AAton Cantar-X1 User manual

[phone] www.aaton.com Cantar-X User Manual v2.44 (r14) 2013 March 21
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Aaton Cantar-X1&2
firmware v2.44
•ultra precise
auto-slate p.23
•mix to track-7
boom to track-8 p.28
•'tape-ref' goes
to ltc u-bits p.32
•'wild' 'all' and 'trio'
pdf-reports p.38
•editor friendly
rotate1 & 2 p.39
•stereo monitoring
soundfield-b p.44
•playback, adr, remix
play&rec p.48
•internal backup
to CF card p.54
tarkan
Cantar's mirror, v1.14 p.51

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Keep in Touch
Manuals & software p.3
Cantar User's List, Photo Gallery p.3
The PostChain p.3
Software versions p.3
Cantar-X1 to X2 p.3
Description
Permanently accessible faders p.4
Bottom connections p.5
Swiveling front panel buttons p.6
In-Grids and Out-Maps p.7
Pan-pots p.7
Circular modulometers for T1–T6 p.8
Rectangular screen p.8
Triple crown p.9
Operating positions
MainSelector 'West' p.10
MainSelector buttons p.10
STOP Power
Starting and stopping p.11
Twin battery safety p.11
Minimum/Maximum voltage p.11
Battery check p.11
Power Consumption p.11
Lithium-Ion batteries p.11
Flight restriction rules p.11
STOP Files
Error-free filing system p.12
Project creation p.12
Workday p.12
Filename p.12
Operational Problem p.12
STOP Time & clocks
Calendar Time & Sync Time p.13
Internal Free-Run master-clock p.13
Do not power down the master p.14
Internal Record-Run clock p.14
Internal clock & clapstick p.14
Slaved to an external clock p.14
Sampling Rate vs. Audio-TC p.15
On planet Earth p.15
On the 'Slow-planet' p.15
A for Avid v11 p.15
B for Barebone p.15
C for Compensated (Fake) p.15
TEST
Mic Phantom power p.16
Limiters, Inversion p.16
Filters and attenuators p.16
Differential delays p.16
Mic & Line linking p.17
Stereo pairs & Surround p.17
Tuning the balances p.17
Mixer panpots and faders p.17
Mixer miXa miXb outputs p.17
M/S monitoring p.18
Track disarming p.18
Headphone level p.18
Line-out/Foldback level p.18
Check In-Grids & Out-Maps p.18
Play&Rec rehearsal p.18
PPR Pre-Post-Record
Pre-recording buffer p.19
Sc&Take, Track-names p.19
TapeRef, Post-rec metadata edit p.20
File splitting p.20
Last take erasure p.20
False start (trash a file) p.20
Remote Roll by LTC p.21
Remote control PDA/keyboard p.21
REC Record
Modulometers p.22
Solos of the inputs and tracks p.22
Locking the faders p.22
Reference Tone generator p.22
Talkback mic p.22
Warning beeps p.22
Take-gender p.22
Record tally p.23
AutoSlate p.23
Markers p.23
Record & Play p.23
PL AY
Commands p.24
LTC for VTR chase p.24
Play-card creation p.24
BROWSE File handling
Find a file p.25
Edit Metadata p.25
Trash/Revive a file p.25
Index a Play-le p.25
Wake up HD! p.25
Operand positions
MainSelector 'East' p.26
Rectangular screen rows p.26
ROUTINGS
Set T1 > > T6 In-Grids p.27
Set T7•T8 In-Grids p.28
AES sample rate converters p.28
16-Track by Word-clock p.28
Play&Rec In-Grids p.28
Create Out-Map banks p.29
Digi1 to Digi8 outputs p.30
AUDIO/TC
Audio parameters p.31
Timecode parameters p.32
TECHSET
Save and transfer Setups p.33
Software install p.35
SESSION
Project selection/creation p.36
Formatting HD, CF & DVD-RAM p.36
Sound-Reports: CSV, ALE, PDF p.37
BACKUP
At Call, Idle Bckp, Idle Polys p.39
Treatments p.39
File rescuing p.41
Tutorials
Backup & Report (Avid>ProTools) p.42
Drives and Media p.43
Surround, Onboard mixer p.44
Camera sync p.46
REC with simultaneous PLAY p.48
Companions
Tarkan p.51
CantaRem p.53
Compact Flash Caddy p.54
Arcan-w p.55
OriginC, GMT p.56
Majax, Indaw, PostChain, Titan p.57
Annex
Connectors & Accessories p.58
Batteries and Chargers p.59
Quick guide sheets p.62
Dimensions p.64
CONTENTS

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User manual
The latest User Manual is on: http://www.aaton.com/prod-
ucts/sound/cantar/usermanual.php ; to read it on iPhones,
use FileMagnet: http://magnetismstudios.com/FileMagnet
Note: iPhone v2.2.1 supports all PDF's.
Software
Cantar, Arcan, Tarkan, Majax software can be download-
ed from: http://www.soft.aaton.com/swcantar/
• first visit: click 'create an account', enter your details, don't
forget the country. After a few seconds, you will receive an
email with your password. Enter this password with your
email address in the login page.
• next visits: forgotten password? Click 'lost password',
it will be sent to your email address.
Cantar software is accessible to registered owners only; beta
versions are not to be used for commercial assignments.
Cantar Users' Group
Exchange tips with other cantarists:
http://ulysse.aaton.com/cgi-bin/mailman/listinfo/cantar-users
Pictures on the road
Send us your 'Cantar at work' pictures, we will put the best
ones on the gallery: http://www.aaton.com/gallery/
Post Production helper
Spread the 'CantarPostChain' tutorial around:
http://www.aaton.com/documentation/
KEEP IN TOUCH UPDATES
Cantar-X1 vs X2
• Wider FPGA Motherboard (CM-5). • A-to-D (AD-5) provide
85ms @48kHz delays. • 100BaseT Ethernet Board (ET-1).
• Play&Rec, Ethernet, Differential analog delays, Track-AutoSlate
and Wordclock sync require X2 hardware.
Ray M. Owen's last review: v2.44 (r8)
Firmware history – for X1&X2, + for X2
v2.44 Nov 2011 – Corrected take length in ALE lists allows for Mono-
phonic import with all track names and full comments into Avid MCs..
v2.43 May 2011 – Bug fix correcting MonoRotate Idle backup on CF,
Ext. HD and DVD-RAM. – PPR keyed 'TapeRef' HEX char. can go to
LTC-Out U-bits. – U-bits manually entered, p.32. – Backup to internal
CF caddy, p.54. – [eye] button in Backup.06 & .14 displays the media
remaining space.
v2.37 Dec. 2010 – 'Xa mix to T7, Mic1/Mic5 to T8, p.28. – SoloMidPan
middle position enables buttons 1–6 trigger solos of L1 to L4 and T7-T8,
p.4. – Line-out & Foldback mute in TEST, p.31. –Creation date set by
Cantar if incoming user bits are all zero. – Sc&Take/Filetag display pref.
stored at power-off. – HD1080 flag in ALE header. – Bug fix on PLAY LTC-
out 'Off' at file end. + Play&Rec stiky BLUE over TEST, PPR and REC.
v2.36 May 2010 – Error fix on DVD Rotate2mono sound-report with long
names. – Rotate1&2mono respectively stored in .AAL & .AAM folders.
– Track-names stored as "aTRK#=name" for Avid MCs' monophonic import
(v4 & up). – Track-names inserted in T1–T8 columns of ALE lists.
v2.30 Sept. 2009 – Line-out & Foldback mute in PLAY. –Up to twenty
stored setups. – Take-gender resets to 't' after scene ID change. – MS jog
pan direction identical to others. – 250MB auto jump keeps eight track polys
under 2GB. –Wrong play-LTC after pause, fixed; Cantarem accidentally dis-
arming T7-T8, fixed. +Operands accessible from Tarkan. +Tarkan's 'Virtual
Cantarem' gets access to Cantar's gain controls.
v2.28 Aug. 2009 – Absolute-TC [shift eye] displayed in PLAY; back to
elapsed upon exit. – Cantarem mixes T1–T7 to Xb (T8), or T1–T8 to Fb, Line-
out & Phones. –ALE incremental 'Index' replaced by 'SqScTk'; first AutoSlate
TC stored in Mark-In column. – Fudge in 'AUDIO/TC.14' adds 60ms to the
file's TC. – BattAlert extended to 15V for Li-Ion batt. –Improved SATA disk
manager. –No more freeze when playing 'Majax cantarized' foreign files.
v2.26 Feb. 2009 –Idle Bckp can be interrupted while saving T7T8 after
a T1---T8 Rotate2poly. –Mic3 master of Mic4 & Mic5. – Direct PLAY of the
take preceding a deleted one. – Fat-32 formatting of CF cards. – SoundReport
generated once backup At Call is completed. +Tarkan v1.11 adds CSV to
PDF SoundReport. +Tarkan completion menu fits WinXP netbook screens.
v2.24 Nov. 2008 –PCs handle 'unmounted' internal drives. – Simultaneous
internal/external, PATA/SATA drives. – Line-in links for Soundfield ST350.
–Rotate poly by one or two ranks. –T8T8 backup. –False-start: take-gender
keeps same # for next take. –Trash/Revive files in BROWSE. –Swift access
to ROUTINGS with no PLAY/BROWSE triggering. –Thumb-free check/select
In-Grids and Out-Maps. –All letters for seq./scene. –Delayed Idle Bckp
activation. –DVD-RAM exact space is displayed. – Erratic behaviour after PDF
creation, fixed. +Linking-Trios in the CSV SoundReport. +Tarkan v1.09 brings
pan-pot control, T7T8 settings, metadata editing and PDF generation.
v2.15 March 2008 –In-Grids to T7T8 displayed with T1–T6 banks.
–Mixdown w/T7 into T8. –Line-out/Foldback gain adj. in TEST. – 'So'
monitoring of the mix in TEST, REC and PLAY: Xa (center), Xb (center), Xa Xb
(center), Xa Xb (left/right). –One hand Solo/Filter adjust. –3sec+ press pro-
tects limiter activation. –Storage of project's sound-report headers with 'save
setup'. –Same clockwise jog for TC and operands.
v2 .11 Jan. 2008 –New PLAY commands. –Creation of 'play-cards' with
in/out marks. +Play&Rec plays up to six tracks while recording nine analog
inputs to eight internal tracks. +ADR for 'hear it, say it'. +Remix with dynamic
mixdown and new commentary. +Re-recording, up to eight track.

