Nagra NAGRA 4.2 User manual

© Copyright 1994, 2003 by Fred Ginsburg.
All rights reserved.
Guide to the
Nagra 4.2
and
Production Sound
Recording
2nd Edition
Written by
Fred Ginsburg, Ph.D. C.A.S.
ISBN 0-9713941-0-5
Price:
It is illegal to make copies of this publication
and its contents by any means mechanical,
photographic, or electronic without express
written consent of the copyright owner.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
Page 2
Education & Training Division
EQUIPMENT EMPORIUM INC
Guide to the Nagra 4.2 and
Production Sound Recording
Contents:
Guide to the Nagra 4.2.......................................................................................................... page 3
Simple Instructions for the Nagra IV-STC.......................................................................... page 27
The Soundtrack: aesthetic elements ..................................................................................... page 28
Pre-production Planning ....................................................................................................... page 39
Production Sound: An Introduction...................................................................................... page 57
Hierarchy of Microphone Techniques.................................................................................. page 63
Selection and Application of Shotgun Microphones............................................................ page 66
Tips on using your boompole ............................................................................................... page 71
Shockmounts and Windscreens ............................................................................................ page 74
Red Dotting and Microphone Powering............................................................................... page 79
Selection and Use of Lavalier Microphones ........................................................................ page 82
Using Wireless Microphones ............................................................................................... page 88
Introduction to Mixing Panels .............................................................................................. page 96
Consistency in Production Sound Recording ....................................................................... page 100
Recording Audio for miniDV............................................................................................... page 102
Step-by-step Audio for the Canon XL1 (courtesy of Canon)............................................... page 105
Introduction to SMPTE Timecode ....................................................................................... page 112
Is Timecode Always Necessary............................................................................................ page 114
Formatting for Sync Playback .............................................................................................. page 116
What Your Crew Expects ..................................................................................................... page 118
Before You Sign that Deal Memo ........................................................................................ page 123
FAQ: Basic Audio Packages ................................................................................................ page 125
Digital Recording ................................................................................................................. page 127
Tape Boxes and Professional Labels.................................................................................... page 129
Guide to Microphones for Film / TV ................................................................................... page 130
Production Forms: Production Timesheet & Sound Report (okay to reproduce!)............... page 132
From Audio Technica US (courtesy of Audio Technica) .................................................... page 134
The Nagra V Recorder (courtesy of Nagra USA)............................................................... page 136
About the Author; Acknowledgements ................................................................................ page 139
Preface
This publication is a compilation of articles dealing with Production Sound Recording for Motion Pictures and
Video. It includes the popular "Guide to the Nagra 4.2" operations manual along with an assortment of short pieces
covering various aspects of sound recording for film and video. Many of these articles were originally published indepen-
dent of each other in trade magazines, so it is not unusual to find some redundancy. I have opted not to include operating
guides for recent digital recorders since PDF versions of the original manuals can be downloaded from the manufacturers
websites. Manufacturers' brand names and model numbers are the registered trademarks of those respective companies.
Equipment Emporium Inc.
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15235 Brand Blvd, Ste A-110
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[phone] www.equipmentemporium.com
ISBN 0-9713941-0-5
2nd Edition printed October 2003. © Copyright 1994, 2003 by Fred Ginsburg. All rights reserved.
It is illegal to make copies of this publication and its contents by any means mechanical, photographic, or electronic
without express written consent of the copyright owner.
Published and distributed by Read more articles about
Production Sound at
www.equipmentemporium.com

Page 3
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
UNDERSTANDING AND OPERATING
THE NAGRA 4.2 SYNC RECORDER
written by Fred Ginsburg, C.A.S.
The Standard for
Film Production
The Nagra audio recorder has
been and still continues to be a world-
wide standard for use as a portable
tape recorder for sync dialogue. Since
the early sixties, the Nagra has been
the recorder of choice for motion
picture production, and has been
unchallenged until recently with the
introduction of timecode DAT record-
ers. In 2002, Nagra recaptured a
portion of the digital audio market
with its introduction of the Nagra 5 digital timecode recorder with removable hard-drive.
