EDIROL R-44
Amazing 24 bit/192 kHz ultra-high sound quality!!
Easy to transport!! Lightweight 4-channel recorder!!
4-channel simultaneous recording techniques are
thoroughly explained!!
2
Compact 4-channel Recorder
T
h
e
f
u
n
ct
i
o
n
s
n
eeded
f
o
r 4-
c
h
a
nn
e
l
r
ecordin
g
have been condensed into a unit
t
he size of a palm. With just one R-44,
y
ou
c
an per
f
orm complete 4-channel
r
ecor
d
ing. It weig
h
s a mere 1.3
k
g, even
w
ith
f
our AA batteries and an SD card
.
R
-44 Feature
s
Obsession with Quality
Y
ou can record at 24 bit/192 kHz
,
far better
t
han the 16 bit
/
44.1 kHz for CDs.
44.1 k H z
192 k H z
Sampling frequency
more than 4x higher than a CD
SD Card for Longer Recording Times
Highly Visible, Easy-to-see Screen
Linking to a PC
can transfer sound data to a PC with a
s
in
g
le USB cable. The data can then be
p
la
y
ed on software that comes standard
w
it
h
t
h
e PC
.
Some PC environments may not p
l
ay
24-
b
it recor
d
ings
.
*
3
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
1
Situation Practica
l
Use Tec
h
niqu
e
Situation 1 : Recordin
g
Acoustic Instrument
s
..........................
p
.
4
Situation 2 : Recording Band Performances
..............................
p
.
8
Situation 3 : Recor
d
in
g
Concerts ..................................................
.
p
. 1
0
Situation 4 : Recordin
g
Outdoor Sounds
...................................
p
. 14
2 Applied Techniqu
e
Application 1 : Recording Sound for Video
...............................
p
. 16
Application 2 : Editin
g
Your Recordin
g
s to
Create a CD or DVD
..............................................
p
. 1
7
3
A
pp
en
d
ix
Microphones
/
Di erence Between Sensitivity and Volume
.............................
p
. 1
9
O
ption
s
...................................................................................................
p
. 2
0
R-44 S
p
eci cation
s
.............................................................................
p
.
20
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
4
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Recording Acoustic Instruments
1
Using the R-44 allows you to realistically record a variety of
instrumental performances.
We introduce several recording tips here.
Preparing to Recor
d
• Connect two micro
p
hones (DR-80C) to the R-44
.
• It’s convenient to use a microp
h
one stan
d.
• Turn [PHANTOM] ON
.
For details, refer to the owner’s manual.
Recor
d
Setting
s
W
e recommend the following settings for making a CD
.
I
n
p
ut Select
A
nalo
g
S
ets the mode to record with external microphone
s
R
ec Freq. 44.1
k
Hz
We recommend 44.1 kHz i
f
you want to make a CD
You can use 88.2 kHz
f
or higher quality and per
f
orm accurate dithering to CD late
r
R
ec B
i
t 16 bit
Rec
M
ode
S
TERE
O
× 1
S
etting to use one stereo s
y
stem (2 channels) to recor
d
Pre Recor
d
ing
O
F
F
N
o nee
d
to set t
h
i
s
P
ro
j
ect Nam
e
D
ate
If
you set the date, it is easy to know the recording date and time
For details on how to make recording settings, refer to the owner’s manual.
Matc
h
ing t
h
e
Recor
d
in
g
Leve
l
s
T
he
rst step in recording is to determine the input
level b
y
matching it to the loudest sound to record.
Pl
ay t
h
e p
h
rase t
h
at is t
h
e
l
ou
d
est so t
h
e R-44
l
eve
l
m
eter goes as high as possible, and then adjust the
[
SENS]/[LEVEL] in
p
ut
l
eve
l
k
no
b
s so t
h
at t
h
e R-44
level meter
f
alls just short o
f
the C (clip level) on the
r
i
gh
t w
h
en t
h
e maximum vo
l
ume is reac
h
e
d.
Volume is too loud if the
C (Clip Level) lights up
Sensitivity is too high if the
channel name lights up
When the input level is too low, the dynamic feel of the
s
oun
d
is
l
ost; w
h
en it is too
h
ig
h
, t
h
e soun
d
b
ecomes
d
istorted (pops and clicks and other noise occurs)
.
For details on setting the input level, refer to the
owner’s manual.
Aiming t
h
e
M
icrop
h
one
s
T
he microphone records sounds
f
or the right ear and
l
eft ear separatel
y
. So, it is important to directl
y
face
th
e person or instrument you are recor
d
ing. A
l
so,
a
s
y
ou move closer to the sound source,
y
ou get a
crisper sound; as you move away, you get a so
f
ter
sound because you also record the room echoes.
Bright
Soft
Adjusting the
brightness
and softness
See “Instrument Recording Techniques” on p. 6 of
this guide for how to record di erent instruments.
Situation
1
2
3
Turn [PHANTOM] ON
5
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
4-channel Recording
Since you can record on 4 channels simultaneously, you can try setting microphones in di erent locations
a
round the instrument
.
F
or example,
y
ou can record near the instrument (on-mic) and
f
ar
f
rom the instrument to record echoes
(o -mic) at the same time. You can then adjust the volume for each to create a mixed sound
.
Recordin
g
a Grand Pian
o
U
n
l
i
k
e sma
ll
er instruments, t
h
e piano pro
d
uces soun
d
t
h
roug
h
out t
h
e instrument an
d
emits soun
d
in
d
i
erent directions. So, it can be di
cult to record a piano. But,
y
ou can use the 4-channel simultaneous
recording feature to record sound from di erent directions and distances. Then, you can mix-down to
create a piano recording that matches the genre of the performed song. Also, it is important to balance
the “sound o
f
the string,” “sound
f
rom the bod
y
,” “sound re
ected
f
rom the sound board,” and “sound o
f
the
h
ammer
h
ittin
g
t
h
e strin
g
s” w
h
en recor
d
in
g
a piano. In ot
h
er wor
d
s, t
h
e tric
k
to recor
d
in
g
a piano is to set
micro
p
hones in di erent locations to com
p
are di erent sounds
.
A
n example o
f
setting the microphones is shown here
.
A
s shown in the illustration, set a total of four microphones (use condenser microphones): two to record the
s
tring sound and two to record the sound re ected from the sound board. In particular, test changing the
position and angle o
f
the microphones recording the string sounds to adjust the range o
f
the recording and
the balance of the sound from the strings and sound board and also try changing the distance to adjust the
balance between the sound of attack and reverberations to get the cleanest recording.
R
-44 Setting
:
Rec. Mo
d
e in STEREO X 2
Adjust the spacing between the microphones
to get the range you want to record
Sound
of the
string
Sound reected
from the
sound board
Sound of
the string
Sound reected from the sound board
Regulate the sound quality
by changing the height
and angle of the microphones
Sound of the string
Regulate the sound vibrations
with the distance and position
of the microphones
Recor
d
ing Drum
s
T
he drum is an instrument that pla
y
s sound in several di
erent directions. We recommend using
s
imultaneous recordin
g
with four channels
.
