position is reached, recording will begin. When

the Locate 3 position is reached, recording stops while the transport continues.

To execute an Auto Record take:

¿ Record-enable the track(s) you wish to record on (see page 41).

Press [AUTO RECORD].

The AUTO REC icon will light.

If [AUTO REC] is pressed when the Locate 2 position is set beyond or at the same

position as the Locate 3 position, the TIME counter will momentarily read “invALid”

indicating that this is not possible, and you will not be able to enable the Auto Record

function until you change either Locate 2 or 3’s position.

Rewind the tape to a position prior to the Locate 2 position.

Hold [PLAY] and then press [RECORD].

The [PLAY] LED will light, and the [RECORD] LED will flash.

Upon reaching the Locate 2 position, recording will begin on any record enabled

tracks and the [RECORD] LED will light solid. If no tracks are record enabled

when the Locate 2 position is reached, the [RECORD] LED will continue flashing

and no recording will take place. At any time before the Locate 3 position, a track

may be record enabled, which will cause the track to immediately enter record

and the [RECORD] LED will light solid. Upon reaching the Locate 3 position,

recording will cease and the [RECORD] LED will turn off.

Whenever the XT is put into play, it requires a brief moment to locate the timecode

reference on tape and “lock.” If the Locate 2 position is reached while the AUTO REC

icon is lit before the XT establishes a lock, the punch in will not take place until a lock

has been established (after the LOCKED icon turns on).

LOOPED RECORDING

The Auto Return and Auto Play functions can be used along with Auto Record to

create a recording loop. So, you can record a take over and over until you get it right.

Simply set Locate 1 to a position several seconds before Locate 2, and Locate 4 to a

position after Locate 3. Refer to page 50 for more information.

REHEARSAL

With Auto Record turned on, you can rehearse before actually recording (or erasing

what’s already on tape). If you engage Auto Record while Rehearse and Auto Input

are enabled, when the Locate Point 2 position is reached, any tracks that are in

record-ready will be in input monitor mode and the [RECORD] LED will continue

flashing. When the Locate Point 3 position is reached, any tracks that are in record-

ready may return to tape monitor mode. The [REHEARSE] button turns Rehearse

mode on and off; the REHEARSE icon will light when enabled. Note that if Auto Input

is not enabled, Rehease will have no effect on what you hear in your monitor mix.

TAPE LENGTH

The XT can take advantage of the extra recording time on tapes longer than the

standard ST-120 length. You can use ST-180 tapes, for over one full hour of

recording time. ST-60 tapes can also be used for shorter projects; the XT

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automatically recognizes the shorter length of the ST-60 because the hubs used in

the cassette are larger. However, there is no way for the XT to tell apart a ST-120,

ST-160 or ST-180 tape, since these all use the same, smaller size hubs. In this

situation, the XT assumes the tape length to be that of a ST-120 tape. Therefore,

when using either ST-160 or ST-180 length tape, you should set the tape length on

the XT.

To set the tape length:

¿ Hold the [SET LOCATE] button and press the [FORMAT] button;

This display will briefly read “St-60”.

Repeat step ¿ to advance through the available tape length choices.

The display will cycle through the following choices:

“St-120”, “St-60”, “St-160” and “St-180”.

•

The tape length setting is not reset when a tape is ejected. However, if you power

down and up again, the tape length setting will revert to T-120.

If connected to a BRC, and you set the tape length from the BRC, the XT

“remembers” the tape length setting, even after power down.

If you insert a tape while the Tape Length setting is set to something other than

“St-120”, the display will briefly flash the selected Tape Length setting. This is to

remind you that you are using a non-standard setting.

•

If using more than one XT/ADAT, you must make sure all connected XTs/ADATs

are loaded with tapes of the same length.

It is important that the Tape Length setting and the actual tape’s length are the same.

Never use a shorter tape length than what you have indicated on the XT.

Below is a list of the four S-VHS tapes which can be used with the XT, with their

European equivalents and approximate recording times:

Type

Euro

Rec. Time

ST-60

n/a

22 min.

ST-120 SE-180 40 min.

ST-160 SE-240 54 min.

ST-180 SE-260 62 min.

Note: European tapes are actually slightly longer than their US equivalents.

Therefore, you may get a few more minutes of recording time if using European tape.

If using tapes longer than the standard ST-120, when locating for the first time past

the 39 minute position, the transport will slow down (but not stop) and then speed up

again. Each time thereafter that you locate beyond this point, the transport will not

slow down. This safeguard is suited for the unlikely event that a longer tape length is

erroneously selected, to avoid damage to the tape.

If the XT is connected to a BRC, and the tape length is set from the BRC, the

individual XT slaves will retain their tape length setting after power down.

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FOOTSWITCH CONTROLS

The XT provides two footswitch jacks: [LOCATE/PLAY/LRC REMOTE] and [PUNCH

IN/OUT]. Both accept any momentary, single pole/single throw, 1/4-inch mono (T/S)

footswitch. During power-up, the XT checks the footswitch to determine whether it is

normally open or normally closed type, and calibrates itself accordingly. If you use a

footswitch and its operation seems “reversed,” make sure it is firmly plugged into the

jack, then turn off the XT, wait a few seconds, and turn the XT on again. It will

calibrate itself to work with the footswitch.

Either the [PUNCH IN/OUT] or [LOCATE/PLAY/LRC REMOTE] jack can also be

used for connecting an LRC Remote Control. The PUNCH footswitch and the LRC

cannot be used at the same time, since they occupy the same jack, unless you

connect them with a Y-cord. However, you can interchange them if you observe

certain precautions (see next section).

FOOTSWITCH CONTROLLED PUNCHING

The [PUNCH IN/OUT] footswitch is used to enable and disable recording.

•

If a track (or tracks) is record-enabled, and the tape is playing, pressing the

punch footswitch puts the track(s) into record mode at the instant you punch. This

is equivalent to pressing [PLAY] and [RECORD] to enter record mode.

If the XT is already in record mode, pressing the footswitch punches out of record

(the track(s) will remain record-enabled should you need to punch in again later

on) and the tape will continue to play. This is equivalent to pressing [PLAY].

FOOTSWITCH CONTROLLED AUTOLOCATING

The [LOCATE/PLAY] footswitch has three functions:

•

If the transport is currently stopped, pressing the Locate/Play footswitch is the

equivalent to pressing the [PLAY] button.

If the transport is currently playing or recording, pressing the Locate/Play

footswitch causes the transport to punch out of record, fast wind to the Locate 1

point (this may be entered by pressing [SET LOCATE] followed by the [LOCATE

1] button; see page 47), and then either Stop or Play, depending on the setting of

the Auto-Play function.

•

If the XT is in the process of locating, pressing the Locate/Play footswitch will

stop the transport.

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USING THE XT REMOTE

The XT hand-held remote provides the following functions:

•

Transport functions: Rewind, Fast Forward, Stop, Play and Record.

Autolocation functions: Locate 1, Locate 2, Locate 3, Locate 4, Set Locate and

Auto Loop

•

Track functions: Auto Record and Rehearse.

All buttons function as if pressed from the XT’s front panel.

The [AUTO LOOP] button, which does not exist on the XT front panel, toggles both

Auto Play and Auto Return functions on and off simultaneously with one button press.

Note: If you wish to enable the Auto Play function without the Auto Return function

being enabled (i.e. without looping), you can initiate a deferred play with the Play

button — that is, press any of the [LOCATE 1] – [LOCATE 4] buttons followed by the

[PLAY] button.

To use the XT Remote, plug it into the [LOCATE/PLAY/LRC] jack or the [PUNCH

IN/OUT] jack, depending on which one is not being used. If connected to the master

XT in a multiple ADAT system, the XT Remote can control the entire chain of ADATs.

If using a normally open footswitch, the footswitch and remote control can be

interchanged, or used simultaneously with a Y-cord, without restarting the XT

(powering down and powering up). However, if using a normally closed footswitch,

the XT should be restarted after switching from footswitch to remote control or vice-

versa.

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CHAPTER 5

MULTIPLE ADAT-XT

O^PERATION

OVERVIEW

By itself, a single XT provides a lot of flexibility. However, in a multiple ADAT system

presents a whole new set of possibilities. Keep in mind that since the XT is an ADAT-

compatible machine, you can intermingle any number of XTs and ADATs together—

up to 16 machines total for 128 tracks (see the section entitled Combining XTs and

ADATs on page 63). When linking multiple XTs and/or ADATs together, the first

ADAT in the chain is referred to as the “master”, and the rest are called “slaves”.

Each slave is locked to the master, and relies on the time reference from the master

machine to keep the system synchronized.

Connections are easy to make; one 9 pin D connector for each slave. A slave will

automatically detect a master and go into slave mode.

INPUT

OUTPUT

INPUT

OUTPUT

Using the 8-channel proprietary digital bus, you can also bounce tracks between

machines in the digital realm. Not only does this result in a perfect copy, but one that

is perfectly synchronized with the original. This means you can make perfect safety

backups and archives of recordings. One creative way of using a multiple ADAT

system (though it can be done with just one XT) is to dedicate two tracks of one

machine for stereo mix-down. Since these mix tracks are always in sync with the rest

of the system, you can execute a seamless punch at any time. For example, you

could mix-down different sections of a recording independent from one another,

making changes in the mix as you go along.

Each slave XT can have its own tape offset, with respect to the master machine.

Combine this feature with the ability to bounce tracks in the digital domain, and you

have the ability to perform cut-and-paste style assembly editing.

SYNCHRONIZING MACHINES

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Synchronization requires a dual male, 9 pin D connector cable for each slave to be

synchronized. Use only Alesis cables. Alesis Sync Cables are available in three

different lengths: 8", 30", and 30' from your dealer. Other types of cables may cause

incorrect commands to be received, and erratic sync performance. This connection

should be made while power is off, but the machines do not need to be turned on in

any particular order. For more about connections, refer to the section entitled Sync

In/Out in Chapter 3.