Although DAT recorders have better audio recording specs than the basic Nagra, the current crop of
DAT’s are nowhere near as dependable under diverse conditions and lack many of the convenient features
that the Nagra offers, such as confidence head monitoring (you can listen off of the tape that was just
recorded a moment before to insure that what you heard is what you got); excellent microphone preamps
(the mic pots on a Nagra are as good as any found on a mixing panel; something that cannot be said for DAT
recorders); and long play battery life (days on one set of D batteries as opposed to an hour or so offered by
DAT recorders).
Despite the Nagra’s compactness, it rivals full blown studio machines for recording quality. More
importantly, the Nagra recorder is extremely rugged and continues to operate in perfect spec even under
arduous location conditions! (Something that cannot be said for most DAT recorders.)
Unlike studio recorders that require daily adjustment, the Nagra is able to maintain its high quality of
recording with but minimal maintenance once or twice a year. Nagras have been known to go for several
years without any maintenance and still function almost perfectly, although it is a poor professional practice
to be so negligent in the care of one’s equipment.
The Nagra is so much the industry standard for motion picture production that the brand name has
literally become synonymous with the term “portable sync recorder”.
It is not uncommon to be asked, “What are you using for a Nagra?” Which means, what type of Nagra
are you going to use for sync sound, or are you going to use a sync cassette recorder, etc.
Nagra, by the way, literally means record in Polish. Stephan Kudelski, the inventor of the Nagra, is
Polish. The Kudelski/Nagra factory is located in Switzerland.
As an aside, during the preparations of the 1984 Olympic Games, when it seemed like every company
under the sun was the official this or that sponsor, we used to kid the local Nagra staff that they should
commission a poster proclaiming “Nagra, the official Nagra of the 1984 Olympics!”

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Education & Training Division
EQUIPMENT EMPORIUM INC
Guide to the Nagra 4.2 and
Production Sound Recording
Various models of the Nagra
Historically there have been three significant models of monaural machines, and two models of stereo
recorders.
The first practical Nagra was the model III. The Nagra III was very reliable, and to this day is still
found in many sound studios as a transfer deck to sprocketed mag film. The III relied upon external sync
reference (umbilical cords from the film cameras), but most machines have long since been modified with
crystal sync.
In the early days of Eclair NPR and Arriflex 16BL film cameras, sync between the camera and recorder
was maintained by a “sync cable” that linked the two together. A 60 cycle sync pulse was generated by the
camera motor, and this signal was recorded on the Nagra as an indicator of the exact film speed. Due to motor
and battery variances, the film speed tended to vary slightly, and the 60 cycle sync pulse would reflect these
speed changes.
The eventual advent of crystal controlled camera motors eliminated any film speed variance, and so the
physical linking of camera and sound recorder became unnecessary. The Nagra took its sync reference from
its own crystal regulated sync pulse generator.
The model III offered only one mic input, plus one line level input (adaptable to mic level), and required
an external resolver for sync playback. It also required a dual banana jack adapter for headphones.
The next generation of Nagra was the model IV-L. The IV-L looks somewhat similar to the model 4.2,
and features two microphone inputs plus one line input. The IV-L features internal crystal sync and also
accepts an internal resolver circuit board.
There is a “dangerous” position on the main control switch of the IV-L which activates the RECORD
mode, but at very reduced levels. This unlabeled FADE RECORD position is between TEST and
RECORD. This was intended as some sort of “fade in” mode for European users, to create a soft start for
their recordings (Why?). Many Nagra users have made the horrible mistake of thinking they were in the
regular RECORD mode when actually they were only in the FADE RECORD position, thus rendering their
recordings unusable.
If you own a Nagra model IV-L, have a technician permanently disable that switch setting and
jumper it for regular RECORD.
The Nagra IV-S was designed for stereo recording, but still utilized a 60 cycle sync pulse. However, the
sync pulse system on a stereo is very different than that found on a monaural machine, and the formats of
recorded tapes are not interchangeable between mono and stereo machines.
Tapes recorded on any of the mono Nagras are fully interchangeable with any other model mono Nagra.
