AAton Cantar X1 User manual

[phone] www.aaton.com Cantar-X User Manual v2.26 (r13) 2009 April 27
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Aaton Cantar-X1&2
firmware v 2.26
•the ultra precise
auto-slate p.23
•any input to t7
monomix to t8 p.28
•save and reload
all settings p . 3 3
•'wild' 'all' and 'trio'
pdf-reports p.38
•editor friendly
poly-rotate p.39
•stereo monitoring
soundfield-b p.44
•playback, adr, remix
rec&play p.48
tarkan p.51
cantarem p.53
arcan-w p.54
majax p.56
tarkan
Cantar's mirror, p.51

[phone] www.aaton.com Cantar-X User Manual v2.26 (r13) 2009 April 27
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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 & 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
Rec&Play rehearsal p.18
PPR Pre-Post-Record
Pre-recording buffer p.19
Sc&Take, Track-names, TapeRef p.19
Post-recording metadata editing 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-type p.22
Record tally p.23
AutoSlate p.23
Markers p.23
Record & Play p.23
PLAY
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-file p.25
Wake up HDD ! p.25
Operand positions
MainSelector 'East' p.26
Rectangular screen rows p.26
ROUTINGS
Create In-Grids p.27
AES sample rate converters p.28
16-Track by Word-clock p.28
Rec&Play 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
HDD formatting p.36
DVD-RAM formatting, Scan disk p.37
Sound-Reports: CSV, ALE, PDF p.37
BACKUP
IdleCopy, Backup@Call, PolyStore p.39
File treatments p.40
File rescuing p.41
Tutorials
Backup & Report 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
Arcan-w p.54
OriginC, GMT p.55
Majax, IndawPass p.56
PostChain, Titan-3 p.56
Annex
Connectors & Accessories p.57
Quick guide sheets p.58
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-26' tutorial around:
http://www.aaton.com/documentation/
KEEP IN TOUCH RELEASES
From Cantar-X1 to X2
All Cantar-X1s can be upgraded to X2s.
• The motherboard (CM-5) carries an FPGA (Field
Programmable Gate Array) with increased processing
power. • A-to-D converters (AD-5) provide nine audio delay
buffers (up to 85ms @ 48kHz). • An interface board (ET-1)
brings 100BaseT Ethernet through an RJ45 socket. X1 and
X2 use the same software but the following functions require
X2’s extra power: Rec&Play; DVD-RAM playback; Ethernet;
Differential analog input delays; AutoSlate on line-inputs and
tracks; Wordclock sync of multiple Cantars.
Ray M. Owen's last review: v2.26 (r11).
New Features –X1 & X2 +X2 only
v2.26 Feb. 2009 – Fat-32 formatting of CF cards. – Idle back-
up can be interrupted while saving T7T8 after a T1-T8 polyrotate.
–Mic3 master of Mic4 & Mic5. – Direct PLAY of the take preced-
ing a deleted one. – SoundReport generated once backup@call
is completed. +Tarkan v1.11 adds CSV to the PDF SoundReport.
+Tarkan completion menu fits WinXP netbook screens.
v2.24 Nov. 2008 –Windows PCs handle 'unmounted' internal
drive. – Simultaneous recording on a mix of internal - external,
P/ATA - S/ATA drives. –Line-in links for Soundfield ST350.
–PolyRotate by one or two ranks. –T8T8 backup. –False-start:
take-type 'n' keeps the take # for the next. –Trash a file/Revive
files in BROWSE. –Swift access to ROUTINGS with no PLAY/
BROWSE triggering. –Thumb -free check/select In-Grids and Out-
Maps. –All letters available for seq./scene. –Delayed IdleCopy
activation. –DVD-RAM exact backup space is displayed. – Erratic
behaviour following PDF creation, fixed. +Linking-Trios in the CSV
SoundReport. +Tarkan v1.09 brings pan-pot control, T7T8 set-
tings, metadata editing and PDF generation.
v2.15 March 2008 –In-Grids to T7T8 displayed with T1–T6
banks. –Mixdown (+T7) to T8. –Line-out/Foldback gain from
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. delay protection of limiters. –Storage of
project's sound-report headers with 'save setup'. –Clockwise jog
for time and operands.
v 2 .11 Jan. 2008 –Creation of 'play-cards' with cue in/out from
current and archive 'play-files'. +Rec&Play plays up to eight tracks
from int. or ext. HDD, w/ nine analog inputs while recording eight
tracks on the int. HDD. +Remix of a recording with dynamic
mixdown and addition of a commentary. +ADR for 'hear it, say it'
dialog correction. +Up to eight track incremental re-recording.
v2.06 Dec. 2007 –Talkback mic sent to line-out and/or fold-
back 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' & WILD for
'w' takes). –ALE and CSV lists added to backups. +Up to 85ms
delay on analog inputs; differential alignment and TC compen-
sation. +Wordclock-sync at 48/96kHz (±0.1%) and 44.1kHz.
+Autoslate detection on mic1–5, line1–4 and track1–8.
v1.87 June 2007 –'Remote Roll' recording starts upon receiv-
ing running LTC, and stops upon receiving frozen LTC (no TC
overlaps, no interruption on RF transmission drop-outs). –Remote
STOP, TEST, PPR and REC. –Line-out & foldback levels controlled
by CantaRem.