After you’ve connected multiple XTs and/or ADATS together and turned them on, the

master’s display will show “ID 1” (identifying itself as the number 1 machine in the

system). The second machine will display ID 2, the third ID 3, and so on. The ID

order is automatically assigned according to how the cables are hooked up. You can

re-check a machine’s ID at any time by holding [SET LOCATE] and pressing [PLAY].

If a slave does not display an ID number on power-up, then it does not see anything

connected to the [SYNC IN] jack. Check the cables and connections.

If needed, the machines will renumber their IDs if more XTs or ADATs are connected

later. Example: Suppose you have three XTs hooked up so that machine 1 is the

master, and machines 2 and 3 are slaves. If you turn on only machines 2 and 3,

machine 1 will not be active so machine 2 decides it’s the master (ID 1) and machine

three the only slave (ID 2). If you then turn on machine 1, the machines will renumber

themselves so that machine 1 becomes the master (ID 1), and machines 2 and 3

become the slaves (ID 2 and 3, respectively). Note that in this example, if machines 1

and 3 are turned on but machine 2 is turned off, machine 3 will not slave to machine 1

because machine 2 is turned off, so the sync signal cannot pass through it from 1 to 3.

All slave XTs will automatically be placed in External Clock mode (the EXT icon will

be lit in the CLOCK icon group). The [CLOCK SELECT] button will not function on the

slave XTs since External Clock is their only option. Simultaneously, each slave’s

CHASE icon will light whenever it is chasing the location of the master.

MASTER/SLAVE INTERACTION

Pressing any of the transport buttons ([PLAY], [STOP], etc.), or [AUTO REC],

[LOCATE 0] – [LOCATE 9], [ALL INPUT], [AUTO INPUT], PITCH [s] or [t] will

automatically trigger the same functions on the slave machine(s) as well. Alesis

recommends that you always initiate operations from the master, including all

transport control functions, to minimize confusion. When you press [PLAY] on the

master, the slave(s) will locate to the same timecode point and begin playing once

sync is achieved (indicated by the LOCKED icon being lit). Pressing [EJECT] on the

master ejects all slave’s tapes as well. To eject only the master’s tape, hold [SET

LOCATE] and press [EJECT] on the master.

When recording or punching in on the slaves, initiate recording on the master but do

not have any master tracks record-enabled (unless, of course, you need to record

tracks on the master). Any tracks that are record-enabled on the slaves will go into

record, while the master will simply play. This is why record enable is an independent

function for each slave. There are two other functions when the slave(s) act

independently. Formatting is initiated independently on each slave for a number of

reasons, as detailed in the next section; however, simultaneous formatting on all

slaves is possible. Digital Input can also be set independently for the slave(s) since

you may want to record via the analog inputs on some machines and via the digital

inputs on others.

ACHIEVING LOCK

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In a multiple ADAT system, the slaves will “chase” the master (CHASE icon will light

on the XT) and can only enter record once they are in perfect sample-lock. Audio will

not appear at the outputs of an ADAT until sample-lock sync is achieved. When an

XT is in lock, the LOCKED icon will light. To achieve the fastest chase-lock

performance from a multi-ADAT system, use the Locate points whenever possible.

INDEPENDENT SLAVE MODE

If the master XT is stopped, each of the slaves will function independently. For

example, press [PLAY] on one of the slaves and it will go into play mode (or press the

[AUTO INPUT] button on a slave, etc.); the other slaves and the master will not

respond to this command. However, any time you press [PLAY] on the master or

initiate any transport function, it will take over and control all the slaves.

FORMATTING MULTIPLE TAPES

Formatting works similarly to formatting on a single ADAT. However, it is necessary

to consider what the slave does when formatting is initiated on the master. See the

section entitled Tape Formatting in Chapter 4 for more information.

MASTER FORMAT ENABLED, COMPLETE FORMAT

If the master’s FORMAT icon is on, performing a complete start-to-finish format, and

the slave tape is not already formatted:

•

If the slave’s FORMAT icon is on, the slave rewinds to the start of the tape and

does a complete format along with the master.

•

If the slave’s FORMAT icon is off, the slave rewinds to the start of the tape and

plays, but the TIME counter reads “noFO” (no format) while flashing the

FORMAT icon.

If the master’s FORMAT icon is on, performing a complete start-to-finish format, and

the slave tape is already formatted:

•

If the slave’s FORMAT icon is on, the slave rewinds to the start of the tape and

does a complete format with the master.

•

If the slave’s FORMAT icon is off, the slave rewinds to the start of the tape and

plays in sync with the master.

If any channels are record-enabled, they will start recording at time 0:00:00.00.

MASTER FORMAT ENABLED, FORMAT EXTEND

If the master’s FORMAT icon is on, and you are extending the format, and the slave

tape is not formatted:

•

The slave plays, but the TIME counter reads “noFO” (no format) while flashing

the FORMAT icon.

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If the master’s FORMAT icon is on, and you are extending the format, and the slave

tape is formatted:

•

If the slave’s FORMAT icon is on, the slave autolocates to the same time as the

master, then format extension begins with the master.

•

If the slave’s FORMAT icon is off, the slave autolocates to the same time as the

master and plays or records in sync.

To properly extend the format, the master and slaves should be playing in sync

before punching into format record.

MASTER FORMAT DISABLED

If the master’s FORMAT icon is off and initiates a RECORD command anywhere in

the tape and the slave’s FORMAT icon is off:

•

If the slave tape is unformatted, the slave plays, but the TIME counter reads

“noFO” (no format) while flashing the FORMAT icon.

•

If the slave tape is formatted, the slave autolocates to the same time as the

master and plays or records in sync,

To properly punch in, the master and slave should be in sync before punching.

Otherwise, the master will punch in immediately, but the slaves won’t punch in until

sync is achieved.

MASTER FORMAT DISABLED, FORMAT EXTEND

If the master initiates recording from the audio portion of the tape and the slave’s

FORMAT icon is on:

•

If the slave tape is unformatted, the slave plays, but the TIME counter reads

“noFO” (no format) while flashing the FORMAT icon.

•

If the slave’s tape is formatted, the slave autolocates to the same time as the

master and then format extension begins.

If the master initiates recording from the start of the tape and the slave’s FORMAT

icon is on, start-to-finish formatting begins regardless of whether the slave tape is

formatted or not.

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RECORDING DIGITAL AUDIO

BOUNCING TRACKS BETWEEN ADATS

Tracks can be bounced between machines in a multiple ADAT system by using the

digital bus. The digital bus is connected in much the same way as the sync cables,

and should be done in the same order. Refer to the section entitled Digital In/Out on

page 27 in chapter 3 for more information on connecting the digital bus. It is also

possible to bounce tracks within a single XT without the need for connecting the

digital bus. See page 38 in chapter 4 for more information.

If the [DIGITAL INPUT] button is pressed, the XT will record from the [DIGITAL IN]

connector, and the analog inputs will be ignored (both balanced and unbalanced).

Alesis’ proprietary multi-channel digital bus carries the 8 tracks of a source XT or

ADAT. These 8 channels are routed in a one-to-one relationship to the 8 tracks of the

target XT which can record the digital audio.

Note that to create an exact (sample-accurate) digital copy from a master to a slave,

both master and slave machines must have their [DIGITAL INPUT] button’s enabled.

This is necessary so that the master knows you are making a digital copy and will

offset its digital output so that it matches that of the slave machine.

If [DIGITAL INPUT] is selected and there is no optical input, the DIGITAL icon

(located in the INPUT icon group) will flash.

When bouncing audio from a master XT to a slave XT, the slave does not need to

have its Clock set to DIG since it is already getting accurate clock information from

the master, so it is sample-locked to the digital audio it is recording.

REASSIGNING CHANNELS TO DIFFERENT TRACKS

It is possible to reroute the channel/track assignments so that any incoming channel of

digital audio can be recorded onto any track, or multiple tracks. This is done by first

holding the [DIGITAL INPUT] button and pressing any of the RECORD ENABLE

buttons [1] – [8] to select which source channels you wish to record (while holding the

[DIGITAL INPUT] button, the blue INPUT LEDs will light to indicate the selected

source channels; by default, all eight INPUT LEDs will be lit). Then, after releasing the

[DIGITAL INPUT] button, use the RECORD ENABLE buttons to select the tracks you

wish to record the source channels onto (the INPUT LEDs return to their normal

status).

•

The selected source channels are re-routed to the record-enabled destination

tracks, in ascending order. Example: If source channels 1 and 5 are selected and

tracks 3 and 4 are record enabled, then incoming audio on channel 1 will be

routed to track 3 and incoming audio on channel 5 will be routed to track 4.

•

If more destination tracks are selected than source tracks, the source tracks will

repeat (cycle). Example: If tracks 7 and 8 were added to the destination tracks of

the previous example, then incoming track 1 would be routed to tracks 3 and 7

and incoming track 5 would be routed to tracks 4 and 8. This scheme allows for

copying a single incoming channel to multiple tracks.

•

If all 8 channels are selected as source tracks, no digital routing will occur as this

gives a one-to-one relationship (and is the power-on default). If no source

channels are selected, then digital silence will be input to any record-enabled

tracks.

MAKING DIGITAL BACKUPS

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XT tapes can be backed up for safety by copying all eight tracks to another XT (or

ADAT compatible machine) via the digital bus. The result is a perfect digital

duplication of the original. It’s a good idea to make backups on a regular basis,

whenever you finish work for the day, or complete a project. The backup can either

be sample accurate to the time reference or not. This depends on whether or not the

two machines are synchronized together via a 9-pin connector cable. It is

recommended, however, that you do have the Sync cables connected between the

machines, as described in the section entitled Synchronizing Machines on page 56.