The Nagra IV-S requires an external resolver, and special input cables for line level input (with 47K
ohm resistors). Almost no one uses a IV-S these days.
The stereo Nagra of choice was the model IV-STC, which is a
Nagra IV-S that has been designed to record SMPTE time code in the
track area formerly used for 60 cycle sync pulse. The model IV-STC is
more complicated to learn and operate, and will not be dealt with in this
chapter.
Other models of Nagra recorders include the E(a non-sync re-
corder); the IS (stands for idiot simple; European idiots must be of a
higher mental caliber than American idiots since it never caught on in the

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© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
U.S.); and the SN (a miniature recorder originally developed for the cloak and dagger crowd, rendered
obsolete by radio mics and miniature DAT recorders). The model Tis a large, studio timecode stereo re-
corder, compatible intended for use with telecine transfers and post-production. The Nagra model D is a
four-track reel-to-reel digital timecode machine. The newest Nagra is the model 5, which is a digital stereo
timecode portable recorder that utilizes a removable (expendable) hard-drive.
By far the most common Nagra in filmmaking is the model 4.2L. This is the pinnacle of the mono
machines, and is the standard to which all portable sync recorders are compared.
The Nagra 4.2 offers two microphone inputs, plus one line level input, and features internal crystal sync
and internal resolver. It is still used by the majority of television series as well as many independent feature
films.Weighing under fifteen pounds including batteries, and measuring approximately 13” x 10” x 4.5”, the
Nagra 4.2’s recording specifications at 7 ½ ips are:
Wow and Flutter: 0.03%
Freq. Response (at 20 dB below peak level): 30 Hz to 15 kHz +/- 1.5 dB
Signal to Noise: 73 dB
Bear in mind, of course, that these specifications are both conservative and applicable to full spectrum
music recording. When used for the recording of simple speech (dialogue), the results are even more impres-
sive!
What is Sync Sound?
In single system filmmaking and video, the location audio track is physically recorded on the same
piece of film or videotape as the picture. In essence, the camera or VTR serves records both picture and sound
simultaneously.
Double system filmmaking involves the process of recording audio separately from the picture, by
means of an isolated audio recorder. Dailies, screenings, and editing take place with picture and audio on
separate physical reels, projected and played back in “sync” by means of interlock. Double system provides
the editors with a great deal of creative options. At the completion of all post-production, the separate reel of
audio is physically merged to the picture in the form of a composite print (single system), featuring picture
and sound adjacent to each other on the same reel.
Double system recording is not just limited to motion picture production. Sometimes in video produc-
tion it is preferable to record the audio separately from the video, and a sync recorder such as a Nagra, DAT,
or multitrack is used for that purpose. Rationale for double system recording in video includes: concert
recording, protection backup tracks, audio only interviews & sound effects, and closer physical placement of
the audio recorder/microphones than where the camera might be located. When dealing in terms of older
camcorders whose technological achievements were limited to picture at the expense of audio, double system
recording has very obvious benefits.
Talking about sync and achieving it are two different things!
In the old days, sync between camera and sound recorder was maintained by electromechanical means.
Sound was recorded directly onto sprocketed magnetic film, with one frame of picture corresponding to one
frame of sound. Tape recorders were the size of telephone booths and had to be kept outside of the sound-
stage either in another building or in a large truck. Large 3-phase power cables connected the recorder with
the camera, and literally drove it sprocket for sprocket in sync with the sound.
Later systems utilized synchronous motors, with both the camera and sound recorder running locked to
the 60 Hz frequency of common AC electrical current.
In the sixties, Stephan Kudelski and Loren Ryder introduced Hollywood to a new way of doing things.
Location sound could be originally recorded onto a lightweight ¼-inch tape recorder, and then later trans-
ferred to sprocketed magnetic film for editing and rerecording (mixdown).

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Education & Training Division
EQUIPMENT EMPORIUM INC
Guide to the Nagra 4.2 and
Production Sound Recording
Sync between the film camera and the tape recorder was achieved by a system known as neopilotone.
Again, both the camera and the sound recorder took advantage of the 60 Hz frequency provided by running
off of common AC electrical current.
