AAton Cantar-X2 User manual

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.1
p.1
Aaton Cantar-X1&2
s o f t w a r e v 2 . 1 5
•ltc triggered
remote.roll p . 2 1
•the magic
auto.s l a t e p . 2 3
• m i c d i r e c t t o
track 7 p . 2 8
•wild & all built–in
pdf.reports p . 3 7
•editor friendly
poly.rotate p . 3 9
•stereo monitoring
soundfield-b p.43
• p l a y b a c k , a d r, r e m i x
rec&play p . 4 5
t a r k a n p. 4 7
c a n t a r e m p . 4 8
r.can-w p . 4 9
m a j a x p . 5 1
tarkan
the cantar mirror

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.2
p.2
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 rec.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 Coupling p.17
Stereo pairs & Surround p.17
Tuning the balances p.17
Mixer panpots p.17
Mixer sliders & modulos p.17
M/S monitoring p.18
Track disarming p.18
Headphone level p.18
Line-out/Foldback level p.18
Rec&Play rehearsal p.18
PPR Pre-Post-Record
Pre-record buffer p.19
Metadata entry p.19
Track names p.19
After recording p.20
File splitting p.20
Last take erasure p.20
Remote Roll p.21
Remote control PDA/keyboard p.21
REC Record
Modulometers p.22
Solos of the inputs p.22
Solos of the tracks p.22
Locking all faders p.22
Reference Tone generator p.22
Talkback mic p.23
Warning beeps p.23
Take-type p.23
Record tally p.23
Record by LTC (remote roll) p.23
AutoSlate p.23
Markers p.23
Record with playback p.23
PLAY
Commands p.24
LTC for VTR chase p.24
Play-card creation p.24
BROWSE File Indexing
Metadata editing p.25
Wake up HDD ! p.25
Play-file indexing p.25
Operand positions
MainSelector 'East' p.26
IN-GRIDS Routing the Inputs
T1–T6 In-grid creation p.27
Track disarming p.28
T7 T8 In-grid selection p.28
16-Track by Word clock p.28
AES sample rate converters p.28
OUT-MAPS Routing the Outputs
Out-map creation p.29
Tracks to outputs p.29
Inputs to outputs p.29
The monitoring crown p.29
Digi 1to Digi 8 outputs p.30
AUDIO/TC
Audio parameters p.31
Timecode parameters p.32
TECHSET
Day-in, day-out 'technicals' p.33
Software install p.35
SESSION
Project selection/creation p.36
HDD formatting p.36
DVD-RAM formatting, Scan disk p.37
Sound-Report p.37
BACKUP
IdleCopy, Backup@Call, PolyStore p.39
File treatments p.40
File rescuing p.41
Tutorials
Burners, Media and Drives p.42
Routings examples, Surround 5.1 p.43
Video and Audio sync p.44
Record with Playback p.45
Companions
Tarkan p.47
CantaRem p.48
R.can-w p.49
OriginC, GMT p.50
Majax, IndawPass p.51
PostChain, Titan-3 p.51
Connectors & Accessories p.52
Table of contents