Start b
y
placing two microphones above the drum (condenser microphones) and one microphone each
on the bass drum and snare (d
y
namic microphones),
f
or a total o
f
f
our recording locations. You should
u
se microphone stands above the drum and place the microphones at a hei
g
ht of about 2 meters. At this
height, the sound from the entire drum set can be recorded. For the bass drum, place the microphone in
f
ront aimed at the place where the beater hits. For the snare,
y
ou should place the microphone about 10
cm above the snare so you can cleanly record only the sound of the snare. You’ll be able to easily emphasize
just the bass drum sound b
y
adjusting the volume of each channel if
y
ou use this setup
.
R
-44 Sett
i
ng
:
Rec. Mo
d
e in STEREO X
4
About
2 meters
About
2 meters
Where the
beater hits
About
10 cm
6
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Instrument Recording Techniques
Aim from
the front
Aim from
slightly below
Pop Guard
Sound Hole
Set at an angle from the fret side
Aim from the front
Point-blank
Record the sound
of the guitar or bass directly
Capture the sound as heard in the room
Move apart a little bit
Guitar Amp/
Bass Amp
Place slightly off-center
from the speaker
LINE
OUT Jack
COMBO
INPUT Jack
STEREO
Standard
phone plug
Standard
phone plug
First, the microphone is basically aimed directly at the
f
ront o
f
the sound hole. However,
y
ou can also adjust
the distance and angle to the sound hole to
nd a
s
ound that
y
ou like. When placing the microphone
at an angle, we recommended doing so from the fret
s
i
d
e. T
h
is gives
y
ou a c
l
eaner recor
d
ing.
Al
t
h
oug
h
you can use a
d
ynamic microp
h
one, we
r
ecommen
d
usin
g
a con
d
enser microp
h
one to
g
et a
cl
eaner recor
d
in
g.
Ideall
y
,
y
ou should choose a place, such as a studio,
w
here noise isn’t introduced
f
rom the surroundings. I
f
r
ecording in a room, tr
y
to choose a room that doesn’t
h
ave environmental noise (automobile noise or cit
y
n
oises) and that has the sound re ection that you want.
Although the basic position
f
or the microphone is
directl
y
in front, it is OK to aim it from slightl
y
above or
sl
ig
h
t
l
y
b
e
l
ow. T
h
is is
b
ecause soun
d
comes not on
l
y
f
rom the mouth but also from the head. Although you
can use a
d
ynamic microp
h
one, we recommen
d
using
a
condenser microphone to
g
et a cleaner recordin
g
. If
s
ome breathing noise is recorded, tr
y
using a window
s
creen or pop guard. You can also tr
y
changing the
direction or angle o
f
the microphone.
Wh
en p
l
aying t
h
roug
h
a guitar amp or
b
ass amp at
a
studio, it is im
p
ortant to use the actual volume and
s
ettin
g
s used
f
or per
f
ormances. Place the microphone a
little o -center from the speakers and aim it from point-
blank range. Be sure to use a d
y
namic microphone that
c
an withstand vibrations. I
f
you want the recording to
g
ive the feel of playing in a room, use two microphones
a
t distances to record in stereo. However, be care
f
ul
because i
f
you set the microphones too
f
ar, there is too
much re ected sound and the sound contours become
blurred.
I
f
you are recording in a room, you can also using line
r
ecording by connecting an e ecter with an amp
m
odeling
f
eature or an amp to the R-44 b
y
cable. This
is because units that have amp modelin
g
are desi
g
ned
to pro
d
uce rea
l
istic soun
d
even wit
h
a
l
ine connection
.
Y
ou can record electronic instruments like s
y
nthesizers,
o
rgans, samp
l
ers, or r
h
yt
h
m mac
h
ines
b
y connecting
t
h
e instrument’s
l
ine output jac
k
d
irect
l
y to t
h
e R-44
c
om
b
o input jac
k
. Some
d
igita
l
synt
h
esizers
h
ave
e
ecter or masterin
g
features, so the line recordin
g
s
c
an
f
aith
f
ull
y
reproduce the created sounds.
Y
ou can recor
d
instruments p
l
aye
d
t
h
roug
h
an
a
mpli er by considering the distance to the amp, just
a
s wit
h
t
h
e e
l
ectric
g
uitar.
Synthesizer or Organ
Vocals
Acoustic Guitar
Electric Guitar or Bass
This section describes where to
p
lace micro
p
hones for various instruments.
For more about dynamic microphones and condenser microphones, refer to “Microphone Type”
on p. 19 of this guide.
7
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Aim at the top
Aim from the front
Adjusting the balance between
the sound of attack and
reverberations
Adjusting the balance
the strings and
the sound board
U
nlike recording smaller instruments, when
y
ou record
s
ound from a piano
y
ou want to record the sound from
th
e entire instrument. You can get an overa
ll
b
a
l
ance
d
r
ecor
d
ing
b
y setting two microp
h
ones a sma
ll
d
istance
f
rom the S-shaped depression.
A
l
so, you can a
d
just t
h
e
b
a
l
ance
b
etween t
h
e strings an
d
t
he sound board with the an
g
les o
f
the microphones
a
nd adjust the balance between the sound o
f
attack and
r
everberations to get the cleanest recording b
y
moving
t
he micro
p
hones closer in or
f
arther out.
You can use 4-channel recordin
g
to capture even better
sou
n
d.
See “4-channel Recording” on p. 5
f
or details.
Piano
Y
ou s
h
ou
ld
use a stereo micro
ph
one or two micro
ph
ones
a
im
ed
fr
o
m
abo
v
e
t
h
e
d
r
u
m
s
to
r
eco
r
d
t
h
e
sou
n
d
of
t
he entire kit. It is generally recommend to record from
a
height o
f
2 meters, but you can use a microphone
s
tand and adjust the height and angle to
nd the sound
y
ou want. You can also aim
f
rom a spot a little
f
rom the
f
ront. You should be care
f
ul when using a unidirectional
m
icro
p
hone, because if it is
p
ointed at a
p
articular drum,
o
nly the sound of that drum will be featured. In this case,
a
d
j
ust the angle of the microphone
.
Y
ou can use 4-channel recording to capture even better
s
oun
d
.
See “4-channel Recording” on p. 5 for details
.
Drums
Aim at the bell
t
he bell of the wind instrument. When aiming at the bell,
y
ou should use a wind screen because “blowing noise” is
g
enerated from the wind instrument. Although you can use
a
dy
namic microp
h
one, we recommen
d
using a con
d
enser
microphone to get a cleaner recording
.
W
hen recordin
g
a solo performance, woodwinds like the
saxophone have some sound coming
f
rom the keys as well
a
s from the bell, and when all the ke
y
s are pressed, the
volume
f
rom the bell changes radically. In this situation, you
s
h
ou
ld
pro
b
a
bl
y aim somew
h
ere
b
etween t
h
e
b
e
ll
an
d
t
h
e
ke
y
s. You can record a smooth per
f
ormance this wa
y.
