Operation Manual

You must read the Usage and Safety Precautions before use.

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Product names, registered trademarks and company names in this document are the property of their respective companies. All trademarks and regis-

tered trademarks in this document are for identification purposes only and are not intended to infringe on the copyrights of their respective owners.

Proper display is not possible on grayscale devices.

Operation Manual

Notes about this Operation Manual

You might need this manual in the future. Always keep it in a place where

you can access it easily. The contents of this document and the specica-

tions of the product could be changed without notice.

◎

Windows® is a trademark or registered trademark of Microsoft® Cor-

poration.

◎

Mac, macOS, iPad, iPhone and iPod touch are trademarks or registered

trademarks of Apple Inc.

◎

The SD, SDHC and SDXC logos are trademarks.

◎

The Bluetooth® word mark and logo are registered trademarks of Blue-

tooth® SIG, Inc. and these marks are used under license by Zoom Cor-

poration.

◎

Other product names, registered trademarks and company names in

this document are the property of their respective companies.

Note: All trademarks and registered trademarks in this document are for

identication purposes only and are not intended to infringe on the

copyrights of their respective owners.

Recording from copyrighted sources, including CDs, records, tapes, live

performances, video works and broadcasts, without permission of the

law. Zoom Corporation will not assume any responsibility related to in-

fringements of copyrights.

Introduction

Thank you very much for purchasing a ZOOM multitrack eld recorder.

The

provides the following features in a compact form.

●

Record the quietest and loudest sounds at high quality with

32-bit oat WAV format

The high-quality analog input circuits can handle signals ranging from the

most delicate to a professional maximum level of +24 dBu.

In addition to 16/24-bit WAV recording, 32-bit oat WAV recording, which

does not require input level adjustment, is also supported.

With 32-bit float WAV format, the recording resolution can be retained

even when changing levels greatly after recording.

●

Simultaneously record 6 channels and 14 tracks

Up to 14 tracks can be recorded simultaneously, including 16/24-bit WAV

and 32-bit float WAV for Inputs 1–6 along with left and right tracks of a

stereo mix.

●

Support for three types of batteries

A USB mobile battery, L battery or AA batteries can be used for power.

●

Two remote control options

Wireless control is possible by installing a ZOOM wireless adapter (e.g.

BTA-1) and using the F6 Control iOS app.

Moreover by connecting an F6 Control, which is a mixer-style controller

designed especially for F Series recorders, with a USB cable, 60mm track

faders, LED level meters and various transport buttons can be used for in-

tuitive sound control. Combined with the F6 Control iOS app, iPhones and

iPads can also be used as large meters with excellent visibility.

●

Support for SMPTE timecode input and output along with

wireless timecode input

The uses a high-precision oscillator that enables it to independently

generate accurate timecode with a discrepancy of less than 0.5 frames

per 24 hours.

If a BTA-1 dedicated wireless adapter is installed, wireless timecode can

be received from a Timecode Systems UltraSync BLUE and written to re-

corded les.

●

Headphone jack with 100mW+100mW maximum output

Clear headphone monitoring is possible using the digital boost function

while sending audio signals to a video camera or other device from the

LINE OUT jack.

●

Flexible signal routing also makes mixer use possible

Pre-fader and post-fader signals from inputs 1–6 can be routed to outputs

freely.

●

Phantom power supply (+24 V or +48 V)

This can be set for each input separately.

●

USB audio interface use with up to 6 ins and 4 outs possible

Use as a 2-in/2-out or 6-in/4-out audio interface (driver required for Win-

dows).

●

Output multitrack audio by USB while recording

While recording to the installed SD card, multitrack audio can be sent to

and from a computer by USB with up to 8 inputs (6 inputs + L/R stereo

mix) and 4 outputs.

This enables simultaneous backup recording and Internet live streaming.

●

360º audio

Ambisonic mode enables 360º spatial audio recording using VR mics. De-

coding from Ambisonic format A to format B is supported along with gain

and setting link functions.

Achieving high audio quality throughout recording and editing

With the dual A/D converter circuits and support for 32-bit oat WAV les, the can maintain the highest audio quality from recording to post-pro-

duction.

Recording

Dual A/D converter circuit enables recording both loud

and quiet sounds without making gain adjustments

32-bit float WAV file format maintains audio

quality from recording when editing

Post-production

For each input circuit, the

has two A/D converters with different input gains. This design enables high-quality audio recording without the need to

adjust gain settings, a step that is normally indispensable.

Providing amazing dynamic range

By combining two A/D converters, a wide dynamic range not possible

with a single A/D converter has been realized.

Switching between two A/D converters

The constantly monitors data from the two A/D converters, and au-

tomatically selects the one that provides the best recording results.

High-gain

A/D converter

Low-gain

A/D converter

Dual A/D converter

A/D converter

switches in

response to

input level

• Airplane

• Nearby thunder

• Train passing on tracks overhead

• Inside train

• Shouting

• Grand piano

• Noisy street

• Chimes

• Ordinary conversation

• Whispering

• Quiet library

• Late night in suburb

Adjust input gain

according to desired

recording volume

Wide dynamic range covered

by two A/D converters

Conventional product

Low noise because

high-gain A/D

converter selected

Low noise because

high-gain A/D

converter selected

No clipping because

low-gain A/D

converter selected

Dual A/D converter circuit overview

Resolution advantage

32-bit oat WAV les have the advantage of being able to maintain high

resolution even at low volumes. As a result, quiet sounds can be made

louder when editing after recording without degrading their quality.

16/24-bit linear WAV

32-bit float WAV

Resolution high

Resolution low

Volume raised

32-bit oat WAV les have the following advantages over conventional 16/24-bit linear WAV les.

These features enable the quality of the sound during recording to be maintained even during post-production.

32-bit oat WAV le overview

Clipping advantage

If a waveform sounds clipped when output from the or in a DAW,

it can be edited after recording to lower its volume and restore an un-

clipped waveform because the data in the 32-bit oat WAV le itself is

not clipped.

Still clipped

Saved in data

Not clipped

Clipped recording

Volume lowered

32-bit float

16/24-bit linear

Contents

Notes about this Operation Manual .........................................................................02

Introduction ....................................................................................................................03

Achieving high audio quality throughout recording and editing .......................04

Dual A/D converter circuit overview ................................................................................... 05

32-bit oat WAV le overview .............................................................................................. 06

Contents .........................................................................................................................07

Names of parts ............................................................................................................. 09

Connecting mics/other devices to Inputs 1–6 .....................................................11

Equipment connection examples .......................................................................................12

Display overview ........................................................................................................... 13

Preparations ..................................................................................................................16

Supplying power ..................................................................................................................... 16

Loading SD cards ................................................................................................................... 18

Turning the power on and off .............................................................................................. 19

Setting the language .............................................................................................................. 20

Setting the date and time ..................................................................................................... 21

Setting the power supply used ............................................................................................ 23

Recording .......................................................................................................................25

Recording process ................................................................................................................. 25

Setting the recording le format ......................................................................................... 26

Selecting inputs and adjusting levels ................................................................................. 27

Recording .................................................................................................................................29

Setting the sampling rate...................................................................................................... 30

Setting the recording mode (bit depth) .............................................................................. 32

Setting MP3 le bit rate (MP3) ............................................................................................ 34

Setting the LR Track ...............................................................................................................36

Capturing audio before recording starts ........................................................................... 38

Setting the recording time display ...................................................................................... 39

Setting the playback time display .......................................................................................41

Folder and le structure ........................................................................................................ 43

Move the previously recorded take to the FALSE TAKE folder. ..................................... 45

Recorded take settings ...............................................................................................46

Changing the note for the next take recorded .................................................................. 46

Setting and managing recorded scene names ................................................................ 48

Changing the track name of the next take recorded (Track Name) ............................. 51

Changing the number of the next take recorded ............................................................. 53

Playback .........................................................................................................................54

Playing recordings .................................................................................................................. 54

Mixing takes ............................................................................................................................55

Monitoring the playback signals of specic tracks during playback ........................... 57

Changing the repeat playback setting ................................................................................ 59

Take and folder operations ........................................................................................60

Working with takes and folders ........................................................................................... 60

Overview of metadata (take information) stored in les ................................................ 66

Checking and editing take metadata ..................................................................................67

Writing a sound report ........................................................................................................... 76

Input settings .................................................................................................................79

Adjusting the input signal monitoring balance ................................................................. 79

Monitoring the input signals of specied tracks .............................................................. 80

Setting the input source ........................................................................................................81

Setting the monitoring volume on the PFL screen ..........................................................83

Cutting low-frequency noise ................................................................................................85

Input limiter ............................................................................................................................. 87

Inverting the input phase ...................................................................................................... 93

Changing the phantom power settings ............................................................................. 95

Applying delay to input signals ............................................................................................ 97

Linking inputs as a stereo pair .............................................................................................99

Adjusting multiple track input levels together ................................................................101

Changing the automatic mixing setting ...........................................................................102

Setting the Ambisonic format ............................................................................................104

Setting the mic position used for Ambisonic recording ...............................................107

Output settings ...........................................................................................................109

Setting signals sent to the headphone output ...............................................................109

Outputting alerts through headphones ............................................................................112

Setting the headphone output volume curve ..................................................................113

Boosting headphone output to alleviate interference from recorded sound............114

Setting the output level .......................................................................................................116

Applying delay to the output ..............................................................................................118

Output Limiter .......................................................................................................................119

Selecting signals sent to the line outputs ........................................................................123

Timecode ......................................................................................................................125

Timecode overview .............................................................................................................. 125

Setting timecode ..................................................................................................................127

Setting the automatic timecode recording delay ........................................................... 136

Setting timecode initialization used at startup ...............................................................137

Using USB functions .................................................................................................. 139

Exchanging data with a computer ....................................................................................139

Using as an audio interface ................................................................................................141

Using SD card recording and audio interface functions at the same time ............... 143

Audio interface settings ......................................................................................................145

Using an FRC-8 as a controller..........................................................................................146

Setting the type of keyboard connected to the FRC-8 ..................................................148

Setting user keys for the FRC-8 ........................................................................................150

Setting the FRC-8 LED brightness ....................................................................................152

Updating the FRC-8 rmware ............................................................................................ 154

Operating with an iOS device .............................................................................................157

Other settings .............................................................................................................. 164

Setting the level meter peak hold time ............................................................................. 164

Setting the LED brightness ................................................................................................. 165

Making display settings ......................................................................................................167

Setting how marks are added manually ..........................................................................170

Setting the buttons held ...................................................................................................... 172

Other functions ...........................................................................................................174

Checking SD card information ........................................................................................... 174

Testing SD card performance ............................................................................................ 175

Formatting SD cards............................................................................................................178

Checking the F6 Shortcut List ...........................................................................................179

Backing up and loading F6 settings .................................................................................180

Restoring default setting values ........................................................................................183

Checking the rmware version .......................................................................................... 184

Updating the rmware .........................................................................................................185

Appendix .......................................................................................................................186

Troubleshooting ...................................................................................................................186

Metadata list .........................................................................................................................188

List of shortcuts ...................................................................................................................192

Block diagrams .....................................................................................................................193

Specications........................................................................................................................200

Names of parts

SD card slot

L battery lock button

L battery mount

Track knob Display

PLAY/PAUSE

button

REC

button

STOP

button

Status indicator

Red: Input enabled

Green: Playback track

enabled

Orange: PFL monitoring

Unlit: Input disabled

FF/

↑

button

Home Screen: Select playback take

Menu Screen: Select menu item

MENU button

Home Screen: Open Menu Screen

Menu Screen: Return to previous

screen

RWD/

↓

button

Home Screen: Select playback take

Menu Screen: Select menu item

PFL/ENTER button

Home Screen: Open PFL Screen

Menu Screen: Confirm menu item

■ Front

■ Back

■ Left side

Inputs 1–6 TIMECODE IN/OUT

■ Right side

Inputs 1–3

USB port

Type-C

LINE OUT jack Zoom wireless adapter (e.g. BTA-1)

Inputs 4–6

Headphone volume

HEADPHONE jack POWER switch

TIMECODE IN/OUT jack

XLR

1：GND

2：HOT

3：COLD

TRS

TIP: Input to F6

(output from external device)

RING: Output from F6

(input to external device)

SLEEVE: GND

Battery

cover

Connecting mics/other devices to Inputs 1–6

Connect dynamic and condenser mics with XLR plugs to Inputs 1–6.

Phantom power (+24 V/+48 V) can be supplied to condenser mics.

( →P.81)

Dynamic mic

(XLR cable)

Condenser mic

(XLR cable)

NOTE

When disconnecting an XLR cable, pull the XLR plug while pushing the con-

nector lock release button.

Connecting line level equipment

Connect XLR cables from keyboards and mixers directly to Inputs 1–6.

Direct input of passive guitars and basses is not supported. Connect

these instruments through a mixer or effects device.

(XLR cable)

Keyboard

(XLR cable)

Mixer

The can record 6 individual tracks that correspond to Inputs 1–6 and a stereo mix of these inputs with left and right tracks.

Mics and the outputs of instruments and audiovisual equipment, for example, can be connected to Inputs 1–6 and recorded to tracks 1–6.

Connecting mics

Equipment connection examples

Recording is possible in a variety of situations like these.

While lming

• Input 1: gun mic for main subject sound

• Inputs 2–4: lapel mics for performers

• Inputs 5–6: mics for ambient sound

Ambient

mics

Pin mics

Gun mic

Pin mics

Concert recording

• Inputs 1–2: line inputs for outputs from mixer

• Inputs 3–4: mics for stage performance

• Inputs 5–6: ambient mics for audience sound

PA mixer

Ambient mics

(Audience voices)

Mics

(Stage performance)

Display overview

Status icons

Stopped

Recording

Paused

Playing back

Recording/playback

sample rate

Clip indicator

Level meter

Track number

Red: Input enabled

Green: Playback track enabled

Gray: Input disabled

Input link settings are shown by

connected adjacent track numbers.

Frame rate

INT: Internal timecode enabled

EXT: External timecode input enabled

Mono

Stereo

Ambisonic

Counter

During recording: Elapsed/remaining recording time

During playback: Elapsed/remaining playback time

Power type and remaining amount

USB: Power supply connected to port

EXT: L battery

AA: AA batteries

Recording/playback timecode

Recording/playback take name

When stopped, press and hold

to show the name that will be

given to the next recorded take.