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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 simulta-
neously shows every critical recording parameter. • The
custom designed high contrast displays remain viewable
under bright light (sun, sand, sea, snow, storm), and at
very low temperatures too. • The swiveling front panel
always provides the best viewing angle for both on cart
and over the shoulder work. • The large twelve position
MainSelector eliminates diving into sub-menus. • The
three-crown turret gives instant access to all recording
and monitoring configurations while wearing heavy win-
ter gloves. • Nine rotary faders (analog inputs) plus six
linear faders (mixdown) devoted to one specific task are
faster to handle than multi-function knobs. • An important
consideration for desert or high seas work: all of the me-
chanical actuators (faders, sliders, buttons, selectors) are
sandproof and waterproof.
DESCRIPTION 1, TOP VIEW
1[lim-inv] Analog limiter ON/OFF.
[shift] [lim-inv] Input signal inversion.
2[so-fil-tom] Solo & Filter. Balance access.
[shift] [so-fil-tom] Phantom 48V ON/OFF.
3[link-lock] Leftside (un)locks Mixer faders
Rightside (un)locks mic/line faders.
[shift] [link-lock] Links mics.
[SoloMixPan] pushed to the bAttery side:
[routing] displays the inputs to trAcks.
[track-solo] (end of fader button) shows pAn-pots.
[SoloMixPan] pulled to the Operator side:
[routing] displays the outputs to mOnitors.
[track-solo] (end of fader button) activates track sOlo.
Track
(dis)arming
& solos
HDD
access
Five mic
faders
Four line
faders
SoloMixPan
in & out
routings
Limiter/inverter 1Solo/lter/phantom 2
Shift
Ethernet
RJ-45
Link/lock 3
Headphones
fader

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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.57) is used to connect CantaRem (p.53)
or a USB-PS2 keyboard adapter .
• The SubD25 (p.57) 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 (Aaton ref. 20 110 45), then intro-
duce a pencil or tooth pick into 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, BOTTOM VIEW
Rules about FireWire cables
•• The cable retainer screw should be used at all times
(use gaff-tape if your Cantar is not equipped with it) to avoid
intermittent contact or sudden cable pull-out. An intermittent
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 FireWire6 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 instruc-
tions (p.36).
•• For 15" MacBookPro with 800 FireWire socket only, use
an 800 to 400 cable, google ie9496-3.
•• Only use ferrite choke ring equipped high quality
FireWire cables, not the cheap skinny ones.
FireWire
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

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Front panel buttons
[routing] [SoloMixPan] battery side: In-Grids.
[routing] [SoloMixPan] 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] in 'Operatings', toggles T5T6 / T7T8
on right screen; in 'Operands', 'Help'.
[shift] [eye] toggles rectangular screen bottom row
between 'filetag&duration' and 'scene&take'
(preference stored until Cantar is turned 'OFF').
[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 '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 fader caps can be easily replaced with colored
ones.
DVD burner
The burner is protected by the swiveling front panel, to re-
place it see p.5, p.43 & p.57. The currently installed Mat-
shita UJ-85J DVD-RAM /±R burner is a slot machine.
Eject
Status light
DESCRIPTION 3, FRONT VIEW
SoloMixPan Mixer faders
Talkback mic
Shift
TC jamEsc < - > Eye
Batt1(L), Batt2(R)
Headphones MainSelector
Ok
Line-in faders Mic faders
Routing