W
hen recording a horn section, you should set a microphone
f
or each horn, and record with an on-mike. I
f
y
ou do this,
t
here will be no overlap of sound which gives you a cleaner
recor
d
ing. T
h
e R-44 can simu
l
taneous
ly
recor
d
4 c
h
anne
l
s, so
w
e recommend setting a microphone
f
or each horn.
Wind Instruments
Emphasize
the bow impression
Emphasize
the body sound
Aim from 1 to 1.5
meters above
S
trin
g
instruments, like the violin or double bass, are in
some wa
y
s like an acoustic guitar, so
y
ou should record
them b
y
balancing the sound o
f
the string vibrations
and the sound
f
rom the bod
y
. You should aim the
m
icrophone at the bridge or resonance aperture of the
instrument from about 1 to 1.5 meters above. You can
t
h
en get a c
l
ean recor
d
ing. A
l
t
h
oug
h
you can use a
d
ynamic microp
h
one, we recommen
d
using a
c
ondenser microphone to
g
et a cleaner recordin
g
.
String Instruments
8
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Matching
t
h
e Recor
d
ing Leve
l
s
B
efore recordin
g
the band performance, consider
the song structure and
nd the place in the song
where the volume is the loudest. Adjust so that the
R
-44 level meter goes as high as possible but
f
alls
j
ust short of the C (clip level) at maximum volume.
Volume is too loud if the
C (Clip Level) lights up
Sensitivity is too high if the
channel name lights up
If the recording level is too low, the entire
r
ecordin
g
is done at the low volume. If it is too hi
g
h,
the recording can be distorted (popping noise or i
f
even higher, the sound can be severel
y
distorted).
For details on setting the input level, refer to the
owner’s manual.
P
ositioning t
h
e R-44
W
h
en re
h
earsin
g
in a re
h
earsa
l
stu
d
io, t
h
e
instruments are o
f
ten located throughout the room
.
Y
ou should
p
osition the R-44 in the middle of the
studio to record the sound o
f
each instrument
equall
y
. You should also place the microphone at
a
bout table-height. I
f
the microphone is placed on
t
he oor
,
the sound is mu ed and unclear
;
if it is
p
l
ace
d
too
h
ig
h
,
y
ou
l
ose t
h
e
b
ass range an
d
t
h
e
sound becomes tinny.
Drums
Bass Amp
Guitar Amp
PA Speaker for Vocals
and Keyboard
Place in
the middle
Recording Band Performances
2
Preparin
g
to Record
• An externa
l
microp
h
one is unnecessar
y
because you are using the internal microphones
.
Record Settin
gs
W
e recommend the following settings for making a CD when recording with the internal microphones
.
I
n
p
ut Select In
t
Mi
c
S
ets the mode to record with the internal micro
p
hones
R
ec Freq. 44
.
1
k
Hz
W
e recommend 44.1 kHz i
f
you want to make a C
D
R
ec B
i
t 16 bit
Rec
M
ode
S
TERE
O
× 1
S
etting to use one stereo system (2 channels) to record
Pre Recor
d
ing
O
F
F
No nee
d
to set t
h
is
P
ro
j
ect Nam
e
D
ate If you set the date, it is easy to know the recording date and time
For details on how to make recording settings, refer to the owner’s manual.
You can easily record band rehearsals using the R-44 internal microphones.
Here, we describe several recording tips for using the internal microphones.
Situation
1
2
3
9
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
4-channel Recording
Record the band
p
erformance in one shot with four channel
s
B
ecause
y
ou can record four channels simultaneousl
y
,
y
ou can record all four parts (vocals, guitar,
b
ass, an
d
d
rums), eac
h
on a se
p
arate c
h
anne
l
, at t
h
e same time
.
You can also connect microphones or instruments directly into the
f
our combo input jacks without
u
s
i
n
g
a m
i
xer.
A
f
ter recording, you’ll be able to adjust the volume o
f
each part, allowing you to check the
p
er
f
ormance o
f
individual parts. This is convenient, since it allows you to check your own part as
well as listen to the entire band’s practice session.
R
-44 Sett
i
n
g
: Rec. Mode in MONO X 4
: Input Se
l
ect to Ana
l
o
g
Matc
h
ing t
h
e recor
d
ing
l
eve
ls
You can have a more perfect recording b
y
setting recording levels for each part. You can achieve
g
ood balance by
rst adjusting the microphone
f
or the drums, then the bass, guitar, and vocals, in
that order. Also, i
f
you turn on the [LIMITER], described above, you can prevent clipped sounds when
there are ver
y
loud sounds
.
Connections an
d
Setting
s
You should connect microphones and instruments to the R-44 as shown in the illustration.
S
ee “Instrument Recording Techniques” on p. 6 o
f
this guide
f
or microphone settings.
V
ocals must be output
f
rom PA equipment or an amp, so set the R-44 LINE OUT setting (Output Sel) to
4
-indiv, and set output to the same channel as the input channel.
A
lso, you should use a microphone to record the sound
f
rom the guitar amp so that the characteristics
o
f
the amp sound can also be recorded
.
For details on Output Sel settings, refer to the owner’s manual.
COMBO INPUT Jack
(Standard phone plug)
2 Channel (Guitar)
4 Channel (Drums)
3 Channel (Bass)
1 Channel (Vocals)
Guitar
Guitar Amp/
Bass Amp
Drums
Bass
1 Channel (Vocals)
LINE OUT
to PA system or amp
(RCA Pin)
Vocal
1
0
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Matchin
g
the Recording Levels
You should nd out the maximum volume durin
g
r
ehearsals be
f
ore the per
f
ormance begins
.
I
t is di cult to adjust the volume level after the
p
er
f
ormance begins. You should match the
r
ecordin
g
level before the actual performance
.
Volume is too loud if the
C (Clip Level) lights up
Sensitivity is too high if the
channel name lights up
You also need to do a trial recording during
r
e
h
earsa
l
to c
h
ec
k
t
h
e soun
d
qua
l
ity in t
h
e arena or
co
n
ce
r
t
h
a
ll in
ad
v
a
n
ce.
For details on setting the input level, refer to
the owner’s manual.
M
icrophones Location
T
he sound is fuller the closer to the sta
g
e the
microphones are placed, and the sound is so
f
ter the
further the microphones are because there are more
rever
b
erations. You must c
h
ec
k
t
h
e micro
ph
one
placement durin
g
rehearsal because the placement
i
s ver
y
i
mportant
.
Full Sound
Soft Sound
For details see “Setting and Placing Microphones
in Arenas or Concert Halls” on p. 12 in this guide.
Recording Concerts
3
Preparin
g
to Record
• Connect two microp
h
ones (DR-80C) to t
h
e R-44
.
• It’s convenient to use micro
p
hone stands
.
• Turn
[
PHANTOM
]
ON
.
For details on phantom power, refer to the owner’s manual.