But since the Nagra did not utilize sprocketed tape, it had to rely upon neopilotone to achieve sync. The
way the system works is that a 60 Hz sync pulse (in actuality a sine wave) is recorded onto the center of the
audiotape. When the recording is later played back for transfer, a special device known as a resolver com-
pares the sync frequency (sync pulses) on the tape against an external reference (another 60 Hz signal). The
resolver speeds up or slows down the tape speed so that both 60 Hz signals match up. The resolving process
compensates for errors such as tape stretch, slippage, and minor motor fluctuations.
We do not normally hear the 60 Hz sync pulse (hum) on the Nagra tapes because a second 60 Hz sine
wave is simultaneously recorded onto the tape. This second sync pulse is a mirror image twin (180 degrees
out of phase) of the first sync pulse. When the two sync pulses are played back over the head together, they
cancel each other out.
That is why you will hear the sync pulse if you play back a full track Nagra tape on a quarter-track or
half-track recorder.
If you attempt to razor blade edit a tape recorded with a Nagra, you will hear noise at the edit points
when you make a diagonal splice, since the diagonal cut eliminates part of the mirror sync pulse that other-
wise functions to cancel out the primary sync pulse. When using a Nagra for non-sync recording, such as
radio interviews, merely remove the crystal jumper plug from the right side of the machine to prevent a
sync pulse from being recorded that might interfere with any future (razor blade) editing.
It is very important to realize that Nagras do not run at 24, 25, nor 30 frames per second! They run at 7
1/2 INCHES per second. It is the FILM CAMERA that runs at frames per second, and then later it is the
MAG FILM RECORDER that will record at frames per second to match the film camera. But as far as the
Nagra is concerned, there are NO FRAMES per second, only inches per second IN REAL TIME.
What this means is that the crystal sync pulse system is intended to replicate or reproduce a recorded
event in precise real time — no longer and no shorter than the actual elapsed time.
If we were to film a scene that ran 10.00 seconds with a crystal controlled film camera running at 24 fps,
and then projected that same strip of film at 24 fps, we would re-create an event of 10.00 seconds duration.
During the same production, if we were to record audio of that 10.00 second event, we would require
that the audio recorder be able to play back that sound in precisely 10.00 seconds. Any longer or shorter —
due to tape stretch, slippage, or motor variation — would result in a loss of lip sync.
The Nagra is capable of reproducing those 10.00 seconds by means of recording a sync pulse (generated
by a crystal clock) onto the original tape, and then comparing (resolving) that sync pulse to a reference sync
pulse (such as that same crystal clock). The tape speed is minutely adjusted so that the sync pulses match up.
The end result is an audio event of 10.00 seconds. Real-time.
So where do the frames come in? At the same time that the Nagra plays back the audio in real time, a
sprocketed MAG FILM recorder is running at the same frame rate as the camera originally did. The audio
(10.00 seconds) is recorded onto a film strip with sprocket holes that is running at frames per second.
Question: If the Nagra is running at crystal controlled real-time, what is governing the speed of the mag
recorder during the transfer?
Some mag recorders are crystal controlled, but many of them take their speed control by the 60 Hz
frequency generated by our AC electrical system. Since the mag recorder and film projector are both referenc-
ing the same AC frequency, any variations in that frequency that may occur in the power line affect both
machines the same, so lip sync is maintained. When audio is transferred from a crystal Nagra to a mag
recorder locked to AC, we use a special AC power adapter (called the ATN) to both power the Nagra and to
provide an external sync pulse reference taken from the AC line. This external reference locks the Nagra to

Page 7
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
the same (possible) fluctuations that may affect the mag recorder and projector.
The resolver in the Nagra will adjust the play back speed of the tape to match any variations in the
frame rate of the mag recorder. Real time has now been superseded by projection time. For example, our
10.00 second scene may end up projected at 10.09 seconds, a slight variation of 24 fps. However, the mag
recorder is locked to the same AC line, so it too would be running slightly off from 24 fps to match the
projector. Our Nagra, locked to the same AC line, would be adjusting its speed so as to match 10.09 seconds
of “real time”.