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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 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 be driv-
ing the fastest machine you have ever driven.
1input grids. The six iso tracks graphically display their
links at the push of a button, even while recording.
2output maps. Thanks to the three screen layout emulating
the left, both and right 'ears', the monitor maps are immedi-
ately understood.
3progressive pan-pots. The contribution of each track to
the mixdown has never been so clear.
4circular modulometers. Their round shape makes the sig-
nal level easy to appreciate in a wink.
5monitoring physical status. Permanent control of the disks,
tracks, and setups.
1Input grids
The available 'Inputs' are shown in each circular screen:
line1 to line 4, mic1 to mic 5, digi1 to digi6. The six tracks
to which they can be connected are grouped in pairs, e.g.
T1T2, T3T4, T5T6 on the three screens.
The method to create routing-configurations by linking inputs
and tracks is explained in the section Routings (p.27).
With the [SoloMixPan] 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
bank holds five grids to help you sort and memorize your
configurations (e.g. A1 to A5 for mic only setups, B1 to B5
when some line-inputs are on duty, C1 to C5 for complex
setups that include digi-ins). The [config] crown gives instant
sequential access to all of them.
2 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 output channels: Ph Phones,
Lo Line-out, Fb Foldback and Do Digital-out. 26 different 'out-
put routing' maps are available; the black [monitor] crown
gives instant access to all of them (p.29).
In the example above, the 'Ph d' phone routing indicates:
track 5 goes to the left ear, track1 and track2 go to the
center (both ears) and track6 goes to the right ear. With
the [SoloMixPan] 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.
3Pan-pots to the mixdown
Push the [SoloMixPan] 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, CIRC. SCREENS
T1 & T2 left T3 center, T4 left T5 left, T6 right

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4Circular 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 one-
half to five seconds (see TECHSET.13).
The tracks are grouped into 'natural' pairs: T1T2, T3T4,
T5T6. When a track is momentarily dis-armed, its modu-
lometer 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 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 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 '7' and '8' black squares.
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 5, RECT. SCREEN
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

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In TEST, PPR and REC, depending on the [SoloMixPan]
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 se-
lect 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 [SoloMixPan]
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 out-
puts, PULL the [SoloMixPan] 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 circular
screens; to edit scene, take and comments; 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.
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 with the [jog].
DESCRIPTION 6. 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
Rec&Play positions, press and hold the blue [shift] button
while rotating the [MainSelector] (p.48 & p.49).
The OPERAND (East) positions, which establish Cantar's oper-
ating parameters, are described on p.26.
Standard positions Rec&Play positions
REC •BLUE-REC
PPR
(
BLUE-PPR
TEST I I BLUE-TEST
STOP IIII
PLAY >BLUE-PLAY
BROWSE I<BLUE-BRWS
MainSelector buttons
[black], [silver] and [gold] 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 TEST, after [routing] opens routing creation
(coming soon)
in PLAY, go to operator's record-markers.
[shift] [silver] in REC, trigger AutoSlate detection.
in PPR, toggle take editor (PREV/NEXT take).
in TEST, open LEVEL&DELAY menu.
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.
[gold] 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] [gold] in TEST, PPR,REC, 1kHz reference tone:
'OFF' at [gold] release, remains 'ON' if [shift]
released first, press [shift] to turn 'OFF'.
in BLUE-PLAY, hide play-card from Rec&Play list.

