O2R version digital console
O2R Version 2 Digital Recording ConsoleHigh-bit audio The 02R has been capable of outputting 24-bit data all along, but it has a new feature that's easily worth the price of admission alone: using a bit-splitting scheme, the 02R's optional 24-bit mode records each track onto two tracks of your 16-bit digital recorder. This works with any recorder-ADATs, DA-88s, Pro Tools, etc. For example, Bus output 1 would get recorded onto a digital tape recorder's Tracks 1 and 5. Track 1 receives the upper 16 bits of data and Track 5 gets the lower eight. On playback the 02R automatically recombines the data and returns it to the lower-numbered channel's fader (e.g. Tape 1). Bus, aux, stereo bus, and direct out signals can all be recorded in 24-bit mode. 24-bit mode, I could finally understand why pro audio snobs label 16-bit audio as "harsh." A/B comparisons to 16-bit tracks revealed an astonishing difference. The 24-bit tracks sounded as if a veil had been lifted. The high end was much sweeter and silkier, and there was! startling nuance, depth, and realism to the track. The 16-bit version sounded strident, pinched, and 2-dimensional in comparison. Also on the O2RV2 since the stereo bus can now be routed to card slot outputs, you
Miscellaneous A number of other niceties await those who upgrade to V2. So I patched the ADAT's analog output to a tube compressor, brought the track into a mic/line input on the console, and simply moved all the automation events from the digital tape return to the mic/line fader. Then route the line inputs to the master stereo bus. I also wish for a separate control for the control room outputs; often I find the arbitrary 20 dB dim linked to talkback too great. You can compress the automix and scene data and force bulk dumps to be transmitted at intervals. A new cue dim control allows you to set the level to which cue outputs are attenuated when talkback is engaged. Also, their phase and attenuation functions are no longer linked, so they be adjusted independently. You can even choose which parameters are not to be recorded via a Preferences page. You can even move the events from the chorus of one automix to a verse on another automix. 1, for Dolby AC-3 Surround) are all supported; you choose w!hich mode you want to use, and various icons and graphs guide you through your panning adventures. Altogether, the number of panning variations and the degree of control is extensive, yet all operations are easy to grasp and execute. Routing Version 2 brings some sorely needed improvements to the cons!ole's routing capabilities, greatly enhancing the board's flexibility and ergonomics. The challenge is, of course, that you must learn/memorize the various control interfaces (e. For instance, you can route MDM Track 9 to any tape Channel 9 th!rough 16, but not to Tape 1-8 or any of the mic/line channels. The V2 can increase a bass line by running through a tube compressor, but it was on a digital tape return; the digital inputs! have no analog insert points.
Common topics in this essay:
Pro Tools,
Control Changes,
Selected Channel,
MDM Track,
Awesome V2,
AC-3 Surround,
DVDAutomation Version,
MS Mid-Side,
MIDI Remote,
Console High-bit,
stereo bus,
automix events,
version 2,
aux sends,
digital tape,
fader moves,
tube compressor,
24-bit mode,
midi remote,
digital tape return,
rotary encoder,
digital recording console,
02r via midi,
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Acceptance Essays