When making a backup, the tape you are backing up is normally inserted into the

master machine. The tape you are backing up to is inserted into one of the slave

machines. This is recommended since the slave machine comes after the master

machine in the system chain. NOTE: [TRACK COPY] is not used to make digital

tape backups from machine to machine. Track Copy is only used to copy between

tracks on the same machine.

To make a backup tape:

¿ Connect a male/male, 9-pin D connector cable between the [SYNC OUT] of the

master XT and the [SYNC IN] of the slave XT.

This synchronizes the two machines; the master XT becomes the master (ID 1)

and the slave machine becomes the slave (ID 2).

Connect a fiber optic cable between the [DIGITAL OUT] of the master XT and the

[DIGITAL IN] of the slave XT.

This routes the digital audio from the master XT to the slave machine.

Connect a fiber optic cable between the [DIGITAL OUT] of the slave XT and the

[DIGITAL IN] of the master XT.

This routes the digital audio back from the slave XT to the master machine.

Insert the tape to be backed up into the master XT.

Insert a blank tape into the slave machine.

Press the [DIGITAL INPUT] button on both the master XT and the slave XT.

The DIGITAL icon will be lit on both machines.

D Press all RECORD ENABLE buttons [1] – [8] on the slave XT.

The RECORD LEDs for tracks 9–16 (all eight of the slave machine’s tracks) will flash.

Be sure that the RECORD ENABLE buttons are switched off for tracks 1–8 of the

master XT and the write-protect tab (or record tab) is removed (open).

Press both [PLAY] and [RECORD] on the master XT.

Since this is the master machine (ID 1), it will simply enter play (since none of its

tracks are in record-ready) while engaging record on the slave machine.

Press [STOP] on the master XT after backing up is complete.

Both machines will stop.

If a tape is in very bad condition, you may have difficulty copying it from the master

XT to a slave. If the error count is so high that the XT momentarily loses sync during

playback, all following slaves will be taken out of record automatically. In this case,

put the new tape into the master, and the damaged tape in the slave, and copy from

the slave to the master.

RECORDING DIGITAL AUDIO FROM OTHER SOURCES

Recording digital audio onto the XT from a source other than an ADAT Compatible

device requires a digital audio interface, like the Alesis AI-1. The AI-1 converts either

AES/EBU or S/PDIF digital audio protocols into the Alesis Multichannel Optical

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protocol which the XT uses, and vice-versa. Refer to the User’s Manual of the digital

interface you are using for more information.

When recording digital audio into the XT from another XT or ADAT in a multiple ADAT

system, the XT recording the audio is already synchronized with the other machines,

so the digital audio is sample-locked when recorded. This is because all slave

machines are automatically set to External Clock mode (EXT icon lights in the CLOCK

icon group). However, when recording digital audio from some other source, it is

necessary to have the XT synchronize to the incoming digital audio. This can be done

differently depending on whether you are using a single XT by itself or a multiple

ADAT system.

If using a single XT, you must connect the AI-1’s ADAT OPTICAL [OUT] to the XT’s

[DIGITAL IN] using a single fiber optic connector. Press the [DIGITAL INPUT] button

on the XT, and set its Clock Source to Digital (press [CLOCK SELECT] until the DIG

icon lights in the CLOCK icon group). Now the XT will synchronize to the clock

information which accompanies the digital audio coming from the AI-1, which is

originating from the digital audio device connected to the DIGITAL [IN] of the AI-1.

In a multiple ADAT system, you have two choices: synchronize the digital audio

source to the ADAT system, or sync the ADAT system to the digital audio source.

If the source does not have any kind of clock input (i.e., it cannot be synchronized to

an external clock), you have little choice but to choose the later option. This means

you must connect the AI-1’s ADAT OPTICAL [OUT] to the [DIGITAL IN] of the master

ADAT, which of course has its [DIGITAL OUT] already connected to the next slave,

and so on. You must then set the master’s Clock Source to Digital (press [CLOCK

SELECT] until the DIG icon lights in the CLOCK icon group). If no digital audio clock

is detected (i.e. when no digital audio is being received by the AI-1), the master XT’s

DIG icon will flash and it will continue using its own internal clock. When digital audio

is sent through the AI-1 (and consequently, a digital clock is received by the master

XT), the master XT will synchronize to the incoming digital clock (the XT’s DIG clock

will stop flashing and remain lit).

If your digital audio source does provide a means for synchronizing to an external

clock, you must connect the last slave ADAT’s [SYNC OUT] to the AI-1’s [SYNC IN].

Next, you must connect the AI-1’s [WORD CLOCK OUT] connector to the digital

audio source’s [WORD CLOCK IN] connector, and adjust its clock parameter so that

it is synchronizing to the incoming word clock derived from the ADAT system.

DIGITAL CLOCK CONSIDERATIONS

When switching between the XT’s two internal clock sample rates (48 kHz and 44.1

kHz), the reference base used for computing tape location is changed. The result is

that the same tape location will appear to have two different time addresses

depending on the sample rate (CLOCK) you are using. Since the XT cannot detect

the sample rate of an external clock, it is therefore necessary that you select between

DIG 48K and DIG 44.1K to choose which reference base the XT should use to

calculate tape positions by while syncing to the digital clock. This is done by pressing

the [CLOCK SELECT] button. See page 44 for more information.

TAPE OFFSET

When synchronizing multiple XTs, it is possible to offset any of the slave units from

the master. The main reason for doing this would be for cut-and-paste style editing.

By bouncing audio over the digital bus to a slave machine which is offset from the

master, you can copy portions of audio to different sections of tape without having to

re-record the audio. In addition, the Tape Offset feature can be used even if the XT is

the master machine in a multiple ADAT system. This is important especially when

using the XT with one or more original ADATs as slaves.When offsetting the XT’s

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tape location, the value is displayed and edited within a + or - 1 hour range, since this

is the maximum length of the XT’s tape.

Example: If you wanted to use the same take of the background vocals of a song

from the first chorus for chorus 2 and 3, you could bounce those track(s) to another

machine. Then, by offsetting the original machine the track(s) came from, you could

bounce back the vocals at the positions corresponding to the other choruses. A good

analogy is the type of cut-and-paste editing available on most computer-based

sequencers and word-processors; you copy a selection to an invisible “clipboard”,

and then paste it from the clipboard to any number of locations. In the example

above, the first time you bounce audio you are using the track(s) on another machine

as a sort of “clipboard”. You can then bounce the material back from the clipboard

track(s) onto the original tracks at any number of other positions on the tape.

Setting the Machine Offset

¿ Press [EDIT VALUE] to enter Edit mode.

The EDIT icon will light.

Press [TAPE OFFSET].

The TAPE OFFSET icon will light and the TIME counter will display the

machine’s current Tape Offset value.

ABS

00M 00S 00

Use [s] and [t] buttons to fine tune the Tape Offset value.

Alternatively, you may select a specific digit by holding [EDIT VALUE] and using

the [s] and [t] buttons.

The selected digit will flash.

While still holding [EDIT VALUE], press any of the [LOCATE 0] – [LOCATE 9]

buttons to replace the selected digit with.

The next digit to the right is automatically selected, so you may continue entering

digits.

To change the current value from a positive offset to a negative offset (-), hold

[EDIT VALUE] and press [SET LOCATE].

The offset digits will remain exactly the same. However, this step will toggle

between positive and negative values by either displaying a “-” or not.

D To reset the Tape Offset amount to 0:00:00.00, press both [s] and [t]

simultaneously.

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COMBINING XTS AND ADATS

XT TRANSPORT SPEED

The XT’s transport speed has been improved to be four times faster in engaged

mode than the original ADAT. Because of this and other unique features, it is

recommended that you make the XT the master (ID 1) in your system and your

ADAT(s) should be the slave(s). Until you need more than 8 tracks, you may want to

avoid inserting tape(s) into the slave unit(s). This is because when locating, the

ADATs will move slower than the XT. The result is the XT will locate to a specific tape

position, stop and wait for the ADAT(s) to get there before going into play.

SAMPLE RATE VS. PITCH CONTROL

The Clock Select function on the XT is another addition not found on the original

ADAT. This function allows you to instantly choose between 48 kHz or 44.1 kHz

sampling rates, as well as lets you select a digital clock for applications involving the

recording of digital audio from a non-ADAT source). The XT also writes sample rate

information when formatting a tape. This way, the XT automatically knows which

sample rate a tape was formatted with although either sample rate may be used.

Example: When playing back a tape that was formatted at 48 kHz and the Clock is

set to 44.1 kHz, the 44.1K icon will flash, to indicate that you are using 44.1 kHz but it

isn’t the original sample rate used when the tape was formatted. The same goes

when you playback a tape formatted using 44.1 kHz with the Clock set to 48 kHz; the

48K icon will flash.

It is important to remember that on the XT, the Pitch Controls are supplemental to

sample rate selection. With the original ADAT, you had to pitch down a tape in order

to playback at a 44.1 kHz sample rate. This is no longer necessary on the XT due to

the addition of the Clock Select function.

If you play back a tape that was formatted on an original ADAT, it will not have any

sample rate information written on it (since this is a new feature not found in the

original ADAT). The XT will automatically select the 48 kHz setting in this case.

Therefore, if you had been pitching-down such a tape to play at 44.1 kHz, you must

press the [CLOCK SELECT] button to manually change the XT’s Clock to 44.1 kHz.

INPUT MONITORING

The original ADAT was designed so that when you were monitoring a track’s input

signal, what you heard was the actual analog input being fed directly to the analog

output—the signal did not pass through the A/D and D/A converters. There was an

advanced feature whereby, if you held [SET LOCATE] and pressed [ALL INPUT], it

would then allow you to monitor the input after the converters, so as to hear exactly

how the signal would sound when played back from tape.