Recor
d
Setting
s
W
e recommend the
f
ollowin
g
settin
g
s
f
or makin
g
a CD
.
A
l
so, you s
h
ou
ld
d
o t
h
e Pre Recor
d
ing settings to
p
revent missin
g
a recordin
g
.
I
n
p
ut Se
l
ect
A
na
l
o
g
S
ets t
h
e mo
d
e to recor
d
wit
h
an externa
l
micro
ph
on
e
R
ec Fre
q
. 44
.
1 kHz
W
e recommend 44.1 kHz i
f
you want to make a C
D
W
e recommend 48 kHz i
f
you want to synch to video to create a DV
D
R
ec B
i
t 16
b
it
R
ec Mode STEREO × 1
S
etting to use one stereo system (2 channels) to record
Pre Recordin
g
15
sec
S
et to 10–15 seconds to prevent missin
g
recordin
g
somethin
g
P
ro
j
ect Nam
e
Date If
y
ou set the date, it is eas
y
to know the recording date and time
For details on how to make recording settings, refer to the owner’s manual.
The R-44 keeps the realistic, live sound of concerts and
performances.
Here, we describe several tips on how to make more realistic
recordings.
Situation
Turn [PHANTOM] ON
1
23
11
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
4-channel Recording
H
ere, we describe how to perform basic recordin
g
s usin
g
four channels. These examples use four
D
R-80C microp
h
ones. For
d
etai
l
s on microp
h
one settings see “Setting an
d
P
l
acing Microp
h
ones in
Arenas or Concert Halls” on p. 12 in this
g
uide.
Recording the “Per
f
ormance” and “Audience” Simultaneousl
y
Th
is
d
escri
b
es
h
ow to ma
k
e recor
d
ings wit
h
even more rea
l
ism
by
using t
h
e 4-c
h
anne
l
s
imultaneous recording
f
eature. I
f
you record the “per
f
ormance” and the “audience” separately in
s
tereo,
y
ou can record the actual experience of being at the arena. Also,
y
ou can easil
y
make
a
djustments after the recording because the balance of each sound can be changed separatel
y
.
See “Recording the Audience” on p. 13 in this guide for how to record the audience.
R
-44 Settin
g
:
R
ec.
M
ode
in
S
TERE
O
X 2
Audience
Microphones
Audience
Microphones
Performance Microphones
Recording Multiple Input Levels Simultaneousl
y
M
istakes cannot be xed at events like live performances. But even if
y
ou set the input level during
r
ehearsal in advance, the recordin
g
can still fail because of unexpected sounds that are too loud or
too so
f
t. For these times, set combo input jacks 1 and 2 to the normal input level and combo input
j
acks 3 and 4 to a slightl
y
lower input level. If
y
ou do this,
y
ou can avoid a recording mistake because
even i
f
the normal input level is clipped, the sound in combo input
j
acks 3 and 4 is not clipped
.
R
-44 Settin
g
:
R
ec.
M
ode
in
S
TERE
O
X 2
Normal Recording Level
Slight Lower Recording Level
12
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Setting and Placing Microphones in Arenas or Concert Halls
B
ecause sound can change just by changing the microphone positions, microphone placement in arenas and
concert halls is extremel
y
important. The best placement can be hard to nd because the sound echoes
di
erently
f
or each arena or concert hall. We introduce examples o
f
setting microphones using general
s
uspended microphones and usin
g
microphone stands.
U
sin
g
Suspended Microphone
s
Suspended
Microphones
Suspended microphones are microphones
s
uspended from the ceilin
g
and are set for
r
ecording public per
f
ormances at authentic
concert
h
a
ll
s. T
h
ese micro
ph
ones a
ll
ow t
h
e
p
er
f
ormance to be taped without
b
otherin
g
the
g
uests or lmin
g
.
You
h
ave to consu
l
t in a
d
vance wit
h
t
h
e
p
erformers about the hei
g
ht to suspend
the micro
p
hones because i
f
the
m
icrophones are too close the
y
might
interfere with the audience or lmin
g
.
T
he best recording is usually made by
h
avin
g
t
h
e microp
h
ones c
l
oser to t
h
e
p
er
f
ormers.
Recording with Suspended Microphones
U
sin
g
Microp
h
one Stan
ds
M
icrophone stands give you more
f
reedom to adjust the microphone position than when using suspend-
ed microphones. But you have to consult in advance with the per
f
ormers about the microphone stands
b
ecause they might
90–120 degrees
About 3 meters
Orchestra or Brass Band
Conductor
Adjust sound quality
with the vertical angle
As high as possible
Adjust sound quality with the angle
between the microphones
Recording in a Small Hall
P
osition two microphones near the center o
f
s
ta
g
e about three meters in front of the sta
g
e
(
or behind the conductor) using the highest
s
ettin
g
of the microphone stands. Set the
le
f
t and right microphones apart at an angle
from 90 to 120 de
g
rees. Be careful because
th
e ang
l
e
b
etween t
h
e microp
h
ones c
h
anges
accordin
g
to the size of the sta
g
e. If the an
g
le
is too
l
arge, t
h
e instruments in t
h
e center
b
ecome
f
aint; i
f
the angle is too small, stereo
s
oun
d
is
l
ost. A
dj
ust t
h
e vertica
l
ang
l
e so t
h
at
t
he microphones point to just below the
f
ront
p
art of the sta
g
e. The vertical direction of the
m
icrop
h
ones s
h
ou
ld
b
e
d
etermine
d
d
uring
t
he performance rehearsal. We recommend
u
sing uni
d
irectiona
l
microp
h
ones
b
ecause
it is eas
y
to set the sound. If
y
ou are using
s
tereo microp
h
ones, set t
h
em at an ang
l
e
b
etween 90 and 120 degrees to capture
th
e orc
h
estra or
b
rass
b
an
d
. T
h
e
h
ei
gh
t an
d
vertical angle is the same as when using two
m
icrophones. Ultimatel
y
, it is important to
t
est t
h
e setup
d
uring re
h
earsa
l.
Caution!
Be sure to check beforehand whether you can use facility equipment, such as the suspended
microphones. You also need to check how to use the equipment and the type and characteristics
of the microphones.
13
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Choir
Piano
Conductor
If distance is too far, lyrics
will be hard to understand
Auxiliary
Microphones
Auxiliary
Microphones
Main
Microphones
Y
ou should also record the audience to
c
apture the live feel of a performance. Set
d
edicated micro
p
hones for the audience
to capture this
f
eeling. The microphones
s
hould be set near the center o
f
the
audience seating. If
y
ou are using
unidirectional micro
p
hones,
p
oint them u
p
to record the reverberations o
f
the concert
h
all. I
f
the microphones are pointed down,
i
t is di
cult to capture the live
f
eel because
o
nl
y
certain members of the audience are
reco
r
ded.
Y
ou can a
l
so use stereo micro
ph
ones,
b
ut
y
ou can get a better live
f
eel by using two
m
onaural microphones placed apart.