HINT

•

When the Home Screen is not open, press and hold

to return to the Home Screen.

• Some of the screen will appear differently when the recording mode is Float (32 bit).

■ Home Screen

■ Character input screen

Automatic

input button

Operation

indicator

Text box

Keyboard

Press

abc

#+=

Press

123

NOTE

• The following characters can be used in project names.

• (space) ! # $ ' ( ) + , - 0 1 2 3 4 5 6 7 8 9 ; = @ A B C D E F G H I J K L M N O P Q

R S T U V W X Y Z [ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { }

■ Editing operations

Move cursor in

text box

Use “ ←” and “ →” to move and press

Select characters

(vertical)

Press

Select characters

(horizontal)

Press

Conrm

characters

Move the cursor to the character to input, and

press

Delete characters

Move cursor before the character to delete in the

text box, and press

Complete editing

Move cursor to "OK" and press

Cancel editing

Press

■ Automatic input keys

(Date): This automatically inputs the date. Example: 190210

(Time): This automatically inputs the time. Example: 180950

(Scene): This automatically inputs the current scene name.

Preparations

Supplying power

Power can be supplied three ways using AA batteries, an L battery or USB.

■ Using an L battery

1. Slide the battery in the direction of the arrow while

pressing it toward the recorder.

NOTE

• Be careful because the battery case could become loose unexpectedly if

the battery compartment cover screw is not tightened rmly.

• Use only one type of batteries (alkaline, NiMH or lithium) at a time.

• After loading AA batteries, set "Power Source" to the correct type of bat-

tery. ( →P.23)

• If the remaining battery power indicator becomes red, turn the power off

immediately and install new batteries.

■ Using AA batteries

1. Loosen the screw in the battery cover on the bottom.

2. Open the battery compartment cover on the bottom,

remove the battery case, and insert 4 AA batteries.

3. Put the case into the compartment.

4. Close the battery cover and tighten the screw.

■ Using a USB Type-C cable

1. Connect the cable of the dedicated ZOOM AD-17 AC

adapter to the USB port.

2. Plug the dedicated AC adapter into an outlet.

USB (Type-C)

NOTE

• A 5V mobile battery (commercially-available) can also be connected.

• When connected to a computer, power can be supplied by USB.

Loading SD cards

1. Open the SD card slot cover, and insert an SD card.

2. To remove the card: push it further into the slot and

then pull it out.

NOTE

Before using SD cards that have just been purchased or that have been for-

matted on a computer, they must be formatted. To format an SD card, use

Menu > SYSTEM > SD Card > Format.

Turning the power on and off

■ Turning the power on

1. Press and hold briey.

The ZOOM logo appears and the power turns on.

NOTE

• The rst time the power is turned on after purchase, the date/time must

be set ( →P.21). This setting can also be changed later.

• If “No Card!” appears on the display, conrm that an SD card is inserted

properly.

• If “Card Protected!” appears on the display, the SD card write-protection is

enabled. Slide the lock switch on the SD card to disable write-protection.

• If “Invalid Card!” appears on the display, the card is not formatted cor-

rectly. Format the card or use a different card. Formatting SD cards

( →P.178)

■ Turning the power off

1. Press and hold briey.

NOTE

Keep pressing it until the ZOOM logo appears on the LCD.

Setting the language

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Language, and press

4. Use and to select the

desired language, and press

NOTE

The rst time the power is turned on after purchase, the language must be

set.

The menu display language can be changed.

Setting the date and time

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Date/Time, and press

▶ Continue to one of the following procedures.

Setting the date and time ……………………………………………………… P.22

Setting the date format ………………………………………………………… P.22

NOTE

• The rst time the power is turned on after purchase, the date/time must

be set.

•

The

has a built-in rechargeable battery for retaining the date and time.

Turning the power on will charge it.

If the power is not turned on for a long time, stored date and time settings

will be reset.

If the Date and Time Setting Screen appears during startup, set them

again.

The date and time set on the are used when recording les, for example.

The date format (order of year, month and day) can also be set.

8. When done setting, use

and to select

Enter, and press

This completes setting the date and

time.

■ Setting the date format

5. Use and to select

Date Format, and press

6. Use and to select

the format, and press

Setting Explanation

mm/dd/yy Month, day, year order

dd/mm/yy Day, month, year order

yy/mm/dd Year, month, day order

■ Setting the date and time

5. Use and to select Set

Date/Time, and press

6. Set the date and time

Move cursor or change value:

Use

and

Change item value:

Use

and to select

the item, and press

7. The item selected to be

changed appears red.

Use

and to change

it, and press

Setting the power supply used

4. Use and to select

Power Source, and press

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

When using AA batteries, set the battery type so that the amount of remaining power can be shown accurately.

The voltage of each power supply and the remaining battery charge can be checked on this menu page.

■ Setting the installed AA battery type

5. Use and to select

Type, and press

6. Use and to select

the type, and press

NOTE

• When multiple power supplies are connected, they will be used in the fol-

lowing order of priority.

1. USB (Power supply connected to USB port)

2. EXT (L battery)

3. AA (Installed AA batteries)

• The voltages of each power supply are shown on the display.

Recording

Recording process

Recording with the follows the process shown below.

The data created for each recording occurrence is called a "take".

1. Set the recording mode

(bit depth) ( →P.32).

• Select one of the recording

modes: 16/24-bit WAV, 32-bit

Float WAV, simultaneous

16/24-bit WAV and 32-bit WAV,

or MP3.

2. Set the recording le

• Set the recording le format

( →P.26).

• Set the sampling rate

( →P.30).

3. Select tracks to record

( →P.51).

• Turn the left until it clicks

to disable the input. Input is

enabled at all other positions.

• This can be set to a stereo

track ( →P.99).

4. Make various input and

recording settings

• Settings, including meta-

data ( →P.67), pre-re-

cording ( →P.38), low-cut

lter ( →P.85) and limiter

( →P.87) can be made.

5. Adjust input levels

( →P.28).

• Setting input levels is neces-

sary in some operation modes.

Connect mics, instru-

ments, audiovisual

devices, and other equip-

ment to Inputs 1–6.

( →P.11)

Playing and

checking

( →P.54)

Recording

( →P.29)

Connecting

Turning the

power on

( →P.19)

Preparing to

record

Checking take

information

( →P.67)

・ Press to start

recording and

stop.

・ Marks (for cueing) can

also be set.

・ Press

to start

recording the next take.

・ Press to pause.

・ Check and edit

metadata.

・ Press to start playback

and

or to stop.

・ Marks (for cueing), for exam-

ple, can also be set.

Setting the recording le format

1. Press .

2. Use and to select

REC, and press

3. Use and to select

File Format, and press

4. Use and to select the

le format, and press

Setting

Tracks

recorded

Explanation

Poly

Selected

tracks 1-6

A single poly le will be created that contains

audio for multiple tracks.

Mono/Stereo

A single mono le is created for each mono

track and a single stereo le is created for

each stereo track.

NOTE

• When recording Mono/Stereo, audio les are saved in a folder that is cre-

ated. ( →P.43)

• This cannot be set when the mode is set to MP3.

Selecting inputs and adjusting levels

Select which among Inputs 1–6 to use.

Inputs will be recorded on tracks with the same numbers. For example, Input 1 will be recorded on track 1 and Input 2 will be recorded on track 2.

Selecting inputs

1. Turn right for the number of an input to record,

making the track status indicator light.

HINT

Turn left until it clicks to disable the input. Input is enabled at all other

positions.

Track indicator

Track number

background color

Explanation

Lit red Red The input is enabled.

Unlit Gray The input is disabled.

NOTE

• The signals from the inputs selected this way will also be sent to the L/R

tracks.

•

The levels sent to the L/R tracks are adjusted with

■ Adjusting input levels

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select the

desired track, and press

5. Use and to select

Trim, and press

NOTE

Trim cannot be used when the recording mode is set to Float. When set to

Float, the setting is shown as “--”.

6. Use and to adjust the

input level, and press

HINT

• This can be set in a range from +12 to +75 dB when the input source is

set to Mic, from –8 to +55 dB when set to Line, and from –35 to +30 dB

when set to USB.

• If the sound distorts even after lowering the input level, try changing mic

positions and adjusting the output levels of connected devices.

• Using the limiter ( →P.87)

• Using the high pass lter ( →P.85)

Recording

1. Press .

This starts recording.

HINT

If the timecode function is enabled, recording will start from frame 00 (00

or 02 when using drop frame) and the le length will always be a full sec-

ond value. This makes synchronization easy when editing later.

2. Press to start a new take when recording.

This will end the current take and start a new take while con-

tinuing to record without interruption.

NOTE

Pressing during recording is only possible after recording for at

least a second.

3. Press to pause.

NOTE

• Pausing occurs at whole second increments.

• When recording is paused, a mark is added at that point.

Press

to resume recording.

• A maximum of 99 marks can be added to a take.

HINT

•

During playback,

and can be pressed to jump to places where marks

have been added.

• Marks can be added without pausing. ( →P.170)

4. Press to stop.

NOTE

If the file size exceeds 2GB during recording, a new take will be created

automatically and recording will continue without interruption.

No gap in sound will occur between the two takes when this happens.

HINT

•

Press and hold

when the Home Screen is open to check the name of

the next take recorded.

• Files are automatically saved at regular intervals during recording. If

the power is interrupted or another problem occurs during recording, an

affected le can be restored to normal by playing it with the

Setting the sampling rate

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Sample Rate, and press

4. Use and to select the

sampling rate, and press

Setting Explanation

44.1 kHz, 48 kHz, 88.2

kHz, 96 kHz, 192 kHz

These are standard sampling rates.

47.952 kHz

Select this when recording video at 23.976 frames

per second in order to edit later at 24 frames per

second.

48.048 kHz

Select this when recording video at 24 frames per

second in order to edit later at NTSC 29.97 or 23.98

HD.

47.952 kHz(F), 48.048

kHz(F)

These function the same as the two above, but the

sampling rate metadata will be recorded as 48 kHz

for <FILE_SAMPLE_RATE>.

This enables playback and editing with devices and

software that do not support 47.952 kHz and 48.048

kHz WAV les. Playback, however, will occur at the

±0.1% speed at which the le was recorded.

The sampling rate used to record les can be set.

NOTE

• 192 kHz cannot be selected when the recording mode is Float (32bit) and

the LR track is on.

• When 192 kHz is selected, Dual (16+32bit) and Dual (24+32bit) cannot be

set.

• When the recording mode is MP3, only 44.1 kHz and 48 kHz can be

selected.

• When 192 kHz is selected, L/R tracks will not be recorded. Input and out-

put delay are also disabled.

• The Limiter cannot be set to On (Advanced) if Auto Mix is On or the Ambi-

sonic format is not set to Off.

• AIF with Rec cannot be used when values other than 44.1 kHz or 48 kHz

are selected.

Setting the recording mode (bit depth)

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Mode, and press

4. Use and to select

the mode, and press

HINT

The setting options are Linear (16bit), Linear (24bit), Float (32bit), Dual

(16+32bit), Dual (24+32bit) and MP3.

Set the recording mode.

The bit depth of WAV les recorded by the will change according to the mode setting.

Mode setting Mode name Explanation

Linear (16bit)

Linear

These modes record ordinary 16/24-

bit WAV les.

Adjust input (trim) levels so that

the clip indicators do not light when

recording. The level meters show input

levels after adjustments.

Linear (24bit)

Float (32bit) Float

This mode records 32-bit oat WAV

les. Adjusting input levels is unneces-

sary. As long as maximum input levels

are not exceeded, both quiet and loud

sounds can be recorded with high

quality.

The level meters show levels after

adjustments by

knobs.

Dual (16 + 32bit)

Dual

These modes simultaneously record

ordinary 16/24-bit WAV les and 32-bit

oat WAV les.

Adjust input (trim) levels so that

the clip indicators do not light when

recording.

Even if clipping occurs in 16/24bit

WAV le data during recording, data

at a suitable level without clipping can

be obtained by editing the 32bit Float

WAV les during post-production.

Dual (24 + 32bit)

MP3 MP3

This mode records MP3 les.

Trim setting is necessary in this mode.

NOTE

• When Float (32bit) is selected, if a signal is input that exceeds the maxi-

mum input level for the input source (+4 dBu when Mic or +24 dBu when

Line), an “Exceeding maximum input level” message will appear. If this

message appears, adjust the output levels of the devices connected to

the input jacks.

• When Float (32bit) is selected, the limiter cannot be changed from off and

the AIF with Rec function cannot be used. Moreover, Float (32bit) cannot

be selected if the sample rate is 192 kHz and the LR track is on.

• When Dual (16 + 32 bit) or Dual (24 + 32bit) is selected, the limiter cannot

be changed from off and the sample rate cannot be set to 192kHz.

Setting MP3 le bit rate (MP3)

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Mode, and press

4. Use and to select

MP3, and press

5. Press to return to

the REC screen.

6. Conrm that the Mode is set to

MP3. Then, use

and to

select Bit Rate, and press

The bit rate used for recording MP3 les can be set.

7. Use and to select

the bit rate, and press

HINT

This can be set to 128 kbps, 192 kbps or 320 kbps.

Setting the LR Track

4. Use and to select

On/Off, and press

5. Use and to select

On, and press

NOTE

• Off: This disables the LR Track.

• On: This enables the LR Track. All selected tracks and the LR Track will be

recorded.

• On (LR only): This enables the LR Track. Only the LR Track will be

recorded.

• On cannot be selected if the sample rate is 192 kHz and the recording

mode is Float (32bit).

■ Enabling the LR track

1. Press .

2. Use and to select

REC, and press

3. Use and to select

LR Track, and press

■ Adjusting the L/R track volume

1. Press .

2. Use and to select

REC, and press

3. Use and to select

LR Track, and press

4. Use and to select

LR Fader, and press

5. Use and to select

LR Fader, and press

6. Use and to change

the LR fader value, adjust-

ing the LR track volume.

NOTE

Pressing + when the Home Screen is open will also open the LR/

Line Out setting screen.