The ADAT XT lets you monitor the input signals through the converters at all times.

Because of this, there is an extremely minimal delay as the digital audio passes

through the converters’ buffers. If you were to listen to both the original signal on

your mixer and the tape return of the same signal coming back from the XT, the delay

of the signal coming from the XT would cause some phase cancellation when

combined with the original signal. Therefore, it is important that you either monitor the

original signal or the tape’s input signal on your mixer, but not both.

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POLARITY DIFFERENCES

The original ADAT was designed to invert its analog input signal internally before the

audio was sent through the A/D (analog-to-digital) converter and recorded onto tape.

The digital representation of the data (as stored on tape) was therefore inverted

relative to the analog input (i.e., a positive voltage at the analog input is stored as a

negative number on the tape). When this digital signal was played back from tape,

the data was sent to a D/A (digital-to-analog) converter, and the analog signal output

of the D/A was inverted once again before going to the output jacks. This resulted in

the input to output phase being correct, and no phase problems were experienced

when using a single ADAT or a multiple ADAT system.

However, neither the digital input nor the digital output was inverted. Therefore, if one

transfers the ADAT’s digital audio data to a DAT machine or hard disk recording

system (using the AI-1 or a similar digital interface), the audio output from the other

device would likely be out of phase with the ADAT, since it probably does not invert

the analog signal after its D/A converters. Although this in and of itself will not usually

be a problem, it may cause some confusion if multiple correlated audio signals are

combined from multiple sources since there is a possibility that signals could become

out of phase.

To prevent this from occurring, the XT design has been improved so that the polarity

remains constant from the analog to digital, and back to analog, domain. Like the

original ADAT, the result from one machine, or multiples of the same machine, is the

same: The input to output phase is correct. However, if two cloned tapes (copied

digitally either with ADATs, ADAT XTs, or both) are played back in sync on both an

ADAT and an XT, the outputs of the two machines will be out of phase relative to

each other. Since it does not usually serve any practical purpose to play the same

signal from two different tapes with two different model machines simultaneously, this

should not present a problem for you. This design improvement is only mentioned

here to explain this possible situation should you happen to experience it.

Possible problem: Let’s say you had been using a multiple ADAT system and you

recorded a stereo signal across two machines (a stereo drum recording on tracks 8

and 9), where there is a common element to each track (i.e. center signal). If you

replace one of these machines with an XT, the result would be that the track being

played back on the XT will be out of phase from the track played on the ADAT,

canceling the center signal.

Here are some possible solutions:

•

Use a phase switch on your mixer (if your mixing board provides this) to invert

the phase of the problem track to compensate.

•

Wire your patchbay or ELCO cable to reverse the input and output polarity of the

XTs in the system, but use standard cables on the ADATs in the system. This is

recommended only for studios where master tapes will be exchanged between

units or sent out of house.

•

Digitally bounce one of the stereo tracks to the other ADAT so that both sides

play back from the same machine.

Most importantly, it is better to plan recording sessions so that stereo tracks

reside on the same physical tape in a multiple ADAT system.

CONNECTIONS

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If you are replacing one or more of your ADATs with XTs and have been using the

short, 8" sync cables, you will need to use 1 meter cables (or longer) to make the

connection between ADATs and XTs. This is because the [SYNC IN] and [SYNC

OUT] connectors have been moved on the XT rear panel to the opposite side, and

the shorter cables will no longer reach.

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CHAPTER 6

APPLICATIONS

OVERVIEW

This chapter is designed to give you an idea of the multitude of applications for the

XT. These applications are not broken down into great detail. Therefore, where

applicable you will need to refer to other sections of this manual for instructions on

how to setup the XT for a particular job.

COMBINED MULTITRACK/MASTERING DECK

The XT can serve as a combination 6-track multitrack recorder and 2-track mastering

deck. Record your audio onto tracks 1–6, then run them through a mixer, using the

sub or group outs to send them back to tracks 7 and 8. Tracks 7 and 8 will contain

the stereo master recording; their outputs should then be connected back to the

mixer’s 2-track playback inputs.

Mixer Inputs

Bus Outputs

INPUT

OUTPUT

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

In addition, an external synchronizer connected to the XT’s [SYNC OUT] can output

SMPTE or MTC to simultaneously synchronize a MIDI sequencer to tape. This way,

you can mix down not only the first 6 tracks from the XT but your “virtual” tracks on

the sequencer as well, all onto tracks 7 and 8.

If you are using a multiple machine system (with one or more XTs and/or ADATs),

you can dedicate any two tracks in the system for a stereo mix. Because all machines

are perfectly synchronized to one another, you can punch-in and -out of the mix itself.

This opens up all sorts of possibilities, like changing the EQ, effects and other mix

settings for different sections of the mix.

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LIVE/LONG-TERM RECORDING

The XT is excellent for live recording because of its compact size and easy operation.

Eight tracks allow for recording audience sounds, ambience, and individual soloists

as well as a stereo mix of the PA. Of course, multiple machines may be

interconnected and synchronized to allow for more tracks.

When using more than one XT, you can increase the recording time by manually

placing the second machine into record just before the first machine is at the end of

its tape. Naturally, the audio signals would need to be split and connected to both

sets of inputs.

If you are using an Alesis BRC with a multiple ADAT system, you can take advantage

of a feature called continuous recording. By splitting the system into two (or into two

sets of machines), you can offset the second set by a specific amount of time.

Example: A 35 minute offset would provide 5 minutes of overlap. The second set of

machines would automatically kick into record just before the first set’s tape ran out.

Refer to chapter 5 for more details on connecting multiple ADATs; refer to the BRC

Reference Manual for more information about continuous recording.

Besides the typical 120 minute type of S-VHS tapes (which provide 40 minutes of

digital audio recording time), 160 minute tapes are also available (which provide over

53 minutes recording time). And the new 3-hour (180 minute) tapes provide over an

hour of digital recording time. The XT must be setup for the length of tape being

used. This is done within the Main Function Menu.

To set the tape length:

¿ Hold the [SET LOCATE] button and press the [FORMAT] button;

This display will briefly read “St-60”.

Repeat step 1 to advance through the available tape length choices.

The display will briefly read:“St-120”, “St-60”, “St-160” and “St-180”.

Below is a list of the four S-VHS tapes which can be used with ADAT, with their

European equivalents and approximate recording times:

Type

Euro

Rec. Time

ST-60

n/a

22 min.

ST-120 SE-180 40 min.

ST-160 SE-240 54 min.

ST-180 SE-260 62 min.

Note: European tapes are actually slightly longer than their US equivalents.

Therefore, you may get a few more minutes if using European tape.

Refer to page 52 for more information about tape length.

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LOCKING TO VIDEO: CODE ONLY MASTER

A common application in the audio post-production environment is locking to video

using the timecode on the video tape as a locate reference and the video signal itself

as a clock source. This requires a synchronizer interface, such as the Alesis AI-2 or

BRC. The connections consist of running a balanced 1/4" TRS cable between the AI-

2’s [SMPTE IN] connector and the VTR’s SMPTE OUT (if timecode is recorded onto

either the left or right audio track of the tape, connect the cable to the proper

channel’s output connector) and a BNC connector from the house sync being

provided to the VTR (such as a black-burst generator), or the VTR’s video out to the

AI-2 [VIDEO IN]. The AI-2’s [SYNC OUT] to the XT’s [SYNC IN] connector.

When the XT detects an on-line AI-2, it will ID itself as a slave (ID 1) and the Clock

will automatically switch to External (the EXT icon will light in the CLOCK icon group).

Refer to your AI-2 Reference Manual for more information.

COMPUTER CONTROL

MIDI SYSTEMS: VIRTUAL TRACKING

Lately, many sequencing software manufacturers have been integrating digital audio

hard disk recording and playback into their sequencers. However, the XT can offer

much of the same flexibility without the added expense of a new program (or

upgrade) or the hardware that accompanies a hard disk recording system. This

requires a timecode interface, such as Steinberg’s ACI or JLCooper’s DataSync 2,

which will convert the XT’s timecode (which is recorded when a tape is formatted)

into MIDI Timecode (MTC) which a sequencer can synchronize to.

Connect the [SYNC OUT] from the XT (or from the last slave in a multiple ADAT

system) to the [SYNC IN] of the timecode interface you are using. Connect the

timecode interface’s [MIDI OUT] to the [MIDI IN] of you sequencer. Set your

sequencer to synchronize to the MTC being received from the timecode interface. As

you control the XT’s tape motion with the transport controls, the sequencer will

automatically follow along, letting you mix digital recordings with virtual MIDI tracks

on a MIDI sequencer.

MIDI MACHINE CONTROL: VIRTUAL REMOTE CONTROL

Many of the computer-based sequencing software programs today have implemented

MIDI Machine Control (MMC) into their sequencers. MMC is a specification

implemented by the MIDI Manufacturers Association (MMA) and the Japan MIDI

Standards Committee (JMSC) which details a set of messages that provide a

universal way of having sequencers and tape machines speak to one another (not to

mention tape machines talking to each other). These messages include: basic

transport functions (like Play, Stop and Record), Locate functions (go to a specific

tape location), Track functions (record-enable, input monitor, track delay), and many

other types of messages. However, not all sequencers send out all these messages;

some even send only basic transport commands. The total amount of control you

have over your XT depends entirely on how much of the MMC specification has been

implemented in the software you use.

First, make sure your sequencer is receiving MTC from the XT (see previous

section). In addition, connect the [MIDI OUT] from your computer’s MIDI interface to

the [MIDI IN] of the timecode interface; then connect the [SYNC OUT] of the

timecode interface to the [SYNC IN] of the XT (of the master in a multiple ADAT

system). Refer to the manuals for the timecode interface and your computer-based

sequencer for instructions on how to set them up for MMC applications.