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p.11
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 to confirm that Cantar is pow-
ered. On the left circular screen, the 'three-platter' icon
blinks for three to five seconds, the time it takes the disk to
wake up; it is surrounded by the icons of the currently routed
tracks. The rectangular screen displays batt-L and batt-R
voltages, plus the system day and time.
To shut down Cantar, set the [MainSelector] to STOP, main-
tain pressure on the blue [shift] button and [batt L] or [batt R]
until 'AU REVOIR'is displayed. As a safety measure, if you
are not in STOP, nothing happens.
Reminder: while in STOP, internal HDD sleeping, the current
drain is a mere 270mA. To keep the internal sync-clock run-
ning, 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
working on a cart from a mains power supply, leave a
battery onboard and activate both inputs: the battery will
buffer possible mains power problems or the power cord
being accidently disconnected. To avoid charging spikes,
the battery which remains onboard is not charged, just not
discharged while Cantar is connected to mains power.
Mains power supply
Only use a low ripple, 14V max, power supply able to sustain a
4A surge at Cantar's start-up. If it is not able to deliver the surge
current, plug a NiMH (12V) battery on one side and connect
the power supply (14v) to the other. Activate both inputs: the bat-
tery will supply the surge and then will be off duty thanks to the
power supply higher voltage. NEVER use a battery charger,
its idle voltage can go up to 24V; a Cantar killer.
Voltage
Minimum: when the active battery drops 300mv below the
operator entered Batt Alert level, both inputs are put on duty.
This allows the simultaneous use of a 12.5V NiMH battery
with alert level set to 10.5V, and a 14.4V Li-Ion battery
with alert level set to 12.4V (TECHSET.14-15, p.34); alert
level reached, a two beep alarm is sent to the headphones;
the rectangular screen displays BATT LEFT (RIGHT) LOW.
While in REC, both batteries are automatically put on duty,
in case you unplug one by mistake.
Maximum: 16.6V is the maximum voltage which can be
applied to Cantar, including the FireWire socket. No prob-
lem with Mac laptops and PCs, they deliver a safe 13V.
Never connect MAC G3/5 desktops delivering 30V on
the FireWire socket, extract the HDD from Cantar and con-
nect it directly to the Gs (it can sustain up to 40V).
Battery check
In TEST, [jog] to display the battery voltage. It also appears
in all positions whenever you press the [battL] or [batt R]
button. Pressing a battery button for more than two seconds
puts the battery on duty.
Power Consumption
STOP: 270mA (sleep mode), 420mA (HDD 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). To avoid their destruction by NiMH chargers, the XLR4
pin-4 is protected by an 80V reverse voltage diode; pin-3 is directly
connected to the cells.
• Charger LED status: red/orange, two hour charge to 85% capac-
ity; amber, three hour top-up; green, charged. Before connecting
a battery, reset the Mascott charger 9940 (Li 4-cell 2A @14.8V) by
turning it 'OFF' for four seconds.
• Supply pin-out: +Batt current is either flowing through the pin-4
diode to film cameras and Cantars under #268, or through pin-3 to
Cantars having an XLR4 socket with pins 3&4 tied together.
IMPORTANT NOTICE
• Flight rules: "NO Lithium-Ion batteries in stowed luggage. Under
8gr of lithium content, carry on as many as you want within size and
weight limits. Between 8gr & 25gr, carry on no more than two batter-
ies with a total lithium content between them of 25gr max."
At 5.8gr, Aaton R-Cells fall within the first category.
STOP 1, 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 iso tracks must be interleaved before import into crip-
pled editing machines in need of polyphonic files, Cantar
builds an .AAP suffixed 'provisional folder' to momentarily
store them (see BACKUP.13 'Erase 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-type and take; a suffix that indicates the type
and sequence 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-type, and
take #, e.g. scene A18:2a, take-type t, take 04.
• The suffix is used to flag the nature of the file, either multi-
monophonic (_1 .. _8), or interleaved poly-Native (PN), or
interleaved poly-Rotate (PR), or poly miXdown (PX).
Examples
A short filename: AD1234_1.wav
A long filename: AD1234==A18:2a t04==_1.wav
STOP 2, 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 automatically creates the workday folders. This clock
is powered for four to six years by a user replaceable 3V
Lithium CR1220 button battery located below the HDD
compartment.
In STOP, the system date and time displayed on the rectan-
gular screen must be checked 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.
This clock is very important for file management; go to
TECHSET.21 'System Time' and press [ok], a triangle points
to the modifiable digit. Using [jog], select the desired value,
then press the [>] or [<] to move on to the next column, and
so on, [ok] to exit. Power 'OFF' Cantar then back '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.13 '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 syncing methods can be used:
Method 1
'int c' internal Free-Run master-clock
Set AUDIO/TC.13 'TC Source' to 'Int.Clock'. The internal
TCXO 1 ppm 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. This is the AatonCode method. In the video world
they called it the 'free-run' mode. Once initialized (four
ways) Cantar behaves as an independent master-clock.
• System/Calendar initialization
At startup, Cantar uses the System/Calendar date and time
to immediately initialize its internal high stability,1ppm TCXO,
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.
• Operator initialization
In case you don't want to use the calendar date and time,
the TCXO clock can be set by the operator, see AUDIO/
TC.18 'OperTc Init'. 'Otc' (Operator-TC) is displayed in the
rectangular screen.
• LTC initialization (from Camera, VTR, GPS, etc.)
Cantar on TEST, press [TC jam] for more than two seconds,
this makes the entered SMPTE LTC jam the Cantar TCXO
clock. 'Jtc' (Jammed-TC) is displayed in the rectangular
screen. [TC jam] has no effect if there is no valid timecode
on the LTC inputs, 'Jam Failed No LTC' appears in the rect-
angular screen and the 'int c' icon continues to blink.
• ASCII initialization (from Aaton OriginC)
Cantar on STOP, its TCXO clock is set by an Aaton OriginC
which also initializes cameras and GMT generators. 'Atc'
(ASCII-TC) appears in the rectangular screen.
STOP 3, TIME & SYNC