Capturing audio before recording starts

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Pre Rec, and press

4. Use and to select

On, and press

Sample Rate Maximum pre-recording time

WAV

44.1 kHz 6 seconds

48 kHz 6 seconds

88.2 kHz 3 seconds

96 kHz 3 seconds

192 kHz 1 second

47.952 kHz 6 seconds

47.952 (F) kHz 6 seconds

48.048 kHz 6 seconds

48.048 (F) kHz 6 seconds

MP3

44.1 kHz 6 seconds

48 kHz 6 seconds

NOTE

Pre-recording will be disabled if MENU > TIMECODE > Mode ( →P.127) is

set to Int Record Run, Ext or Ext Auto Rec.

The input signal is always buffered for a set amount of time, so it can be captured for up to 6 seconds before is pushed (pre-recording). This

is useful when is pressed late, for example.

Setting the recording time display

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Display, and press

5. Use and to select

Time Display, and press

During recording, either the elapsed recording time or the remaining possible recording time can be shown.

6. Use and to select

Recording, and press

7. Use and to select the

time to show, and press

NOTE

When recording for a long time, if the le size

exceeds 2 GB, recording will continue in a new

le and the recording time will reset. This can

be changed, however, so that it is not reset and

the total recording time is shown.

Set Rec Time Reset on the Time Display screen

to On/Off to set whether or not recording time

resets when a new le is created.

Off: When recording, even if the file size

reaches 2GB, the counter shown on the

Home Screen will not reset.

On (reset): When recording, if the file size

reaches 2GB, the counter shown on the

Home Screen will be reset to 000:00:00.

Setting the playback time display

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Display, and press

5. Use and to select

Time Display, and press

6. Use and to select

Playing, and press

During playback, either the elapsed playback time or the remaining playback time can be shown.

7. Use and to select the

time to show, and press

Folder and le structure

When recording with the , folders and les are created on the SD card in the following manner.

folders and les are used to manage scenes and takes as a rule.

190101_001.WAV

190101_003.TAKE

190101_003_Tr1.WAV

190101_003_Tr2.WAV

190101_003_Tr3.WAV

190101_003_Tr4.WAV

Scene 190101 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6)

Stereo file (tracks L, R)

Scene001 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6)

Stereo file (tracks L, R)

Scene 190101

(1st take)

WAV format

polyphonic file

Scene 190101

(2nd take)

MP3 format

stereo file

Scene001

(1st take)

WAV format

polyphonic file

Scene001

(2nd take)

MP3 format

stereo file

Scene001

190101_003_Tr5_6.WAV

190101_003_TL_R.WAV

Scene001_001.WAV Scene001_002.MP3

Scene001_003.TAKE

Scene001_003_Tr1.WAV

Scene001_003_Tr2.WAV

Scene001_003_Tr3.WAV

Scene001_003_Tr4.WAV

Scene001_003_Tr5_6.WAV

Scene001_003_TL_R.WAV

Scene002

Scene 1

(Folder created by user)

Scene 2

(Folder created by user)

Root

Recording order

→

Recording when scene naming is set to “Date”

Recording when scene naming is set to “Current Folder”

190101_002.MP3

Scene00 (3rd take)

WAV format

Mono files (tracks 1–4)

Stereo file (tracks 5, 6)

Stereo file (tracks L, R)

Scene002

(1st take)

WAV format

polyphonic file

Scene002

(2nd take)

MP3 format

stereo file

Scene002_001.WAV Scene002_002.MP3

Scene002_003.TAKE

Scene002_003_Tr1.WAV

Scene002_003_Tr2.WAV

Scene002_003_Tr3.WAV

Scene002_003_Tr4.WAV

Scene002_003_Tr5_6.WAV

Scene002_003_TL_R.WAV

Folder and le structure

The folder and le structure differs according to the recording le for-

mat. In addition, the names of folders and les depend on how scenes

are named.

NOTE

• Setting the recording le format ( →P.26)

• Setting how scenes are named (mode) ( →P.48)

HINT

Take: This is a unit of data created for a single recording.

Scene: This is a unit containing multiple files and takes that comprise a

single scene.

■ Take names

Structure Explanation

Scene001-001

Take number

(001–999)

Scene number

(1-9999)

Scene

Name

Scene name: Select none, the folder

name, the date or a name input by the

user ( →P.48).

Scene number: Press

+ to

increase the number by one.

Take number: This number increases

by 1 with each recording made with

the same scene name and scene

number.

■ Audio le names

File names given by the differ according to polyphonic, mono and

stereo file formats. Track numbers and other data are added to file

names.

File names

File names are given according in the following formats.

Type Structure Explanation

Poly le

Scene001-001.wav

Take name

This is a le created by

polyphonic recording.

Audio for multiple tracks

is recorded to a single

le.

Mono le

Scene001-001_Tr1.wav

Take name

Track number

This is a le created by

monophonic recording.

Stereo le

Scene001-001_Tr1_2.wav

Take name

Track number

This is a le created by

stereophonic recording.

Float le

in Dual

mode

Scene001_001_32FP.wav

Float le characters

This is a 32bit Float

WAV le created when

in Dual recording mode.

Long

recording

le

Scene001_001_0002.wav

Long recording le number

This is a le created

automatically when the

le size exceeded 2 GB

during recording. The

long recording le num-

ber increases one each

time the le changes.

HINT

When recording with a Mono/Stereo setting, the audio les are saved in a

take folder that is created.

Move the previously recorded take to the FALSE TAKE folder.

1. Open the Home Screen.

2. While pressing , press .

HINT

• Moving a take to the FALSE TAKE folder reduces the take number by one.

• Even during recording, the previously recorded take can be moved to the

FALSE TAKE folder.

3. Use and to select

Execute, and press

If the just recorded take was a failure, a shortcut can be used to move the recording to the FALSE TAKE folder.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

▶ Continue to one of the following procedures.

Editing notes …………………………………………………………………………… P.46

Selecting notes from the history list …………………………………… P.47

■ Editing notes

4. Use and to select

Note, and press

5. Use and to select

Edit, and press

Recorded take settings

Changing the note for the next take recorded

Characters can be input, for example, as a note to use as metadata in les.

6. Edit the note.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

This note is written to the <NOTE> metadata.

■ Selecting notes from the history list

5. Use and to select

History, and press

6. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

▶ Continue to one of the following procedures.

Setting how scenes are named (mode) ……………………………… P.48

Changing scene names ………………………………………………………… P.49

Selecting a scene name from the history list …………………… P.50

■ Setting how scenes are named (mode)

4. Use and to select

Scene Name, and press

5. Use and to select

Mode, and press

Setting and managing recorded scene names

The way scenes are named (name mode) can be set.

■ Changing scene names

If Scene Name Mode is set to User Name, set the scene name used like

this.

4. Use and to select

User Name, and press

5. Use and to select

Edit, and press

6. Edit the scene name.

See "Character input screen"

( →P.14) for how to input

characters.

Setting Explanation

Current

Folder

The name of the currently selected folder is used as the scene

name.

can be used to advance the scene number by 1. After

advancing the scene number by 1, the corresponding folder will

be used as the recording destination. If that folder does not

already exist, it will be created.

Example: FOLDER001-001.wav

Date

The date is used as the scene name.

cannot be used to advance the scene number by 1.

Example: 20190101-001.wav

User Name

A scene name input by the user is used.

can be used to advance the scene number by 1.

Example: MYSCENE001-001.wav

6. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

NOTE

• The scene name is written to the <SCENE> metadata.

• Spaces and @ marks cannot be input at name beginnings.

■ Selecting a scene name from the history list

4. Use and to select

User Name, and press

5. Use and to select

History, and press

1. Press .

2. Use and to select

REC, and press

3. Use and to select

Metadata, and press

4. Use and to select

Track Name, and press

5. Use and to select

a track, and press

▶ Continue to one of the following procedures.

Editing the track name …………………………………………………………… P.52

Selecting a track name from the history list ……………………… P.52

Changing the track name of the next take recorded (Track Name)

The track name set with the following procedure will be given to the next recorded track.

■ Editing the track name.

6. Use and to select

Edit, and press

7. Edit the track name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

The track name is written to the <TRACK> <NAME> metadata.

■ Selecting a track name from the history list

6. Use and to select

History, and press

7. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

The number given to the next recorded take can be changed when the Home Screen is open.

1. While pressing , press .

2. Use or to increase

or decrease the take num-

ber, and press

Changing the number of the next take recorded

1. Press .

■ Playback operations

Select take/Jump to mark: Press /

Search backward/forward: Press and hold /

Pause/resume playback: Press

NOTE

Track backgrounds will appear black.

HINT

•

The longer / is pressed and held, the faster the speed of searching

backward/forward.

• An "Invalid Take!" message will appear if the selected take is not valid.

• A "No Take!" message will appear if no playable take exists.

•

During playback, press

to add marks that can be used for skipping.

(

→

P.170)

2. Press to return to the Home Screen.

Playback

Playing recordings

Mixing takes

The volume and panning of each track during playback can be changed.

■ Setting faders

1. Touch on the Home

Screen ( →P.13).

2. Turn to adjust the

input signal level.

NOTE

Turn left until it clicks to mute the input.

■ Setting the panning

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

5. Use and to select the

desired track, and press

6. Use and to select

Pan, and press

7. Adjust the panning.

Parameter Setting range Explanation

Fader

(in Float mode)

Mute, −60.0 – +60.0 dB

Adjusts the input signal level.

Fader

(in Linear mode)

Mute, −48.0 – +24.0 dB

Pan L100 – Center – R100

Adjusts the stereo balance of

the sound.

NOTE

• Settings are saved separately for each take and are used during playback.

• Mix settings are not saved with the take when the recorded le format is

MP3.

Monitoring the playback signals of specic tracks during playback

The playback signals of specic tracks can be monitored using SOLO mode.

1. Open the Home Screen.

2. Press to start playback.

3. Press during playback.

4. Use and to select

INPUT, and press

NOTE

SOLO mode can only be used with tracks that can be played back (indica-

tors lit green).

5. Use and to select

PFL, and press

6. Use and to select the

track to monitor, and press

Changing the repeat playback setting

1. Press .

2. Use and to select

PLAY, and press

3. Use and to select

Repeat, and press

4. Use and to select the

repeat mode, and press

Setting Explanation

Play One

(single playback)

Only the selected take will be played.

Play All

(all playback)

Takes will be played back continuously from the

selected one until the last one.

Repeat One

(single repeat playback)

The selected take will be played repeatedly.

Repeat All

(all repeat playback)

All takes in the selected folder will be played

repeatedly.

HINT

The PLAY menu only appears during playback.

The repeat setting used during playback can be changed.

Take and folder operations

Working with takes and folders

The Finder allows the viewing of the contents of SD cards, takes and folders and the creation of project/scene folders. It also allows the setting and

deletion of recording/playback folders along with viewing their information, for example.

1. Press .

2. Use and to select

FINDER, and press

3. Use and to select the

SD card, and press

■ Editing operations

Cursor: Press /

Move down a level (next): Press

Move up a level (previous): Press

Show Option screen: Press and hold

NOTE

•

When the cursor is on a take, pressing

will play the selected take.

, and can also be used.

• A check mark appears on the playback take and recording/playback

folder.

▶ Continue to one of the following procedures.

Creating folders ……………………………………………………………………… P.61

Selecting the take recording/playback folder …………………… P.61

Checking take marks and using them for playback ………… P.62

Changing folder and take names ………………………………………… P.62

Deleting folders and takes …………………………………………………… P.63

Emptying the TRASH/FALSE TAKE folders ………………………… P.64

■ Creating folders

Folders can be created inside the currently selected SD card/folder.

4. Use and to select

New Folder, and press

5. Edit the folder name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

• The folder created will be set as the recording folder.

• The name of the folder created is written to the <PROJECT> or <SCENE>

metadata of the recorded take.

• Spaces and @ marks cannot be input at name beginnings.

■ Selecting the take recording/playback folder

Use this procedure to select the folder that contains the take to be

played back or the folder to use for recording takes and return to the

Home Screen.

4. Press and hold to open the Option screen.

5. Use and to select

Select, and press

NOTE

•

Select a folder or take before pressing and holding

to open the Option

screen.

• The rst take inside the selected SD card or folder will be set as the play-

back take.

■ Changing folder and take names

4. Press and hold to open the Option screen.

5. Use and to select

Rename, and press

6. Edit the folder/take name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

• The edited name of the folder/take is written to the <PROJECT> or

<SCENE> metadata.

• Spaces and @ marks cannot be input at name beginnings.

■ Checking take marks and using them for playback

A list of the marks in a recorded take can be shown.

4. Press and hold to open the Option screen.

5. Use and to select

Mark List, and press

6. Use and to select a mark, and press .

The Home Screen will reopen, and playback will start from the

mark.

Added mark

Mark added when

skipping occurred

during recording and

its time

■ Deleting folders and takes

4. Press and hold to open the Option screen.

5. Use and to select

Delete, and press

6. Use and to select

the folder/take to delete,

and press

Press to cancel deletion.

NOTE

Press to select/deselect all the folders and takes that are currently

shown.

7. Press and hold .

8. Use and to select

Execute, and press

NOTE

• Deleted folders and takes are not immediately erased from the SD card.

They are moved to the TRASH folder.

• Deleting folders and takes in the TRASH folder will completely erase their

data.

■ Checking folder and take information

4. Press and hold to open the Option screen.

5. Use and to select

Info, and press

■ SD card selected

Free: Open space

Size: Card capacity

Remain: Remaining recording time

■ Folder selected

Date: Date

Time: Time

■ Take selected

TC: Timecode

FPS: Timecode frame rate

Len: Take recording length

Fmt: Take sample format

Date: Date

Time: Time

Size: Take size

■ Emptying the TRASH/FALSE TAKE folders

4. Use and to select

TRASH or FALSE TAKE.

5. Press and hold .

TRASH folder

FALSE TAKE folder

6. Use and to select

Empty, and press

7. Use and to select

Execute, and press

NOTE

• Emptying the TRASH folder will completely erase the data in it.

• Emptying the FALSE TAKE folder does not immediately erase its data

from the SD card. The data is moved to the TRASH folder.

Overview of metadata (take information) stored in les

The writes a variety of information (metadata) to les during record-

ing.

When these les are read by an application that supports metadata, the

saved information can be checked and used.

HINT

•

Metadata is data that contains information related to other data. The

saves scene names and take numbers, for example, as metadata in audio

les.

• A chunk is a unit that contains multiple data in a single block.

• To use BEXT and iXML chunk metadata, an application that supports

both data formats is necessary.