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If your sequencer generates MMC commands, you should be able to put your

sequencer into play and have the XT follow along. However, don’t be surprised if the

XT does not immediately go into play. When a PLAY command is sent from the

sequencer, the XT is issued a locate command, telling it where the sequencer is

positioned (in timecode). The XT may first have to fast forward or rewind to get to the

same location as the sequencer. Once this is done, the XT should resume playback

which is when timecode is sent to the timecode interface, which converts it into MTC,

which causes the sequencer to go into play. In essence, the sequencer is always

locking to the XT’s timecode, while the transport commands you issue from the

sequencer act as remote functions.

LIBRARIES AND ARCHIVES

The XT is superb for archiving purposes, such as speeches and broadcasts, stereo

mixes or libraries of stereo samples. The XT can record over eight hours of mono

material by recording approx. 60 minutes on each track (using ST-180 tape). Over

four hours of stereo mixes or samples can be recorded by mixing down to four sets of

stereo pairs (1/2, 3/4, 5/6, and 7/8).

MODULAR RECORDING

Collaborations work particularly well with a system or two or more XTs (and/or

ADATs). You can record your tracks onto the master machine, then do a premix onto

two tracks of a slave machine, which is of course perfectly synchronized to the

master. Send this tape to your partner, who adds parts on the other tracks. When the

tape comes back, just pop it into one of your machines, and your partner’s parts will

be in sync with the original tracks you laid down.

You may wish to include documentation with your tape which indicates the Track

Delays values, Tape Offset amount and/or Locate Point positions, so your partner

can recreate the same parameter settings you were using. Or, if you’re both using

BRC remotes, save your setup to the “data” section of tape (this is called saving the

Table of Contents, or TOC). This way, you partner can pick up right where you left

off.

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USING TRACK COPY AS A DIGITAL ROUTER

In a multiple ADAT system which combines one or more XTs and one or more

original ADATs, you can use the XT’s Track Copy function as a way to reroute its

digital output to different tracks on the ADATs.

Let’s say you have one XT which is the master, and one ADAT which is the slave.

When you normally record the digital output of the XT to the ADAT, the tracks are

transferred on a one-to-one basis. In other words, track 1 of the XT is recorded onto

track 1 (9) of the ADAT, track 2 goes to track 2 (10), and so on. By using the Track

Copy function on the XT, any track on the XT can be sent on a different channel. For

example, you could have track 1 transmitted as channel 8, which means you can

record it onto track 8 (16) of the ADAT.

In the following steps , we will illustrate how to accomplish the above example:

¿ On the XT, press and hold [TRACK COPY].

Press RECORD ENABLE [1] to select track #1 as the source track.

Release the [TRACK COPY] button.

Press RECORD ENABLE [8] to record enable track #8 on the XT.

Press [DIGITAL IN] on the ADAT and press RECORD ENABLE [8] to record

enable track #8 (16) on the ADAT.

Press [PLAY] on the XT.

D Press [PLAY] and [RECORD] on the slave ADAT.

CALCULATING TAPE OFFSET USING THE LOCATES

The Alesis BRC provides a way of setting tape offsets using any of the 20 Locate

memories in a song. This means you can set a Locate at one point, another Locate at

another position, then have one of the slave ADATs offset by the amount of time

between those two Locate positions.

The XT allows you to set a Tape Offset by entering a time reference. For example, if

you were to set a Tape Offset of 5 minutes (0:05:00.00) and the rest of the ADATs

were at 0:03:23.15, the XT would be at 0:08:23.15.

But let’s say you don’t know the time difference (i.e. the offset amount) between two

sections of music. For example, let’s say you wanted to bounce the vocals from the

chorus 1 section of a song on an XT to a slave ADAT, then bounce them back to the

XT while it was offset to the second chorus. To do this, the XT needs the exact offset

time between these two positions in the song. So how many minutes, seconds and

hundredths-of-a-second away is chorus 2 from chorus 1? Here’s a way to find out by

using the Locate Points.

¿ Play the tape(s) back from just before chorus #1.

Press and hold [SET LOCATE].

When you get to the downbeat of chorus #1, press [LOCATE 0].

This sets the TIME counter to 0:00:00.00, and automatically selects Relative

Time mode (the REL icon will light to the left of the TIME counter).

While still holding [SET LOCATE], press [LOCATE 5] when you get to the

downbeat of chorus #2 .

Press [STOP].

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Press [EDIT VALUE], then press [LOCATE 5].

Edit Mode will now be selected. The TIME counter will display a time for Locate 5

(like 0:00:47.30). Write this number down or memorize it.

D Press [TAPE OFFSET] (while still in Edit Mode) and enter the value that was

displayed for Locate 5 (0:00:47.30).

To do this, press and hold the [EDIT VALUE] button and press [LOCATE 4],

[LOCATE 7], [LOCATE 3] then [LOCATE 0]; then release [EDIT VALUE].

Press [EDIT VALUE] to exit Edit Mode.

Press [TAPE OFFSET] to turn the Tape Offset function on.

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APPENDIX A

DIGITAL RECORDING CONCEPTS

ANALOG RECORDING BASICS

Digital recording works very differently from analog recording. With analog recording,

tape containing millions of tiny magnetizable particles move past a record head. The

magnetic field around this head fluctuates according to the audio signal present at the

tape recorder’s input. These fluctuations permanently rearrange the particles on the

tape to form a pattern that is analogous to the original audio signal.

On playback, the patterns on tape are read by a separate playback head (or from the

record head, set up to read instead of record signals) that converts the magnetic

fluctuations back into an audio signal.

The biggest problem with analog recording is that the tape itself alters the sound

originally recorded on tape. Tape hiss is one problem; it superimposes a low-level

rushing noise onto the audio signal. Although there are ways to minimize noise, such

as noise reduction circuitry, this colors the sound in the process of masking the noise.

Tape’s frequency response is also an issue. Tape has a hard time “absorbing” higher

frequencies, which can dullen the sound. Moving tape faster allows the heads to

magnetize more particles and extends the high frequency response, but the tradeoff

is increased tape costs, and heftier transports to move bigger reels of tape.

DIGITAL RECORDING BASICS

With digital recording, the technology is very similar — tape moves past a record

head, and plays back through a playback head. However, the signal recorded on tape

is very different.

Audio signals entering each channel of the XT first pass through an analog-to-digital

(A/D) converter, a device that takes 48,000 samples or “snapshots” of the signal

level every second . Each sample is assigned a specific numeric value that

corresponds to its level.

Ana lo g Sig na l

Dig ita l Sig na l

A/ D

These numbers, which represent coded audio, are then converted into an audio

signal that can be recorded on tape. Fortunately, recording a number on tape doesn’t

degrade the signal.

During playback, a digital-to-analog (D/A) converter reads the numbers from tape and

outputs a corresponding level. This creates a “stairstep” reconstruction of the original

signal, which is close to (but not exactly) the same as the original signal. To complete

the process, this stairstep signal is smoothed by a low pass filter. The result is

natural-sounding audio that sounds virtually unchanged from what was originally

recorded.

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Digital audio requires lots of numbers to represent an analog version of the same

sound. Analog signals may require at least 20kHz frequency response to reproduce

audio faithfully. Digital signals for the same 20 kHz audio requires a frequency

response of several million Hertz. Due to the way individual numbers are transmitted,

digital audio requires a wide bandwidth recording medium .

WHY S-VHS?

S-VHS recording technology offers more than enough bandwidth to record eight

tracks of digital audio. S-VHS tapes are built to higher standards than standard VHS

tapes, and can take the tape shuttling required by professional audio applications. S-

VHS tape cassettes are also inexpensive compared to reel-to-reel tape, readily

available, compact, and easy to transport and store.

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APPENDIX B

TROUBLESHOOTING

TROUBLE-SHOOTING INDEX

If you are experience problems while operating the XT, please use the following table

to locate possible causes and solutions before contacting Alesis customer service for

assistance.

Symptom

The display does not light

when the [POWER] switch

is turned on.

Cause

No power.

Solution

Check that the power cable

is plugged in properly.

Format the tape, or

reinsert.

FORMAT icon flashes.

Tape is not formatted.

The record-enabled tracks’ Cables are not

Check your audio cables.

meters do not indicate

connected properly or

are shorted.

input levels.

DIGITAL INPUT is

selected.

Press [ANALOG INPUT].

Set the sample rate/clock

Can’t change the sample

rate/clock source.

If slave in a multiple

ADAT system, EXT clock source on the master XT.

is selected automatically.

Pressing [AUTO REC]

displays “invALid”.

AUTO RETURN icon

flashes.

Locate Point 3’s position Set Locate Point 3 past

is before Locate Point 2. Locate Point 2.

Locate Point 4’s position Set Locate Point 4 past

is before Locate Point 1. Locate Point 1.

When used as a slave in a No ADAT master is

Check sync cables. Power

down the Master only, then

restart.

multiple ADAT system,

doesn’t follow the master.

TIME counter does not

show tape position.

detected.

Edit mode is turned on.

Press [EDIT VALUE] to

turn Edit mode off.

Interpolation indicator (

lights/flashes.

)

One or more errors have Clean the tape heads.

been detected/corrected Make a backup copy of

your tape.

48K or 44.1K icon flashes. Tape was formatted at

If desired, press [CLOCK

different sample rate than SELECT] to use original

currently selected.

Several possible

sample rate.

Error Message in display

See Appendix C: Error

Codes

RE-INITIALIZING

If your unit behaves erratically or “freezes”, the first step is to power down the unit.

and power it back up again. If this steps do not solve the problem, you must re-

initialize the software.

To re-initialize the XT, hold down both [RECORD] and [PLAY] while turning on the

[POWER] switch. This will reset all parameters to their default settings

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CHECKING SOFTWARE VERSION

The current software version may be determined by holding [SET LOCATE] and

pressing [FAST FWD]. The XT will momentarily indicate the current operating

software version installed in the TIME counter.

