Edirol R-44 User manual

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

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

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 reected

from the

sound board

Sound of

the string

Sound reected 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

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

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

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

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

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

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

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

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

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

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

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

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

5

:

1

6

b

it

/

44.1

k

Hz 4 c

h

3

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

*

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

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

•

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

*

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

.

f

.

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

Edirol R-44 User manual

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