Belkin F8Z109 User manual

BELKIN
User Manual
Guide d'Utilisation
Manual del Usuario
TUNESTUDIO™

TABLE OF CONTENTS
WELCOME
Key Features
TUNESTUDIO BASICS
What You Can Do with Your TuneStudio
What You Can Connect to Your TuneStudio
WHAT'S IN THE BOX?
Cables You May Need
iPod, WINDOWS, AND Mac COMPATIBILITY
iPod
Windows
Macintosh
SETTING UP YOUR TUNESTUDIO
To set up your TuneStudio
TUNESTUDIO TOUR
TuneStudio Inputs and Outputs
SETTING THE RECORDING LEVEL
RECORDING WITH MICROPHONES
Types of Microphones
Recording with Multiple Microphones
RECORDING A PODCAST
Tips for Record ing aPod cast
RECORDING LIVE MUSIC
Tips for Recording Acoustic Instruments
Tips for Recording Electrical Instruments
RECORDING A CHOIR
Tips for Record ing aChoir
RECORDING TO OR FROM A COMPUTER
Tips for Recording to or From a Computer
EQUALIZING (EQ) TIPS
MIXINGTIPS
LISTENING TO A RECORDING
Copying a Recording to Your Computer
1
1
2
2
2
3
3
4
4
4
4
5
5
6
7
10
11
11
11
12
13
14
15
15
16
16
17
18
19
20
21
21

PROTECTING YOUR HEARING
TROUBLESHOOTING
If the Recording Menu button doesn't work
If your TuneStudio won't turn on
If
you don't hear anything in the studio monitors or headphones
Ifthe microphone volume is too low
If
an instrument's volume is too low
Ifthe sound is distorted
If
you hear a"hum" sound in the recording
If your recordings are only
in the left channel
Ifyour computer doesn't see your TuneStudio
TUNESTUDIO SPECIFICATIONS
LEARNING
MORE
GLOSSARY
Balance
Boost
Clipping
Cut
dB (decibel)
Distortion
Feedback
Gain
Monitor
Pan ("panorama")
RCA ("Radio Corporation of America")
TRS ("Tip-Ring-Sleeve")
USB ("Universal Serial Bus")
XLR
INFORMATION
NOTES
TABLE OF CONTENTS
22
23
23
23
23
23
23
24
24
24
24
25
27
28
28
28
28
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28
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32

WELCOME
Thank you for purchasing aTuneStudio iPod recording studio.
We designed TuneStudio for awide range of users, from novice podcasters to experienced musicians.
It's
compact, portable, and sturdy enough to stand up to life in arehearsal room. Its shape gives you easy
access to the controls and simplifies cable management. The iPod docking cradle keeps your iPod secured
in aposition that allows convenient and comfortable access to the screen and click wheel.
Your TuneStudio will help you make the most
of the high-quality recording capabilities of the iPod. You can
connect up to four instruments or audio sources. Each audio input channel includes equalization (EO), pan,
and level controls. Input channels 1and 2can also provide again control and optional phantom power
for microphones.
We are pleased that you chose to purchase aTuneStudio, and we have designed it to give you many years of
high-quality recording and mixing.
Have fun!
Key
Features
•Record directly to your iPod in 16-bit, 44kHz digital audio quality
•Record to and from your PC or Mac
computer using USB 1.1 or higher
•Instantly play
back your recordings directly from your iPod
•Charge
your iPod while recording
•4-channel mixing console
•
3-band EO, pan/balance and level controls to perfectly mix and enhance each channel
• 2
microphone inputs with optional phantom power and up to 60 dB of gain
•
High-quality stereo compressor with gain control to keep the audio levels within the recording limits
of the iPod and avoid clipping
()