■ WAV le metadata

The metadata saved in les recorded by the in WAV format is col-

lected in BEXT (Broadcast Audio Extension) and iXML chunks.

For details about the metadata saved in these chunks, see "Metadata

contained in BEXT chunks in WAV files" ( →P.188), "Metadata con-

tained in iXML chunks in WAV les" ( →P.189).

■ MP3 le metadata

The metadata saved in les recorded by the in MP3 format is writ-

ten as ID3v1 tags.

For information about the ID3 fields and formats saved as metadata,

see "Metadata and ID3 elds contained in MP3 les" ( →P.191).

HINT

•

MP3 les conform to the MPEG-1 Layer III standard.

• MP3 metadata cannot be edited.

Checking and editing take metadata

1. Press .

2. Use and to select

FINDER, and press

3. Use and to select an

SD card, and press

4. Use and to select

a folder, and press

5. Use and to select

a take, and press

This opens the Option screen.

See "Take and folder operations" for

how to use the Finder ( →P.60).

6. Use and to select Meta-

data Edit, and press

▶ Continue to one of the following procedures.

Checking and editing notes ………………………………………………… P.68

Selecting notes from the history list …………………………………… P.69

Checking and editing scene names …………………………………… P.69

Selecting a scene name from the history list …………………… P.70

Checking and editing take names ……………………………………… P.71

Circling takes ………………………………………………………………………… P.72

Changing tape names …………………………………………………………… P.72

Changing project names ……………………………………………………… P.73

Checking and editing track names ……………………………………… P.73

Selecting a track name from the history list ……………………… P.74

■ Checking and editing notes

7. Use and to select

Note, and press

8. Use and to select

Edit, and press

9. Edit the note.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

The contents of this note is written to the <NOTE> metadata.

■ Checking and editing scene names

7. Use and to select

Scene/Take, and press

8. Use and to select

Scene, and press

9. Use and to select

Edit, and press

■ Selecting notes from the history list

7. Use and to select

Note, and press

8. Use and to select

History, and press

9. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

10. Edit the scene name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

The scene name is written to the <SCENE> metadata.

■ Selecting a scene name from the history list

7. Use and to select

Scene/Take, and press

8. Use and to select

Scene, and press

9. Use and to select

History, and press

10. Use and to select

the History item to use,

and press

NOTE

The history list will be erased if the Factory Reset function is used.

■ Checking and editing take numbers

7. Use and to select

Scene/Take, and press

8. Use and to select

Take, and press

9. Change the take number.

■ Editing operations

Move cursor or change value: Press /

Select parameter to change: Press

HINT

This can be set from 1 to 999.

NOTE

The take number is written to the <TAKE> metadata.

10. When done changing,

use

and to select

Enter, and press

■ Circling takes

An @ mark can be added to the beginning of the name of the best take

to make it stand out. This is called a "circled take".

7. Use and to select

Circle, and press

8. Use and to select

Circled, and press

NOTE

•

To clear a circle, select Not Circled and press

• This circled status is written to the <CIRCLE> metadata.

■ Changing tape names

7. Use and to select

Tape Name, and press

8. Edit the folder (tape) name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

• The folder (tape) name is written to the <TAPE> metadata.

• The folder (tape) name used immediately after recording is the name of

the folder in which the take was recorded.

■ Changing project names

7. Use and to select Proj-

ect Name, and press

8. Edit the project name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

• The project name is written to the <PROJECT> metadata.

• The project name used immediately after recording is the name of the

highest level folder (inside the SD card root directory) that contains the

folder in which the take was recorded.

■ Checking and editing the track names

7. Use and to select

Track Name

, and press

8. Use and to select

a track, and press

9. Use and to select

Edit, and press

10. Edit the track name.

See "Character input screen"

( →P.14) for how to input

characters.

NOTE

The track name is written to the <TRACK> <NAME> metadata.

■ Selecting a track name from the history list

7. Use and to select

Track Name, and press

8. Use and to select

a track, and press

9. Use and to select

History, and press

10. Use and to select the

desired history, and press

NOTE

The history list will be erased if the Factory Reset function is used.

4. Use and to select

Sound Report, and press

▶ Continue to one of the following procedures.

Writing sound reports …………………………………………………………… P.77

Editing comments ………………………………………………………………… P.77

Selecting comments from the history list …………………………… P.78

1. Press .

2. Use and to select

FINDER, and press

3. Use and to select the

folder or SD card desired

for sound report creation,

and press and hold

Writing a sound report

A sound report includes information about recording times and takes.

Reports can be written as CSV format les (F6_[folder name].CSV).

Comments written in sound reports can also be edited.

■ Editing comments

5. Use and to select

Info, and press

6. Use and to select

Edit, and press

7. Edit the comment.

See "Character input screen"

( →P.14) for how to input

characters.

■ Writing sound reports

5. Use and to select

Create, and press

6. Use and to select

Execute, and press

This writes the sound report inside

the selected SD card or folder.

NOTE

• Only information about takes in the folder or SD card is written in the

sound report.

• Be careful because a sound report file with the same name will be

overwritten.

7. Use and to select

the desired history

item, and press

NOTE

The history list will be erased if the Factory Reset function is used.

■ Selecting comments from the history list

5. Use and to select

Info, and press

6. Use and to select

History, and press

Adjusting the input signal monitoring balance

1. Open the Home Screen

( →P.13).

2. Use to adjust the faders.

HINT

The fader setting range depends on the recording mode. In Float mode, it

is muted and −60.0 to +60.0 dB. In Linear mode, it is muted and −48.0 to

+24.0 dB.

NOTE

• Mix settings are saved separately for each recorded take and can be

changed during playback ( →P.55).

• Mix settings are not saved with the take when the recorded le format is

MP3.

The volume of each track can be adjusted when monitoring input signals.

Input settings

Monitoring the input signals of specied tracks

1. Press when the Home Screen is open.

The PFL screen for the track that was last opened opens, and the

status indicator lights orange.

Only the input sound of the track show can be monitored through

headphones.

Level meter

(pre-fader input

signal level)

Parameter name

Parameter Explanation

Source This sets the input source.

Trim This sets the input level.

HPF/Limiter This sets the high pass lter and limiter.

Phase/Delay This sets the phase reversal and delay.

Pan This sets the panning.

Monitor This sets the monitoring volume on the PFL screen.

NOTE

This does not change the signals output from line outputs.

HINT

•

Use

and to select parameters and change setting values.

• When the cursor is on the topmost track number, press

to show the

next track.

2. Press .

This opens the Home Screen.

The input signals of specied tracks can be monitored.

Even tracks that have not been set to record can be input to the PFL screen and their input sounds monitored.

This is convenient when using tracks as return inputs.

Carious settings can be made for selected tracks.

Setting the input source

The input source and phantom power on/off status can be set for each track.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Source, and press

6. Use and to select the

input source, and press

Setting Explanation

Mic

Use when connecting a mic or other equipment with a

low input level.

Mic (PH) Use for mic level with phantom power.

Line

Use when connecting line level equipment.

The input level will be reduced 20 dB compared to when

Mic is selected.

Line (PH) Use this setting for line level with phantom power.

USB 1–4

When AIF with Rec ( → P.143) is set to On, computer

output signals are treated as input signals

HINT

For phantom power voltage, see “Changing the phantom power settings”

( →P.95).

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Monitor, and press

6. Use and to select

the mode, and press

Setting the monitoring volume on the PFL screen

On the PFL screen, the monitoring sound can be set to be either pre-fader listening (PFL) or fader solo (SOLO).

Setting Explanation

PFL On the PFL screen, monitor the pre-fader sound.

SOLO On the PFL screen, monitor the post-fader sound.

NOTE

• When the PFL screen is open during playback, the monitoring sound will

be post-fader (SOLO) regardless of the setting.

• The pre-fader and post-fader monitoring positions depend on the set

recording mode. See the block diagrams for details about the positions (→

“Block diagrams” on P.193).

Cutting low-frequency noise

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

HPF/Limiter, and press

6. Use and to select

HPF, and press

The high pass lter can cut low frequencies to reduce the sound of wind, vocal pops and other noise.

7. Use and to select

the desired cutoff fre-

quency, and press

HINT

This can be set to Off or between 10 and 240 Hz.

Input limiter

The limiter can prevent distortion by reducing input signals that have

excessively high levels.

Attack

time

Threshold

Level

Input signal

Signal after

limiter

Release

time

Time

When the limiter is ON, if the input signal level exceeds the set thresh-

old value, the input signal level will be suppressed to prevent the sound

from distorting.

The amount of time after the input signal exceeds the threshold until

compression of the output signal is maximized is called the “attack

time”. The amount of time after the input signal goes below the thresh-

old until the limiter stops compressing the signal is called the “release

time”. Change these two to adjust the audio quality.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

HPF/Limiter, and press

6. Use and to select

Limiter, and press

▶ Continue to one of the following procedures.

Using the limiter ……………………………………………………………………… P.88

Setting the type ……………………………………………………………………… P.90

Setting the threshold ……………………………………………………………… P.90

Setting the attack time ………………………………………………………… P.91

Setting the release time ………………………………………………………… P.91

Setting the target level …………………………………………………………… P.92

Using the limiter

7. Use and to select

On/O󼴨

, and press

8. Use and to select

the setting, and press

On (Normal)

On (Advanced)

Before limiter use After limiter use

Sometimes peaks remain

Before limiter use After limiter use

Threshold

Target level

Sudden peaks are

prevented by looking

ahead for maximum levels

Setting Explanation

Off This disables the limiter.

On (Normal) This applies an ordinary limiter. The ratio is 20:1.

(Advanced)

By detecting the maximum level in advance, this optimized lim-

iter prevents distortion even more than ordinary limiter opera-

tion. The ratio is ∞:1, providing increased internal headroom.

NOTE

When set to On (Advanced), the input latency of the increases 1 ms.

When monitoring sounds being recorded with a mic in real-time, increased

latency can cause interference between the sound being recorded that

is transmitted through the air and the delayed monitored sound, possibly

making accurate monitoring dicult.

NOTE

• When set to On (Advanced), the Sample Rate cannot be set to 192 kHz.

• Moreover, when the Sample Rate is set to 192 kHz, the On (Advanced)

setting cannot be selected.

■ Setting the type

7. Use and to select

Type, and press

8. Use and to select

the type, and press

Setting Explanation

Hard Knee

Only peaks that exceed the threshold are attenuated. There is

no effect below the threshold.

Soft Knee

The limiter gradually affects the signal about 6 dB below the

threshold for a gentler effect.

NOTE

This setting becomes available when On/Off is set to On (Normal).

■ Setting the threshold

This sets the base level from which the limiter operates.

7. Use and to select

Threshold, and press

8. Use and to adjust

the setting, and press

HINT

This can be set from −16 to −2 dBFS.

NOTE

This setting becomes available when On/Off is set to On (Normal).

■ Setting the attack time

This sets the amount of time until compression starts after the input

signal exceeds the threshold.

7. Use and to select

Attack Time, and press

8. Use and to adjust

the time, and press

HINT

This can be set from 1 to 4 ms.

NOTE

This setting becomes available when On/Off is set to On (Normal).

■ Setting the release time

This sets the amount of time until compression stops after the input

signal goes below the threshold.

7. Use and to select

Release Time, and press

8. Use and to adjust

the time, and press

HINT

Limiter operation is linked for tracks that have stereo link or MS stereo link

enabled. If the signal for either linked channel reaches the threshold, the

limiter will operate on both tracks.

NOTE

This setting becomes available when On/Off is set to On (Normal).

■ Setting the target level

When the limiter On/Off setting is set to On (Advanced), use this to set

the target output level for the signal.

7. Use and to select Tar-

get Level, and press

8. Use and to adjust

the setting, and press

HINT

• This can be set from −16 to 0 dBFS.

• After a signal passes through the limiter, it will not exceed the set target

level value.

NOTE

This setting becomes available when On/Off is set to On (Advanced).

Inverting the input phase

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Phase/Delay, and press

The phase of the input signal can be inverted.

This is useful when sounds cancel each other out due to mic settings.

6. Use and to select

Phase Invert, and press

7. Use and to select

On, and press

Changing the phantom power settings

HINT

Phantom power is a function that supplies power to devices that require an

external power supply, including some condenser mics.

The standard power is +48 V, but some devices can operate with lower

voltages.

NOTE

Do not use this function with devices that are not compatible with phan-

tom power. Doing so could damage the device.

The can provide phantom power. The voltage can be set to +24V or +48 V and it can be turned on/off for each input separately.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Phan-

tom Settings, and press

▶ Continue to one of the following procedures.

Setting the voltage ………………………………………………………………… P.96

Disabling phantom power during playback …………………………P.96

Using phantom power …………………………………………………………… P.81

■ Setting the voltage

4. Use and to select

Voltage, and press

5. Use and to select the

voltage, and press

HINT

When using mics and other equipment that can operate with voltages

less than +48 V, selecting the lower voltage can reduce the

power

consumption.

■ Disabling phantom power during playback

4. Use and to select

Power Saving, and press

5. Use and to select

On (PH off during play-

back), and press

Setting Explanation

Off Phantom power is supplied even during playback.

On (PH off during

playback)

Phantom power is not supplied during playback.

This can reduce the

power consumption.

HINT

If mics do not need phantom power during playback, disabling it can

reduce

power consumption.

NOTE

This setting affects all tracks.

Applying delay to input signals

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

PFL, and press

4. Use and to select

a track, and press

5. Use and to select

Phase/Delay, and press

6. Use and to select

Delay, and press

If there are differences in the timing of input sounds, use this function to correct them when recording.

7. Use and to adjust the

delay time, and press

HINT

This can be set from 0 to 30.0 ms.

NOTE

When Sample Rate is set to 192 kHz, Delay is disabled.

Linking inputs as a stereo pair

■ MS stereo format overview

This method takes input from a direction-

al mid mic, which captures sound in the

center, and a bidirectional side mic, which

captures sounds from the left and right,

and converts it to stereo.

The stereo width can be changed as de-

sired by adjusting the side mic level.

Since this method can capture a wide

stereo image, it is ideal for recording

large open spaces with numerous sound

sources, including orchestras, live con-

certs and soundscapes.

This technique is also extremely effective

when you want to adjust room ambience.