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Permanently accessible faders
The Cantar interface is the easiest to use under the most
technically demanding conditions: • It offers the largest
display surface of all portable recorders, which simultane-
ously shows every critical recording parameter. • The high
contrast displays remain viewable under bright light (sun,
sand, sea, snow, storm), and at low temperatures too.
• The swiveling front panel always provides the best view-
ing angle for both on cart and over the shoulder work.
• The large MainSelector eliminates diving into sub-
menus. • The three-crown turret gives instant access to all
recording and monitoring configurations while wearing
heavy winter gloves. • Nine rotary faders (analog in-
puts) plus six linear faders (mixdown) devoted to one spe-
cific task are faster to handle than multi-function knobs.
• For desert or high seas work, all of the mechanical
actuators are sandproof and waterproof.
DESCRIPTION TOP VIEW
1
[lim-inv] Mic limiter ON/OFF.
[shift] [lim-inv] Input signal inversion.
2
[fil-tom] Filter, solo and balance access.
[shift] [fil-tom] Phantom 48V ON/OFF.
3
[link-lock] Leftside, Mixer faders locking.
Rightside, Mic/Line faders locking.
[shift] [link-lock] Mic linking.
[SoloMidPan] pulled to the Operator side
+ [routing] displays the outputs to mOnitors
+ [track-solo] 1 – 6 activate T1 to T6 sOlos
[SoloMidPan] put in the middle
+ [track-solo] 1 – 4 activate Line-in1 to Line-in4 solos
+ [track-solo] 5 & 6 activate T7 T8 solos
[SoloMidPan] pushed to the bAttery side
+ [routing] displays the inputs to trAcks
+ [track-solo] 1 – 6 show track pAn-pots
Headphones
fader
Track
(dis)arming
& solos
HD
access
Five mic
faders
Four line
faders
SoloMidPan
in & out
routings
1 limiter/inverter 2 lter/phantom
Shift
Ethernet
RJ-45
3 link/lock
1 2 3 4 5 6

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Protected ins & outs
To complement the waterproof design, all audio sockets are
pointed toward Earth, the same direction that rain falls. This
concept has the notable side effect that no plugs protrude
from the sides; this allows third party designers to build very
narrow 'Made for Cantar' carts!
•• the SubD15 (p.58) is used to connect CantaRem (p.53)
or a USB-PS2 keyboard adapter .
•• the SubD25 (p.58) is the AES in/out connector which can
externally loop playback signals in "Play&Rec" mode.
•• the 3/8” screw is placed between three rubber pads, it
is used to secure Cantar onto a cart.
•• the weep hole, underneath the phone-jack socket, is
a drainage port for water that has entered through the
phone-jack.
•• the backup caddy is protected beneath the swiveling front
panel. To remove the DVD caddy, remove retaining screw 'A'
(picture below), introduce a ball pen into hole 'B' and push it
toward the front opening where you can grab the caddy. The
CF caddy is held by spring tension only and the 'A' screw is not
used.
DESCRIPTION BOTTOM VIEW
Rules about FireWire (FW) connection
•• the cable retainer should be used at all times (gaff-ta-
pe if your Cantar is not equipped with it) to avoid intermit-
tent contact or sudden cable pull-out. An intermittent FW
connection induces 'bus hangs' and can stop recording on
both the external and internal drives.
•• considering the above, when (un)plugging an external
FW device, disconnect the cable from the device side, not
from the Cantar side.
•• never plug a cable into the FW socket while Cantar is
powered; the 6-pin socket has a hot +12V in it for powe-
ring accessories. If the plug enters at an angle, it will
produce a short between the +12V pin and the in/out pins
and blow up the internal FW driver.
•• for the MacBookPro 800 FW socket, use a 9 to 6-pin
cable (IE9496-3).
•• only use ferrite choke ring equipped high quality FW
cables, not the cheap skinny ones.
FireWire
socket
Timecode
Headphones
Foldback
Cable retainer
Ident label AES in/out
3/8" cart holder
Line-out
phones' jack
water exhaust
dvd burner
extraction
'options'
Bluetooth Tx
AB
DVD burner screw
ref. 20 110 45

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Front panel buttons
[routing] [SoloMidPan] battery side: In-Grids.
[routing] [SoloMidPan] Operator side: Out-Maps.
[esc] pause/restart from there.
[shift] [esc] in PL AY, continuous play of files toggle.
in PPR, 'comment' line erasure.
[<] [>] prev/next play-card (p/n file if no card)
in 'Operands', other parameter value.
[shift] [<] [>] prev/next play-file.
[ok] start/stop playback; in 'Operands' push
focus to bottom row; value validation.
[shift] [ok] digitization parameters and TC fps view.
[eye] toggles T5T6/T7T8 on right side modulo.
displays help screen in 'Operands'.
[shift] [eye] toggles 'filetag & duration' / 'scene & take'
(stored preference)
[TC jam] in PLAY, shows absolute TC; in TEST,
a 3 sec. press sets Sync clock to incoming LTC.
[shift] [TC jam] in TEST, stops the 'int c' reminder blinking.
[batt L] or [R] short pressure displays battery voltage;
long pressure puts battery on duty.
[shift] [batt] in STOP, turns 'OFF' Cantar.
Headphones
1/4" jack in an isolated compartment. To facilitate extraction
of a right angle 1/4” jack plug, the phone socket is slanted
toward the bottom of the machine. The stored output level is
protected by the [shift] button.
Talkback mic
Nested near the MainSelector, the automatic gain talkback
mic can be routed to line-out, foldback and tracks (p.10).
Circular and Rectangular screens
Always visible under the brightest light (p.7, p.8).
TripleCrown and MainSelector
Easy to manipulate with winter gloves on, they give ac-
cess to all operating/operands actions (p.9, p.10, p.26).
Mixer's faders
Dustproof and waterproof, they are magnetically driven.
The black or colored fader caps can be instantly replaced.
Backup caddy
The DVD and CF caddies are easily swapped (p.43, p.54).
DESCRIPTION FRONT VIEW
SoloMidPan Mixer faders
Talkback mic
Shift
TC jamEsc < - > Eye
Batt1(L), Batt2(R)
Headphones MainSelector
Ok
Line-in faders Mic faders
Routing
DVD
CF