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Cantar becomes a master-clock
As soon as the int c icon stops blinking, Cantar starts
generating timecode. This timecode is based on a TCXO
(Temperature Compensated (X)crystal Oscillator), accurate
to ±one frame in nine hours (1 ppm). This high accuracy
makes Cantar THE timecode reference on set.
If you turn 'ON' the LTC generator output in AUDIO/TC.15
'LTC Gen Out', the LTC output can be used to continuously
sync all equipment through cable or RF. You can also
initialize several Aaton GMTs (low power, high accuracy,
timekeepers), attach them to the cameras and digi-slates and
have TC that matches the Cantar's TC.
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, HD camera with GMT refer-
ence generator, smart digi-slate), never power down Cantar
during the workday to avoid the loss of its 1 ppm reference
time! While the internal HDD is in sleep mode the total
power consumption is a mere 270mA! Set TECHSET.16
'HDD Pwr Dwn' to 'Aftr 5min', to have the HDD sleep five
minutes after STOP. If you still want to power down Cantar
at lunch time, the blinking int c icon 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.17 'RecRun Init', [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 rec-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 'Rec-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.13 '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 c keeps 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
transmission 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 4, TIME & SYNC

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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 the 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 'slow-planet'
Unfortunately, NTSC-compatible 23.976fps HD cameras
cannot use the anti-drift drop frame system because nobody
found a way to emulate the counting drops invented for
29.97fps. In this environment the 'slow-second' (the time it
takes to shoot 30 frames of NTSC video, i.e. 1.001 Earth
second) imposes its rule.
As soon as you enter Camera fps = 23.98NDF or 29.97NDF,
you are on the 'slow-second' planet, with its lazzy 24 (aka
23.98fps on Earth) or lazzy 30 (aka 29.97fps on Earth).
The Cantar's TCXO clock switches 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-second planet but nothing came out. In the U.S. you
must ask your post-facility which one of these three sample-
stamp modes is requested:
'A' Avid v11: '23.98NDF–A', '29.97NDF–A'
In a file digitized at 48kHz, the 'A' Format stamp indicates
the number of samples digitized in a slow-second, i.e.
48048; the Time-stamp is the number of samples since mid-
night, 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 'B' Format stamp indicates
the number of samples digitized in a real-second, i.e.
48000; the Time-stamp is the number of samples since mid-
night 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, and
the Time stamp is the number of samples since midnight as
if the digitization was done at 48048!
Hence the 'F' name (for Fake or Faux) given by Fostex and
FCP to this mode. This is the mode selected by most US
productions.
If it is 02h00m00s on Earth at the start of take, the Time-
stamp value is 345,945,600 samples (02h x 3600s x
48048).
Summary
Cantar at 23.976NDF or 29.97NDF
'A' mode. Recording: 48000 -Sample Rate written in the
files: 48048 -Timecode is stamped using: 48048.
'B' mode. Recording: 48000 -Sample Rate written in the
files: 48000 -Timecode is stamped using: 48000.
'C' mode. Recording: 48000 - Sample Rate written in the
files: 48000 -Timecode is stamped using 48048.
STOP 5. SPLITTING THE SECOND