A
lso,
y
ou can consider the omnidirectional
m
icro
ph
one as an o
p
tion to recor
d
t
h
e
atmosphere o
f
the concert hall.
Recording the Audience
B
asicall
y
, the microphones should be
p
ositione
d
as
d
escri
b
e
d
a
b
ove.
B
ut, c
h
oruses
h
ave “
l
yrics.” You s
h
ou
ld
b
e
care
f
ul not to place microphones too
f
ar
a
part because the l
y
rics ma
y
not be clear
a
lthough
y
ou can record the atmosphere of
th
e c
h
orus
.
Y
ou need to balance the chorus with the
v
olume of the piano accompaniment. The
balance with the chorus ma
y
be di cult
dependin
g
on the location of the piano.
I
n t
h
ese cases, you s
h
ou
ld
use auxi
l
iary
microphones
f
or recording and adjust the
ba
l
a
n
ce
l
ate
r
.
Recording a Chorus
A
t lar
g
e venues, the sound from either end
i
s alwa
y
s heard more
f
aintl
y
. To help with
t
h
is, you can set auxi
l
iary microp
h
ones
b
y
m
aking use o
f
the R-44 4-channel
s
imultaneous recordin
g
feature.
T
h
e auxi
l
iar
y
microp
h
ones s
h
ou
ld
b
e
p
laced about 1/3 o
f
the width o
f
the
o
rchestra or brass band
f
rom each end. I
f
y
ou use these settings to record, it will be
e
as
y
to adjust the balance afterwards.
Al
so,
y
ou s
h
ou
ld
p
l
ace t
h
e auxi
l
iar
y
m
icrophones with some separation
f
rom
the main microphones and also use
d
i erent settin
g
s (for example, separatin
g
t
h
e two auxi
l
iar
y
microp
h
ones
by
a
l
arge
d
istance and pointing them up)
f
or the
auxiliary microphones to record the venue
ec
h
oes.
Auxiliary
Microphones
Auxiliary
Microphones
1/3 of the Orchestra or Brass Band
Main
Microphones
Determined
by the size of the hall
Conductor
Orchestra or Brass Band
Recording in a Large Hall
14
Situation
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Recording Outdoor Sounds
4
You can record the sounds of nature, like bird, cat, dog and other
animal noises, the sound of rain, or the babbling of a brook.
Here, we describe several tips on how to record in the outdoors.
Matc
h
in
g
the Recordin
g
Levels
You should set the R-44 sensitivity (microphone
s
ensitivit
y
)
h
ig
h
so
y
ou can recor
d
quiet soun
d
s
l
i
k
e
wild bird song. This setting makes the microphone
s
ensitive and even the
q
uietest sound is ca
p
tured.
On t
h
e ot
h
er
h
an
d
,
l
ower sensitivity is an
a
ppropriate microphone settin
g
for loud sounds
t
h
at are a
l
most
j
ust noise, suc
h
as t
h
e soun
d
a train
m
akes as it passes.
Set [SENS] fairly high
You should check the input level after making these
s
ett
i
ngs
.
B
asically, check to be sure the C at the right o
f
the
l
eve
l
meter (c
l
i
p
l
eve
l
) w
h
en t
h
e
l
ou
d
est soun
d
is
heard
.
For details on setting the input level, refer to
the owner’s manual.
Dea
l
in
g
wit
h
Win
d
N
o
i
se
If
a strong wind hits the microphone, a mu
ed
“
win
d
noise” is recor
d
e
d
. At worst, t
h
e win
d
noise
will be louder than the sound you want to record,
which is one reason for ruinin
g
a clear recordin
g
. We
introduce some ways o
f
handling wind noise here.
Put a win
d
screen on t
h
e micro
ph
one
.
The wind screen should stop most of the wind
n
o
i
se
.
d
Sc
r
ee
n
T
urn
[
LOW CUT
]
ON.
Since wind noise is made up mostly o
f
the low
r
ange, the noise can be reduced b
y
cutting out
t
h
e
l
ow range
.
[LOW CUT] ON
1
.
2
.
Preparing to Record
• Connect a stereo microp
h
one to t
h
e R-44.
• It is convenient to use a directional stereo micro
p
hone (CS-15R or CS-50)
t
o recor
d
on
ly
w
h
at
y
ou are pointing at.
Recor
d
Setting
s
T
he following settings should be used if
y
ou are s
y
nching to video to make a DVD. Also,
y
ou should use the Pre
R
ecor
d
ing settings to prevent missing a recor
d
ing
.
I
nput Se
l
ect
A
na
l
o
g
S
ets t
h
e mo
d
e to recor
d
wit
h
an externa
l
microp
h
on
e
R
ec Fre
q
. 48
k
Hz Use 48 kHz if ultimatel
y
y
ou are s
y
nching to video to make a DV
D
O
r it ma
y
be convenient record with 96 kHz if
y
ou want to save in high
quality so that you can convert sounds to use with a DVD
qy y
Rec
Bi
t
1
6
b
i
t
R
ec Mo
d
e STEREO × 1
S
etting to use one stereo s
y
stem (2 c
h
anne
l
s) to recor
d
Pre Recordin
g
20
sec
S
et to 15–20 seconds to prevent missin
g
recordin
g
somethin
g
P
roject Nam
e
D
ate
I
f
y
ou set the date, it is eas
y
to know the recording date and time
For details on how to make recording settings, refer to the owner’s manual.
1
23
Directio
n
Stereo Micro
p
(
CS-50
)
15
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
4-channel Recording
Recor
d
ing wit
h
Surroun
d
Soun
d
R
ecent
l
y, wor
d
s
l
i
k
e surroun
d
soun
d
an
d
5.1 c
h
anne
l
h
ave
b
ecome common a
l
ong wit
h
t
h
e
p
opularization of DVDs. With the abilit
y
to do 4-channel simultaneous recording, the R-44 can make
s
urroun
d
soun
d
recor
d
ings.
U
se four unidirectional microphones and set them on a microphone stand, as shown in the photo, to
r
ecord the sound
f
rom
f
our directions. I
f
you use this setup to record, you can use a PC to convert to
5.1 channel / surround sound. Also
,
use a wind screen to cut down wind noise
,
as described earlier
.
R
-44 Sett
i
n
g
: Rec. Mode in STEREO X 2
For details see “Creating 5.1 Channel Sound Using a PC” on p. 18 in this guide
Simu
l
taneous
l
y recor
d
ing
b
ir
d
song using mu
l
tip
l
e microp
h
one
s
T
ry to record a point as close to the bird as possible. But, i
f
you get too close to the bird, you won’t
b
e able to record the natural sin
g
in
g
voice.
I
t is important to keep the bird
f
rom knowing that you are near. You should check the time and
p
lace where birds normall
y
gather and set up multiple microphones, as shown in the illustration,
in a
d
vance. A
l
so, use
l
on
g
ca
bl
es to connect t
h
e microp
h
ones to t
h
e recor
d
er,
h
i
d
e in t
h
e s
h
a
d
ows,
a
nd begin the recording as the birds begin to appear. I
f
you do this, the birds won’t notice that you
a
re there, and
y
ou’ll be able to record the natural sound of the birds
.