Since it offers a high degree of freedom, it is used not only in studios

but also for a wide range of recording, even for rehearsals and live per-

formances.

Mid mic

Side mic

Phase

S+

Master

Pan

Phase

S-

Pan

Phase

Pan L R

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

By enabling the stereo link for tracks 1/2, 3/4 or 5/6, the corresponding Inputs (1/2, 3/4 or 5/6) can be handled as a stereo pair.

When linked, Input 1, 3 or 5 will be the left channel and Input 2, 4 or 6 will be the right channel.

100

4. Use and to select

Input Link, and press

■ Setting stereo links

Stereo

Use and to select Stereo, and

press

Use and to select MS, and

press

Setting Explanation

Stereo When stereo-linked, inputs are handled normally.

When stereo-linked, signals from mid-side mics are converted to

ordinary stereo.

NOTE

• When stereo-linked, odd tracks are handled as left and even tracks as

right channels.

• When MS stereo-linked, odd tracks are handled as mid signals and even

tracks as side signals.

HINT

When MS stereo-linked, the method to balance mid and side is according

to the recording mode as follows.

•

Float (32bit): Use

for each track to adjust the mid/side balance.

• Not Float (32bit): Use the input level for each track to adjust the mid/side

balance. (See “Adjusting input levels → P.28.)

101

Adjusting multiple track input levels together

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

4. Use and to select

Trim Link, and press

5. Use and to select a track to link, and press .

Clear all

settings

Linked

Not linked

NOTE

• A track cannot be in more than one group at a time.

• The input levels of tracks set to MS stereo link will also be linked if those

tracks are put into groups.

The input levels of multiple tracks can be linked and adjusted at the same time.

102

Changing the automatic mixing setting

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select

Auto Mix, and press

4. Use and to select

a track, and press

5. Use and to select

On, and press

When using multiple mics to capture audio during a meeting, for example, automatically attenuating the inputs of mics that are not in active use pro-

vides the following benets.

· The likelihood of feedback is reduced.

· Background noise, including fans and crowds, is suppressed to a certain level regardless of the number of people.

· Sound quality degradation due to phase differences caused by variations in the distances of multiple mics is reduced.

103

NOTE

• The following functions and settings cannot be used with this function.

− The sampling rate cannot be set to 192 kHz.

− The Ambisonic format cannot be set to any value other than Off.

• When monitoring sounds being recorded with a mic in real-time, increased

latency can cause interference between the sound being recorded that

is transmitted through the air and the delayed monitored sound, possibly

making accurate monitoring dicult.

104

Setting the Ambisonic format

By connecting mics that can output Ambisonic A-format signals to Inputs 1–4, audio can be converted to Ambisonic B-format and recorded.

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

4. Use and to select

Input Link, and press

5. Use and to move

the cursor to Ambison-

ics, and press

105

6. Use and to select

Settings, and press

7. Use and to select

Format, and press

8. Use and to select

the format, and press

FuMa

This converts the signals from Inputs 1–4 to the Ambisonic FuMa

B-format, and saves them as a 4-channel polyphonic le.

AmbiX

This converts the signals from Inputs 1–4 to the Ambisonic AmbiX

B-format, and saves them as a 4-channel polyphonic le.

Trim

Ambisonics

B-format converter

(FuMa or AmbiX)

Ambisonics Stereo

Monitor converter

Input

1-4

Track

1-4

Track

L/R

Format: FuMa, AmbiX

106

Ambisonics A

This saves the signals from Inputs 1–4 as a 4-channel polyphonic le

without converting them to an Ambisonic B-format. The monitoring sig-

nal is converted to Ambisonic B-format and then to an ordinary stereo

signal.

Trim

Ambisonics

B-format

converter

Ambisonics

Stereo monitor

converter

Input

1-4

Track

1-4

Track

L/R

Format: Ambisonics A

NOTE

• The sampling rate can only be set to 192 kHz when Ambisonic Mode is

Off.

• Ambisonic les are saved as 4-channel polyphonic les, not as mono or

stereo les.

• The following parameters cannot be set for tracks using Ambisonic Mode

input.

– Phase Invert

– Delay

– Pan

– Input Link

– Trim Link

• Files recorded when Ambisonic format is not off will play back as Ambi-

sonic audio sources rather than ordinary 4-channel polyphonic les. For

this reason, these tracks cannot the panned or muted during playback

• This cannot be used with the Auto Mix function.

HINT

• Ambisonic can also be set during use as an audio interface (Multi Track).

• Even when Ambisonic format is not Off, PFL buttons can be selected to

monitor their track input sounds. When Monitor is set to PFL, sounds can

be monitored before they are converted to Ambisonic B-format. When

PFL mode is set to SOLO, sounds can be monitored after they are con-

verted to Ambisonic B-format.

• The following parameters that can be set on the PFL screen are linked for

Ambisonic input tracks.

– Source

– Trim

– HPF

– Limiter

– Phantom

– Fader

– PFL Monitor

107

Setting the mic position used for Ambisonic recording

By setting the mic orientation used during Ambisonic recording as an parameter, proper positioning can be maintained when converting to Am-

bisonic B format if the mic orientation is changed from upright, upside down or horizontal.

4. Use and to select

Input Link, and press

5. Use and to select Ambi-

sonics Settings, and press

1. Press .

2. Use and to select

INPUT, and press

3. Use and to select Link

Settings, and press

108

Front

Upright

Upside Down

HINT

• Using the mic upright is recommended for Ambisonic recording in order

to minimize reections from the oor and the mic itself.

• When it is dicult to use the mic in an upright orientation, you can place

it upside down or pointing forward and change the Mic Position setting

accordingly.

NOTE

If this setting and the mic position do not match, sound positioning will not

be properly re-created during conversion to Ambisonic B format.

6. Use and to select Mic

Position, and press

7. Use and to select the

mic orientation, and press

Setting Explanation

Upright Use this setting to record with the mic upright.

Upside Down Use this setting to record with the mic upside down.

Endre Use this setting to record with the mic oriented horizontally.

109

Output settings

Setting signals sent to the headphone output

Signals sent to the headphone output can be set to either prefader or postfader for each track.

Saving 10 setting combinations (Setting 1–Setting 10) it is possible.

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select Head-

phone Out, and press

4. Use and to select

Routing, and press

5. Use to select

the desired setting.

NOTE

Use on any screen to cycle through Settings 1–10.

110

▶ Continue to one of the following procedures.

Setting the routing ……………………………………………………………… P.110

Using mono headphone output ………………………………………… P.110

Monitoring mid-side stereo signals…………………………………… P.111

■ Setting the routing

6. Use and to select the tracks/outputs for head-

phone routing and press

Mid-side stereo

monitoring

Mono mix

Clear all settings

Set to post-fader

Set to pre-fader

Off

Tracks routed to left

headphone channel

Tracks routed to right

headphone channel

Press to cycle through

settings

• Change tracks 1–6 to

post-fader (cancel others)

• Change L/R to post-fader

(cancel others)

• Change Line to post-fader

(cancel others)

• Change U1–U4 to post-fader

(cancel others)

Set all tracks 1–6 to

pre-fader (cancel MS)

HINT

Press ENTER to cycle through the options: prefader → postfader → off.

NOTE

• L/R and line outputs cannot be set to prefader.

• When AIF with Rec is set to On, USB track 1–4 can be assigned.

• The 1–6, L/R, line outputs and USB track 1–4 cannot be selected at the

same time. Selecting one type will deselect any other.

7. Press .

■ Using mono headphone output

6. Use and to select

Mono

, and press

7. Press .

111

■ Monitoring mid-side stereo signals

Signals from a mid-side stereo mic can be converted to an ordinary ste-

reo signal for monitoring.

6. Use and to select

MS, and press

7. Press .

NOTE

• This is disabled for tracks that have input linking set to MS.

• When mid-side stereo monitoring is enabled, the pre-fader tracks will be

routed automatically to the headphone channels, with odd to the left and

even to the right. In this case, the routing cannot be changed manually.

11 2

Outputting alerts through headphones

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select Head-

phone Out, and press

4. Use and to select

Alert Vol, and press

5. Use and to adjust

the volume, and press

HINT

• This can be set to Off or between −48 and −12 dBFs.

• When set to Off, no alerts will be output.

When alerts sound Sound type

Remaining battery low 880Hz tone 4 times every 30 seconds

Recording starts 1000Hz tone 1 time

Recording stops 880Hz tone 2 times

Recording not possible 880Hz tone 3 times

The volume can be adjusted for alerts output from headphones when, for example, recording starts and stops.

11 3

Setting the headphone output volume curve

The volume curve used when adjusting the headphone volume knob can be set.

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select Head-

phone Out, and press

4. Use and to select

Vol Curve, and press

5. Use and to select

a curve, and press

Setting Explanation

Linear

The volume will change evenly from the minimum value to the

maximum value.

A Curve

The closer the volume is to its minimum position, the more rap-

idly it will change.

S Curve

The closer the volume is to its middle position, the more rapidly

it will change.

114

Boosting headphone output to alleviate interference from recorded sound

Boosting the headphone output alleviates the interference of sound waves traveling through the air with the headphone monitoring signal, enabling

more accurate monitoring of the sound being recorded.

4. Use and to select Dig-

ital Boost, and press

5. Use and to adjust the

boost amount, and press

HINT

The amount of boost can be set from 0 to +24 dB.

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select Head-

phone Out, and press

11 5

NOTE

In situations where the sound being recorded can be heard at the head-

phone monitoring position, sound waves traveling through the air can inter-

fere with the sound heard from the headphones, altering the monitored

sound. The more the sound heard through the headphones is delayed and

the lower its volume, the greater the impact of the sound waves.

Digital Boost adds a set boost volume to the adjusted headphone volume

level, reducing the impact of the sound waves that travel through the air.

11 6

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select

Line Out, and press

4. Use and to select

Level, and press

5. Use and to select

Line Out, and press

6. Use and to adjust the

output level, and press

Setting the output level

The Line Out output level can be changed.

11 7

HINT

This can be set to Mute or from −48.0 to +12.0 dB

■ Adjusting connected equipment levels

(playing test tones)

5. Use and to select the

line output sine wave icon, and

press

to play a test tone.

6. Press to stop test

tone playback.

HINT

• While checking the audio level meter of the connected device, make

adjustments to the input gain of that device until the audio signal level is

about −6 dB.

• The test tone is a 1kHz sine wave at −6 dBFS.

NOTE

• See the manual of the connected device for information about its

operation.

• If the automatic gain control function on the other device is on, turn it off.

• The test tone is output from both the LINE OUT and HEADPHONE jacks.

• Be careful with the volume if you are monitoring the sound with head-

phones, for example.

11 8

Applying delay to the output

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select

Line Out, and press

4. Use and to select

Delay, and press

5. Use and to adjust the

delay in frames, and press

HINT

This can be set from 0.0 to 10.0 frames.

NOTE

• Delays in milliseconds differ according to the frame rate of the selected

timecode.

• When Sample Rate is set to 192 kHz, Output Delay is disabled.

By delaying output, timing differences for audio input into another device can be corrected.

119

Using a limiter on the output can protect devices connected to the output jacks.

Output Limiter

HINT

For details about the limiter, see “Input limiter” ( →P.87).

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select

Line Out, and press

4. Use and to select

Limiter, and press

▶ Continue to one of the following procedures.

Using the limiter …………………………………………………………………… P.120

Setting the type …………………………………………………………………… P.120

Setting the threshold …………………………………………………………… P.121

Setting the attack time ……………………………………………………… P.121

Setting the release time ……………………………………………………… P.122

Linking the limiter ………………………………………………………………… P.122

120

■ Using the limiter

5. Use and to select

On/Off, and press

6. Use and to select

On, and press

■ Setting the type

5. Use and to select

Type, and press

6. Use and to select

the type, and press

Setting Explanation

Hard Knee

Only peaks that exceed the threshold are attenuated. There is

no effect below the threshold.

Soft Knee

The limiter gradually affects the signal about 6 dB below the

threshold for a gentler effect.

121

■ Setting the threshold

This sets the base level from which the limiter operates.

5. Use and to select

Threshold, and press

6. Use and to adjust

the setting, and press

HINT

This can be set from −16 to −2 dBFS.

■ Setting the attack time

This sets the amount of time until compression starts after the input

signal exceeds the threshold.

5. Use and to select

Attack Time, and press

6. Use and to adjust

the time, and press

HINT

This can be set from 1 to 4 ms.

122

■ Setting the release time

This sets the amount of time until compression stops after the input

signal goes below the threshold.

5. Use and to select

Release Time, and press

6. Use and to adjust

the time, and press

HINT

This can be set from 1 to 500 ms.

■ Linking the limiter

The line output limiters can be linked or applied independently.

5. Use and to select

Link, and press

6. Use and to select

Off, and press

Setting Explanation

Off Separate limiter operation.

Link limiter operation. If the signal for either linked signal reaches

the threshold, the limiter will operate on both channels.

123

1. Press .

2. Use and to select

OUTPUT, and press

3. Use and to select

Line Out, and press

4. Use and to select

Routing, and press

Clear all settings

Set to pre-fader

Set to post-fader

Off

Press to cycle

through settings

• Change tracks 1–6 to

post-fader

• Change L/R tracks to

post-fader

• Change U1–U4 tracks 1–6

to post-fader

Convert input track

stereo signals to

mid-side stereo

signals for output

Tracks routed to

left line output

Tracks routed to

right line output

Change tracks 1–6 to

pre-fader

HINT

Press to cycle through the options: prefader → postfader → off.

The type of signal sent to the line outputs can be set to either prefader or postfader for each track.

Selecting signals sent to the line outputs

124

NOTE

• When AIF with Rec is set to On, USB track 1–4 can be assigned.

• Tracks 1–6 can be set to prefader or postfader.

• The L/R tracks can only be set to postfader.

• Tracks 1–6, L/R, and USB 1–4 cannot be set at the same time. Selecting

one type will deselect the other.

• When mid-side stereo monitoring is enabled, the pre-fader tracks will

be routed automatically to the line output channels, with odd tracks to

the left and even tracks to the right. In this case, the routing cannot be

changed manually.

5. Press .

125

Timecode

Timecode overview

The can input and output SMPTE timecode.

Timecode is time information written to data when recording video and audio. It is used for video editing, control of other devices, and synchroniza-

tion of audio and video, for example.