ERROR RATE DISPLAY

The TIME counter has a secondary mode which, when selected, will display only the

minutes and seconds of the tape position, and the error rate while the transport is

engaged in play or record. This error rate is viewed as a count of the number of sync

block errors per 14 drum revolutions (every 280ms). Since there are 30 sync blocks

per sector, 8 sectors per track, and two tracks per revolution, the maximum number is

6720. If this display mode is selected during any other mode than play or record, the

number will always read “0000”.

To view the error rate display:

Hold [SET LOCATE] and press RECORD ENABLE [3].

The TIME counter will briefly read:

ABS

d1 SP E rr

When PLAY or RECORD are engaged, the TIME counter will change to show

minutes and seconds on the left, and a 4-digit error rate counter on the rate.

Repeat step 1 to return the TIME display to its normal state.

The TIME counter will briefly read:

ABS

d1 SP r E9

…and will then change back to show hours, minutes, seconds and 100ths-of-a-

second.

ABOUT ERROR RATE READINGS

A new, perfect tape on a clean machine will normally read “0000” with occasional

flashes up to “0005” or “0010”. Errors of 3 or below are 100% correctable, and the

odds are that significantly higher readings will also be 100% correctable. Many new

tapes out of the box from some manufacturers have readings up to 100. Readings

above 1000, however, are guaranteed to cause some interpolation to take place.

Therefore, readings up to about 10-15 aren’t anything to worry about unless

accompanied by the Interpolation indicator; but they do show you that there is

something less than ideal about current conditions. If readings rise above 20, you

should take action (see page 75). If your brand of tape has a typical error rate above

20, that's acceptable, but you want to look out for increases above the usual.

ADAT HEAD LIFE

The expected head life for each ADAT varies according to a number of factors. Given

optimum conditions, tape quality, tape care, and operating environment head life for

the average ADAT will always be better than if your ADAT is abused, placed in bad

environmental conditions and used with badly maintained tapes. Properly cared for,

your heads should last for thousands of hours.

You should not subject your ADAT to environmental extremes, humidity or moisture

of any kind, dust, dirt, extreme temperatures, extreme temperature fluctuations or any

kind of physical abuse (drops, shocks).

Under no circumstances should you remove the top or bottom cover of the ADAT.

You already know that there are NO user serviceable parts inside. However, you

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should also be aware that it is extremely easy to damage your heads and other

sensitive parts of your ADAT. Do not open up your ADAT to clean the heads.

What it comes to is this: ADAT is a very sophisticated piece of digital technology. It is

going to be used for your important projects so take the best care of your ADAT and

your ADAT heads possible.

ADAT HEAD MAINTENANCE

The heads of each ADAT are pre-aligned at Alesis. No user adjustment is

necessary. Over the course of time, depending on the quality of the tapes used and

the environmental conditions where the ADAT and its tapes are stored, head cleaning

may become necessary. Unlike analog or even video tape recorders, the actual

sound quality of an ADAT recording will not be affected until there is quite a bit of dirt

on the drum and heads. When the Interpolation Indicator (the sunburst at the end of

the location display) starts appearing frequently, even on brand new tapes, we

recommend that you bring your ADAT to an authorized Alesis Service Center for

cleaning. If the indicator is not appearing and the unit is performing normally, there is

no reason to clean the heads. Periodic or preventative maintenance should not be

over done to prevent premature wear on the headstack.

If head cleaning is necessary and you are unable to bring your ADAT to a service

center, you may try using a DRY VHS head cleaning cassette. We recommend

3M VHSHC Black Watch Head Cleaner Video Cassette or 3M ASD HC Digital Audio

Head Cleaning Cassette.

•

Do NOT use any other type of head cleaning cassette. They are abrasive and

will damage or wear out your heads.

•

Do NOT use head cleaning cassettes that require any kind of liquid.

Do not use the Black Watch cassette any more often than necessary. Over-

cleaning the heads wears them down, reducing their life span.

•

Do NOT attempt to clean the heads yourself unless you are a skilled technician

experienced in the maintenance of video cassette recorders. Information for

such technicians is available from Alesis Product Support. ADAT head cleaning

requires different materials and procedures from analog head cleaning, similar to

VCR maintenance. Cleaning the heads with a cotton swab, or rubbing in the

wrong direction, will destroy them. Opening the case of your ADAT will

void the warranty.

Maintenance of the ADAT should be based on the Interpolation Indicator (or Error

Count Display, see p. 74) or if the unit begins to behave erratically. To determine if

these symptoms are caused by dirty heads, (not a defective or worn tape), keep a

“benchmark” tape from the first weeks of operation set aside in a safe place (see

page 40). If the Interpolation Indicator lights frequently when playing back this tape, it

is likely that head cleaning is needed, particularly if several hundred drum-on hours

have elapsed since the last cleaning (see page 74).

Call Alesis Product Support for more information about head cleaning and authorized

Alesis Service Centers.

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DRUM TIME DISPLAY

The XT keeps track of how long the head has been actively spinning against tape

(i.e., threaded in stop, or play, or cue/review). This can help determine how long it

has been since the last time it was serviced or cleaned.

To display the head time counter:

Hold [SET LOCATE] and press [STOP]:

The number of drum hours will briefly appear in the TIME counter.

TAPE MAINTENANCE: SAFE TAPE

ADAT tapes are no different than any standard tape: they must be treated with care.

Never expose ADAT tapes to temperature extremes, strong magnetic fields (such as

speakers), high humidity, dust and so on.

You should always practice SAFE TAPE:

•

At the end of every session you should rewind the tape all the way to the leader,

stop, eject the tape, remove it from the ADAT and place it in its protective case.

This cuts down on the amount of dust that can enter the transport and keeps

wear on the tape at a minimum.

•

Don’t leave your tapes near speakers, power amps or other potential magnetic

fields such as televisions or electrical devices.

Don’t subject your tapes to extreme temperatures or wild temperature

fluctuations.

•

Don’t expose your tapes to high humidity, moisture or high dust levels.

Don’t leave your tapes on the dashboard of your car. (In fact, never leave ADAT

tapes in a car EVER. Keep them with you at all times!)

•

Certainly, no matter how tempted you are to open the shutter to see what is

inside, NEVER TOUCH THE TAPE. The magnetic particles on your ADAT tape

need to be preserved in the condition in which they were recorded. The oils from

your fingers WILL damage your tapes as well as get on the heads and damage

them.

•

Never turn off the ADAT power while the tape is threaded. This leaves the tape

bent around the rollers and head. Press [STOP] until the tape is unthreaded

before turning off power.

Practice “safe tape” at all times because you can never retrieve lost data.

If you are archiving your tapes, make sure they are stored in environmentally stable

conditions, i.e. a cool dry place. If you do archive your tapes, you need to check them

once a year. Run each tape through your ADAT from end to end. This will prevent

buildup that can occur when a tape is left simply “sitting”.

Of course, for your super sensitive or important material, nothing beats making

multiple digital backups. Every year or so, simply do another digital backup onto a

brand new tape.

MAINTENANCE/SERVICE

CLEANING

Disconnect the AC cord, then use a damp cloth to clean the keyboard’s metal and

plastic surfaces. For heavy dirt, use a non-abrasive household cleaner such as

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Formula 409 or Fantastik. DO NOT SPRAY THE CLEANER DIRECTLY ONTO THE

FRONT OF THE UNIT AS IT MAY DESTROY THE LUBRICANTS USED IN THE

SWITCHES AND CONTROLS! Spray onto a cloth, then use the cloth to clean the unit.

MAINTENANCE

Here are some tips for preventive maintenance.

•

Periodically check the AC cord for signs of fraying or damage.

Unplug the XT when not in use for extended periods of time.

Do not leave tapes inserted halfway into the XT when not in use, as this allows

dust to enter the transport chamber. Always leave tapes either fully inserted, or

remove them completely.

REFER ALL SERVICING TO ALESIS

We believe that the XT is one of the most reliable digital recorders that can be made

using current technology, and should provide years of trouble-free use. However,

should problems occur, DO NOT attempt to service the unit yourself. The full AC line

voltage, as well as high voltage/high current DC voltages, are present at several

points within the chassis. Service on this product should be performed only by

qualified technicians. THERE ARE NO USER-SERVICEABLE PARTS INSIDE.

OBTAINING REPAIR SERVICE

Before contacting Alesis, check over all your connections, and make sure you’ve read

the manual.

Customers in the USA:

If the problem persists, call Alesis USA at 1-310-841-2272 and request the Product

Support department. Talk the problem over with one of our technicians; if necessary,

you will be given a repair order (RO) number and instructions on how to return the

unit. All units must be shipped prepaid and COD shipments will not be accepted.

For prompt service, indicate the RO number on the shipping label. If you do not have

the original packing, ship the XT in a sturdy carton, with shock-absorbing materials

such as styrofoam pellets (the kind without CFCs, please) or “bubble-pack”

surrounding the unit. Shipping damage caused by inadequate packing is not covered

by the Alesis warranty.

Tape a note to the top of the unit describing the problem, include your name and a

phone number where Alesis can contact you if necessary, as well as instructions on

where you want the product returned. Alesis will pay for standard one-way shipping

back to you on any repair covered under the terms of this warranty. Next day service

is available for a surcharge.

Field repairs are not normally authorized during the warranty period, and repair

attempts by unqualified personnel may invalidate the warranty.

Service address for customers in the USA:

Alesis Product Support

3630 Holdrege Avenue

Los Angeles, CA 90016

Customers outside the USA:

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Contact your local Alesis dealer for warranty assistance. The Alesis Limited Warranty

applies only to products sold to users in the USA and Canada. Customers outside the

USA and Canada are not convered by this Limited Warranty and may or may not be

covered by independent distributor warranty in the county of sale. Do not return

products to the factory unless you have been given specific instructions to do so.