TUNESTUDIO BASICS
Your TuneStudio combines multiple audio sources ("channels") into one stereo signal. You can use the following
controls to enhance each channel's sound before it is mixed with the other channels:
•
Level control to set the volume
• Pan (or "balance" for stereo channels) control to move the sound to the left or right
•
Low, mid, and high EQs ("equalizers") to fine-tune the sound
Your TuneStudio also includes acompressor that can be used to enhance your recordings and keep the volume
levels within the recording limits of the iPod.
What You Can Do with Your TuneStudio
•Record to or from an iPod
•Record to
or from acomputer
•Record from up to 5audio sources
•Listen to your mix while recording, with studio monitors or headphones
•
Play back your recordings from your iPod immediately after recording
What You Can Connect to Your TuneStudio
You can connect almost any instrument, microphone, or other audio device to your TuneStudio.
Your TuneStudio has inputs for four different types of cables:
XLR, 1/4" TRS, RCA, and USB. With the right
cables or audio connector adapters, you should be able to connect almost any audio source, including:
• CD players
•Computers
•Drum machines
•Guitars and bass guitars
•Microphones
•Synthesizers and keyboards

WHAT'S IN THE BOX
The following items should be in your TuneStudio box:
•TuneStudio
•CD with recording software
•1/8" (3.5mm) to 1/4" (6.35mm) headphone cable adapter
•
AC power supply and power cable
•Adapter inserts for iPod
•Warranty card
•This user guide
Cables You May Need
You will need the following cables to connect microphones ("mics"), instruments, and other devices to
your TuneStudio:
Device Cable Type Example
Electronic audio sources
(such as CD players)
Instruments
RCA stereo
TRS 1/4"
)
Computers
Microphones and
high-end professional
audio equipment
USB
XLR

iPod, WINDOWS, AND Mac COMPATIBILITY
iPod
iPod classic
80GB 160GB
iPod
nanD
3rd generation (video)
4GB 8GB
iPod
5th generation (video)
30GB 60GB 80GB
iPod
nanD
2nd generation (aluminum)
2GB 4GB 8GB
Windows
Pentium® II 350MHz (Pentium III 500MHz or faster recommended)
64MB
RAM (128MB recommended)
Windows®
XP or Windows Vista™
CD drive
USB
1.1 or USB 2.0 port (USB 2.0 recommended)
Macintosh
83, G4, iMac, iBook, or PowerBook with native USB support
64MB
RAM (128MB recommended)
CD drive
Mac
OS Xversion 10.2.8 "Jaguar" or later

SETTING UP YOUR TUNESTUDIO
It only takes afew minutes to set up your TuneStudio and start recording.
To set up your TuneStudio:
1Verify all devices are turned
off and all level controls are set to -00 (completely to the left).
2Connect the input sources.
3Insert your iPod into your TuneStudio's iPod dock.
4Connect the
PC, studio monitors, and/or headphones.
5Plug TuneStudio and other devices into AC power.
6Turn everything on
in the following order:
•Input sources
•TuneStudio (turning on your TuneStudio will turn on your iPod)
•Studio monitors, headphones,
and/or computer
7When turning off, always turn
off devices in the following order:
•Studio monitors, headphones, and/or computer
•TuneStudio
•Input sources
8Go to www.belkin.com/registration to register your TuneStudio.

®
1/4" TRS
Take afew minutes to learn how to use the inputs and controls on your TuneStudio.
o 0) ®
RCA MONITOR USB
INPUTS OUT AUDIO
TUNESTUDIO TOUR
f1\ XLR MIC ----
\V INPUTS
(j) GAIN ----
HIGH ----
MED ----
LOW----
® PAN ----
PEAK
@INDICATORS ----
@LEVEL----
@BALANCE
LHEADPHONES ®
HEADPHONES
PLAYBACK
@
iPod PLAYBACK @
LEFT &RIGHT Q
RECORDING LEOs ®
USB LEVEL INPUT @
COMPRESSOR @
AUDIO MIX IN RATIO @
MASTER LEVEL @
MONITOR ~
PLAYBACK LEVEL @!
RECORDING @
MENU BUTTON 17
•