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TEST 1, PREAMPS
Audio inputs
Analog inputs: mic1 (XLR3) mic2 (XLR3) mic3-mic4 (XLR5)
mic5 (XLR3), line1-line2 (XLR5) line3-line4 (XLR5);
AES inputs: digi1–digi8 (Tascam SubD25, p.57).
Microphone preamps
Cantar's mic-preamps offer such a wide dynamic range in
one single stroke that they don't need any pre-conditioners
or trims. Whenever you adjust a fader, all inputs for that type
(line/mic) are displayed (in dBFS) on the rectangular screen.
Phantom power
Press [shift] [so-fil-tom] (2) to toggle that mic's phantom
power 'ON/OFF'. The default setting for Phantom 48V
is 'ON' for all mics. When connecting a dynamic micro-
phone, turn 'OFF' the phantom power; the mic-preamp gain
will be boosted by 12dBu. When the phantom power is
disabled, the triangle below the mic number disappears
from the right circular screen.
Limiters
Press [lim-inv] (1) for one second to toggle the limiter
'ON/OFF' (to protect the limiters from mistaken fingers, a
one second pressure must be
applied). While the limiter
is turned 'ON', a triangle is
displayed below the mic num-
ber on the left circular screen.
If the signal level reaches
the limiter zone (-8dBFS), the
triangle 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 Detect'). To maintain
equilibrium between linked channels, the same limiter com-
mand is applied to ganged preamps.
Inversion
Press [shift] [lim-inv] (1) to invert the phase of a mic signal;
a triangle appears below the concerned mic number on the
middle circular screen.
High-pass filters and line attenuators
Click the [so-fil-tom] button (2) of a mic to open the filter
selection screen, another click on any [so-fil-tom] button
closes it. In between these two clicks you can [jog] through
the filter selection screen... quite useful when working over
the shoulder with a boom in the other hand. Continuously
leaving the finger on the [so-fil-tom] button simulates both
clicks: when you remove it, the filter screen closes itself.
Three high-pass filter banks are successively displayed in the
rectangular screen, they offer the same corner frequencies/
attenuation slopes (from 60Hz/-6dB to 180Hz/-12dB and
LFA).
Mic Level bank: 'Mic Level - Linear' is the default setting
on all mic inputs.
High Level bank: an 8dBu firmware translation of the gain
command puts the fader knobs in the same angular position
as when a standard sensitivity mic is used.
Line Level bank: a 24dBu physical attenuator converts the
mic inputs to line inputs (available on SL1 preamplifier, i.e
all Cantars from #268).
Differential delays Cantar-X2
Delays inherent to sound propagation (3 ms/m) or induced
by signal processing (up to 3.8 ms in a digital wireless kit)
can induce 'phasing' interference between mics placed
at different distances (or time) from a sound source. In
some instances it is advisable that all other audio inputs
contributing to the onboard mixdown wait in a buffer for
the 'late-sound' arrival. In TEST, press [shift] [silver] to open
LVL&DELAY, [jog] from 03 'mic1 delay' to 11 'line4'; press
[ok] on the one to set, [jog] from
0.0 to 85.0ms delay in 0.1 ms
increments i.e 5 audio samples
(1 ms increments by [shift] [jog]).
Fine tune the delay by listening to the tracks in 'double-solo'
(see Soloing tracks, p.22). An ear protecting mute is applied
during delay modifications.
2
3
1
LVL&DELAY 03
mic1 delay
78.8ms

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p.17
The value of the longest delay is applied to all channels
except for the one being set; example: a digital wireless lava-
lier (3.8ms processing delay) feeding line1 must be in-phase
with a boom at 6m distance (18ms sound propagation time)
feeding mic5: set mic5 at 18ms and line1 at 3.8ms. All ana-
log inputs are buffered by 18ms, line1 by (18 – 3.8) 14.2ms,
and mic5 by 0.0ms.
Since the delays can go up to 85ms (two film frames), the
TC stamp in each audio file is corrected accordingly; for this
reason, each input delay is noted in the iXML chunk and the
CSV Sound-Report file.
Gain values
Set TECHSET.06 'Display dB' to ‘ON’; whenever you adjust
a fader, all inputs for that type (line/mic) are displayed (in dBFS)
on the rectangular screen.
Mic links
The links are preselected in AUDIO/TC.08 'Mic Links'
(p.31),
Stereo-pairs: pre-select 1 > 2 & 3 > 4
Surround sound: pre-select 1 > 2.3.4.5
Double M/S: pre-select 3 > 4.5 (p.44).
To active the preselection, press the [shift] [link-lock] button
to the right of the master fader;
a (IIIII ) appears between the
linked mic figures in the bot-
tom of the circular screens.
Phantom, Limiter and Highpass filters are applied identically
to the linked faders. Phase inverters remain independent.
The slave tuning range 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 each slave ((coming soon)).
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.07 'BalanceLock' to 'Locked'; balance modifica-
tions will be unlocked while press-
ing the [so-fil-tom] button (2). 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 unlocking the balance key.
Line links
The links are selected and armed in AUDIO/TC.09 '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 [SoloMixPan] 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.05 '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 mix-
er outputs are recorded on
T7T8, their levels are dis-
played on the rectangular screen bargraphs (p.8).
TEST 2, 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 08
Mic Links
1>2.3.4.5
AUDIO/TC 09
Line links
1>2.3