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APPENDIX C

ERROR CODES

The following errors codes may appear from time to time in the TIME counter display.

Use this reference to learn the possible cause of the error code before attempting to

contact Alesis Product Support.

Dew Sensor: The unit has been subjected to overly high humidity. Do not

operate the unit. Turn on the power without installing a tape. This will allow

the unit to warm up and disperse the moisture. If the “dv” message does not

go out after 2 hours contact Alesis for service.

noFo

No Format: The tape is located at a point that has not been formatted.

Rewind the tape to the beginning. Press play. If the tape is formatted the

message will change to “LEAd” for 15 seconds then “dAtA” for 2 minutes

prior to the beginning of the audio section. If these messages do not appear,

the tape should be formatted.

FULL

Serial Buffer Full: Not seen very often. “FULL” occurs when a slave XT is

slow to sync to the master XT. The serial buffer within the micro controller

has become full of data. This could be the result of unlike versions of

software within each unit. Sometimes the problem is related to the sync

cable itself. It is recommended that only shielded and grounded cables be

used as sync cables.

Finally, this error may occur in slave machines that are playing damaged

tapes. The edges of the tape have become damaged. If only one tape is

found to cause this problem, don't use it. If the problem is seen with several

tapes, the machine should be taken in for service. Contact Alesis for service.

Er 0

Tape Load Error: This may be a problem with the TAPE LOAD or (insert)

switch. This can be caused by labels that have been applied to the cassette

outside of the designated area. If this error message is displayed with only

one tape, the cassette may be at fault. If the message is displayed with

several tapes, with and without labels, you should contact Alesis for service.

Er 1 – Er 4

Tape Threading: These error codes are usually related to tape threading.

Eject the tape and load it again. If this error message is displayed with only

one tape, the cassette may be at fault. If the message is displayed with

several tapes, with and without labels, you should contact Alesis for service.

Er 5

Drum/Capstan: This error points to the head drum and capstan servos. The

problem is caused by anything creating extra resistance in the tape path, an

unevenly wound cassette or a misalligned cassette shell. You should fast

forward and rewind the cassette from end to end to flex the tape then try the

tape again. If this error message is displayed with only one tape the

cassette may be at fault. If the message is displayed with several tapes, with

and without labels, you should contact Alesis for service.

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Er 7

Er 8

Clean Heads: If this error message is seen, it may indicate that the heads

are in need of cleaning. See page 75 for information about cleaning your

heads.

Sync Lost: Error message 8 normally occurs when the tape reaches the end

while formatting or recording. It is caused by the fact that the XT cannot read

timing data from the leader. The error is caused by the unit losing sync. If

the unit is being run in the slave mode check the sync cable connection. It is

recommended that only shielded and grounded cables be used as sync

cables.

Er 9

Take-up Reel. This error indicates that the take-up reel didn’t move after

PLAY or RECORD was engaged. This can spool tape out of the cassette, so

the XT stops the tape immediately. It’s possible that the take up reel of the

tape is jammed; try a blank or unimportant tape to see if the error recurs.

The idler wheel that turns the take-up reel may need cleaning or

replacement.

no 9ood tc

No Time Code. The XT is reading control track pulses, but no helical scan

time code. Usually, a video tape has been inserted into the XT. Format the

tape in the ADAT format.

(Error 10 through 13 and 16 are not used)

Error 14-15

Error 17

Crossfade buffer, state or channel error. This indicates a problem with the

RAM buffer used for crossfading. Reinitialize the XT using the procedure on

p. 75. If the problem recurs, the unit must be serviced.

End sensor error. One of the optical sensors used to detect the clear leader

at the head and tail of the tape cartridge is not working or is blocked

temporarily. If the error recurs on other tapes, the unit needs to be serviced.

CAL PG

This error message may appear when you turn on power to the XT. If the

display also reads "CAL brAC", there may be something wrong with the

battery backup of RAM, or the RAM was accidentally scrambled. If no other

error messages occur during operation, and the Interpolation Indicator (see

p. 34) is not flashing, playback and recording are still possible. However, do

not format any blank tapes on the XT until the PG is reset .

CAL brAc

If this message appears during the turn-on cycle, the brake settings have

been set to the default settings due to a problem with RAM memory or the

backup battery. Perform the automatic brake calibration (see below). If this

message appears in the midst of normal operation more than once in every

ten hours of operation, perform the automatic brake calibration (see

"Automatic Brake Calibration Procedure", below).

Automatic Brake Calibration Procedure

If the "CAL brAc" error message appears, the internal braking system of the XT may

need to be adjusted. The intelligent transport software is capable of calibrating the

XT's brakes automatically in a self-test procedure. This procedure may be performed

as a regular maintenance procedure every 250 hours of head drum operation (to see

the hours on your unit, hold SET LOCATE and press FAST FORWARD).

1. Obtain a standard ST-126 length tape (preferably an Ampex 489 such as that

was shipped with your unit) that has already been completely formatted from

beginning to end. Use a non-essential tape (i.e., don't insert your only copy of a

master tape). Do not use other lengths of tape such as ST-180 or ST-60.

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2. Turn off the POWER switch. Hold REWIND and FAST FORWARD while turning

the power back on again. The display will read "CALIbrAt".

3. Insert the tape into the transport.

4. At this time the unit will adjust the brake tension automatically. The transport will

shuttle back and forth for about 5 minutes. During the operation, the tape will

half-eject twice. This is normal.

5. The display should briefly read "PaSS" before ejecting the tape fully and

returning to the "ADAT-XT" start-up screen. The brakes have now been

recalibrated.

If the "CAL brAc" message appears again shortly after a brake calibration has been

performed, there may be something wrong with the tape being used. Check

operation with another tape. If the message persists, the unit must be professionally

serviced.

Note: If these errors occur only with a certain tape, or display once in a while, it’s

probably not cause for concern. Errors 1 through 3 and 9 can indicate conditions that

may damage a tape; the other errors won’t damage the tape or the machine. Backup

the data from that tape to another machine, if possible, and continue working from the

backup copy.

STEPS TO TAKE BEFORE CALLING FOR HELP

If an error message is displayed or if an ADAT starts behaving strangely, then please

follow the suggested steps below:

Stop the tape playing (or recording). Does the error go away?

Rewind the tape a minute or two. Press [PLAY]. Does the error recur?

Eject the tape. Place it back in the XT and press [PLAY]. Does the error recur?

Turn down the volume of any mixer or amplifier you have connected to the

outputs of the XT. Turn the power of the XT off, wait a minute and then re-power

the XT. Repeat steps 1 to 3. Does the error come back?

If it does, then try a different tape. Repeat steps 1 to 3. Does the problem recur?

Try the tape in a different XT or ADAT. (If you are using a single ADAT system,

see if you can visit your dealer.) It does not make sense to send your XT in for

service when there may be only a problem with, for example, some tapes that

you are using. If the same problems occur in another XT or ADAT, then either the

tape is faulty or it was formatted on an out of alignment XT or ADAT. At this point,

you should call Alesis Product Support. If the problem does not occur, and the

tape works fine, then we need to look at your XT. You need to call Alesis Product

Support.

Whatever happens, the answers to all these questions are useful information for our

Product Support representatives. The more we know, the faster we can discover the

cause of your problems. You will help us isolate whether the problem lies in the XT,

the tape or somewhere else.

APPENDIX D

SPECIFICATIONS

Transport

Recording Format:

Tape Format:

ADAT Rotary head digital recording

S-VHS cartridge

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Heads:

4 (2 Read, 2 Write); Read before Write

Approximate Recording Times:

ST-60:

22 minutes

ST-120/SE-180:

ST-160/SE-240:

ST-180/SE-260:

Fast Wind Rate:

40 minutes

54 minutes

62 minutes

40 x play speed (Threaded)

Audio

Number of Audio Channels:

Audio Conversion:

Record (A/D):

Eight

18 bit linear audio, 128 times oversampling, single

converter per chan.

Playback (D/A):

20 bit linear, 8 times oversampling, single converter

per chan.

Sample Rate:

44.1 /48kHz, Selectable

+100/-300 cents (48kHz), ±200 cents (44.1kHz)

20Hz– 20 kHz, ± 0.5dB

92 dB, A weighted

Vari Speed Range:

Frequency Response:

Dynamic Range:

Distortion:

.009% THD

Channel Crosstalk:

Wow and Flutter:

Reference Level:

Better than -90 dB @ 1kHz

Unmeasurable

-15dB

Analog Inputs/Outputs

Connectors:

Balanced:

Unbalanced:

Input Impedance:

One ELCO connector (in/out)

Sixteen RCA jacks (8 input, 8 output)

Balanced:

Unbalanced:

10kW

Output Impedance:

Balanced:

Unbalanced:

150W into 600W Nominal

150W into 10k W Nominal

Nominal Input levels:

Balanced:

Unbalanced:

+4 dBu (1.23V)

-10 dBV (3.17V)

Maximum Input levels:

Balanced:

+19 dBu (6.90V)

+5 dBV (1.78V)

Unbalanced:

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Digital Inputs/Outputs

Connectors:

Communications Protocol:

Two EIAJ fiber optical jacks (1 in, 1 out)

8-Channel Serial Communication

General

Power Requirements:

Power Consumption:

Operating Temperature:

Operating Humidity:

90V–250V AC, 50/60 Hz

80W

10–40∞ C for specified performance

80% maximum with no dew condensation for

specified performance

Dimensions (H x W x D):

Weight:

5.25" x 19" x 11" (133.3 x 482 x 279.5mm)

20 lbs. (9 kg)

CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with

the same or equivalent type.

AVERTISSEMENT: Risque d'explosion si cette pile est mal utilisée tel que introduite

faussement dans l'appareil ou remplacé par une pile non-equivalent.