TUNESTUDIO TOUR
You can use the inputs and outputs to connect instruments, mics, computers, speakers, and headphones
to your TuneStudio.
Input/Output Description
CD XLR Mic Inputs
®1/4" TRS Inputs
oRCA Inputs
o Monitor Out
@USBAUdiO
®Headphones
Inputs 1and 2provide XLR cable microphone inputs with optional
phantom power for condenser mics. Acondenser mic usually requires
phantom power unless it has its own power source, such
as abattery.
Dynamic and ribbon mics
don't usually require phantom power.
Note: The phantom power button turns on phantom power for inputs
1and
2. Always connect your microphones before turning on phantom
power. Microphones are very sensitive, and asudden power surge can
damage amicrophone. It's also a
good idea to set the level control to
-00 before you turn on phantom power.
Inputs
1-3 provide 1/4" TRS inputs for connecting guitars, bass
guitars, synthesizers, drum machines, and other instruments.
Channel 3provides
two TRS inputs. If you're connecting amono
input
to Channel 3, connect it to the "Left/Mono" input.
Input 4's RCA inputs can be used to connect electronic equipment
such
as aCD player or another iPod.
The monitor out connection can be used to
connect studio monitor
speakers. Studio monitors should have built-in amplifiers or be
connected to an amplifier.
You can control the studio monitors' volume with
the monitor
playback control.
The USB connection can be used to connect your TuneStudio to
acomputer.
You can control the computer's volume with the USB input control.
The headphones connection can be used
to connect headphones.
You can use the 1/8" (3.5mm)
to 1/4" (7mm) headphone adapter to
connect different types of headphones.
You can control the headphone's volume with the headphones
playback control.

TUNESTUDIO TOUR
You can use your TuneStudio's controls to fine-tune and monitor your recordings.
Control Description
(j)Gain
(inputs 1 and 2)
®High, Mid, Low EQs
(inputs 1-4)
@Pan
(inputs 1and 2)
@salance
(inputs 3and 4)
@Level
(inputs 1-4)
@iPod Playback
@USB Input Level
The gain control determines how much of the source signal is sent to
the rest
of the mix. If the gain is too high, the sound will be distorted. If
the gain is too low, background hiss may be more noticeable.
You can add up to 60 dB of gain to the XLR inputs and 40 dB of gain
to the 1/4" TRS inputs.
The high, mid, and low equalizers ("EOs") can be used to increase
("boost")
or decrease ("cut") the volume by up to 12 dB. The EO
settings can have adramatic effect, so use them carefully.
High EQ (12kHz)
The high EO can be increased to add crispness to cymbals, vocals,
and string instruments or decreased to reduce microphone hiss.
Mid EQ (2.5kHz)
The mid
EO can be increased to make guitars, bass guitars, and
pianos stronger
or decreased to soften vocals.
Low EQ (80Hz)
The low EO can be increased to add warmth to vocals or horns or
extra punch to
synthesizers, guitars, and drums. Decreasing the low
EO can reduce
hum and add clarity to bass instruments.
See "Equalizing
(EO) Tips" on page 19 for more information.
The pan control can be used to move amono input
to the left or right
in the stereo spectrum.
The balance control can be used to control which part of astereo
input signal (left or right)
is louder than the other. If amono source is
connected to input
3, then the balance control works like the pan control.
The level control specifies how much
of the source signal is sent to
the mix.
In the leftmost position, the volume is muted. In the rightmost
position, the volume is increased by
15 dB.
The iPod playback control sets the volume when listening to your iPod.
In the leftmost position, the volume is muted. In the rightmost position,
the volume is increased by
15 dB.
The USB level control specifies how much of the signal is sent
to the
mix.
In the leftmost position, the signal is not sent to the mix. In the
rightmost position, the signal is increased by
15 dB.