Also, you can use an umbrella, as shown in the illustration below, in place o
f
a parabola when
r
ecordin
g
distant sounds.
You can also make
f
urther use o
f
the 4-channel simultaneous recording
f
eature to set stereo
m
icrophones in two locations and select the sound from the microphones closest to the location o
f
t
h
e
b
ir
d
s.
Move away to remain unnoticed
An umbrella can be used in place of a parabola
1
6
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
1
A
dvanta
g
es of Usin
g
the R-44 to Record Sound for Video
U
sing the R-44 to record sound for video has the following merits.
Y
ou should tr
y
using the R-44 with video lming
.
•
Better soun
d
t
h
an recor
d
ing wit
h
t
h
e vi
d
eo camera’s microp
h
on
e
S
amplin
g
rates up to 192 kHz are supported.
•
Y
ou
ca
n r
eco
r
d
sou
n
ds
d
i
cu
l
t
to
r
eco
r
d
fr
o
m
t
h
e
vi
deo
ca
m
e
r
a
l
ocat
i
o
n
S
ounds that cannot be recorded by the video camera’s microphone can be picked up by the R-44
.
Sou
n
ds
fr
o
m
a
n
ot
h
e
r l
ocat
i
o
n
ca
n
be
r
eco
r
ded
at
t
h
e
sa
m
e
t
im
e.
•
You can recor
d
environmenta
l
soun
d
s an
d
spo
k
en
l
ines separate
ly
•
You can capture the actual ambience of the location, and use
y
our computer to convert it to 5.1 channel surroun
d
You can set microphones in
f
our locations and change their position
f
reely to create more realistic sound
.
When lming video, the sound quality is often insu cient.
U
sing the R-44 allows you to record sound for video at a higher quality.
H
ere, we describe several recordin
g
tips on how to record sound for video
.
Synching Video and Audio
It is di cult to synchronize the video and audio during the editing process. But, with a little
ingenuity, you can synch them easily.
P
la
y
a Baseline Sound and then Record
Cl
ap
y
our
h
an
d
s as t
h
e vi
d
eo
lmin
g
be
g
ins as a si
g
nal to
s
tart recor
d
in
g.
B
y
using t
h
is soun
d
as a
b
ase
l
ine,
y
ou can easi
ly
sy
nc
h
t
h
e timing
b
etween
vi
d
eo an
d
au
d
io
d
urin
g
ed
itin
g
.
R
ecordin
g
Settin
g
s
If the audio recorded for video will be used together with the video material to produce a
DVD, we recommend the following settings.
A
l
so,
y
ou s
h
ou
ld
use t
h
e Pre Recor
d
ing settings to prevent missing a recor
d
ing
.
Input Se
l
ec
t
A
na
l
og Sets t
h
e mo
d
e to recor
d
wit
h
an externa
l
microp
h
one
R
ec Fre
q.
48
kHz
U
se 48 kHz i
f
ultimately you are making a DVD match to video,
o
r i
f
you are saving with high-quality sound, recording with
9
6
kHz m
a
k
es
co
nv
e
r
s
i
o
n
eas
i
e
r l
ater
R
ec
Bi
t
1
6
b
i
t
Rec Mo
de
S
TEREO ×
2
Setting to use two stereo s
y
stem (2 c
h
anne
l
s) to recor
d
P
re Recordin
g
1
0
sec
Record ten seconds ahead so you don’t miss anything
Pro
j
ect Name
N
ame
T
o
h
e
l
p
d
istinguis
h
y
our projects, it’s a goo
d
i
d
ea to give eac
h
s
cene
i
ts own un
i
que pro
j
ect nam
e
Audio from the video camera
Video from the video camera
Audio recorded by the R-44
Audio from the video camera
Video from the video camera
Audio recorded by the R-44
Recording Sound for Video
Application
1
17
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Editing Your Recordings
to Create a CD or DVD
2
Creatin
g
CDs
H
ave
y
ou ever wanted to have someone listen to
y
our music that
y
ou recorded? If so, CDs are better than cassette
t
apes. A CD is more
l
i
k
e
l
y to get
h
ear
d
b
ecause CD p
l
ayers, an
d
CD car stereos are rea
ll
y common. Once you
l
earn
how, making CDs is eas
y
, so
y
ou should learn how to do it
.
Ma
k
ing a CD
T
rans
f
er the sound
le (WAV)
on t
h
e SD car
d
to a PC via a
U
SB connection
.
Cop
y
t
h
e mixe
d
d
own
d
ata
to a CD
.
M
S
ONAR7 Producer Edition.
”
If
you’ve recorded
f
our channels simultaneously on the R-44, and want to create a CD
f
rom your recording, you’ll
n
eed to adjust the volume of the four channels and combine them into two-channel stereo data. This process is
ca
ll
e
d
“mix
d
own,” an
d
wi
ll
a
ll
ow you to create a CD t
h
at soun
d
s t
h
e way you want
.
I
n this example, we provide a simple explanation of usin
g
the Windows software “Cakewalk SONAR7 Producer Edi
-
t
ion” (sold separatel
y
) to turn the four channels of data (STEREO x 2) recorded b
y
the R-44 into two-channel stereo,
a
nd use this data to create a CD. (For details, re
f
er to the owner’s manual or Help
le o
f
the so
f
tware you’re using.
)
M
anipulate the screen to adjust the volume
of
eac
h
c
h
a
nn
e
l
.
W
rite t
h
e exporte
d
d
ata to a CD
.
1.
3.
Ex
p
ort the data.
The data format should be a WAV le at 16 bit
/
44
.
1
k
Hz
.
If
y
ou know that
y
ou are going to create a CD from
t
h
e
b
eginning, we recommen
d
recor
d
ing wit
h
16
b
it
/
44.1 kHz on the R-44. Since this is the same as
the CD speci
cations, it will take
j
ust a short time to
c
onvert the data
.
1
6 bit
/
44.1 kHz
fo
r
C
D
s
2.
Application
1
8
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
De
l
eting Unnecessary Part
s
T
here are man
y
cases when
y
ou’ll want to edit the sound after recording, for example to erase the rst ve seconds that
a
ren’t nee
d
e
d.
In these cases, you can use the Windows version of the Cakewalk SONAR7 series (sold separately) to edit sound recorded
wi
th
the
R-44
.
Unnecessar
y
sounds can be easil
y
deleted b
y
selecting them and erasing them as shown below. (For details on operations,
see the owner’s manual or help
f
or the so
f
tware that
y
ou are using.
)
C
a
k
ewa
lk
SONAR7 Pro
d
ucer E
d
ition
C
akewalk SONAR7 Producer Edition Scree
n
Deleting Unnecessary Parts
A
lthough this software is music creation software, it has plenty of editing features for sound les, too. For example, you
c
an easi
l
y create a non-stop me
l
o
d
y
b
y connecting severa
l
e
d
ite
d
passages
.