■ Using timecode for editing

If video and audio data both have recorded timecode, aligning them to

a timeline and synchronizing them together is easy when using nonlin-

ear editing software for editing.

HINT

The uses a high-precision oscillator that enables the generation of

accurate timecode with a discrepancy of less than 0.5 frames per 24

hours.

Nonlinear editing software

00:10:00:00

00:10:03:00

Audio file

Timecode

00:10:03:00

Video file

Timecode

00:10:00:00

126

■ Connection example

Connections like the following are possible according to application.

Synchronizing with a video camera

The records with a mic input and transmits timecode.

The records the timecode that it generates itself with the audio

data. The timecode received by the video camera is recorded with the

video data.

Video camera

Timecode

Audio

Mic

■ Inputting timecode

Timecode is transmitted from the timecode generator.

Both the and the video camera receive timecode and record it with

their audio and video data.

The input timecode can also be used to synchronize the audio clock of

the .

Video camera

Timecode generator

Timecode

Audio

Mic

127

Setting timecode

1. Press .

2. Use and to select

TIMECODE, and press

▶ Continue to one of the following procedures.

Setting the mode ………………………………………………………………… P.128

Synchronizing audio clock with external timecode ………… P.130

Automatically enabling internal timecode when no

external timecode is input ……………………………………………… P.130

Setting the user bits for internal timecode ……………………… P.131

Setting the frame rate for internal timecode …………………… P.133

Jamming internal timecode ……………………………………………… P.134

Restarting internal timecode with a specied value ……… P.134

Mode

Use to set the timecode mode, timecode output when record-

ing is stopped, synchronization with audio clock, and internal

timecode operation when there is no external timecode input.

FPS Use to set the frame rate of the internal timecode.

Jam

Use to set jamming of the timecode input through the TIME-

CODE IN/OUT jack by the internal timecode. This can be used

to restart the internal timecode at a chosen set value.

Ubits

Use to set the mode and content of user bits that can be

included in timecode.

Auto Rec

Delay

Use to set the amount of time until recording starts after time-

code is received.

Start TC

Use to set the value used when jamming timecode starts and

for calibration to increase the precision when jamming to RTC.

128

■ Setting the mode

The following types of settings can be made.

• Whether the generates timecode or receives external timecode

• Whether timecode continues running or not when not recording

3. Use and to select

Mode, and press

4. Use and to select

Mode, and press

5. Use and to select

the mode, and press

Setting Explanation

Off

No timecode will be written to the recording le.

Timecode will not be output from the TIMECODE IN/OUT jack.

Int Free Run

Internal timecode will be generated regardless of the recording

mode.

The internal timecode can be set manually using the following

menu items.

• MENU > TIMECODE > Jam

• MENU > TIMECODE > Restart

Timecode will always be output from the TIMECODE IN/OUT

jack.

Int Rec Run

Internal timecode will be generated only when recording.

The internal timecode can be set manually using the following

menu items.

• MENU > TIMECODE > Jam

•MENU > TIMECODE > Restart

When switching from another mode, the internal timecode will

stop at the last value.

Int RTC Run

Internal timecode will be generated regardless of the recording

mode.

In the following situations, the internal timecode will be syn-

chronized (jammed) with the RTC (internal clock).

• At startup

• When Date/Time (RTC) changed ( →P.21)

• When switching to this timecode mode

Timecode will always be output from the TIMECODE IN/OUT

jack.

Ext

The internal timecode will chase the external timecode.

When there is no external timecode, automatic generation of

internal timecode can also be enabled. ( →P.130)

Ext Auto Rec

The internal timecode will chase the external timecode.

When there is no external timecode, automatic generation of

internal timecode can also be enabled. ( →P.130)

Recording starts automatically when external timecode input

is detected. Recording stops automatically when external time-

code stops.

129

■ Outputting timecode only when recording

Whether or not timecode is output from the TIMECODE IN/OUT jack

when recording is stopped can be set.

3. Use and to select

Mode, and press

4. Use and to select

TC Out, and press

5. Use and to select

Rec Only, and press

NOTE

• Timecode will continue to be output when recording/playback is paused.

• This cannot be set when Mode is set to Off, Ext or Ext Auto Rec.

HINT

Always: Timecode is always output regardless of the recorder status.

Rec Only: Timecode is output only when recording.

130

■ Synchronizing audio clock with external timecode

3. Use and to select

Mode, and press

4. Use and to select Ext

Audio Sync, and press

5. Use and to select

On, and press

NOTE

• When there is no external timecode, the internal audio clock is enabled to

preserve continuity.

• This cannot be set when Mode is set to Off, Int Free Run, Int Rec Run or

Int RTC Run.

■ Automatically enabling internal timecode when no

external timecode is input

The automatic generation of internal timecode can be enabled to pre-

serve continuity when there is no external timecode.

3. Use and to select

Mode, and press

4. Use and to select Ext

Continuous, and press

131

5. Use and to select

On, and press

NOTE

This cannot be set when Mode is set to Off, Int Free Run, Int Rec Run or Int

RTC Run.

■ Setting the user bits for internal timecode

User bits are data that can be set for inclusion in the timecode. Up to 8

numbers (0–9) and letters (A–F) can be included. Recording date infor-

mation, for example, can be useful when editing later.

Setting the user bits (Ubits) mode

3. Use and to select

Ubits, and press

4. Use and to select

Mode, and press

132

■ Setting the user bits (Ubits)

3. Use and to select

Ubits, and press

4. Use and to select

Edit, and press

5. Edit the value.

Move cursor or change value:

Use

and

Select parameter to edit:

Press

HINT

This can be set using numbers from 0 to 9 and letters from A to F.

5. Use and to select

the mode, and press

Setting Explanation

uu uu uu uu These values can be set as desired on the Edit screen.

mm dd yy uu

The month, day and year are entered automatically in that

order using the RTC setting. The "uu" value can be set as

desired on the Edit screen.

dd mm yy uu

The day, month and year are entered automatically in that

order using the RTC setting. The "uu" value can be set as

desired on the Edit screen.

yy mm dd uu

The year, month and day are entered automatically in that

order using the RTC setting. The "uu" value can be set as

desired on the Edit screen.

HINT

Only "uu" items can be changed.

133

Setting Explanation

23.976ND

This is the most common frame rate used with HD cameras

and other high-denition video recording. The count is slower

than the actual time by 0.1%.

24ND

This is the standard frame rate used for recording lm. This is

also used with HD cameras.

25ND

This is the frame rate for PAL video. This is used for PAL video,

which is used in Europe and other regions.

29.97ND

This is a frame rate used for NTSC color video and HD cam-

eras. The count is slower than the actual time by 0.1%. This is

used for NTSC video, which is used in Japan, the United States

and other countries.

29.97D

This is an adjusted frame rate that uses a drop frame to make

NTSC match the actual time. This is used with video for broad-

cast that requires the actual time frame to be matched.

30ND

This is used to synchronize sound with lm that is being trans-

fered to NTSC video. This is the standard frame rate used for

black-and-white television in Japan, the United States and other

countries.

30D

This rate is used for special applications. This synchronizes

at 29.97 fps drop frame with lm sound to be transferred to

NTSC. The count is faster than the actual time by 0.1%.

NOTE

Frame rates must be set in advance to match on devices used for all video

and audio data.

6. When done setting, use

and to select

Enter, and press

■ Setting the frame rate for internal timecode

3. Use and to select

FPS, and press

4. Use and to select the

frame rate, and press

134

■ Jamming internal timecode

Timecode input through the TIMECODE IN jack is used to set internal

timecode

3. Use and to select

Jam, and press

4. Use and to select

Jam, and press

■ Restarting internal timecode with a specied value

3. Use and to select

Jam, and press

4. Use and to select

Restart, and press

5. Set the restart value.

Move cursor or change value:

Use and

Select parameter to edit:

Press

135

6. Use and to select

Restart, and press

136

Setting the automatic timecode recording delay

1. Press .

2. Use and to select

TIMECODE, and press

3. Use and to select Auto

Rec Delay, and press

4. Use and to adjust

the time, and press

HINT

This can be set from 0.0 to 8.0 s.

If set to record automatically when external timecode is received, unnecessary recording could occur if timecode is received for a brief amount time.

In order to prevent this, the amount of time until recording starts after timecode is received can be set.

137

Setting timecode initialization used at startup

1. Press .

2. Use and to select

TIMECODE, and press

3. Use and to select

Start TC, and press

▶ Continue to one of the following procedures.

Setting how timecode is initialized at startup

(Start Timecode) ……………………………………………………………… P.137

Correcting timecode errors after the power has been

turned off…………………………………………………………………………… P.138

■ Setting how timecode is initialized at startup

4. Use and to select

Mode, and press

5. Use and to set

how timecode is initial-

ized, and press

Setting Explanation

Restart Time

When the

starts, the value set by Restart ( → P.134) is

used to jam the internal timecode.

RTC

When the

starts, its timecode is restored from the time-

code when the power was turned off and advanced by the

elapsed time using the Date/Time (RTC) setting ( →P.21).

Since RTC is less precise than internal timecode, discrepan-

cies will occur.

When the is turned off, the internal timecode stops, so the timecode is automatically initialized (jammed) during startup. The value that is used

for jamming at that time can be set.

138

■ Correcting timecode errors after the power has been

turned off

When the Start TC Mode is set to RTC, timecode precision will decrease

if the power is turned off. This function can be used to improve preci-

sion to almost 0.2 ppm even if the power is turned off.

4. Use and to select RTC

TC Calib, and press

5. Use and to select

Execute, and press

6. Calibration completes.

7. To cancel calibration, press

. Then, use and to

select Exit, and press

NOTE

• The

is calibrated before being shipped new from the factory.

• After calibrating once, the result will be retained.

• If the

is moved to and used in an extremely hot or cold location, time-

code precision could change slightly when the power is turned off. In such

cases, we recommend calibrating it again.

• Calibration is not possible when AIF with Rec is set to On.

• Calibration is only possible when Start TC Mode is set to RTC.

•

Calibration is not possible when the

is connected.

139

Using USB functions

Exchanging data with a computer

By connecting with a computer, data on the cards can be checked and copied.

■ Connecting

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

4. Use and to select SD

Card Reader, and press

5. Use a USB cable to connect the and the computer.

USB (Type-C)

NOTE

Use a USB cable that supports data transfer.

140

■ Disconnecting

1. Disconnect on the computer.

Windows:

Select with "Safely Remove Hardware”.

macOS:

Drag the icon to the Trash and drop it.

NOTE

Always conduct computer disconnection procedures before removing the

USB cable.

2. Disconnect the cable from the computer and the ,

and press

141

Using as an audio interface

■ Connecting

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

4. Use and to select Audio

Interface, and press

5. Use and to select

the mode and connected

device, and press

Setting Explanation

Stereo Mix

(PC/Mac)

This is a 2-in/2-out connection mode for Mac/Windows and

sends tracks 1–6 as a stereo mix.

Stereo Mix

(iPad)

This is a 2-in/2-out connection mode for iOS devices and sends

tracks 1–6 as a stereo mix.

Multi Track

(PC/Mac)

This is a 6-in/4-out connection mode for Mac/Windows and

sends tracks 1–6 as separate signals (cannot be used with

iOS devices).

A driver is necessary for use with Windows. Download the

driver from the ZOOM website (zoomcorp.com).

input signals can be input directly to a computer or iOS device, and playback signals on a computer or iOS device can be output from the .

142

6. Use a USB cable to connect the with the computer

or iOS device.

USB (Type-C)

NOTE

Use a USB cable that supports data transfer.

■ Disconnecting

1. Press .

2. Use and to select

Exit, and press

3. Use and to select

Exit, and press

4. Disconnect the cable from the computer or iOS device

and the

143

Using SD card recording and audio interface functions at the same time

In addition to SD card recording, a computer can also be used to record a backup.

4. Use and to select AIF

with Rec, and press

5. Use and to select

On, and press

6. Use a USB cable to connect the and the computer.

■ Connecting

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

144

NOTE

• AIF with Rec cannot be used with the following settings and functions.

- Sample rate settings other than 44.1/48 kHz

- SD card reader ( →P.139)

- Audio interface ( →P.141)

( →P.146)

• A driver is necessary for use with Windows. Download the driver from the

ZOOM website (zoomcorp.com).

• When AIF with Rec is set to On, the sample rate cannot be changed.

• When AIF with Rec is set to On, les with sample rates that differ from the

setting cannot be played.

• Set the input source to USB1–4 to monitor sound played back from the

computer ( →P.81) or select USB1–4 in the output routing ( →P.109,

P.112, P.113).

■ Disconnecting

1. Press .

2. Use and to select

Off, and press

3. Disconnect the cable from the computer and the .

145

Audio interface settings

■ Setting loop back (Stereo Mix only)

This function mixes the playback sound from the computer or iOS de-

vice with the input and sends the mix back to the computer or iOS

device (loop back).

This function can be used to add narration to music played back from

the computer and to record the mix or stream it on the computer, for

example.

1. Press .

2. Use and to select

LOOP BACK, and press

3. Use and to select

On, and press

■ Mixing inputs

The mix balance of the inputs can be adjusted. Input signals will be

sent to the computer or iOS device using the balance settings made

here. When using a Stereo Mix setting, the mixed stereo signal will be

sent.

1. Open the mixer on the Home

Screen ( → P.13).

2. Adjust the parameter settings.

See "Adjusting the input signal monitoring balance" ( →P.79)

for how to change settings.

The following settings can be made when using the as an audio interface.

146

Using an FRC-8 as a controller

NOTE

An cannot be used when operating with AA batteries. When mul-

tiple power supplies are connected to an

, the power supply being used

will automatically change according to the remaining battery charge. When

it switches to AA batteries, connection with an

will be interrupted.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

4. Use and to select

FRC-8, and press

5. Use and to select

Connect, and press

6. Use a USB cable to connect the and the .

7. Turn the power on.

When an is connected to the , it can be used to adjust settings, including trim, fader and pan.

147

NOTE

•

When disconnecting the

, select Disconnect before unplugging

the USB cable

•

Select Connect and press

to supply bus power from the USB port.

When bus power is being supplied, do not connect any device other than

the

. Doing so could damage the or a connected device.

HINT

When an and an are connected, the will always oper-

ate on USB bus power. AA batteries and DC power supply connected to the

it are disabled.