The Nagra deals with record duration and play back duration. Seconds, not frames.
It does not matter what frequency sync pulse is used during the record process, so long as that
same frequency is used during the play back process. 60 Hz is the norm in the United States, and 50 Hz is
the norm in Europe. Most Nagras have an internal switch to change from 60 Hz to 50 Hz.
But if a mistake is made, and the Nagra crystal is left on 50 Hz during one’s shoot, it is not a major
problem. British film cameras may run at 25 fps, but the audio still runs in real time! As long as the Nagra is
resolved to a 50 Hz crystal reference, it will play back in precise real time, and lip sync is preserved during
the transfer!
If a Nagra crystal goes sour, and records a 47.8 Hz sync pulse, there is still no problem. Just make sure
that you use the same machine to transfer from, and let the Nagra use its same (albeit defective) 47.8 Hz
internal crystal for reference. Real time will be maintained! Ten seconds of picture will equate to ten seconds
of sound.
The only time that transferring becomes complicated is when we alter the real time relationship between
the film camera and the recorder, such as when we transfer negative film (shot at 24 fps) to video via a
telecine that slows the film down to 23.97 fps. If the audio is being transferred directly to video (instead of to
a sprocketed mag recorder), then we need to fool the Nagra into slowing down by the precise same percent-
age. We do this by feeding the Nagra an external sync reference slower than the original 60 Hz we used
during recording. In the case of film to video, we would feed the Nagra a 59.94 Hz reference, and that would
adjust for the film speed slow down.
The key item to remember is that as long as the film camera is crystal controlled, it does not matter what
the frequency is of the sync pulse that is recorded on the Nagra, just so long as that same frequency is used
during resolve play back.
Operation of the Nagra 4.2L
Turn it ON and check the Batteries The first thing to do is to turn the Nagra
ON. Do this by flipping the power switch on
the front of the machine from EXTERNAL
(off) to BATTERIES (on).
Next, we want to verify the condition of
the batteries. Turn the main selector switch up
to TEST. Turn the METER SELECTOR to
BATT RESERVE and look at the lower line of
the meter. If the needle rides in the rightmost
portion of the thick black line, you have good
batteries. If the needle rides in the left third of
the black line, you have weak batteries. If the
needle is somewhere in the middle, you have
“somewhere in the middle” batteries!

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Education & Training Division
EQUIPMENT EMPORIUM INC
Guide to the Nagra 4.2 and
Production Sound Recording
Okay, you’re saying, “Cut the
sarcasm. What do you mean by 'some-
where in the middle batteries'?”
Well, that’s the problem. The
BATT RESERVE indicator is only good
as a quick check, and does not really tell
you very much.
But the next click down is the
VOLT/CELL indicator. This is the
position to use for checking batteries. It
will display a very precise readout of the
average volts remaining per battery, and
is read on the middle scale of the meter.
Markings range from 1.6 downward.
Brand new D batteries should read
around 1.5 or higher.
Note that there is a caret (triangle)
at the 1.1 marker. This is the lowest
voltage that will still operate a Nagra. At
this point, the motor speed will begin to
fluctuate, and lip sync may be lost.
The 1.1 marker is not a warning,
but a PROMISE of bad things to come.
Do not ever allow your batteries to get
that low. If the producer is paying for
the batteries, change them at 1.3 volts
per cell. If you are really trying to
stretch the budget, you can go down to
1.2 volts. No lower! Batteries wear
down gradually up until 1.2 volts, then they deplete rapidly to 1.1 volts. Never press your luck; you will lose!
Batteries that have been resting for a few hours will read higher at first. Check your battery level
often, especially in cold weather.
To replace your batteries, turn the main selector to OFF (nine o’clock position) and flip the power
switch to EXTERNAL (just for extra protection). Turn the Nagra upside down, and use a coin to unlock the
battery compartment.