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Three Circular screens
These are the largest, easiest to read screens found on any
audio recorder. They provide the user with ongoing data
concerning every aspect of the machine's operation.
It takes a few moments to get used to the display paradigms
but thereafter you will be driving the fastest machine you
have ever had in your hands.
• input grids links from nine analog inputs and six digital
inputs to the recording tracks are graphically displayed.
• output maps three screens emulate the left, 'both' and
right ears.
• pan-pots the continuously variable contribution of each
track to the mixdown has never been so clear.
• modulometers their circular shape makes the signal level
easy to evaluate in a wink.
• physical status permanent control of the tracks, and setups.
1 Input grids
Analog sources (line1– 4, mic1–5) can be sent to any one
of the T1–T6 tracks conveniently grouped in pairs T1/T2, T3/
T4, T5/T6.
Digital sources (digi-in 1– 6) can be sent to any one of the
T1–T6 tracks.
To create inputs-to-tracks In-Grids, read p.27. Fifteen In-Grids
can be stored in three banks to help you sort and memorize
your routing configurations, e.g. A1 to A5 for mic only set-
ups, B1 to B5 when some line-inputs are used, C1 to C5 for
setups that include digi-ins.
To display the In-Grid in use, even while recording, the
[SoloMidPan] slider being pushed toward the battery,
press the [routing] button top-left of the swiveling panel.
The [config] crown gives instant sequential access to all
of them.
note: the [routing] button must be pressed to change the
out-maps; as a protection against wild modifications in-
grids can't be changed in the course of a recording.
2 Output maps
The Cantar's three screen 'mapping' is self explanatory. Au-
dio signals going to the left ear appear on the left screen,
signals to be listened to in mono appear on the middle
screen and those going to the right ear appear on the right
screen. All inputs, recorded or not (useful in Play&Rec), and
all tracks can be monitored along different configurations for
each of the eight independent output channels: Ph Phones,
Lo Line-out, Fb Foldback and Do Digital-out. Twenty six dif-
ferent 'output routing' maps are available; the black [monitor]
crown gives instant access to all of them (p.29).
With the [SoloMidPan] slider pulled toward the Operator's
side, press the [routing] button to instantly display the cur-
rent configurations (successively displayed by the 'monitor'
crown).
3 Pan-pots to mixdown
Push the [SoloMidPan] slider toward the battery side, press
the [track-solo] buttons #1 – #6 to verify and [jog] the
pan-pot positions of the T1–T6 tracks. The rank of the pan
activated track is displayed in the central screen.
The black dots graphically indicate the tracks' contribution
to the Xa (left) and Xb (right) mixdown channels, while the
dBFS value of each track contribution is successively dis-
played in the rectangular screen (p.8).
DESCRIPTION CIRC. SCREENS
The middle screen displays In-Grid A4, the current preset in use
In this Ph d example, T5 goes to the left ear, T1 T2 go to both ears,
and T6 goes to the right ear.
T1 to Xb (left) T3 to Xa & Xb T5 to Xb (left)
T2 to Xb (left) (active) T4 to Xb T6 to Xa (right)

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4 modulometers
Cantar's large circular modulometers, visible under the bright-
est light as well as in the dark, converting levels into angular
values, are the most accurate metering tools found in any
portable recorder. They feature a non-linear scale with in-
creased resolution (1dB) in the most important range: -55 to
-40dBFS (5dB per segment); -40 to -32dBFS (2dB / seg-
ment); -32 to -12dBFS (1dB / segment); -12 to 0dBFS
(3dB / segment).
The peak level segment hold duration is adjustable from one-
half to five seconds in TECHSET.13 (p.34).
The tracks are grouped into 'natural' pairs: T1T2, T3T4,
T5T6. When a track is momentarily dis-armed, its modulom-
eter appears dashed.
5 Monitoring physical status
The center of each circular screen continually displays the
status of the main recording elements:
• activity of the internal HD ('three-platter' icon on the left
screen), the external HD ('three-platter' icon on the middle
screen), and the DVD ('one-platter' icon on the right screen).
Disk activity is highlighted by the presence of the track IDs
recorded on it.
• sync clock mode: either master int c or slave ext c.
• mic preamplier status: Limiter 0n/0ff, Direct/Invert, Phan-
tom 0n/0ff.
• the current monitor map name (sent to the phones too) is
constantly displayed by large alphanumeric characters.
• the activation of the mixdown recording on T7T8 is indi-
cated by the 'mix' icon next to the T7 & T8 track IDs.
note: the screens are visible in very bright sunlight; to save
backlight power, see TECHSET.05 'Backlight' (p.33).
Rectangular screen
• Operating positions (p.10)
In STOP
top row: batt-L & batt-R voltage
middle row: system time
bottom row: system date.
In TEST or REC
top row: T7T8 modulometers in
dBFS: -50 -45 -40 -38 -36 -34
-32 -30 -28 -26 -24 -22 -20 -18
-16 -14 -12 -9 -6 -3 0 Clip.
To display T7T8 levels with higher precision, press the [eye]
button, this will swap T7T8 with T5 T6 on the right circular
screen.
The [jog] overwrites the T7T8 bargraphs with battery volt-
age, available disk space, or remaining recording time cal-
culated from the current track count, bit-depth and sample
rate.
middle row: the source and the TC stamped in the audio
files: 'Atc' (ASCII-TC), 'Ltc' (jam from LTC), 'Stc' (from the sys-
tem calendar), 'Otc' (Operator entered TC), 'Rtc' (Record-Run
TC), and 'Etc' (slaved to an external clock).
bottom row: (in TEST) current project name; (in REC) 'filetag &
duration' or 'scene & take' by [shift] [eye]. While adjusting a
pan-pot, the track rank, plus the maximum gain value of the
whole mixer panel (0dB or +6dB)
are displayed.
In PPR or BROWSE
scene, take, track-names, com-
ments, Sound-Roll/Shoot Day, for
their editing (p.19 & p.25).
In PLAY
player's position, cue points, ab-
solute time, 'filetag & duration' or 'scene & take' (p.24).
• Operand positions (p.26)
In AUDIO/TC, TECHSET,
SESSION and BACKUP
the pathtree of each parameter:
top row: the 'Operand', e.g. AUDIO/TC. middle row: pa-
rameter name, e.g. Sample-Rate. bottom row: parameter
value, e.g. 48048.
DESCRIPTION RECT. SCREEN
left screen
Internal HD
right screen
CD/DVD
middle screen
External HD
AUDIO/TC 01
SampleRate
48048
NEXT AX0490
Seq Sc Tk
121R/a12t06
A00* >00:00
02:15 02:17
CC2165 03:32
V16.2 V14.8
Sys 12:45:22
2007–11–24

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In TEST, PPR and REC, depending on the [SoloMidPan]
slider position, the [routing] button displays the input routing
templates called In-Grids or the active output routings called
Out-Maps.
The large all weather triple crown is used to check and select
the routings with only one hand.
note: to create routings, see p.27 to p.30.
Monitor Crown
1So mic, line, digi-ins, active tracks and combinations of
the mixer outputs directly sent to the headphones as 'solos'.
2Ph seventeen user configurable maps (A to Q) plus the
stereo mixer output to headphones.
3Lo nine user configurable maps (R–Z) plus the stereo
mixer output to dual line-out (XLR 5).
4Fb nine user configurable maps (R to Z) plus the stereo
mixer output to dual foldback out (mini XLR3).
5Do nine user configurable maps (R to Z) plus the stereo
mixer output to digi-out on AES7&8.
The headphones also receive the signal sent to the output
being selected/configured.
Config Crown
In-Grids
To check and select the In-Grids, PUSH the [SoloMidPan]
slider to the battery side and press or click-in/click-out the
[routing] button. The silver [config] crown gives sequential
access to fifteen In-Grids, the last in use is displayed first.
Out-Maps
To check the Out-Maps for each Ph, Lo, Fb and Do outputs,
PULL the [SoloMidPan] slider to the Operator's side, and
press or click-in/click out the [routing] button with the thumb
and rotate the black [monitor] crown.
To browse the Out-Maps and select another one, rotate the
silver [config] crown, the active map will be the one displayed
when closing the [routing] command.
note: selecting a different Out-Map while recording doesn't
affect the recorded signal.
Jog Crown
The [jog] is used: to move the cursor in the routing circu-
lar screens; to edit scene, take and comments; to select
high-pass filters; to adjust the backlight's intensity; to con-
trol the pan-pots; and to scrub the player in fast forward/
reverse.
Both the [jog] and [config] crowns increment time and operand
values while rotating clockwise.
note1: [shift] [jog] accelerates the speed 10x.
note2: the Operand's middle and bottom rows of the rect-
angular screen can be browsed by the [>] [<] arrows just as
easily as withthe [jog].
DESCRIPTION TRIPLE CROWN
config
jog
monitor