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.3
p.3
User Manuals and Software download
Manuals and tutorials are on http://www.soft.aaton.
com/swcantar/ Latest Cantar software is accessible to
registered owners only; beta versions are NOT to be used
for commercial assignments.
• on your 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 pass-
word and your email address in the login page.
• on your next visits: If you forgot your password, click ‘lost
password’. Enter your email address; if it is found in the
Cantar database, the password is sent to this address.
Cantar Users’ Group
You can exchange tips with other cantarists on http://
blake.aaton.com/mailman/listinfo/cantar-users
Pictures on the road
Send your pictures to [email protected] for the
Cantar gallery, we will put the best ones on http://www.
aaton.com/gallery/on-location
Post Production helper
Read the ‘CantarPostChain’ and spread it around to Post.
http://www.aaton.com/files/cantar-post-chain-23.pdf
Keep in touch
Software versions – X1 & X2 + X2 only
v2.15 March 2008 – Direct routing of all inputs to T7T8.
– Mono mixdown of T1-T7 to T8. – T7T8 in-grid check with
T1–T6 banks. – Line-out/Foldback gain adjust moved from
AUDIO/TC to TEST for active level monitoring. – Monitoring
of the dynamic mix: Xa/Xb stereo, Xa+Xb mono, Xa only
mono, Xb only mono on the So position in PLAY as well as
REC. – One hand Solo/Filter adjust. – Latency protection
of the limiter button. – Storage of the project's PDF sound-
report headers. + Ethernet–Tarkan activation.
v2.11 Jan. 2008 – Creation of 'play-cards' with cue in/out for
selective play of current and archive 'play-files'. + Rec&Play can
play up to eight tracks from internal or external HDD, add nine
analog inputs while recording eight tracks on the internal HDD.
+ Remix of a prior recording with new dynamic mixdown and
addition of a commentary track. + ADR for 'hear it/say it' dialog
correction. + Incremental re-recording up to 8 tracks/file.
v2.06 Dec. 2007 – Talkback Mic sent to Line-out and/or
Foldback left (e.g. boom) or right (e.g. director). – Double beep at
REC stop. – Two PDF Sound-Reports (ALL for ‘t p w a n’ takes &
WILD for ‘w’ takes). – ALE and CSV lists added to backups.
+ Up to 85ms delay on analog inputs; differential alignment and
TC compensation. + Wordclock-sync at 48/96kHz (±0.1%) and
44.1kHz. + Autoslate detection on Mic1-5, Line-in1-4 and Track1-8.
v1.87/v2.00 June 2007 – ‘Remote Roll’ recording starts upon
receiving running LTC, and stops upon receiving frozen LTC from
camera or GMT-u (no TC overlaps, no record interruption on RF
transmission drop-outs). – Remote STOP, TEST, PPR and REC from
CantaRem, R.can-w or keyboard. – Line-out & Foldback levels can
be controlled by CantaRem sliders. – A new ALE/PDF page opens
on each header item change. – Blank columns are allowed in the
PDF Sound-Report. – In ‘Forced’ mode, CantaRem can put Cantar
on STOP. – Archive tags are ticked after Backup@Call, they allow
Cantar to finish filling a half full DVD-RAM. – IdleCopy is less prone
to bus hangs with slow external HDDs (see LaCie firmware update
p.42). – CSV file stored on internal HDD speeds-up PDF burning
to DVD-RAM.
note: in a Cantar-X1, v1.78 must have been installed
once as the key to current versions.
From Cantar-X1 to X2
X2 brings the following hardware improvements :
• a CM-5 motherboard carrying an FPGA (Field Programmable
Gate Array) which provides increased processing power for
functions which can’t be performed by X1,
• an analog-to-digital converter (AD-5) with nine program-
mable audio delay buffers (up to 85ms @ 48kHz),
• a 100BaseT Ethernet interface board (ET-1) with an RJ45
socket in a hinged HDD holder.
X1 and X2 both work under Aaton-OS in the same low
power consuming CPU, with the same software versions
but some features require the capabilities of X2 to operate,
e.g., Rec&Play; DVD-RAM playback; Ethernet connectivity;
Differential delays on Mic & Line-in; AutoSlate detection on
Mic, Line-in and Track; Wordclock sampling and synchro-
nizing of multiple Cantars.
note: All Cantar-X1s can be upgraded to fully featured X2s.

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.4
p.4
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 simultaneously shows every critical re-
cording parameter.
• The custom designed high contrast displays remain view-
able under bright light (sun, sand, sea, snow, storm), and
at very 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 twelve position MainSelector eliminates diving
into numerous sub-menus.
• The unique three-crown turret gives instant access to
all recording and monitoring configurations, even while
wearing heavy winter gloves.
• Nine rotary faders (analog inputs) plus six linear faders
(mixdown), each entirely devoted to one specific task, are
faster to handle than multi-function knobs.
• An important consideration for those who work in
the desert or on the high seas, all of the mechanical actua-
tors (faders, sliders, buttons, selectors) are sandproof and
waterproof.
Description 1,
[lim-inv] (1) Limiter ON/OFF.
[shift] [lim-inv] Signal Inversion.
[so-fil-tom] (2) Solo & Filter. Balance access.
[shift] [so-fil-tom] Phantom 48V activation.
[link-lock] (3) Left (un)locks Mixer sliders
Right (un)locks Mic/Line faders.
[shift] [link-lock] Links Mic 1/2, Mic 3/4.
[Solo Mix Pan] pushed to the bAttery side:
.[routing] displays the inputs to trAcks.
.[track-solo] (end of slider button) shows pAn-pots.
[Solo Mix Pan] pulled to the Operator side:
.[routing] displays the outputs to mOnitors.
.[track-solo] (end of slider button) activates track sOlo.
track disarming
& track solos
Hard drive
quick access
Five mic-inputs w/ high
Q transformers
Four asymetrical
line-inputs
Solo Mix Pan
in & out routings Limiter/inverter (1) Link/lock (3)
Solo/filter/phantom (2)
Shift