C
reating 5.1 Channels
I
f
y
ou use the 4-channel recording as described in “Recording with Surround Sound” on p. 15,
y
ou can convert the sound
to the 5.1 channel surround sound used b
y
DVD so
f
tware
.
A
nd if
y
ou then s
y
nch it to video,
y
ou will have a piece with the impact and realism of a movie.
We intro
d
uce t
h
e proce
d
ure to convert 4 c
h
anne
l
s to 5.1 c
h
anne
l
s
b
e
l
ow. We use t
h
e Win
d
ows-compati
bl
e “Ca
k
ewa
lk
SONAR7 Producer Edition” (sold separately) for conversion. (For details on operations, see the owner’s manual or help for
the so
f
tware that you are using.
)
5.
1
C
h
a
nn
e
l
Su
rr
ou
n
d
Sou
n
d
Th
e 5.1 c
h
anne
l
surroun
d
soun
d
system creates a rea
l
istic soun
d
environment
u
sing 6 channels in a rectangle con guration. The six channels are in front o
f
the listener (Center), to the ri
g
ht in front (Front R), to the left in front (Front L),
to the right in back (Rear R), to the left in back (Rear L), and the low frequency
c
hannel. The low
f
requency channel is counted as 0.1 channel because it has
a
limited sound ran
g
e
.
Recordin
g
Settin
gs
S
et Rec Mode to STEREO X 2. If this setting is used to convert to 5.1 channel
surround sound, you can manipulate two bits of data in two-channel units
to ma
k
e t
h
e conversion operation easier. A
l
so, set t
h
e microp
h
ones so t
h
at
c
hannel 1 is the
f
ront le
f
t, channel 2 is the
f
ront ri
g
ht, channel 3 is the rear le
f
t,
and channel 4 is the rear ri
g
ht. See the illustration at ri
g
ht
f
or how the area
recorded b
y
f
our channels corresponds to the area
f
or 5.1 channels.
Convertin
g
to 5.1 Channel Surround Soun
d
Load the data for the two projects (sound data recorded in stereo) to the PC, and convert
to 5.1 surround sound usin
g
the surround pan feature of “Cakewalk SONAR 7 Producer
Edition.” First, display the screen shown in the illustration. Set the direction o
f
sound
f
or
Front L, Center, and Front R with the project that recorded with channels 1 and 2.
Determine the direction o
f
sound
f
or Rear L and Rear R with the project that recorded
c
hannels 3 and 4. (For details on o
p
erations, see the owner’s manual or hel
p
f
or the
s
oftware that
y
ou are using.)
After making these settings, the exported sound data is the 5.1 channel surround sound data.
Front L
Center
Front R
Rear L
Rear R
Listener
1CH 2CH
3CH 4CH
Low
frequency
Low
frequency
Front L
Center
Front R
Rear L
Rear R
Listener
1CH 2CH
3CH 4CH
Low
frequency
Low
frequency
19
2
Applied Technique
3
Appendix
Situation Practical
Use Technique
1
Micro
ph
ones /
D
i erence Between Sensitivit
y
and Volume
Di erence Between Sensitivity and Volume
PRA
C
TI
C
AL
G
UIDE T
O
THE
EDIROL R-44
Micro
ph
ones
Microphone T
y
pe
s
T
here are two main t
y
pes o
f
microphone structures. It is important to choose the microphone best suited
f
or the recording situation.
For examp
l
e, a
b
ass
d
rum pro
d
uces
h
ig
h
soun
d
pressure
l
eve
l
s, so it’s
b
est recor
d
e
d
using a
dy
namic microp
h
ones
.
T
y
pe
St
r
uctu
r
e
C
h
a
r
acte
ri
st
i
c
Condenser
M
icro
ph
one
A voltage is applied to
e
lectrodes, and the change in
c
a
p
acitance is converte
d
to an
el
ectronic si
g
na
l
Although sound quality is superior in
high-range attributes, it is susceptible
t
o vi
b
ration an
d
moisture an
d
re
q
uires
ph
antom powe
r
Dy
namic
M
icrophone
Co
nv
e
r
ts
vi
b
r
at
i
o
n
s
to
a
n
e
lectronic signa
l
A
l
t
h
oug
h
soun
d
qua
l
it
y
is not as goo
d
a
s a condenser microphone, it is
resistant to vibrations and moisture
a
n
d
d
oes not re
q
uire
ph
antom
p
ower
Microp
h
one Directivit
y
Di erent micro
p
hones can ca
p
ture sounds in di erent directions.
Y
ou should tr
y
changing the directivit
y
o
f
the microphone according to the recording.
y
Typ
e
yp
yp
Cha
r
acte
ri
st
i
c
Omindirectional
M
icrophones that have no directivity. Convenient when recording the atmosphere in
concert halls
.
The built-in micro
p
hones o
f
the R-44
¤
U
ni
d
ir
ect
i
o
n
al
M
icrophones that have good sensitivity toward sound
f
rom the
f
ront o
f
the microphone
.
Convenient to record onl
y
a speci c sound
.
CS-50 (Stereo), CS-15R (Stereo), DR-80C, DR-50, DR-3
0
¤
B
i-directiona
l
These microphones have the highest sensitivity toward their
f
ront and rear.
They can also be used together with a unidirectional microphone in an MS con
guration to
pro
d
uce a stereo signa
l
.
CS
-
50
(
Stereo
)
CS
-1
5R
(
Stereo
)
DR-
80C
DR
-30
DR
-5
0
INPUT
A/D
SENS
SENS
LEVEL
LIMITER
Lo-Cut
0010101001010110101.....
Noise can be controlled by adjusting
sensitivity to the largest value
without distortion.
Noise can be controlled by adjusting
sensitivity to the largest value without
distortion.
Analog Signal Digital Signal
Set LEVEL to the center, and adjust using SENS
Visit us online at www.EDIROL.net
Copyright © 2008 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any
form without the written permission of ROLAND CORPORATION.
Recorder Section
Cha
nn
els
4
D
ata T
y
pe
Format : WAV
/
BW
F
Samp
l
in
g
Bit Rat
e
16
/
24-bit
Samp
l
ing Frequenc
y
4
4.1 kHz
/
48 kHz
/
88.2 kHz
/
96 kHz
/
1
9
2 kHz
(
Limited to 2 channels
f
or 192 kHz
)
Any combination of sample
size and sampling frequency
can be used.
R
ecor
d
ing Me
d
ia
S
DHC memor
y
car
d
(compatible with 64 MB – 8 GB*)
As o
f
November 2007.