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OPERATING WEST POSITIONS
MainSelector positions
The [MainSelector] is easy to manipulate even while wear-
ing heavy winter gloves; it gives direct access to all essential
functions.
The OPERATING (West) positions control the recording, an-
notation and playback of audio files.
To get access to the Play&Rec 'BLUE' positions, press and
hold the blue [shift] button while rotating the [MainSelector]
to the next Operating position (p.48 & p.49).
The OPERAND (East) positions, which establish Cantar's oper-
ating parameters, are described on p.26.
Standard positions Play&Rec positions
REC •BLUE-REC
PPR
(
BLUE-PPR
TEST I I BLUE-TEST
STOP IIII
PLAY >BLUE-PLAY
BROWSE I<BLUE-BRWS
MainSelector buttons
[silver] in REC, inserts a marker on-the-fly.
in TEST, after [routing] opens routing creation (future)
in PLAY, goes to Operator's record-markers.
[shift] [silver] in REC, triggers AutoSlate detection.
in PPR, toggles take editor (PREV/NEXT take).
in TEST, opens LEVEL&DELAY menu.
in PLAY, goes to AutoSlate marker.
[black] in REC, PPR, TEST, talkback mic activation. (p. 31)
in PLAY, inserts a play mark.
[ok] starts/stops from the play mark (p.24)
in BLUE-PLAY, inserts a cue-in.
in IN-GRIDS, links an input to a track.
in OUT-MAPS, connects sources to outputs.
[shift] [black] in REC, PPR, TEST talkback mic to active tracks.
in PLAY, plays from start of take.
[red] in REC, PPR, BROWSE, changes take-gender.
in BLUE-PLAY, inserts a cue-out.
in IN-GRIDS, unlinks an input from a track.
in OUT-MAPS, disconnects sources from outputs.
[shift] [red] in TEST, PPR,REC, triggers 1kHz reference tone:
'OFF' at [red] release, remains 'ON' if [shift] is
released first, [shift] to turn 'OFF'.
in BLUE-PLAY, hides play-card from Play&Rec lis
[red] [silver] [black] [red] [silver] [black]
Contactless MainSelector
(zero maintenance)
Mechanical MainSelector
[shift]

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Starting & Stopping
To turn 'ON' Cantar, set the [MainSelector] to STOP, press
the [batt L] or [batt R] button for a couple of seconds. The
rectangular screen lights up. Cantar's cold start from an
un-powered machine to recording is a blazing two to three
seconds. On the left circular screen, the 'three-platter' icon
blinks the time it takes for the disk to spin up to speed; it is
surrounded by the icons of the routed tracks. The rectangu-
lar screen displays batt-L and batt-R voltages, plus the system
day and time.
To shut down go to STOP and press the blue [shift] button
and [batt L] or [batt R] until 'AU REVOIR' is displayed. For
safety, if you are not in STOP, nothing happens.
Reminder: while in STOP, internal HD sleeping, the current
drain is a mere 270mA. To keep the internal sync-clock
running, do NOT turn 'OFF' Cantar during the workday.
Twin battery safety
Cantar's low power consumption electronics offer the longest
operating time of all portable eight-track audio recorders.
With a single set of onboard Li-Ion batteries, the eighteen
hour Cantar outperforms all other recorders. And with the
twin battery system you will never be taken by surprise.
While in REC, both batteries are permanently put on duty,
in case you unplug one by mistake.
Mains power supply
Use a low ripple 15V/2A (16V max.) supply, NEVER con-
nect a battery charger, its idle voltage goes up to 24V, this
would be a Cantar killer. While working on a cart from a
mains power supply, leave a battery onboard and activate
both inputs: the battery will buffer possible mains power prob-
lems, e.g. power cord accidently disconnected, and it will
supply the 4A surge at Cantar's start-up (off duty the rest of the
time, thanks to the power supply higher voltage).
Voltage
Minimum: Each battery socket (Left & Right) gets its own
Batt Alert level (TECHSET.14–15, p.34). This allows the
simultaneous use of a NiMH battery with alert set to 10.8V,
and a Li-Ion battery with alert set to 14.2V. Upon reaching
the alert level, a two-beep alarm is sent to the headphones
and the rectangular screen displays BATT L (R) LOW. When
the active battery drops 300mv below the alert level both
are put on duty.
Maximum: 16.6V is the maximum sustained voltage on any
socket including the FireWire socket.
Never connect a FW cable coming from a desktop (e.g.
MAC G3/4/5) delivering 30V. Extract the HD (it can sus-
tain up to 40V), and connect it directly to the desktop.
Laptops deliver a safe 13V on their FW sockets.
Battery check
In TEST, [jog] to display the battery voltage; it also appears
whenever you press the [batt L] or [batt R] button; pressing for
more than two seconds puts that battery on duty.
Power Consumption
STOP 270mA (sleep mode), 420mA (HD running)
TEST 600mA (AES Off, Phantom Off, Heater Off)
REC 650mA (AES Off, Phantom Off, Heater Off)
AES 100mA. Phantom: 10 to 20mA per mic (60mA total).
Heater 500mA until screens reach +4°C. Ethernet: 50mA.
Lithium-Ion
Batteries The 14.8V/4.2Ah Aaton Li-Ion R-Cells are more
powerful and lighter than their NiMH equivalent, 61Wh vs
45Wh, and 560gr vs 695gr (see p.59). To avoid their
destruction by NiMH chargers, the XLR4 plug pin-4 is pro-
tected by an 80V reverse voltage diode; pin-3 is directly
connected to the cells; current is either flowing through the
pin-4 diode to Cantars under #268, or through pin-3 to
Cantars #268 up having the XLR4 socket pins 3&4 tied
together.
IMPORTANT NOTICE
Flight rules: "NO Lithium-Ion batteries in stowed luggage.
A- Under 8gr of lithium content, carry on as many as you
want within size and weight limits. B- Between 8gr & 25gr,
carry on no more than two batteries with a total lithium con-
tent between them of 25gr max."
At 5.8gr lithium, Aaton R-Cells fall within the first category.
Charger Before plugging a battery, reset the ChaScot five
hour charger by pressing the square 'OFF' button for about
four seconds until the LED totally vanishes (see p.60).
STOP POWER