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.5
p.5
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 SubD 15 (p.52) is used to connect CantaRem (p.48)
or a USB-PS2 keyboard adapter .
• The SubD 25 (p.52) is the AES in/out connector which
can loop playback signals when in "REC&PLAY" mode.
• The 3/8” screw is placed at the center of gravity
between three rubber pads, and is used to secure the Can-
tar onto a cart.
•The weep hole, underneath the phone-jack socket, is a
drainage port for water that has entered through the phone-
jack.
•To extract the internal DVD/DVD-RAM burner, first remove
its lateral retaining screw, then use a pencil or tooth pick in
the DVD extractor hole to push the drive out of the Cantar
housing (see the DVD burner extraction arrows on the picture
below).
Description 2,
Firewire Timecode in/out Headphones Foldback
Mini XLR 3
Firewire cable
retainer Ident label AES
in/out
3/8" cart
holder
XLR 5
Line-out
phones’ jack
water exhaust
DVD burner
extraction
SubD 15
'options'
Burner extraction
Please remember the following about the FireWire connection :
•• The cable retainer screw should be used at all times (use
gaff-tape if your Cantar is not equipped with it) to avoid intermit-
tent contact or sudden cable pull-out. A loose Firewire connection
can induce ‘bus hangs’ and can even stop recording on both the
external and internal disks.
•• DO NOT plug a cable into the Cantar Firewire socket
while it is powered. The Firewire 6 socket that powers external
disks and burners has a HOT 12V pin in it. If the plug enters
at an angle, it will produce a short between the +12V pin and
the in/out pins and DESTROY the Cantar Firewire driver. Please
follow the HDD formatting instructions (p.36).
•• Only use ferrite choke ring equipped high quality Firewire
cables.

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.6
p.6
Front panel buttons
[routing] [Solo Mix Pan] battery side: In-grids.
[routing] [Solo Mix Pan] operator side: Out-maps.
[esc] pause/restart from there.
[shift] [esc] in PLAY, 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] in 'Operatings', toggle T5/6 & T7/8
on right screen; in 'Operands', ‘Help’.
[shift] [eye] toggle rectangular screen bottom row:
‘filetag&duration’ or ‘scene&take’.
[TC jam] in PLAY, absolute TC; in TEST, a 3 sec.
pressure sets Sync clock to incoming LTC.
[shift] [TC jam] in TEST, stops ‘int c’ reminder blinking.
[batt L] or [R] short pressure: battery voltage;
long pressure: battery on duty.
[shift] [batt] in STOP, turns ‘OFF’ Cantar.
Headphones
1/4" jack in an isolated compartment. The headphone am-
plifier is powerful enough to drive loudspeakers down to 8
ohms. The stored output level of the headphones 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 even with winter gloves on, they
give access to all operating actions and operands (p.9,
p.10 & p.26).
Mixer’s faders
Dustproof and waterproof, they are magnetically driven. The
black sliders can be easily replaced with colored ones.
DVD burner
The burner is protected by the swiveling front panel, to
replace it see p.5, p.42 & p.52. The currently installed
Matshita UJ-85J DVD-RAM /±R burner is a slot machine.
Eject
Status light
Description 3,
Solo Mix Pan Mixer sliders
Talkback mic
Shift
TC jam
Esc < - > Eye
Batt1(L), Batt2(R)
Headphones MainSelector
Ok
Line-in faders Mic faders
Routing