TUNESTUDIO TOUR
Control Description
@ Compressor
@.H .. ~~~qOes
~1~yba~lt_
@ Audio In Mix Ratio
@ Monito"PlaYba~k Level
@ Master Level
@.Recording Men.uButto"
@ Left and Right
Recording LEOs
@Peak'ndicators
The compressor can be used to enhance your recordings and keep
the volume levels within the recording limits of the iPod. With the
compressor, you can make softer sounds louder without making
louder
sounds too loud. It is especially useful when recording vocals and
instruments together.
The three LEDs to the right of the compressor button indicate how
many decibels (dBs) of compression are being applied.
The h~adphones'Playback control can be used to,s~tthe volume for
theheadphon~s,.. ...... .'. . .- . '. • .. . ./>. ". . .•
···No~e;Tne.nea~PtJones input is on the side of yourTuneStudi(>,under
the,
heaqp~onesJ)layback controL
The audio in mix ratio specifies how signals from input sources 1-4
and the USB input are mixed together. For example, turning the control
to the left will increase the volume
of input 1-4 sources and decrease
the volume
of the USB source. Turning the control completely to the
left or right will mute the other source.
.Themonitorplayl5ackcontrol Ccurbeused to seUne volume of the
studio
monitor speakers. .
The master level control sets the recording volume level to the iPod. In
the leftmost position, the volume is muted. In the rightmost position,
the volume is increased by
15 dB.
The Recording Menu button can be used to open the Recording menu
on the iPod5th generation (video) only. Note thatth;s buttondoes not
work with the iPodnano 3rd'generation (video)
01" iPod classic.
The recording LED lights tell you if the volume is too low or too high.
You can adjust the volume using each input's level control or the full
mix using the master level control.
Each input channel. has apeak indicator near its level control. The
peak indicator lights up when the audio signal'level
is too high and
may be causing distortion. If apeak indicator lights up, you should
adjust your settings until the peak indicator stays off. These
are the
most likely solutions:
•For inputs 1and
2, try turning down the gain control or moving your
microphone further away from
the source.
•If youhave any of the
EO controls turned up high, turn them
down alittle.
•
Turn down the volume of the audio source.

SETTING THE RECORDING LEVEL
Setting the recording level will help you create clear, distortion-free recordings.
You should set the recording level for each channel that you're using.
To set the recording level:
1 If you're using input 1or 2, set the "Gain" control completely to the left.
2Set the "Low", "Mid", and "High"
EO controls to O.
3Set the "Pan" control to O.
4Set the "Level" control to -00.
5Connect the microphone or instrument cable to the channel's input.
6Set the "iPod Playback" control to
O.
7Set the "Master Level" control to O.
8Play the instrument or electronic device at anormal level and slowly increase the channel's gain until
the left and right recording level
LEOs are continuously red (0 dB).
9Slowly reduce the channel's gain until the red 0dB
LEOs no longer light up when you play the
instrument or device.
10 Adjust the low, mid, and/or high EOs, then check the red 0dB LEOs to verify they don't light up.
11 If any of the red recording level LEOs lights up while you're recording, your recording could be distorted.
Keep
an eye on the LEOs and adjust your levels as necessary.
12 If it's difficult to control the level of your audio source, especially if you're working with microphones or
multiple audio sources, experiment with the compressor to keep the levels
in check. The compressor
looks for sudden increases
in volume and reduces the audio levels very qUickly to keep the signals
from exceeding the recording level limits.
•

RECORDING WITH MICROPHONES
Read on to learn how to select and place amic when recording.
Using awell-placed microphone will drastically improve your sound quality.
You should experiment with
microphone placement to find the best location.
Types of Microphones
There are
two types of microphones: condenser and dynamic.
Condenser Microphones
Condenser (or "capacitor") microphones are usually used for live recordings. Unless they have their own
power supply, such as abattery, condenser mics use the phantom power from your TuneStudio to power their
amplifiers and impedance converters. There are many types of condenser mics, including headworn, lavalier,
probe, shotgun, and side-address.
Condenser mics are very sensitive, so they work well with distant or soft sources. They are often used
to record
acoustic instruments and vocals.
Dynamic Microphones
Dynamic (or "moving-coil") microphones are usually less expensive and less sensitive than condenser
microphones. Because they
don't have amplifiers, dynamic mics don't need phantom power. Phantom power
should not harm adynamic mic, but you should turn off phantom power before connecting adynamic mic.
Older dynamic mics have low sensitivities and require ahigh gain setting. Ribbon mics
(a type of dynamic
microphone) normally have very low sensitivity and usually require avery high gain setting. They are often
used to record guitars and drums.
Recording with Multiple Microphones
Your TuneStudio can record up to four sources at atime, and input channels 1and 2can provide phantom
power for
two mics. If you are recording with multiple mics, you should follow the 3:1 rule.
3:1 Microphone Placement Rule
When you record with multiple mics, sounds arrive at each mic at different times. Sounds farther from
the mic
will have aslight delay. When you combine the close and distant sounds, some frequencies will cancel each
other out. The result is a"hollow" or filtered sound.
To avoid this problem, the distance between your mics should be three times the distance between the mics and
their source. For example, if your mics are one foot from the source, they should be placed at least three feet apart.