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Project, Day & Files
Error-free filing with NO disk partitioning
When you cold-start Cantar, it assumes you want to con-
tinue working on your latest project, which is displayed at
the bottom of the rectangular screen.
When you rent a Cantar, its project memory should be
empty; the rectangular screen should display 'No Project'.
Once created, a 'project name' regroups all data related to
it, such as the days of recording, the tracks and the disks
used. This name is stored in each audio file, there is no risk
of a file getting lost in a maze of terabytes.
Unlike other machines, the Cantar file sorting system doesn't
rely on disk partitions. Instead, it uses the 'Project/Work
Day/Filetag' path tree, which allows for the intuitive and safe
retrieval of any audio file on unpartitioned disks, anywhere
along the PostChain. It is not Operator-error prone.
1 Project
If you are in a bind and have no time to select a project in
SESSION.01 'ProjectName' (p.36), go directly to REC, your
audio files will be stored in a project named AACANTAR.
Later, with Majax you will move these audio files out of the
'AACANTAR' folder and into the project directory you would
have created in the mean time.
note: in their iXML chunk, the moved files still hold 'AACANTAR'
as the Project Name. You will need to manually replace that
provisional name with the correct name.
2 WorkDay folder
At startup Cantar asks: 'New Workday?', giving you the
possibility to say 'NO'. Note that going to TEST or REC is a
way to say 'YES'. The 'workday'
is not the same as the actual
'time-of-day' as defined by the
sync clocks, it is an interpreta-
tion of the 'human' day (see next
page).
The Cantar recorded files are
multi-monophonic, i.e. indepen-
dent files stored in a 'workday folder'. That folder is auto-
matically created at the start of each day and is named for
the date, e.g. 20041206.AAD (see Calender Time, p.13).
If the isolated (ISO) tracks must be interleaved before import
into crippled editing machines in need of polyphonic files,
Cantar builds an .AAP suffixed 'provisional folder' to momen-
tarily store them (see BACKUP.13 'Clean Polys', p.41).
3 Filename
In 1997, the Aaton Indaw multi-track digital recorder intro-
duced the Aaton filename system. Each filename consists
of: a unique filetag; an optional descriptor that displays the
scene, take-gender and take#; a suffix that indicates the
kind and rank of the file.
The aim is to perform these tasks while remaining compatible with
EDL standards which only handle '8+3' DOS filenames, and with
Mac OS9 limited to 31 characters.
• The filetag (six character, automatically incremented index,
i.e.AD1234) differentiates 6.7 million takes, a sound mixer's
lifetime! (Indaw generates a 3 letter and 3 number filetag
for 17.6 million takes). The filetag must remain untouched all
the way through the final mix.
Each 'Take' generates a 'file group' sharing the same scene
ID, take # and filetag, the filetag uniquely identifies and
reunites the native ISO tracks/files, e.g. AD1234 is the
unique filetag of AD1234_1 to AD1234_8, of their associ-
ated polyphonic file AD1234PR, and of their poly mixdown
AD1234PX.
• The descriptor displays the scene, take-gender, and
take #, e.g. scene A18:2a, take-gender t, take 04.
• The suffix is used to flag the kind of file, either multi-
monophonic (_1 .. _8), or interleaved polyNative (PN), or
interleaved polyRotate (PR), or poly miXdown (PX).
Examples
A short filename: AD1234_1.wav
A long filename: AD1234==A18:2a t04==_1.wav
STOP FOLDERS & FILES
A questionable file?
Ask Aaton to give you access to their file-repair FTP site.
If you don't have an ftp client, download the Mac-OS
'Cyberduck' freeware from http://cyberduck.ch/
and for Win2K PCs http://www.smartftp.com
An operational problem?
Go to TECHSET.03 'Save Setup', and create a Setup
file to be e-mailed to [email protected], this
will help them solve your problem.
New Workday?
No = [esc]
Yes = [ok]
v13.5 V13.9
Sys 12:29:14
2005-03-22

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Calendar and Sync Times
Time is the essence of a digital audio recorder. Cantar uses
two kinds of time: 'Calendar Time' organizes folders and
files, 'Sync Time' links audio and picture.
Calendar Time
System date and time run on a medium precision clock
which creates the workday folders. This clock is powered
for four to six years by a 3V Lithium CR1220 button bat-
tery. With the HD compartment open, it is easily reached;
replace it as soon as you witness date freezes.
In STOP, the system date and time is displayed on the rect-
angular screen; check it for a ±five minute consistency with
the time-zone you are working in. Think of it when you get
off of a three-hour flight.
Go to TECHSET.21 'System Time', [ok], a triangle points to
the modifiable digit. Using [jog], select the desired value,
press the [>] or [<] to move on to the next column, [ok] to
exit. Power 'OFF' Cantar then 'ON' for the CPU to use the
new system time.
The Workday is related to the date defined by the calendar
clock but not totally a clone of it. The workday is an interpre-
tation of the 'human' day; its duration can be from 6 AM in
the morning to 3 AM in the deep night next day. If you turn
'OFF' the batteries after midnight, Cantar thinks the Operator
has gone to sleep. But if your 'workday' is continued into
the wee hours after a midnight snack, you would probably
not want it to be considered a 'new' workday. That is why
Cantar displays 'New Workday?', giving you the opportunity
to say 'NO'. Note that going to TEST or REC is a way to
say 'YES'.
Thus, if you stop working at 2 AM one day, the audio files
are technically still part of the previous workday. Conversely
if you want to start a new workday right after midnight, just
turn 'OFF' Cantar, then back 'ON' and answer 'YES' or go
to TEST.
Sync Time
At startup you will notice a blinking int c or ext c icon,
depending upon the master (internal clock) or slave (external
clock) mode selected in AUDIO/TC.15 'Tc Source'. This
blinking icon reminds you to verify that the same timecode is
running in all of the camera(s) and audio recorder(s).
Four methods are used to sync images and sounds
Method 1
'int c' internal Free-Run master-clock
Set AUDIO/TC.15 'Tc Source' to 'Int. Clock'. The internal
TCXO 1ppm 'Sync Clock' keeps the time accurate to within
±one frame in nine hours; this time is used to stamp the
sound files with the very same TC as the one stamped on
the camera's images (AatonCode method called 'Free-Run
TC' in the video world).
Once initialized Cantar behaves as a master-clock.
Internal 'Sync Clock' initialization choices:
A Calendar init.
At startup, Cantar reads the system's calendar date and time
to initialize the 'Sync Clock', 'Stc' (System-TC) is displayed in
the rectangular screen.
To remind you to sync other equipment around to the Cantar
'Sync Clock', the 'int c' icon keeps blinking until you press
[shift] [TC jam]. 'Confirm Sys time' is displayed.
B Operator init.
If you want to set the 'Sync Clock' with your own date and
time, go to AUDIO/TC.21 'OperTc Init'. 'Otc' (Operator-TC)
is displayed in the rectangular screen.
C LTC init. & control (from camera, GPS, or Cantar) LTC-out
On TEST, press [TC jam] for more than three seconds; the
entered LTC jams the internal 'Sync Clock', 'Jtc' (Jammed-TC)
is displayed in the rectangular screen.
On TEST, press [TC jam] shortly; the difference between entered TC and
internal TC is displayed: 'no answer', 'good 0.3', 'fair 0.5', 'bad +1',
'other' (to be implemented in a future version).
[TC jam] has no effect if there is no valid timecode on the TC
input, 'Jam Failed No LTC' appears in the rectangular screen
and the 'int c' icon continues to blink.
D ASCII init. (from Aaton OriginC)
On STOP, the 'Sync Clock' is set by an Aaton OriginC
which also initializes cameras and GMT generators. 'Atc'
(ASCII-TC) appears in the rectangular screen.
STOP TIME & SYNC [1]

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Cantar as a master-clock
As soon as the int c icon stops blinking, Cantar starts gener-
ating timecode kept in its 'Sync Clock', a 1ppm 'Temperature
Compensated (X)crystal Oscillator' (TCXO) clock accurate to
±one frame in nine hours. This high accuracy 'Sync Clock'
makes Cantar the TC reference on set.
To continuously sync equipment through cables and trans-
mitters, or to quickly jam-sync a camera, a Cantar or a
GMT*, turn 'ON' the LTC generator in AUDIO/TC.17 'Ltc
Gen Out'.
* Aaton GMTs are low power, high accuracy timekeepers
to be attached to cameras and digi-slates.
Do not power down a master-clock!
Being on a job on which the Free-Run time-of-day TC is
the essence (AatonCode camera, Digital camera with
GMT reference generator, smart digi-slate), never power
down Cantar during the workday to avoid the loss of its
1 ppm reference time! While the internal HD is in sleep
mode the total power consumption is a mere 270mA! Set
TECHSET.16 'HD Pwr Dwn' to 'After 5min', to have the HD
sleep five minutes after STOP. If you still want to power
down Cantar at lunch time, the blinking int cicon at power
up will remind you to re-initialize all other timekeeping
machines on the set.
Method 2
'int c' internal Record-Run driving clock
Go to AUDIO/TC.20 'RecRunTc In', [ok]: 01:00:00 is pro-
posed as the first TC of the day (it can be modified). From
now on, at the beginning of each audio file Cantar will
stamp a start-TC incremented by two seconds later than the
preceding take's end-TC. This clocking, called Record-Run,
produces audio files which appear as if they have been
recorded in continuity.
If for some reason Cantar is turned 'OFF', the Record-Run
TC must be initialized again. To prevent any TC overlap,
Cantar proposes to start on the next hour integer, e.g. if the
last recorded take has been closed at 01:34:15, the next
start-TC proposed to the Operator will be 02:00:00.
The Cantar Record-Run mode lets you use the pre-record
buffer without creating TC overlaps. For example, if the
preceding take ends at 01:45:00, and the pre-record buf-
fer is set at thirteen seconds, the next audio file will start at
01:45:02
(two second gap), but the LTC emitted by the generator to
the camera when hitting REC will be 01:45:15.
While Cantar is in Record-Run mode, its reference TC must
be continuously sent to all cameras on the set by wire or
RF.
note: in TEST and PPR, the LTC output is frozen on the end-
TC value, it can thus be used as a master TC to start and
stop another Cantar (see Record by LTC, p.21).
Method 3
'int c' internal clock, AutoSlate on clapsticks
If the same TC is not running in Cantar and cameras, the
only way to sync pictures and audio is to use clapsticks; for-
get digi-slates, they have too many drawbacks. The Cantar
AutoSlate sample-accurate clapstick detection function puts
a timecode crown over the simplest piece of wood (p.23).
Method 4
'ext c' slaved to an external clock
An externally-slaved Cantar stamps the audio files with the
same TC as the one running in the video camera. This
requires a link from the camera to Cantar.
Set AUDIO/TC.15 'Tc Source' to 'Ext. Clock'; ext c blinks
in the circular screen, meaning that Cantar is waiting to be
slaved to an external LTC, e.g. a video camera. Cantar,
while set to 'external clock', will only jam when you go to
REC; pressing the [TC jam] button will do nothing.
Cantar is usually in REC before the camera, so it monitors
the Lemo 5/SubD15 incoming LTC and grabs it when coher-
ent TC is received. That is why ext ckeeps blinking until the
camera is up to speed.
Before closing the audio file, Cantar stamps the TC by using
the latest valid timecode so as to eliminate spurious transmis-
sion errors and false camera starts. If there is no external
timecode signal, an 'LTC Not Detected' warning appears in
the rectangular screen and a phone beep is triggered every
four seconds. The beep is muted during 'w' (wild track)
tagged takes (see Warning beeps, p.22). Nevertheless,
the external TC is grabbed if it is received before the take's
end.
note: external LTC breaks can be used to slave the REC start
and stop (see Record by LTC, p.21).
STOP TIME & SYNC [2]