148

Setting the type of keyboard connected to the FRC-8

A PC keyboard can be connected to the and used to input characters.

Set the type to use the PC keyboard connected to the .

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

4. Use and to select

FRC-8, and press

5. Use and to select Key-

board Type, and press

149

6. Use and to select

the type, and press

Setting Explanation

US This setting is for English-language keyboards.

JP This setting is for Japanese keyboards.

150

Setting user keys for the FRC-8

Functions can be assigned to the user keys.

4. Use and to select

FRC-8, and press

5. Use and to select

User Key, and press

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

151

6. Use and to select

the key to which to assign

a function, and press

7. Use and to select

the function to assign,

and press

Setting Explanation

None No function is assigned.

Mark

Add marks to WAV format takes during recording and

playback.

Key Hold Use to disable the controls set with Key Hold Target.

Clear Clip

Indicator

Clear the level meter clipping indicators.

Circled Circle the currently selected take.

152

Setting the FRC-8 LED brightness

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

USB, and press

4. Use and to select

FRC-8, and press

5. Use and to select LED

Brightness, and press

The brightness of the LEDs on the front of the can be adjusted.

153

6. Use and to adjust the

brightness, and press

HINT

This can be set from 5 to 100.

154

Updating the FRC-8 rmware

1. See "Using an as a controller" ( → P.146), and

connect the

and the .

NOTE

Updating is not possible if the remaining power of the L battery is low. In

this case, use a charged L battery.

2. Copy the update le to the root directory on an SD card.

3. Load the SD card into the SD slot.

4. Press .

5. Use and to select

SYSTEM, and press

6. Use and to select

USB, and press

7. Use and to select

FRC-8, and press

▶ Continue to one of the following procedures.

Checking the rmware versions ………………………………………… P.155

Updating the rmware ………………………………………………………… P.155

The rmware version can be checked and updated to the latest version.

The latest update le can be downloaded from the ZOOM website (zoomcorp.com).

155

■ Updating the rmware

8. Use and to select

Firmware, and press

9. Use and to select

Update, and press

10. Use and to select

Update, and press

■ Checking the rmware versions

8. Use and to select

Firmware

, and press

9. Use and to select

Version, and press

156

NOTE

Do not turn the power off, remove an SD card or disconnect the USB

cable during an update. Doing so could cause the

to become

unstartable.

11. After the update completes,

turn the

power off.

157

Operating with an iOS device

■ Connecting with an iOS device

By connecting a ZOOM wireless adapter (e.g. BTA-1) and using the ded-

icated controller app, the can be operated from an iOS device.

NOTE

• The dedicated app must be installed on the iOS device beforehand. The

dedicated app can be downloaded from the App Store.

• See the manual for the app for procedures to set and operate it.

1. Remove the wireless adapter connector cover and con-

nect the wireless adapter.

2. Press .

3. Use and to select

SYSTEM, and press

158

4. Use and to select

Bluetooth, and press

5. Use and to select

F6 Control(iOS 9-12) or F6

Control, and press

Select this according to the version

used by the connected iOS device.

• Use F6 Control(iOS 9-12) with iOS

9 – 12

• Use F6 Control with iOS/iPadOS 13

or later

6. Use and to select

Connect, and press

7. Launch the dedicated

app on the iOS device.

If a list of Bluetooth devices appears

on F6 Control, connection will start

when you tap Device Name/ID.

When connection completes, “Con-

nected” will appear on the display.

HINT

• If a request for pairing appears from F6 Control, input the password

shown on the recorder.

• If connection is not successful, move the iOS device closer to the recorder

or move both to a place where nothing interferes with radio waves and

start F6 Control again. Conrm also that the Bluetooth function of the iOS

device can be used. If connection is still not possible, follow the instruc-

tions in the iOS device operation manual to unregister the

as a Blue-

tooth device on it. Then, repeat the procedures from the beginning.

159

■ Disconnecting from an iOS device

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Bluetooth, and press

4. Use and to select

F6 Control(iOS 9-12) or F6

Control, and press

5. Use and to select Dis-

connect, and press

160

■ Connecting with an UltraSync BLUE

If the is connected to an UltraSync BLUE, it can receive timecode

from the UltraSync BLUE and add it to recording les.

1. Remove the wireless adapter connector cover and con-

nect the wireless adapter.

2. Press .

3. Use and to select

SYSTEM, and press

4. Use and to select

Bluetooth, and press

5. Use and to select

Timecode, and press

6. Use and to select

Connect, and press

Searching for the connected device

will begin and “Searching” will appear

on the display.

HINT

• Searching can be canceled by pressing any button.

• After canceling searching, it can be restarted by selecting Menu > Time-

code > Pair/Forget > Pair again.

161

7. Select the as a connected

device on the UltraSync BLUE.

When pairing completes, “Connected”

will appear on the display.

HINT

• See the UltraSync BLUE manual for the procedures to select connected

devices.

•

Use the

and the UltraSync BLUE as close together as possible to make

communication more reliable.

• Even if communication with the UltraSync BLUE is interrupted, timecode

generated by the

will be added to recording les.

■ Disconnecting from an UltraSync BLUE

Disconnect the and the UltraSync BLUE to stop recording timecode

from it. Pairing information will be retained even when disconnected.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Bluetooth, and press

4. Use and to select

Timecode, and press

162

5. Use and to select Dis-

connect, and press

■ Connecting to a different UltraSync BLUE

To receive timecode from an UltraSync BLUE other than the one con-

nected to the , the pairing with the current UltraSync BLUE must be

removed, and pairing with the other UltraSync BLUE must be conduct-

ed.

1. Press .

2. Use and to select

TIMECODE, and press

3. Use and to select

Pair/Forget and press

163

4. Use and to select

Forget, and press

5. Use and to select

Pair, and press

Searching for the connected device

will begin and “Searching” will appear

on the display.

HINT

• Searching can be canceled by pressing any button.

• After canceling searching, it can be restarted by selecting Menu > Time-

code > Pair/Forget > Pair again.

6. Select as the connected device

on the other UltraSync BLUE.

When pairing completes, “Connected”

will appear on the display.

HINT

• See the UltraSync BLUE manual for the procedures to select connected

devices.

•

Use the

and the UltraSync BLUE as close together as possible to make

communication more reliable.

• Even if communication with the UltraSync BLUE is interrupted, timecode

generated by the

will be added to recording les.

164

Other settings

Setting the level meter peak hold time

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Display, and press

5. Use and to select Peak

Hold Time, and press

6. Use and to adjust the

peak hold time, and press

165

Setting the LED brightness

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select

Power Saving, and press

5. Use and to select LED

Brightness, and press

6. Use and to adjust the

brightness, and press

The brightness of the LEDs on the front of the can be set.

166

HINT

This can be set from 5 to 100.

167

Making display settings

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

▶ Continue to one of the following procedures.

Setting the display brightness …………………………………………… P.167

Changing the display backlight setting …………………………… P.168

Making the display easier to read under bright light ……… P.169

■ Setting the display brightness

4. Use and to select

Power Saving, and press

5. Use and to select LCD

Brightness, and press

Settings related to the display can be made.

168

5. Use and to select

Power Saving, and press

6. Use and to select

the setting, and press

Setting Explanation

Off

The backlight brightness does not change even after

time passes without use.

On (Low-Backlight) The backlight dims after time without use.

On (Backlight-Off) The backlight turns off after time without use.

6. Use and to adjust the

brightness, and press

HINT

This can be set from 5 to 100.

■ Changing the display backlight setting

The display backlight can be set to dim when 30 seconds pass without

use.

4. Use and to select

Power Saving, and press

169

■ Making the display easier to read under bright light

The display can be set to be easier to read in bright environments in-

cluding in sunlight.

4. Use and to select

Display, and press

5. Use and to select Out-

door Mode, and press

6. Use and to select

On, and press

170

Setting how marks are added manually

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select Key

Settings, and press

5. Use and to select PLAY

Key Option, and press

▶ Continue to one of the following procedures.

Setting how marks are added when recording ………………… P.171

Setting how marks are added when playing …………………… P.171

How marks are added when is pressed while recording or playing back a WAV format le can be set.

171

■ Setting how marks are added when playing

6. Use and to select

Playing, and press

7. Use and to select how

marks are added, and press

Setting Explanation

Pause Only

Pressing

will pause without adding a mark.

Pause & Mark

Pressing

will pause and add a mark.

Mark Only

Pressing

will add a mark without pausing.

■ Setting how marks are added when recording

6. Use and to select

Recording, and press

7. Use and to select how

marks are added, and press

Setting Explanation

Pause Only

Pressing

will pause without adding a mark.

Pause & Mark

Pressing

will pause and add a mark.

Mark Only

Pressing

will add a mark without pausing.

172

Setting the buttons held

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select Key

Settings, and press

5. Use and to select Key

Hold Target, and press

6. Use and to select the

keys to be held, and press

Use the hold function to prevent misoperation during recording. Press and hold to enable and disable the hold function.

Follow these instructions to set which keys are disabled by the hold function.

173

HINT

Track Knobs 1–6, MENU, ENTER, UP, DOWN, PLAY, REC, STOP, HP Volume

Push and HP Volume Turn can be selected.

7. Press .

HINT

•

Even when hold is on for HP Volume Push, pressing and holding

will turn the hold function off.

• Operation using the

and F6 Control is possible even when the hold

function is on.

174

Other functions

Checking SD card information

The size and open space of SD cards can be checked.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

SD Card, and press

4. Use and to select

Information, and press

■ SD card information

Open space

Size

Remaining

recording time

175

Testing SD card performance

SD cards can be tested to conrm whether they can be used with the . A basic test can be done quickly, while a full test examines the entire SD

card.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

SD Card, and press

4. Use and to select Per-

formance Test, and press

▶ Continue to one of the following procedures.

Conducting a quick test ……………………………………………………… P.176

Conducting a full test ………………………………………………………… P.177

176

■ Conducting a quick test

5. Use and to select

Quick Test, and press

6. Use and to select

Execute, and press

The card performance test will start.

The test should take about 30 seconds.

The test completes.

The result of the evaluation will be

shown.

HINT

Press to stop the test.

NOTE

Even if a performance test result is "OK", there is no guarantee that writing

errors will not occur. This information is just to provide guidance.

177

■ Conducting a full test

5. Use and to select

Full Test, and press

The amount of time required for the

full test will be shown.

6. Use and to select

Execute, and press

The test completes.

The result of the evaluation will be

shown. If the access rate MAX reach-

es 100%, the card will fail (NG).

HINT

Press to stop the test.

NOTE

Even if a performance test result is "OK", there is no guarantee that writing

errors will not occur. This information is just to provide guidance.

178

Formatting SD cards

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

SD Card, and press

4. Use and to select

Format, and press

5. Use and to select

Execute, and press

NOTE

• Before using SD cards that have just been purchased or that have been

formatted on a computer, they must be formatted by the

• Be aware that all data previously saved on the SD card will be deleted

when it is formatted.

Formatting SD cards for use with the .

179

Checking the F6 Shortcut List

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select Key

Settings, and press

5. Use and to select

Shortcut List, and press

The has a shortcut feature that allows quick access to various functions.

See the "List of shortcuts" ( →P.192) to check the shortcut functions.

180

Backing up and loading F6 settings

settings can be backed up to and loaded from SD cards.

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

SD Card, and press

4. Use and to select

Backup Settings, and press

▶ Continue to one of the following procedures.

Backing up …………………………………………………………………………… P.181

Loading ………………………………………………………………………………… P.181

181

■ Backing up

This saves a backup le to the "F6_SETTINGS" folder in the root direc-

tory of the SD card.

5. Use and to select

Backup, and press

6. Edit the name of the le saved.

See "Character input screen"

( →P.14) for how to input

characters.

HINT

The extension of the saved backup le is ".ZSF".

■ Loading

Backup les that are saved in the "F6_SETTINGS" folder in the root di-

rectory of the SD card can be loaded.

5. Use and to select

Load/Delete, and press

6. Use and to select the

le to load, and press

HINT

•

Press and hold

to delete a le.

• Deleting a le will completely erase its data.

182

7. Use and to select

Execute, and press

183

Restoring default setting values

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select

Settings, and press

4. Use and to select Fac-

tory Reset, and press

5. Use and to select

Execute, and press

The settings will be reset and the

power will automatically turn off.

The factory default settings can be restored.

184

Checking the rmware version

1. Press .

2. Use and to select

SYSTEM, and press

3. Use and to select Firm-

ware Version, and press

Firmware versions can be checked.

185

Updating the rmware

1. Install new batteries in the or connect the dedicated

AC adapter to the USB connector.

NOTE

Upgrading is not possible if the remaining battery power is low. In this

case, replace the batteries with new ones or use the dedicated adapter.

2. Copy the update le to the root directory on an SD card.

3. Load the SD card into the card slot, and turn the power

on while pressing

4. Use and to select

Update, and press

NOTE

Do not turn the power off or remove the SD card during the update. Doing

so could cause the

to become unstartable.

5. After the update com-

pletes, turn the power off.

NOTE

In the unlikely event that a rmware update should fail while in progress,

conduct the procedures from the beginning to update the rmware again.

The rmware can be updated to the latest versions.

The latest update le can be downloaded from the ZOOM website (zoomcorp.com).

186

■ Recording/playback trouble

◆

There is no sound or output is very quiet

• Check the connections to the monitoring system and its volume setting.

• Conrm that the volume of the

is not too low. (

→

P.36)

◆

Sound from connected equipment or inputs cannot be

heard or is very quiet

• Check the input level settings. (

→

P.28)

• If a CD player or other device is connected to an input jack, raise the out-

put level of that device.

• Check the input signal monitoring settings. (

→

P.79)

• Check the phantom power and plug-in power settings. (

→ P. 81,

P.95)

• Check the headphone and line output routing settings. (

→

P.109,

P.112, P.113)

◆

Recording is not possible

• Conrm that the status indicators are lit red.

• Conrm that the SD card has open space. (

→

P.174)

• Conrm that an SD card is loaded properly in a card slot.

• If “Card Protected!” appears on the display, the SD card write-protection

is enabled. Slide the lock switch on the SD card to disable write-protec-

tion.

◆

The recorded sound cannot be heard or is very quiet

• Conrm that the volume levels of the tracks are not too low. (

→

P.55)

• Conrm that the status indicators are lit green during playback.