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.7
p.7
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 while it
is operating. It takes a few hours getting used to them since
five display paradigms are used for the many functions they
handle. Once you are familiar with these functions, you will
drive the fastest machine you have ever driven.
• input grids. The six primary tracks graphically display
their links at the push of a button, even while recording.
•• output maps. Thanks to the three screen lay-out emu-
lating the left, both and right ‘ears’, the monitor maps are
immediately understood.
••• progressive pan-pots. The contribution of each track
to the mixdown has never been so clear.
•••• circular modulometers. Their round shape makes the
signal level easy to appreciate in a wink.
••••• monitoring physical status. Permanent control of
the disks, tracks, and setups.
• Input grids
The available ‘Inputs’ are shown in each circular screen:
Line-in 1 to Line-in 4, Mic 1 to Mic 5, Digi 1 to Digi 6. The
six tracks to which they can be connected are grouped in
pairs, e.g. T1 T2, T3 T4, T5 T6 on the three screens.
The method of creating routing-configurations by linking in-
puts and tracks is explained in the section ‘Routing inputs to
tracks’, p.27.
With the [Solo Mix Pan] slider pushed toward the battery,
the [routing] button (top-left of the swiveling panel) instantly
displays the ‘inputs to tracks’ grid, even while recording.
In the picture above the middle screen displays ‘A4’, the
routing in use. Fifteen preset routing grids are stored in three
banks. Each of which holds five grids, to help you sort and
memorize your configurations, e.g. A1 to A5 for mic only
setups, B1to B5 when some line-inputs are on duty, C1to
C5 for complex setups that include digi-inputs. The [config]
crown gives instant sequential access to all of them.
•• Output maps
Here is where Cantar's three screen ’mapping’ is at its best.
Audio signals going to the left ear show on the left screen,
signals to be listened to in mono show on the middle screen
and those going to the right ear are on the right screen.
All inputs (recorded or not, very useful in Rec&Play), and all
tracks can be monitored along different configurations for
each of the eight independent outputs channels: Ph Phones,
Lo Line-out, Fb Foldback and Do Digital-out. 26 different
‘output routing’ maps are available; the black [monitor]
crown gives instant access to all of them, see p.29.
In the example above, the ‘Ph d’ phone routing indicates:
Track 5 goes to the left ear, Track 1 and Track 2 go to the
center (both ears) and Track 6 goes to the right ear. With
the [Solo Mix Pan] slider pulled toward the operator side,
pressure on the [routing] button instantly displays the current
monitor configuration.
note: the [routing] button is required to change from one
grid to another, it is a protection against wild and lethal
changes, but it is not required to change from one map to
another in the course of a recording.
••• Pan-pots to the mixdown
Push the [Solo Mix Pan] slider toward the battery side, press
the [track-solo] button next to the mixer linear fader: the pan-
pot of this track goes under [jog] control and indicates its
left/right contribution to either channel of the mixdown.
The spatial position of all pan-pots is visible on the circular
screens while the dBFS value of the selected pan-pot is dis-
played in the rectangular screen (see next page).
Description 4,
T1 & T2 left T3 center, T4 left T5 left, T6 right

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.8
p.8
•••• Circular modulometers
Cantar’s large circular modulometers, visible under the
brightest light as well as in the dark, are the most accurate
metering tools found in any portable recorder. They feature
a non-linear scale with increased resolution (1dB) in the most
important range: -55 to -40dBFS (5dB per segment); -40 to -
32dBFS (2dB / segment); -32 to -12dBFS (1dB / segment);
-12 to 0dBFS (3dB / segment).
The peak level segment hold duration is adjustable from 0.5
to 5 seconds (see TECHSET.12).
The Tracks are grouped into ‘natural’ pairs: T1 T2, T3 T4,
T5 T6. When a track is momentarily dis-armed, its modu-
lometer appears dashed.
••••• Monitoring physical status
The center of each circular screen continually displays the
status of the main recording elements:
• activity of the internal HDD (‘three-platter’ icon on the left
screen), the external HDD (‘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 preamplifier status: Limiter on/off, Direct/Invert,
Phantom on/off.
• the current monitor map name (sent to the phones too) is
constantly displayed by large alphanumeric characters.
• the activation of the mixdown recording on T7 T8 is
indicated by the ‘mix’ icon next to the ‘7’ and ‘8’ black
squares.
note: the screens are visible in very bright sunlight, to save
backlight power, see TECHSET.03 ‘Backlight’ (p.33).
Rectangular screen
• 'Operating' functions control (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 : tracks T7 T8 modulome-
ters. With [jog], battery voltage,
available recording time, and
remaining disk space. The [eye]
button toggles display of tracks T5 T6 or T7 T8 on the right
modulometer.
middle row : the source and the TC stamped in the audio
files: ‘Atc’ (ASCII-TC), ‘Ltc’ (jam from LTC), ‘Stc’ (from the
system 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 adjust-
ing 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).
•• ‘Operands’ functions control (p.26)
In IN-GRIDS, AUDIO/TC, TECHSET, SESSION and BACKUP, the
pathtree of each parameter is displayed.
top row: the ‘Operand’,
e.g. AUDIO/TC.
middle row: parameter name,
e.g. SampleRate.
bottom row: parameter value, e.g. 48048.
Description 5,
left screen
Internal HDD
right screen
CD/DVD
middle screen
External HDD
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