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Sampling Rate, Camera fps, Audio-TC
These parameters are not correlated. The number of audio
samples per Earth second (Hertz), is called the sampling
rate, e.g. 48000 is 48kHz. The camera 'frames per
second' value should have no influence at all on the audio
sample rate frequency; unfortunately, some vintage NTSC
post-machines still impose the use of the disgraceful 48048
or 47952 sample rates to sync real-time audio with drifting-
time images. The frame-rate used to express the audio time
can be 30, while images are filmed at 24 or 25fps.
On planet Earth
Timecode handling is simple at integer speeds such as 24,
25 and 30fps; at 29.97DF (Drop-Frame) the frame count
jumps over two images every minute except for every tenth
minute to keep the count in line with Earth's time. Stored in
the file metadata, the camera fps is a simple reminder and
can be changed later and then applied to the audio LTC
used in some audio-post sync operations.
'U' Universal : 24.00, 25.00, 30.00, 29.97DF
In a file digitized at 48kHz, the Format stamp indicates
the number of samples per real-second, i.e. 48000; the
Time-stamp carries the number of samples since midnight
using the sample rate value found in the Format stamp (the
same logic is used in the Barebone mode-B for 'slow-planet'
recordings).
On the .1% 'Slow-Planet'
NTSC-compatible 23.976fps cameras cannot use the no-
time-drift drop frame system invented for 29.97fps. Nobody
found a workable counting algorythm. In this environment
the 'slow-second' (the time it takes to shoot 30 frames of
NTSC video, i.e. 1.001 Earth sec.) imposes its law.
As soon as you enter Camera fps = 23.98NDF or 29.97NDF,
you are on the 'slow-planet', with its lazzy 24 (aka 23.976fps
on Earth) or lazzy 30 (aka 29.97fps on Earth). The Cantar's
TCXO clock is switched to a slower beat and TC separators
change from ':' to '*', e.g.12* 45*36.
Many nights of engineers' time have been spent trying
to find a universal method to sync sound and images on
the slow-planet but nothing came out. You must ask your
post-facility which one of the following three sample-stamp
modes is requested:
'A' Avid v11 23.98NDF–A 29.97NDF–A
In a file digitized at 48kHz, the Format-stamp indicates the
number of samples digitized in a slow-second, i.e. 48048;
the Time-stamp noted at the file's head is the number of
samples since midnight, using the 48048 value of the
Format-stamp.
Introduced for the AvidMC v11.3.2, the 'A' mode is fading
away. See 'Avid-Recording-Rates' in Aaton tutorials h t t p ://
www.aaton.com/documentation/
'B' Barebone 23.98NDF–B 29.97NDF–B
In a file digitized at 48kHz, the Format-stamp indicates the
number of samples digitized in a real-second, i.e. 48000;
the Time-stamp is the number of samples since midnight
using the 48000 value of the Format-stamp.
While images and timecode are beating the slow-second,
the audio remains on Earth! Since modern post-machines
(e.g. Indaw) perform high quality real-time sample rate con-
version, 'Barebone' and 48kHz should have been THE only
choice but unfortunately some other manuafacturers decided
differently (see below).
'C' Compensated ('F' Faux) 23.98NDF–C 29.97NDF–C
The 'C' mode is made for challenged post-machines. In a
file digitized at 48kHz, the Format-stamp value indicates
the real number of samples per real-second, i.e. 48000,
but the Time-stamp is the number of samples since midnight
as if the digitization was done at 48048!
The 'F' index (for Fake or Faux) is given by Fostex and FCP
to this mode used by most US productions.
For 02h00m00s on Earth at the start of take, the Time-stamp
value is 345,945,600 samples (02h x 3600s x 48048).
Summary recording done at 23.976NDF or 29.97NDF:
A-mode, the actual recording sample rate is 48K, the sam-
ple rate noted at the file's head is 48048, the Time-stamp
noted at the file's head is calculated using 48048.
B-mode, actual recording sample rate 48K, sample rate
noted 48K, Time-stamp calculated by using 48K.
C-mode, actual recording sample rate 48K, sample rate
noted 48K, Time-stamp calculated by using 48048.
STOP SPLITTING THE SECOND

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TEST INPUTS
Audio inputs (pin allocation p.58)
Analog: Five symetrical transformer isolated mic inputs, and
four asymetrical line-inputs.
AES:eight sample-rate converted digi-inputs (Tascam TD88
standard), AES42 option.
note: The RF-mic asymetrical output ('headphones') delivers
better quality than the symetrical mic level output going through
a tiny transformer. Preferably connect RF mics to Line-inputs.
Mic-preamps
Cantar's mic-preamps offer such a wide dynamic range in
one single stroke that they don't need any trims. Whenever
you adjust a fader, all inputs for the same kind are displayed
in dBFS on the rectangular screen.
Phantom power
Press [shift] [fil-tom] (2) to toggle that mic's Phantom 48V
power 'ON/OFF'. The default setting is 'ON'. Turn it 'OFF'
while using a dynamic microphone, the preamp gain will be
boosted by +12dBu, and the triangle below the mic number
will disappear from the right circular screen.
Limiters
Press [lim-inv] (button#1) to toggle the limiter 'ON/OFF' (to
protect the limiters from mistaken fingers, a one second pres-
sure must be applied). While the limiter is turned 'ON', a
triangle is displayed below the mic number on the left circular
screen. If the signal level reaches
the limiter zone (–8dBFS), the tri-
angle will start blinking. In 24-bit
recording mode, it is common
practice to adjust the input gain
so that a 'normal' signal does
not go over the -20dBFS level.
Limiter activated, the 32dBu head-room above the –8dBFS
kick-in point gives 24dBu above the 'no-limiter' full scale. The
Operator can count on a 44dBu reserve over the normal
–20dBFS level.
If the signal does reach the –1dBFS level, a 'clip' icon
appears at the end of the modulometer scale and a beep
can be sent to the headphones (TECHSET.08 'Clip Beep').
To maintain equilibrium between linked channels, the same
limiter command is applied to ganged preamps.
Inversion
Press [shift] [lim-inv] (1) to invert the mic's phase. A triangle
appears below the mic number on the middle circular screen.
High-pass filters and line attenuators
Click the [fil-tom] #2 button of a mic to open the filter selec-
tion screen, another click on any [fil-tom] button closes it.
In between these two clicks you can [jog] through the filter
selection screen. Continuously leaving the finger on the
[fil-tom] button simulates both clicks, when you remove it,
the filter screen closes itself.
Displayed in the rectangular screen, three banks offer corner
frequencies/slopes from 60Hz/–6dB to 180Hz/–12dB
and LFA (see p.58).
To avoid mic preamp saturation by very low frequencies,
always insert a high-pass filter when mics such as an
MKH8050, Shoeps CMIT 5U or Neumann KMR 81 are
installed on a moving boom. An efficient wind jammer is
paramount.
•Mic Level: default for all mic inputs.
•High Level: an 8dBu command offset puts the fader knobs
in the same angular position as when a standard sensitivity
mic is used.
•Line Level: a 24dBu attenuator converts mic to line inputs
(available on SL1 preamplifier, Cantars from #268).
Differential delays Cantar-X2
Sound speed (0.3m/ms) or signal processing lag (up to
3.8ms in some wireless kits) generate 'phasing' between mics
placed around a single source. Close sounds contributing to
the live mixdown must wait in buffers for the time it takes for
the 'late-sound' to arrive. Cantar automatically applies the
value entered on the late sound input to all other inputs.
In TEST, press [shift] [silver] to open
LVL&DELAY, [jog] from 'mic1' to
'line4'; press [ok] on the input of
which the travel time or electronic
delay must be compensated for (most often the digital wireless
mics and their 3.8ms delay). [jog] from 0 to 85 ms by 0.1ms
increments (1ms increments by [shift] [jog]). Fine tune its value by
listening to the tracks in 'double-solo' (see Soloing tracks, p.22).
An ear protecting mute is applied during modifications.
#2
#3
#1
LVL&DELAY 07
mic5 delay
78.8ms