RECORDING APODCAST
The diagram below shows atypical 2-mic setup for recording apodcast. You can connect an iPod or a
computer to include background music.

RECORDING APODCAST
Tips for Recording aPodcast
You will become much more comfortable and adept at recording podcasts after you have done it afew times.
Here are some tips to help you get started:
•Test the recording level before recording. The left and right recording level
LEOs should not b!3 constantly
red
(0 dB). If the 0 dB LED is constantly lit, the "peaks" of the recording may be clipped and the sound quality
will usually be poor.
•Use awell-placed, high-quality mic. Lavalier mics often work well for podcasts because they're small and
can be clipped to your clothing.
•If you are not using alavalier mic, be careful not to move too close to or far away from the mic.
•Position your mic about six inches from your mouth (or at
an angle) so that it doesn't capture your breathing.
Remember, you can connect headphones to your TuneStudio to test different mic positions and distances.
•Speak
in your normal voice at aconversational level. Don't be too self-conscious about your voice-most
people don't like the sound of their voice when they first hear it in arecording. Just be sure to speak clearly.
•If you are recording
an interview with one mic, try using a"figure eight" type mic and have your interviewee
sit directly across from you. Afigure eight mic
is two sided, so it can capture sounds directly in front and
directly behind.
•Use the level controls to fade-in the beginning of your podcast and fade-out the end.
•Include background music during the podcast, with several seconds
of music at the beginning and end
of your podcast. Make sure you have permission to use the music.

RECORDING LIVE MUSIC
The diagram below shows atypical setup for recording live music. You can connect different instruments as
needed. For example, you can connect adrum machine instead of asecond mic.
"'~c
9 10
r------- (~ n ~ c6I
\e ... · •. ·.·.[I~ .. '.·.·.'·.)
~JI\l~

RECORDING LIVE MUSIC
Tips for Recording Acoustic Instruments
Acoustic instruments can be difficult to record. Here are afew tips to improve your acoustic guitar recordings:
•Record
in ahighly acoustic room, such as aroom with awooden or tile floor.
•Use acondenser microphone ("mic"). It can capture softer instruments better than adynamic mic.
•Try positioning the mic about
24 inches from the instrument.
•Use multiple mics, and experiment with different angles and placements. For example, position two
mics
at gO-degree angles and use the pan controls to move one mic to the left side of the mix and the other mic
to the right. This approach can create avery engaging stereo effect.
•For acoustic guitars,
try placing one mic 1-6 inches from the sound hole. You will probably need to reduce
the low
EQ control with this approach.
Tips for Recording Electrical Instruments
•Guitar -For alive sound,
try recording with two mics. Point one mic directly into the guitar's monitor
speaker and the other mic about five or six feet from the speaker.
•Bass Guitar -If possible, connect the bass guitar to adirect injection ("01") box and connect the
01 box
to your TuneStudio. A
01 box will eliminate hum in your recordings.
•Keyboards -Record directly to your TuneStudio for clarity and with amic (set to lower volume) for a
live sound.

RECORDING ACHOIR
The diagram below shows atypical setup for recording achoir. You can connect an iPod or CD player to include
background music.
Tips for Recording aChoir
•Use acondenser mic for recording vocalists. They usually work better than dynamic mics for vocals.
•Use multiple mics. If possible, place them above the choir and aimed down.
•
Try positioning two mics in the middle and aim them toward the vocalists in the back corners.
Place the mics least three times the distance from each other
as from the vocalists.
•Try using
an omnidirectional mic. It will capture both the choir and the sound resonating in the room.

RECORDING TO OR FROM ACOMPUTER
The diagram below shows atypical setup for recording to acomputer.