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.9
p.9
Triple crown
The large all weather triple crown is used to verify and select
the input routings and monitor maps with only one hand.
Monitor Crown
1 So Mic, Line-in and Digi-inputs, plus active tracks are
directly selected and sent to the headphones as ‘solos’.
2 Ph Mixer output and seventeen user configurable maps
(A to Q) to headphones.
3 Lo Mixer output and nine user configurable maps
(R–Z) to dual Line-out (XLR 5).
4 Fb Mixer output and nine user configurable maps (R to
Z) to dual foldback out (mini XLR 3).
5 Do Mixer and nine user configurable maps (R to Z) to
Digi-out on AES7&8.
note: the headphones also receive the signal sent to the
output being configured.
Config Crown
• [Solo Mix Pan] slider
pushed toward the bat-
tery, the [routing] button
displays the In-grids con-
figs on the three circular
screens.
• [Solo Mix Pan] slider
pulled toward the operator, the [routing] button displays
the Out-maps on the three circular screens. These screens
respectively become left, both and right ears.
In REC, since the Out-maps checking has no interaction
with the ongoing recording, it is possible to select anoth-
er map for any of the available outputs with the [config]
crown.
In TEST and PPR, the [config] crown browses the In-grids
(inputs-to-tracks routing) and selects the one shown when
the [routing] button is released.
In REC, the grids can be checked but not mistakenly
changed, see 'T1–T6 routing selection', p.28.
Jog Crown
The [jog] is used to move the cursor in the routing circular
screens, to edit the scene and take, to select high pass
filters, to adjust the backlight’s intensity, to control the pan-
pots, and to scrub the player in fast forward/reverse.
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 with the [jog].
note3: as of v2.13, both the Jog and the Config crown are
incrementing all parameters in the same clockwise direction.
Description 6.
jog
config
monitor

[phone] www.aaton.com User manual for Cantar-X1 & X2 v2.15 2008 March 28
p.10
p.10
Operating positions.
MainSelector West positions
The MainSelector is easy to manipulate even while wearing
heavy winter gloves; it gives direct access to all essential
functions.
The six OPERATING (West) positions control the recording,
annotation and playback of audio files. To get access to the
Rec&Play BLUE-XX positions, press and hold the blue [shift]
button while rotating the [MainSelector], see p.45 & p.46.
(The six OPERAND (East) positions, which establish Cantar’s
operating parameters, are described on p.26).
Std. pos. Blue pos.
REC • BLUE-REC
PPR
(
TEST I I BLUE-TEST
STOP IIII
PLAY > BLUE-PLAY
BROWSE I< BLUE-BRWS
MainSelector buttons
[black], [silver] and [red]* buttons can be activated by
the thumb, while the blue [shift] button may be pressed
by the index-finger.
[silver] in REC, insert a marker on-the-fly.
in PLAY, go to operator record marker.
[shift] [silver] in REC, trigger AutoSlate detection.
in PPR, toggle take editor (PREV/NEXT take).
in TEST, open LEVEL&DELAY settings.
in PLAY go to AutoSlate marker.
[black] in REC, PPR, TEST, talkback mic activation**.
in PLAY, inserts a play mark.
in BLUE-PLAY, inserts a cue-in.
in IN-GRIDS, links an input to a track.
in OUT-MAPS, connects audio 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-type.
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, 1kHz reference tone:
‘Off’ at [red] release, remains 'On' if [shift]
released first, press [shift] to turn 'Off'.
in BLUE-PLAY, hide play-card from Rec&Play list.
* The red button may appear red/gold
**AUDIO/TC.04, p.31