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The value of the longest travel time is applied to the buffers
of all analog inputs but the one being set. Digital inputs are
unaffected.
Example1: a wireless lavalier (3.8ms processing lag) on line1 must
be aligned with a 6m distant boom (18ms travel time) on mic5. Set
mic5 at 18ms and line1 at 3.8ms; all analog inputs will be buffered
by 18ms, line1 by (18 – 3.8) 14.2ms, and mic5 by 0.0ms.
Example2: a digital boom (5ms processing) on AES-in1 must be
aligned with a 1ms lavalier on mic1. Set an unused analog input to
5ms and mic1 to 1ms. All analog inputs will be buffered by 5ms,
mic1 by 4ms. Both the unused input (set to the longest travel) and
the AES-in1 (by very nature) will remain at 0.0ms.
Travel compensation can go up to 85ms (two frames), the TC
stamp of the audio file is corrected accordingly, it appears in
the iXML chunk and the CSV Sound-Report.
Gain values
Set TECHSET.06 'Display dBFS' ‘ON’; when adjusting a fader,
the gains for that line or mic kind are displayed.
Mic links
They are preselected in AUDIO/TC.10 'Mic Links' (p.31).
Stereo-pairs: 1 > 2 3 > 4 Surround: 1 > 2.3.4.5
Double M/S: 1 > 2 3 > 4.5 (p.44).
To activate the preselection, press the [shift] [link-lock] button
to the right of the master fader; a (IIIII ) appears between
the linked mic figures, bottom of
the circular screens. Phantom,
Limiter and Highpass filter are
applied identically to the linked
faders. Phase inverters remain independent. The slave gain
is ±12dBu of its master's value. Whenever you adjust a
fader, the master/slave status is displayed on the rectangular
screen as (II II) for the master, ( II ) for the slave.
All of these links remain active when the onboard faders are
taken over by the CantaRem RemFaders.
Protecting the balances
To protect the 'balancing' faders against flying fingers, set
AUDIO/TC.09 'Bal. Access' to 'Locked': balance adjust-
ments will only be accessible
while pressing the [fil-tom] button.
The slaved gain value is displayed
with (
< ) (I) ( > ) signs showing in
which direction you should rotate the fader to avoid any sud-
den level change when reactivating its balancing power.
Line links
The links are selected and armed in AUDIO/TC.11 'Line
Links' (p.31). For Surround sound
recording with a Soundfield
ST350, use the line1 fader as
the master of the two other line
inputs: set 'Line Links' to 1>2.3.
Slaved line faders (I) have no
balancing activity, they get their
gain value from the master (IIIII ).
The T1–T6 Mixer
The mixer's pan-pot and fader controlled outputs are called
Xa (left), and Xb (right).
Pan-pots
Each recorded ISO track can be sent to Xa or Xb or both.
Push the [SoloMidPan] to PAN (battery side), press the [track-
solo] button and [jog] the pan marker toward the left or right
side of the circular screen (p.7). The value in dBFS of what is
left to the other side is displayed on the rectangular screen.
When a track pair is declared 'm-s', its pan markers go to
the middle, the M & S signals are recorded as they are but
they are L/R decoded into the mixdown and the phones.
For the line-out, foldback and digi-out, see M/S monitoring,
p.18.
Faders
The pan-pots being set, each ISO track's contribution to the mix
is adjusted with the faders. The maximum gain can be either
+6dBu or 0dBu (see AUDIO/TC.07 'MixGain Max', p.31). `
Outputs
Recorded on T7T8 or not, Xa/Xb (left/right) can be sent to
the external world by selecting the XX Out-Map in the Ph,
Lo, Fb and Do positions of the [monitor] crown. Recorded on
T7T8 or not, the Xa (center), Xb (center), Xa+Xb (center), Xa/Xb
(left/right) mixer outputs can be phone monitored in TEST, REC
and PLAY in the So position of
the [monitor] crown; their level is
displayed on the central circular
screen.
note: when the Xa Xb mixer
outputs are recorded on T7T8, their levels are displayed on
the rectangular screen bargraphs (p.8).
TEST MIXER
* line X *
-dB
14IIIII 1 4 I1 4 I2 2
* MicX lokd*
-dB 22 I
14IIIII 1 6
> 2 1 < 1 5 I
AUDIO/TC 10
Mic Links
1>2.3.4.5
AUDIO/TC 11
Line links
1>2.3

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Track (dis)arming
Monophonic multi-track file recording doesn't waste disk space
by recording empty tracks as is the case with polyphonic. It
is wise to momentarily disarm a track when there is no use for
it. In TEST, press [shift] [track-solo] of the unwanted track. Its
monitor is muted, its track icon blinks and its modulometer is
dashed. Disarmed tracks can't be inadvertantly rearmed by
going to PLAY or BROWSE, you must go to the ROUTING
position and back (or turn 'OFF' the power).
M/S monitoring
The 'm-s' declaration of a track pair (IN-GRIDS, p.27) causes
them to be decoded as m+s/m–s, i.e. L/R stereo in the phones
and mixdown. If on top of the phones, you want an M/S
recorded track pair (say T5T6) to be sent as L/R stereo to the
Lo, Fb, Do outputs, create an Out-Map in which T5 goes to the
left and T6 to the right, Cantar will automatically decode these
M/S tracks as L/R. This applies to the T1T2 and T3T4 pairs
too, alone or together. Panning the M track to the left or right,
makes it go there, and the S signal disappears from the mix.
That is a way to mono monitor the M signal.
Headphone level
Protected by [shift], the "Phone"
level is displayed on the rect-
angular screen. Rotating the
fader makes '<'and '>' ap-
pear. There is no level change
if [shift] re-activation is done after the fader has been put
back in its 'pipe' ( | ) position. The headphone amplifier
can drive 8-ohm speakers; useful to send playback tracks
to the stage.
Line-out and Foldback levels
In TEST, open LVL&DELAY with [shift] [silver]. The Line-out
and Foldback levels are [jog] adjustable from 0 to -94dB.
Line-out & foldback can be mut-
ed during PLAY and TEST, see
AUDIO/TC.05 - 06 (p.31).
A –18dBFS tone delivers a
–10dBu line-out level. A +12dBu two channel transformer is
available (p.58). CantaRem faders can be assigned to line-
out and foldback levels (p.53).
tip: insert a 12k ohm resistor in the input path of the Sennheiser
transmitters to avoid oscillation and noise generation.
Check and select the routings
In TEST, PPR and REC, depending on the
[SoloMidPan] slider position, the [routing]
button activates the display of the In-Grids
input routing templates, or the Out-Maps
output routing templates. This is done by
pressing the [routing] button or by a short
click to open, another click to close; this
later method liberates the thumb to better grip the crowns.
In-Grids
To check and select In-Grids, PUSH the [SoloMidPan] slider
to the battery side and press the [routing] button. The silver
[config] crown gives sequential access to fifteen In-Grids, the
last in use is displayed first.
To protect the recording's integrity, you can't change In-Grids
while in REC, but you can do it with a trick: go to PPR, press
the [routing] button, rotate the silver [config] crown to the
desired In-Grid, release the [routing] button and go back to
REC, the pre-record buffer gives you up to thirteen seconds
to act... not one single audio sample will be lost between
the two audio files.
Out-Maps
To check and select the Out-Maps for each Ph, Lo, Fb and
Do outputs, PULL the [SoloMidPan] slider to the Operator's
side, press the [routing] button and rotate the black [monitor]
crown. To browse the preset Out-Maps and select one, ro-
tate the silver [config] crown, the active map will be the one
displayed when closing the [routing] command.
You can select different Out-Maps while recording, this
doesn't affect the recorded signal.
note: in PLAY, the active Out-Map can't be displayed, verify
it on the [MainSelector] ROUTING position.
Play&Rec rehearsal (read p.48 & p.49)
In BLUE-TEST, the playback tracks Tp1 – Tp6 are internally
sent to the digi1–6 inputs, then routed the standard way. By
pressing [routing] with the SoloMidPan slider onto the adhoc
position, select In-Grids and Out-Maps tailored to the job.
Rehearse the BLUE-REC navigation with the analog faders,
adjust the levels between the digital play-cards and the live
(analog) inputs. The latest BLUE-TEST played card is the first
to be called when going to BLUE-REC.
TEST OUTPUT LEVELS
LVL&DELAY 01
LineOut lvl
-20 dB

