xelaris wrote: ↑
Mon Aug 07, 2017 4:18 am
just found out another inconsistency....
After pressing the Stereo-Link my recordings disappeared! For a moment I panicked as I thought I lost them but fortunately these were still there as "unassigned" files (without the asterisk in the TRACK > TAKE > FILE display)...still, no warning message? And why allowing a Stereo Link on pre recorded tracks in this way? Another example of bad design...I can imagine some beginners losing tracks and recording unnecessarily for lack of feedback from the R24?!
I'm starting to realize my and my R24 aren't made for each other (sorry).
Stereo-Link generates physical stereo WAV files. As a result, any mono WAV files have to be deassociated with the tracks. Conversely, undoing stereo-link will deassociate any stereo WAV file to allow for mono WAV files.
Most of this is implied in page 20 of the manual (second bullet, right side HINT section); the rest implied under page 25.
The R16/R24 differ from many older multi-track recorders in that the physical input is directly tied to the track/fader below it. As a result, these units are designed for the user to associate/deassociate track with WAV files (mono or stereo depending upon stereo link). This is needed as, for example, there is only one high-impedance (instrument) input -- to overdub a second guitar part then requires moving the first WAV file to a different track, and setting the original track for "new take".
Older MTRs used the concept of virtual takes which were tied to the track position, but allowed for the assignment of the physical input to any track/fader. For these, the two guitar part example becomes: record first track, then activate a different track as destination for the same input and record second part. These devices (eg: HD16) also did not create stereo WAV files -- stereo link only associated the pan/volume settings for an adjacent pair of tracks but still generated mono WAV "takes".
I'm not going to dig up my R16 to experiment, but if you follow the procedure on page 25 (left column), would it by any chance show the name of an already assigned track is step 5? That is, if track 3 had file mono-005.wav assigned to it, does step 5 come up with that file already high-lighted?
Page 91, second column, seems to imply that you can test play files during the selection process. You may also want to consider giving the files specific names rather than the automatic names so you can find them later (pages 92-95). That, or create a track-list log sheet that specifies the file name and the contents after each recording run... (note I state file name, not track/fader number).
xelaris wrote: ↑
Mon Aug 07, 2017 4:08 am
In one project I recorded several takes on several tracks. Days later I opened the same project and the 2 best tracks were green lit (and so playable and easy to spot)...of course I remembered having some other takes on other tracks...but where can I find these? Is there a better way to check past recordings than by switching on all 24 tracks and looking at the leds?
The best way I've found so far is by clicking TRACK and check all the files in the projects...still, I don't know exactly which track is associate to each file. The tracks are visible individually as waveforms but not as a group...
Once again: do as others have done, and create a track log on paper, listing file name, contents, and which track it is assigned to.
The R16 only had a two-line text display and would give the name of the assigned file OR "NOT ASSIGN" if the track was empty. It would overwrite if recording were started and there was a file name, so one had to manually set it to "not assign" to create a new file -- the R24 uses the "New Take"/"Overwrite" setting to control that.
btw: I hoped these recordings could be displayed in the TrackSeq (e.g. as a long rectangle) but when pressing it (the soft key) all I get "Track Seq On" message.
Any reason why samples and drums can be represented symbolically on a display (e.g. in the TrackSeq) but not for long recordings? (after all all these are sounds in the end). If the R24 can show us waveform of recordings (as we see if we need to Trim or Stretch) why not as a long rectangle on the Track Sequencer?
Since my R16 does not have the sequencer this is just hypothesis: The track sequencer is designed to work with LOOPs and rhythm PATTERNs... Your main audio files are not set up as either. You would have to assign the files to a track (page 49) (since the sequencer doesn't sequence bare files), define it as a loop (page 50), define start and end points (page 51) for the loop (at which point you might as well just play the file to figure out what is on it)
The manual is badly written too...
Compared to some manuals, the R-series manuals are fairly decent... Others still have a lot of "Chinglish" in them which makes some functions difficult to understand.
The main R-series (skipping the R8 which has input assignment) concepts are:
- Inputs are tied to track/fader
- Tracks are assigned files by name (created if new-take, else replaced if overwrite)
- Files are MONO WAV except for pairs that are in Stereo-Link (when the file is STEREO WAV)
- Mono files can only be assigned to mono tracks; stereo files can only be assigned to linked tracks -- changing link status disconnects any existing files.
- Any file can be attached to any compatible track/pair.
Other MTRs, in contrast
- Inputs are assigned to active REC tracks in left to right order (8X mode on HD16 is one-to-one, but most devices have more faders than inputs)
- Virtual takes are tied to the track position, and one must do a COPY operation if they need to move it to a different track; there are a limited number of vtakes per track (8-10 being common), and vtake slot must be selected ahead of time
- Files, if accessible directly*, are MONO WAV regardless of stereo linking
- You can stereo link tracks after recording mono contents, but the result is probably not going to be desirable
* The BOSS BR-series uses delta-sigma encoding rather than PCM WAV, and uses a "cut-list" that identifies what parts of each project file contain content for a track; if one does a lot of edits, one needs to compress [optimize] the project [an operation that rewrites the audio data in a clean sequence rather than chunks, and then resets the "cut-list" -- the BR-800 no longer has the compress/clean-up function, but allows for ~30K "events" [two events per record, punch-in/out, etc.] vs the BR-600 limited to 2K events with optimize feature. To get WAV files requires running a WAV converter operation (can be done on device but needs much larger memory card to create new files, or use a USB interface and create using computer application