Remove all of the old batteries
and get them out of your sight! Give
them to the crew for use in flashlights,
or dispose of them safely. Do not put
them back into a battery carton, lest
they be mistaken for fresh ones later
on! While you have the battery
compartment open, take note that there
are three fuses located in the positive
battery terminals. These fuses can be

Page 9
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
removed with your fingers and inspected. If they need to
be replaced, use 2.5A 5x20mm. These fuses will blow if
batteries are inserted wrong, or if a battery reverses its
own discharge. The sign that a fuse may be blown is if
you turn on the machine and nothing happens. (Even
weak batteries should make the needles move.)
Insert twelve NEW D cell alkalines (Duracell or
Energizer are recommended). Be careful that all of the
batteries are facing the proper direction! If the engraved
battery icon on the floor of the battery compartment is
hard to see, outline the plus and minus signs with a
Sharpie marker.
Always use fresh, new batteries of the same brand
and batch. Never intermix different brands, as the batter-
ies will deplete at varying rates and cause electronic
noise. I prefer Duracell coppertops because of their
quality and the ease of visually ascertaining that all of the
batteries are facing the same direction.
Replace the battery lid. Activate the power switch, go to TEST position, and check your VOLTS/
CELL. Should be reading around 1.5 volts.
Nagra Input Side (left side)
Rx Socket
This was intended for some sort of
European radio slating device that flew
as well as the Spruce Goose. The socket
is not wired to anything. Ignore it. Or
mark it with a piece of tape to remind
you to stop at the drugstore on the way
home to pick up some more sunscreen!
Microphone Inputs
There are two mic level inputs.
The levels from both connectors are
controlled by the two pots (knobs) on
the face of the machine. Both inputs are
mixed together onto the samesoundtrack
because this is a MONAURAL re-
corder. It does not matter which input
you prefer to use.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Always keep the unused pot turned all the way off to avoid hiss.
The MIC inputs accept professional, low impedance, balanced microphones with standard XLR 3-pin
mic cables.
Nagra recorders can be equipped with a choice or selection of different microphone preamps inside the
machine to interface with different types of mics. Make sure that you know which type of mic preamps your
machine is equipped with, or else some mics will not work with your Nagra!
The basic mic preamp is known as the “QPSE-200-XOYO” and is found in most of the older machines.
This preamp is designed for low impedance, dynamic (or self-powered) microphones. This preamp works
with dynamic mics, electret condenser mics (that power from their own battery), and condenser mics (pow-
ered from an external battery power supply). The XOYO preamps do not provide any direct powering to
mics.The next preamp commonly found in older machines is the “QPM 3-5”. This preamp is designed to
provide 12 volt T powering to condenser mics such as Sennheiser MKH416/816 shotguns. This preamp is
incompatible with dynamic or self-powered mics! So although it may be convenient for powering the shotgun
mic, the 3-5 limits the soundperson from using a lavalier or radio mic.
I do not recommend using a 3-5 preamp because of this limitation. It makes better sense to use the
XOYO preamp and just tape a battery power supply onto the strap to power your condenser shotguns.
Newer vintage Nagra 4.2’s may be equipped with one or two
UNIVERSAL preamps. These preamps are user selectable for use
with any microphone (dynamic, 48 volt Phantom, or 12 volt T). The
“QPAUT” preamp is reserved for use in Mic Input One. It is control-
lable (and identifiable) by a selector screw located near the strap
mounting screw and above the speaker volume control. Clockwise
across the selector will read DYN 200, Phantom +48, Phantom
+12, and T +10. The DYN setting is for dynamic and self-powered
mics. Phantom +48 is for 48 volt Phantom condenser mics. Phantom
+12 is for 12 volt Phantom mics, which you probably will never use.
The T power setting is for condenser shotguns that use 12 volt T,
such as the 416.
If, and only if, there is a Universal preamp in Mic input One, it
is possible to install a second Universal preamp (known as the
“QPUT”) in Mic input Two. The
control for this second universal
preamp is located inside of the Nagra,
just behind the meter. You will see a
black plastic thumb wheel, with notches
all the way around. This black wheel
controls the second universal preamp.
The position of the wheel (unmarked)
corresponds to the labels on the selector
for Mic preamp One (the screw selector
on the side of the Nagra). Completely
counterclockwise would be DYN.
Completely clockwise would be T
power. The two Phantom settings are in
the middle.