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The Pre-Post-Record [PPR] position is unique to Cantar, it al-
lows three important functions: pre-record buffer activation,
metadata entering/editing, and last take erasure.
Pre-record buffer
While the [MainSelector] is on PPR, the pre-record buffer
stores the audio in a First-In/First-Out (FIFO) buffer memory
and dumps them to the HD as soon as REC is activated.
The '•rec' icon blinks under the disk(s) selected for record-
ing. Once the buffer is full, up to 13 sec. @ 48kHz, it starts
discarding the First-In audio, the middle platter of the 'three-
platter' icon disappears; this is a way to verify the selected
buffer length (AUDIO/TC.08 ‘PreRec Dur’, p.31).
Pre-Rec metadata entry: 'NEXT take'
While in PPR, enter/edit the scene ID, take #, commments,
track-names and Audio-Ref of the NEXT take, then press [ok]
to validate. Two remarks: 1– the use of Arcan, Tarkan or
keyboard (p.58) considerably speeds up metadata entry;
2– [shift] [jog] accelerates letter scrolling 10x.
1 Scene and Take
The first screen displays 'Seq Scn Tak'. Press [ok] to go
down to the bottom line and use [>] or [<] to scroll along
the characters and modify them with [jog.] Press [ok] to
store and exit.
• The default template is nnnA/nnA.nn for 'sequence,
scene, take-gender and take #'.
-Sequence: three digits, followed by one character*.
-Scene: two digits, followed by one character*.
*'space', 'A' to 'Z', 'a' to 'z', '0' to '9'.
-Take-gender: t = t ime synced, p = pick-up, w = wild
track, a = announce, n = no good (keeps the take # for
the next file). This t-p-w-a-n list is scrolled with the [red]
button.
-Ta k e #: two digits.
• An open XXXXXXX.XX template is also available, (see
AUDIO/TC.12 'ScTk Templt', p.31).
At each new take, the sequence & scene is maintained and
the take# is incremented by one. Modifying the sequence or
scene ID causes the take# to reset to '1', and the take-gender
to 't'. The rectangular screen displays the filetag of the NEXT
recording.
2 Comments
[jog] to 'Tk Comment' and press [ok] to activate the bottom
line where the former comment appears. Characters (200
max.) can be entered with [<], [>] and [jog] but it is much
easier to use a keyboard or a remote PDA with Arcan.
Depending upon the keyboard [insert] key toggle status, a
flickering square (insert) or a flickering pipe (overwrite) is dis-
played. Enter your comments. and press [ok] to validate.
note: to erase the comment line inherited from the preceding
take, press [shift] [esc].
3 Track-names
[jog] to 'TrackName 1', [ok] to go to the bottom row.
[shift] [jog] or keyboard's [shift] [up/down] arrows show the
available list of track-names.
Track-name completion relies upon a library of the last thirty
track-names in use. This automatic process speeds up track-
naming by letting you pre-store the names of the film's main
actors and swiftly recall them by their first two letters. Press
[ok] or [enter], and [jog] to 'TrackName 2', etc.
Track-names are modifiable at all times and are stored in
each and every audio file, this means that an ISO file car-
ries its own track-names.
Library cleaning
By [jog]-ing past 'TrackName 8' you reach 'Del TrkName',
[ok], select the track-name to be erased, [ok]. If you decide
not to erase it, press [esc]. In a bind and no time to name
the tracks of the next take, it is better to remove the former
take's track-names than to carry incorrect ones in the next
take.
Go to the track-name editing line (any track will do), and
press [shift] [esc]; the following generic names will replace
them: T1 to T8 on native monophonics; ms-M and ms-S on
M/S tracks; MixRight and MixLeft on mixdown tracks.
Press a [track-solo] button to display that track's name in the
rectangular screen.
note1: to allow for a possible entry from a PDA, the generic
track-names above are only recorded upon completion of
the take.
PPR BUFFER & METADATA

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note2 : the default entry mode is 'overwrite', if you change
it by selecting 'insert' on the keyboard, it will revert to 'over-
write' on the tenth character since track-names are limited to
this number.
4 User's Tape Ref
By [jog]-ing past 'Del TrkName', you can overwrite the
automatic Cantar generated MMDD Usr TapeRef' with a
project's “Shoot Day Number”, or a Tape ID, later called
“Roll Number” on the Avid (p.47). (cf [Tape Ref] at the bot-
tom right of the Majax screen).
Only use BCD characters if you want to clone the TapeRef
into the LTC-out user bits (see AUDIO/TC.183p.32)
Post-Record metadata entry: 'PREVIOUS take'
After REC, stay on PPR, the metadata to be used for the next
take is displayed. If you want to modify the just recorded
take's metadata, press [shift] [silver].
The rectangular screen displays EDIT, press [ok] then [>],
[<] or [jog] to edit the PREVious scene ID, take # and take-
gender ([red] button) of the previous file as explained in
1 - 4 (above).
Press [ok] to confirm, then [shift] [silver] to close.
Pazienza! paciencia! patience!
When editing metadata entries, you are modifying the
native files stored in the internal HD. If you are working in
simultaneous (mirroring) mode, these modifications are imme-
diately applied to the external drive files as well. But if you
are working in Idle Bckp mode, they will only be applied
later when Cantar is in TEST position.
So, at the end of the session, do not unplug the backup
media in haste. Wait until Idle Bckp finishes its revamping
work!
Automatic file splitting
If you need to record audio during very long periods with-
out interruption but you don't want files larger than 4GB,
Cantar automatically closes the file and starts a new one:
four settings are available: 260MB (e.g.1 track for 30 min
@24-bit/48kHz), 690MB (700MB CD-R capacity), 2GB
(default setting), 4GB (FAT32 max. filesize). The filetag
number is incremented but the scene and take IDs remain
the same.
Manual file splitting
To divide a file into short segments, quickly go from REC
to PPR and back to REC. A new file is created; it carries
the same scene ID and the take # is incremented. You will
not lose a single audio sample. An up to one second of
pre-silence is added at the head of the new file to ease the
splicing work in Post.
By setting the PPR buffer to a long enough duration you can
even enter new scene and take IDs and comments.
Last take erasure
To save disk space, Cantar lets you erase the last take, e.g.
a false start or aborted remix. In PPR, press [shift] [silver],
to open 'Edit prev.', [ok]; select 'Erase Take'; toggle from
'No' to 'Yes', [ok]. Since THERE IS NO WAY to retrieve
such an erased take, for your protection, the latest position
must have been REC, and the power must not have been
turned 'OFF'.
The next take will carry the same take # as the erased
one.
False start
If you are under pressure, and not willing to risk an unfor-
giveable mistake, do not erase a false start as described
above, stay in REC,press the [red] button until 'n' (no good)
is selected in the t-p-w-a-n take-gender list, then go to PPR.
The next take will carry the same take # as the ignored one.
Takes with a take-gender of 'n' are grayed in the PDF sound
report and carry an 'aborted/false start' header in the 'com-
ment' line but they can nevertheless be used.
See BROWSE p.25 for another way to trash a take by hid-
ing it. This lets you change your mind later.
PPR METADATA & FILES