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Glossary

GLOSSARY

A/D or Analog-to-Digital Converter

The device that converts an analog audio signal to digital audio. Once encoded, all

audio is stored or processed as a series of numbers rather than as the audio itself.

AES/EBU Interface

A two-channel, digital audio hardware/software standard. The AES/EBU interface

allows for data communication between professionally-oriented digital devices (such

as digital signal processors, hard disk recording systems, synthesizers with AES/EBU

outputs, digital audio workstations, etc.).

Autolocation

The process of automatically rewinding or fast forwarding, as necessary, to find a

specific point on tape. Autolocation is usually initiated by pressing a button that tells

the machine the point to which you want it to autolocate.

Automation

Generally, automation means using a machine or computer to perform or repeat one

or more tasks. In recording systems, automation refers to the process of recording

and playing back mixer movements such as faders and mute buttons. In many

sophisticated systems, all controls can be automated.

Auto Loop

A combination of two functions, Auto Return and Auto Play, which allows a specific

section of tape to be played over and over again; particularly useful for looped

recording whe used along with the Auto Record function.

Auto Play

A function whereby playback is automatically engaged upon completing a locate.

Auto Record

A function whereby recording is carried out automatically. The point where recording

begins is determined by the Mark In point. The point where recording ends is

determined by the Mark Out point.

Auto Return

A function whereby the transport automatically begins to rewind once reaching a

certain point, and returns to an earlier point. The point at which rewinding begins is

called the Auto Return End point. The point that is returned to is called the Auto

Return Start point.

Balanced Audio Signals

Signals that are carried on three-conductor cables, with two of the conductors

carrying the same signal 180∞ out of phase and third as ground. Balanced

connections usually cost more than unbalanced connections, but are less susceptible

to picking up hum and interference with low-level signals.

Bounce

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Glossary

Bouncing means taking audio from one track and placing it on another. The term,

sometimes called “bouncing down,” also describes the process of mixing several

tracks onto one or two.

Bus

A bus generally refers to any common signal pathway. In a mixer, a bus is usually a

wire that is or can be made common to the outputs of any or all channels in the

mixer. Examples of buses include the main stereo mix, sub-mixes, monitor buses and

aux sends.

Channel

In audio, a channel is an internal audio path maintained separately from other audio

paths of identical function. Mixer input strips are examples of channels, but an audio

snake also has channels.

Chase/Lock

Chase/Lock refers to a tape machine’s ability to read incoming timecode, locate its

tape to the position indicated by the timecode, and synchronize playback to the

incoming timecode.

Clip

In the analog world, clipping occurs when the input to a circuit exceeds the gain of the

circuit. The circuit passes the signal at its maximum value. All input values exceeding

the maximum value are “clipped.” The result is audio distortion. In digital audio,

clipping occurs when the input to an A/D exceeds the voltage represented by the

maximum number the A/D is capable of transmitting.

Crossfade

A crossfade is a gradual “dissolve” between two portions of audio; one segment of

audio fades out while the other fades in. When punching in on the XT, the audio on

tape is faded out while the new audio which is being recorded is faded in.

DAT

Digital Audio Tape. This term has come to mean specific digital audio tape recorders

that use cartridges smaller than those of a standard cassette, and which record two

tracks of digital audio (and sometimes timecode).

Digital I/O

Input and output connections where signals passed from one stage to another remain

in the digital domain. The XT has digital I/O connectors that carry digital data for all

eight tracks.

D/A or Digital-to-Analog Converter

The device that converts digital signals back into an analog format so that they can

be heard.

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Glossary

Fiber Optical Connector

A device that transmits signals through light instead of conventional wire. Advantages

include higher speed and the ability to carry multiple chanels of information over a

single, thin cable.

House Sync

A video signal distributed to any device that requires a reference to maintain proper

sync relationship with other devices. The signal comes in several forms: Blackburst

results in a black video screen when fed to a video monitor; Color bars are the

standard reference for adjusting video equipment. Color bars can be seen on many

stations just before they come on the air.

Input

An input is a path through which audio passes from one electronic device into

another. types of inputs vary in connector type, level, use (sends, monitor, mix), and

electrical characteristics (impedance, balanced or unbalanced). They can be analog

or digital.

MIDI

Musical Instrument Digital Interface (MIDI). A protocol whereby various MIDI-

compatible products can communicate various musical and non-musical messages

(such as notes, controls, etc.).

MMC

MIDI Machine Control (MMC). A subset of MIDI messages which correspond to tape

machine’s transport controls and other functions.

Mute

Used as a verb, to “mute a channel” means to turn off the audio for that channel.

Used as a noun, “mutes” are the buttons which turn off a particular channel. Mutes

are usually non-destructive, though not always. Mutes are often automated as part of

mixer automation systems.

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Glossary

Output

A path through which audio passes from one device to another. Types of outputs vary

in connector type, level, use (sends, monitor, mix), and electrical characteristics

(impedance, balanced or unbalanced). They can be analog or digital.

Oversampling

The process of taking more samples than is required in order to more accurately

reconstruct a digitized signal back into analog audio.

Post-production

Begins after the film or video location shoot and is the process of combining, editing

and processing audio elements into a final product to be married with the picture.

Punching

The process of entering and/or exiting the record function while the tape is playing.

This allows recording over specific pieces of tape, such as recording over a section

with bad notes, as opposed to recording over the entire length of the track.

Record-Ready

A track mode, often called “armed.” When you want to record on a track, you “ready”

or “arm” the track. When you push the record button, all tracks that are ready or

armed will go into record mode.

Rotary Head

A type of tape head, as used in the XT, that spins at a high rate of speed in order to

create the same effect as having the tape moving by at rates not physically possible

with today’s tapes and transports.

Safe

A track mode. When a track is safe, it is not ready for recording.

Sample Rate

A digital representation of an analog signal created by checking, or sampling, the

analog voltage a fixed number of times per second. The greater the number of

samples, the more accurate the representation of the analog signal. The CD uses a

sampling rate of 44.1 kHz; it checks the analog signal 44,100 times per second.

Sample Rate Conversion

Sample rate conversion is the process by which audio originally recorded at one

sample rate is converted to another sample rate. The audio is converted by shifting

its pitch up or down, and then played back at the new sample rate.

SMPTE/LTC

Society of Motion Picture and Television Engineers (SMPTE and Longitudinal Time

Code (LTC). A standard for LTC was specified by the SMPTE, and has been adopted

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Glossary

by the motion picture and television industries. A complete description of LTC can be

found in The Time Code Handbook, by Walter Hickman. SMPTE timecode is the

standard sync reference for professional audio and video post-production.

S/PDIF Interface

Similar to the AES/EBU interface, but created by Sony and Philips with consumer

applications in mind. The optional AI-1 from Alesis offers both the consumer S/PDIF

interface and professional AES/EBU format for use with the XT.

S-VHS

Acronym for Super Video Home System, an improved version of VHS with greater

resolution and dubbing capabilities, as well as improved sound.

Track

An area of tape on which audio is recorded. A track can be thought of as a picture of

an output over time.

Unbalanced Audio Signals

Signals that are carried on two-conductor cables, one “hot” and one ground.

Unbalanced connections save costs, but are more prone to picking up hum and

interference with low-level signals.

VHS

Acronym for Video Home System, a video recording system introduced for consumer

use and using standardized cartridges.

VITC

Vertical Interval Time Code (VITC) is timecode information encoded in the vertical

retrace interval of the video signal (this is the time when the beam is getting back to

the top of the screen). The advantage of VITC is that the timecode value can be read

when the video deck is paused, and is accurate to the frame.

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Index

INDEX

ABS/REL Button 15, 35

Absolute Time 35, 48

ADAT 55, 59, 63-65

AI-1 61

Formatting 56

Master 55

Slave 55

Optical 27

Outputs

AI-2 69

All Input 39

Balanced 24

Digital 27

Unbalanced 23

Analog Recording 71

Auto Input 39

Auto Play 19, 50

Auto Record 20, 50-51

Auto Return 19, 50

Autolocation 48

Backup 60

Peak Clear 40

Peak Mode 40

Phase 64

Pitch 21, 45-46

Play 17, 43

Bandwidth 72

BRC 52, 68

Chase 34

Power 7, 13

Punch In/Out 43, 44

Record 43

Clock 44, 61, 69

Copying Tapes 60

Crossfade Time 45

Cue 42

Re-initializing 74

Record Crossfade Time 45

RECORD ENABLE Buttons 15, 41

Recording 16

Data 30

Analog 37, 71

Digital Clock 61

Digital Input 59

Digital Cecording 41, 71

Display 32

Bouncing 38, 59

Digital 37, 41, 71

Live 68

Track Copy 38

Icons 33

While formatting 30

Rehearse 51

Relative Time 35, 48

Review/Rewind 42

S-VHS 11, 68, 72

Sample Rate 44, 69

Set Locate 35

Signal Level 41

Software Version 75

Stop 44

Drum Time 75

Edit Value 36

Eject 42

Error Codes 79

Error Rate 74

Fast Forward 42

Footswitches 28, 53

Formatting 14, 29-31

Complete 30

Extend 31

Sync 26, 55

Recording while 30

Head Cleaning 74-76

ID 34, 56

Tape Length 47, 68

Threaded 11, 42, 44

TIME Counter 13, 15

Track Copy 38

Inputs

Balanced 24

Digital 27

Monitor 39

Select 37-38

Track Delay 47

Transport 15, 42-44, 63

Unthreaded 11, 42, 44

Video 69

Unbalanced 23

Lead 30

Write protect 29

s and t buttons 36

Locate 48

Locate Reference 69

Locked 34, 57

Loop 19

LRC Remote 28

Meters 40

MIDI 69

Multiple ADAT System

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Index

ADAT XT Reference Manual

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