■ Other trouble

◆

Computer does not recognize it even though it is connect-

ed to the USB port.

• Conrm that the operating system is compatible. (

→

P.139)

• The operation mode must be set on the

to allow the computer to rec-

ognize the

. (

→

P.141)

Appendix

Troubleshooting

If you think that the is operating strangely, check the following items rst.

187

◆

Battery operation time is short

Making the following settings could increase the battery operation time.

• Set the power supply used correctly. (

→

P.23)

• Turn unnecessary tracks off. (

→

P.27)

• Disconnect unneeded devices that are plugged into the HEADPHONE,

LINE OUT or TIMECODE IN/OUT jacks, for example.

• Set the phantom power voltage to 24V. (

→

P.96)

• Disable phantom power during playback. (

→

P.96)

• Turn timecode off if not using it. (

→

P.128)

• Reduce the LED brightness.(

→

P.165)

• Reduce the LCD brightness.(

→

P.167)

• Set the display to dim when not used for some time. (

→

P.168)

• Reduce the sampling rate used to record les. (

→

P.30).

• Due to their characteristics, using nickel metal hydride batteries (espe-

cially high-capacity ones) or lithium batteries should enable longer use

than alkaline batteries when power consumption is high.

◆

The date and time reset frequently

• Turn the power on to charge the built-in rechargeable battery used to re-

tain the date and time.

188

■ Metadata contained in WAV le BEXT chunks

Tag Explanation Remarks

zSPEED= Frame rate MENU > TIMECODE > FPS

zTAKE= Take number

zUBITS= Ubits MENU > TIMECODE > Ubits

zSCENE= Scene Name

MENU > REC > Metadata > Scene Name > Mode

MENU > REC > Metadata > Scene Name > User Name

MENU > FINDER > Option > Metadata Edit > Scene > Scene/Take

MENU > FINDER > Option > Rename

zTAPE=

Name of recording destination

folder

MENU > FINDER (recording destination folder name)

MENU > FINDER > Option > Metadata Edit > Tape Name

zCIRCLED= Circled take MENU > FINDER > Option > Metadata Edit > Circle

zTRK1= Left track name

Track names are written as follows.

TRK1=TrL, TRK2=TrR, TRK3=Tr1, TRK4=Tr2 … TRK8=Tr6

zTRK2= Right track name

zTRK3= Track 1 name

zTRK4= Track 2 name

zTRK5= Track 3 name

zTRK6= Track 4 name

zTRK7= Track 5 name

zTRK8= Track 6 name

zNOTE= Take note

MENU > Metadata > Note

MENU > FINDER > Option > Metadata Edit > Note

Metadata list

189

■ Metadata contained in WAV le iXML chunks

iXML master tag iXML sub tag Written

Read

Remarks

○ ○

MENU > FINDER (folder name at top SD card level)

MENU > FINDER > Option > Metadata Edit > Project Name

<SCENE>

○ ○

MENU > REC > Metadata > Scene Name > Mode

MENU > REC > Metadata > Scene Name > User Name

MENU > FINDER > Option > Metadata Edit > Scene >

Scene/Take

MENU > FINDER > Option > Rename

<TAKE>

○ ○

MENU > FINDER > Option > Metadata Edit > Take

MENU > FINDER > Option > Rename

<TAPE>

○ ○

MENU > FINDER (recording destination folder name)

MENU > FINDER > Option > Metadata Edit > Folder (Tape)

Name

○ ○

MENU > FINDER > Option > Metadata Edit > Circle

<WILD TRACK> × ×

<FALSE START> × ×

<NO GOOD> × ×

<FILE_UID>

○

<UBITS>

○

× MENU > TIMECODE > Timecode > Ubits

<NOTE>

○ ○

MENU > REC > Metadata > Note

MENU > FINDER > Option > Metadata Edit > Note

<BEXT> × ×

<USER> × ×

190

iXML master tag iXML sub tag Written

Read

Remarks

<SPEED>

○

○ ○

MENU > TIMECODE > FPS

○

× MENU > TIMECODE > FPS

○

× MENU > TIMECODE > FPS

○

× MENU > TIMECODE > FPS

○

× MENU > REC > Sample Rate

○

× MENU > REC > Mode

○

× MENU > REC > Sample Rate

○

○

○

× MENU > REC > Sample Rate

iXML master tag iXML sub tag Written

Read

Remarks

<SYNC_POINT_LIST>

<SYNC_POINT> <SYNC_POINT_TYPE> × ×

<SYNC_POINT> <SYNC_POINT_FUNCTION> × ×

<SYNC_POINT> <SYNC_POINT_COMMENT> × ×

<SYNC_POINT> <SYNC_POINT_LOW> × ×

<SYNC_POINT> <SYNC_POINT_HIGH> × ×

<SYNC_POINT> <SYNC_POINT_EVENT_DURATION> × ×

iXML master tag iXML sub tag Written

Read

Remarks

○

<HISTORY> <PARENT_FILENAME> × ×

<HISTORY> <PARENT_UID> × ×

191

iXML master tag iXML sub tag Written

Read

Remarks

<FILE_SET>

<FILE_SET> <TOTAL_FILES>

○

<FILE_SET> <FAMILY_UID>

○

<FILE_SET> <FAMILY_NAME> × ×

<FILE_SET> <FILE_SET_START_TIME_HI> × ×

<FILE_SET> <FILE_SET_START_TIME_LO> × ×

<FILE_SET> <FILE_SET_INDEX>

○

iXML master tag iXML sub tag Written

Read

Remarks

<TRACK_LIST>

<TRACK_LIST> <TRACK_COUNT>

○

○

○

○ ○

MENU > REC > Metadata > Track Name

MENU > FINDER > Option > Metadata Edit > Track Name

<TRACK> <FUNCTION> × ×

○ = YES × = NO

■ Metadata and ID3 elds contained in MP3 les

Metadata ID3 eld Format

Timecode Artist Name TC=[HH:MM:SS:FF]

Scene name, take number Track Title SC=[scene name] TK=[take number]

Frame rate, le length (time) Album Title FR=[frame rate] D=[le length (time)]

192

■ Home Screen

Operation from

Explanation

Press and hold

Press and hold MENU Show the name that will be given to the next take recorded. Example: Scene001_002

MENU + ENCODER press Advance the scene number by 1 (when the Home Screen is open).

MENU + FF

The number given to the next recorded take can be increased or decreased by one when the Home

Screen is open.

MENU + REW Move the previously recorded take to the FALSE TAKE folder (when the Home Screen is open).

ENCODER press + FF Open L/R track fader and line output level setting screen.

ENCODER press + REW Click the level meter clipping indicators.

Press and hold

Press and hold FF Circle the currently selected take.

■ Input link, trim link and routing screens

Operation from

Explanation

− Move the cursor up.

− Move the cursor down.

■ All screens

Operation from

Explanation

Press and hold

– Disable controls set with "Key Hold".

List of shortcuts

193

Block diagrams

■ Input and output signal ow (Linear and Dual modes)

The Input Limiter is disabled

when in Dual mode.

194

■ Input and output signal ow (Float mode)

The Input Limiter is disabled when in Dual mode.

Converter“Rec Level” adjusts the recording levels of each input,

and “ Tr1-6 Fader” adjusts the levels of each input sent to the

LR track. Both types of levels can be adjusted with . The

behavior of the “Rec Level” and “Tr1-6 Fader” when is

operated can be set to one of the following two options

usingMenu > INPUT > Track Knob.

■ Reference Level (default)

Operating when recording is stopped adjusts the “Rec

Level”. When recording starts, the “Rec Level” becomes ﬁxed at

the levels set at the time recording started. During recording,

adjust the “Tr1-6 Faders”.

■ Rec Level

always adjust the “Rec Level” both during recording and

when recording is stopped.The “Tr1-6 Faders” are bypassed.

195

■ Input and output signal ow (Audio Interface Stereo Mix)

,QSXW

,QSXW

,QSXW

,QSXW



7ULP

+3)

,QSXW/LPLWHU

3KDVH , QYHUW

066WHUHR

,QSXW'HOD\

7U)DGHU

$XWR0L[

/5)DGHU



3DQ



&K

&K

/RRS%DFN

$PELVRQLFV

%IRUPDW

&RQYHUWHU

$PELVRQLFV

67HUHR

&RQYHUWHU

/,1(287

+($'3+21(

287

287387

2XWSXW'HOD\ +39ROXPH

6ODWH7RQH

2XWSXW/LPLWHU

/LQH2XW/HYHO

+3$OHUW7RQH

5R XWLQJ

3RVWIDGHU

3UHIDGHU

入出力信号ブロック図オーディオ,)　ステレオミックス

■ Input and output signal ow (Audio Interface Multi Track)

,QSXW

,QSXW

,QSXW

,QSXW



7ULP

+3)

,QSXW/LPLWHU

3KDVH , QYHU W

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/,1(287

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287

287387

$XWR0L[

2XWSXW'HOD\ +39R OXPH

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+3$OHUW7RQH

/5)DGHU



3DQ



5R XWLQJ

7UDFN

7UDFN

7UDFN

7UDFN

7UDFN/

7UDFN5



3RVWIDGHU

3UHIDGHU

$PELVRQLFV

%IRUPDW

&RQYHUWHU

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入出力信号ブロック図オーディオ,)　マルチトラック

196

197

L, R

Slate

Tone

■ Detailed block diagram (Linear & Dual modes)

198

L, R

Slate

Tone

■ Detailed block diagram (Float mode)

199

■ Detailed block diagram (Routing)

200

Recording media SD cards, SDHC cards, SDXC cards (that conform to standards)

Inputs Inputs 1–6 Connectors XLR jack (pin 2 hot)

Input (mic) Input gain +12 dB – +75 dB

Input impedance 3 kΩ

Maximum input level +4 dBu

Input (line) Input gain -8 dB – +55 dB

Input impedance 5 kΩ

Maximum input level +24 dBu

Phantom power +24/+48V 10mA maximum for each channel

Equivalent input noise −127 dBu or less (A-weighted, +75 dB input gain, 150Ω input)

Outputs Line output Connectors 3.5 mm stereo mini unbalanced output

Output impedance 100 Ω or less

Reference output level –10 dBV, 1 kHz, 10kΩ load

Maximum output level +10 dBV, 1 kHz, 10kΩ load

D/A dynamic range 95 dB typ (–60dBFS input, A-weighted)

Headphone output Connector 3.5 mm stereo mini unbalanced output

Output impedance 15 Ω or less

Maximum output level 100 mW + 100 mW (32Ω load)

D/A dynamic range 108 dB typ (−60dBFS input, A-weighted)

Recording formats When WAV selected

Supported formats 44.1/47.952/48/48.048/88.2/96/192 kHz, 16/24-bit/32-bit oat, mono/stereo/2-8ch poly, BWF/iXML supported

Maximum simultaneous recording tracks 14 (6 inputs x 2 (Liner and Floating) + LR mix)

6 (6 inputs (Liner or Floating) at 192kHz sampling rate)

When MP3 selected

Supported formats 128/192/320kbps, 44.1/48 kHz, ID3v1 tags supported

Maximum simultaneous recording tracks 2

Recording time Using a 32 GB card

30:46:00 (48 kHz/24-bit stereo WAV)

7:41:00 (192 kHz/24-bit stereo WAV)

Timecode Connector 3.5 mm stereo mini (Tip: IN, Ring: OUT)

Modes Off, Int Free Run, Int Record Run, Int RTC Run, Ext, Ext Auto Rec (audio clock can be synchronized to timecode)

Frame rates 23.976 ND, 24 ND, 25 ND, 29.97 ND, 29.97 D, 30 ND, 30 D

Precision ±0.2 ppm

Allowed input level 0.2 – 5.0 Vpp

Allowed input impedance 4.6 kΩ

Output level 3.3 Vpp

Output impedance 50 Ω or less

Power AC adapter (ZOOM AD-17): DC 5V/1A (supports USB bus power)

Sony® L-Series battery

4 AA batteries (alkaline, lithium or rechargeable NiMH batteries)

Specications

201

Continuous recording

time

48 kHz/16-bit 2ch recording to SD card

(LINE OUT off, TIMECODE off, LED/LCD Brightness 5, headphones into 32Ω load, PHANTOM off)

Alkaline batteries 7.5 hours or more

NiMH batteries

(2500 mAh)

10.5 hours or more

Lithium batteries 16.5 hours or more

48 kHz/24-bit 6ch recording to SD card

(LINE OUT off, TIMECODE off, LED/LCD Brightness 5, headphones into 32Ω load, PHANTOM off)

Alkaline batteries 4.5 hours or more

NiMH batteries

(2500 mAh)

7 hours or more

Lithium batteries 10.5 hours or more

192 kHz/24-bit 6ch recording to SD card

(LINE OUT on, TIME CODE set to Int Free Run, LED/LCD Brightness 60, headphones into 32Ω load, PHANTOM at 48 V)

Alkaline batteries about 0.5 hours

NiMH batteries (2500 mAh) 1.0 hours or more

Lithium batteries 3.0 hours or more

Display 1.54" full-color LCD (240 × 240)

USB Mass storage operation

Class USB 2.0 High Speed

Multitrack audio interface operation (driver required for Windows, no driver required for macOS)

Class USB 2.0 High Speed

Specications Sampling rate 44.1/48/88.2/96 kHz

Bit Rate 16/24-bit

Channels 6 in/4 out

Stereo mix audio interface operation (no driver required)

Class USB 2.0 Full Speed

Specications Sampling rate 44.1/48 kHz

Bit Rate 16-bit

Channels 2 in/2 out

Note: iOS device audio interface operation supported (stereo mode only)

AIF with Rec operation (driver required for Windows, no driver required for macOS)

Class USB 2.0 High Speed

Specications Sampling rate 44.1/48 kHz

Bit Rate 16/24-bit

Channels 8 in/4 out

Note: Use a USB cable that supports data transfer. USB bus power is supported.

Power consumption Main unit only 1 W

Using L battery with FRC-8 connected 10 W

External dimensions 100 mm (W) × 119.8 mm (D) × 62.9 mm (H)

Weight 520 g

Z2I-3741-05

ZOOM CORPORATION

4-4-3 Kanda-surugadai, Chiyoda-ku, Tokyo 101-0062 Japan

zoomcorp.com