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p.18
p.18
Track (dis)arming
An advantage of the monophonic multi-track file recording is
to not waste disk space by recording empty tracks as is the
case with polyphonic files. 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 and as a
reminder, its track icon blinks and its modulometer is dashed.
Disarmed tracks are not 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
The headphone level is protected
by [shift] and is displayed on the
rect. screen. Rotating the fader
makes '<'and '>' appear. There
is no level change if [shift] re-activation is done while the fader is
put back in its 'pipe' ( | ) position. The headphone amplifier can
drive 8-ohm speakers: a helpful feature to send playback tracks
to the stage. To facilitate extraction of a right angle 1/4” jack
plug, the phone socket is slanted toward the bottom of the ma-
chine; beware, this makes a long straight plug hit the cart desk.
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
and Mute. A -18dBFS tone deliv-
ers a -10dBu line-output compat-
ible with HD cameras' line-inputs.
CantaRem faders can be assigned
to line-out and foldback level command too (p.53). A two
channel +12dBu transformer accessory is available (p.57).
note: insert a 12k ohm resistor in the input path of the Sen-
heiser transmitters to avoid oscillation and noise generation.
Check and select the routings
In TEST, PPR and REC, depending on the [SoloMixPan]
slider position, the [routing] button activates the display
of the input routing templates called
In-Grids or the output routing templates
called Out-Maps. This is done by
continuously 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 [SoloMixPan] 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 [SoloMixPan] 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 diplayed, verify
it on the [MainSelector] ROUTING position.
Rec&Play rehearsal (read p.48 & p.49)
In BLUE-TEST, the playback tracks (Tp1 – Tp8) are sent inter-
nally to the digi1–8 inputs, from where they are routed the
standard way. By pressing [touting], select the In-Grids and
Out-Maps tailored to the job. Rehearse the BLUE-REC navi-
gation and with the analog faders, adjust the levels between
the digital play-cards and the live (analog) inputs.
The last BLUE-TEST played card is the first to be called when
going to BLUE-REC.
TEST 3. OUTPUT LEVELS
LVL&DELAY 01
LineOut lvl
-20 dB

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p.19
p.19
The Pre-Post-Record position is unique to Cantar, it offers
three essential functions: pre-record buffer activation, meta-
data 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 HDD 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.06 ‘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: – the use of Arcan, Tarkan or
keyboard considerably speeds up metadata entry; – [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-type 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-type: t = t ime synced, p = pick-up, w = wild track,
a = announce, n = ignore (keeps the take # for the next
file). This list (tpwan) is scrolled with the [gold] button.
-T a k e # : two digits.
• An open CCCCCCCC.CC template is also available,
(see AUDIO/TC.10 '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 causes the take# to reset to 1. 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 (max:
200) 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 isolated file
carries 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.
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.
PPR 1, BUFFER & METADATA

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p.20
p.20
4 User's Tape Ref
You can overwrite (not recommended!) the automatic Cantar
generated MMDD Usr TapeRef' with either the project's
incremental “Shoot Day Number”, or something like the
VideoTape ID, later called “Roll Number” on the Avid
(p.47).
Post-Rec 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-type
([gold] 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 HDD. 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 IdleCopy mode, they will only be applied
later when Cantar is in TEST or STOP position.
So, at the end of the session, remember to not unplug the
external HDD nor to remove the DVD-RAM disk in haste.
Wait until IdleCopy finishes its revamping work!
Manual file splitting
To divide a file into shorter 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. A short 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.
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 is
incremented but the scene and take IDs remain the same.
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]. For 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 ID 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 [gold] button until 'n' (for
ignore) from the take-type list 't p w a n' is selected, then
go to PPR. The next take will carry the same take # as the
ignored one. Takes with a take-type of 'n' are greyed in the
PDF sound report and carry an 'aborted/false start' header
in the 'comment' line.
PPR 2, METADATA & FILES