R
ecordin
g
Time usin
g
8 GB
SDHC card (minutes)
1
6
b
it
/
44.1
k
Hz stereo
755
1
6
b
it
/
48
k
Hz stereo
6
94
2
4
b
it
/
48
k
Hz stereo 4
62
2
4
b
it
/
96
k
Hz stereo
231
2
4
b
it
/
192
k
Hz stereo
1
1
5
:
:
1
6
b
it
/
44.1
k
Hz 4 c
h
3
7
7
1
6
b
it
/
48
k
Hz 4 c
h
3
4
7
2
4
b
it
/
48
k
Hz 4 c
h
231
2
4 bit
/
96 kHz 4 c
h
115
These recording times are
approximate. They may change
depending on the speci cations
of the card you use.
If there is more than one
recorded le, the total recording
time will be less than listed here.
Files up to 2 GB can be
handled. If the le size reaches
2 GB during recording, the le
is closed, a new le is created,
and recording continues.
O
O
O
O
*
O
O
*
*
*
Audio Input/Output Section
Ana
l
o
g
Inpu
t
C
h
1 – 4 : XLR/TRS Com
b
o typ
e
X
LR t
y
pe (phantom powered)
TRS type (
b
a
l
ance
d
/un
b
a
l
ance
d
)
Stereo Built-in Microphones
Ana
l
o
g
Outpu
t
Ch
1 – 4
:
R
CA Pin type (line output
)
H
eadphone :
Stereo Phone t
y
pe (1/4 inch
)
Di
g
ita
l
In/Out
R
CA Pin type
(
IEC 60958-3
)
Input Impedance
X
LR : 4
k
o
h
ms or
g
reater (
b
a
l
ance
d)
T
RS : 6 k ohms or greater (balanced)
Nominal Input Level
I
n
p
ut SENS
k
no
b
: +4, -2, -8, -14,
-20, -26, -32, -38, -44, -50, -56 dBu
(
e
l
even ste
p
s
)
Input Level Knob : Center
I
nput Leve
l
Kno
b
:
negative in
nity to +8 dB
u
Max
i
mum Inpu
t
+24
d
Bu (Input Sens Kno
b
: +4
d
Bu)
Out
p
ut Im
p
e
d
ance
L
ine Out
p
ut : 600 ohms
Recommended Load Impedanc
e
L
ine : 4
k
o
h
ms or
g
reater
H
eadphone : 16 ohms or greater
Output Leve
l
L
ine out
p
ut : -20 dBu (
xed)
H
eadphone : 40 mW + 40 m
W
T
otal
H
a
rm
o
ni
c
Di
sto
r
t
i
o
n
+
No
i
se
L
ine out
p
ut : 0.02%
(
input SENS knob at +4 dBu,
measure
d
at 22
k
Hz
)
Noise Leve
l
L
ine Output : -10 dBu (Input Sens :
+4
d
Bu, In
p
ut Leve
l
: Center
)
O
O
O
O
O
*
O
O
O
O
O
O
R
es
i
dual
N
o
i
se
L
e
v
el
Line Output : -103 dBu (Input Sens :
+
4
d
Bu, In
p
ut Leve
l
: Minimum)
Frequency
R
espons
e
2
0 Hz – 40
k
Hz (0/-3
d
B
)
Dynamic Range
AD
:
1
00
dB
DA
:
1
0
4
dB
P
ha
n
to
m P
o
w
e
r
4
8 V +/- 4
V
8 mA per 1 channel (20 mA or
less
f
or all channels
)
Other Terminals
US
B P
o
r
t
Mini-B Type Connecto
r
U
SB 1.1 or 2.0 High Speed
(Mass Storage C
l
ass)
C
ontrol Sync Jac
k
S
tereo Mini Type Jac
k
W
or
d
c
l
oc
k
s
y
nc an
d
start/stop
re
m
ote
co
n
t
r
o
l
o
f 2
u
ni
ts
Remote control function does
not guarantee the exact same
REC start time.
Built-In E ect
s
3
-Band E
Q
6-Ban
d
Gra
ph
ic E
Q
N
o
i
se
G
ate
Enh
a
n
ce
r
C
omp
&
DeEsser
M
S
Mic Mixing
E ects can be during recording
and playback.
E ects are not available while
sample rate is set to 192 kHz.
Control Section
C
ontro
l
P
o
w
e
r
S
wi
tch
H
o
l
d
S
wi
tc
h
Input SENS Knobs
In
p
ut LEVEL Knobs
O
O
O
O
O
O
*
O
•
•
•
•
•
•
*
*
O
•
•
•
•
Mo
ni
to
r L
e
v
el
k
n
ob
Pha
n
to
m P
o
w
e
r
S
wi
tches
:
CH1
/
2
/
3
/
4
L
imiter Switc
h
L
ow cut switc
h
Scru
b
(Va
l
ue)
Transport Buttons :
P
REV
(
REW
)
, NEXT
(
FWD
)
, STOP,
P
LAY
/
PAU
S
E
,
RE
C
Ma
r
ke
r B
utto
n
s
:
CLEAR,
,
, MAR
K
Shared with cursor.
E
ect
butto
n
System button (MENU)
D
isplay Butto
n
A
-
B
R
e
p
eat
B
utton
Others
D
ispla
y
128 x 64 organic EL
P
ower Supply
A
C ada
p
tor (PSB-1U
)
A
A type
b
attery x 4 (A
lk
a
l
ine or
N
iMH on
ly
)
B
atter
y
life
Continuous
playbac
k
approximatel
y
4
.0 hour
s
Continuous
recordin
g
approximately
4
.0 hour
s
When using alkaline batteries,
44.1 kHz, 16-bit, stereo, with
phantom power o .
C
urrent Dra
w
1.2
A
D
imension
157 mm
(
W
)
x 183 mm
(
D
)
x
6
1 mm (H)
6
-3/16”
(
W
)
x 7-1/4”
(
D
)
x
2-7/16”
(
H
)
W
ei
gh
t
Weight : 1.3 kg
Including battery and SD card.
•
•
•
•
•
•
•
*
•
•
•
•
O
O
*
O
O
O
*
R-44 Speci cations
S
tereo Microp
h
ones
EDIROL CS Series
M
onaura
l
Microp
h
ones
Ro
l
an
d
DR Serie
s
Hea
d
p
h
on
e
Microp
h
one
S
tan
d
CS
-
50
CS
-1
5R
DR-
80C
DR
-
50
DR
-
30
R
H-
300
S
T-1
00
M
B
Options
Microsoft and Windows are re
g
istered trademarks of Microsoft Corporation.
W
indows® is known o ciall
y
as: “Microsoft® Windows® operating s
y
stem.
”
A
pple and Macintosh are registered trademarks o
f
Apple Computer, Inc.
Mac OS is a trademark o
f
A
pp
le Com
p
uter, Inc
.
SDHC Lo
g
o is a tra
d
emar
k
.
Fugue ©2008 Kyoto So
f
tware Research, Inc. All rights reserved
.
A
ll
pro
d
uct names mentione
d
in t
h
is
d
ocument are tra
d
emar
k
s or re
g
istere
d
tra
d
emar
k
s
of their res
p
ective owners.
*04908934 - 01 *
0
4908934 08-02-1
N
/
