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Extracted text from Akai RE 32 Service Manual (Ocr-read)
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Page i
The lightning flash with arrowhead symbol , within an equilateral triangle, is
intended to alert the user to the presence of uninsulated Òdangerous voltageÓ
within the productÕs enclosure; that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intented to alert the user
to the presence of important operating and maintenance (servicing) instruc-
tions in the literature accompanying the appliance. THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.)
5B-En
WARNING!!
To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
1-En
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Important Notice
The material in this document is copyright to AKAI professional M.I. Corp., and may not be
quoted or reproduced in any form without written permission from the company.
LIMITED SOFTWARE WARRANTY POLICY
All the software provided with, or purchased especially for, AKAI professional products has
been tested for functionality. AKAI professional M.I. Corp. will make its best efforts to correct
reported software defects for future releases subject to technical practicabilities.
AKAI professional M.I. Corp. makes no warranty or representation either expressed or
implied with respect to the system's performance or fitness for a particular purpose.
In no event will AKAI professional M.I. Corp. be liable for direct or indirect damages arising
from any defect in the software or its documentation. Further, AKAI professional M.I. Corp.
will not accept any liability for any programs, sounds, audio recording or sequences stored in
or used with AKAI professional products, including the cost of recovery of such data.
The warranties, remedies and disclaimers above are exclusive and take precedence over all
others, oral or written, express or implied, to the extent permitted by law in the geographical
area of the product's use. No employee of AKAI professional M.I. Corp., agent, distributor or
employee of an agent or distributor is authorised to offer any variation from this policy.
Rev. 3 4/20/2000
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WARNING
WARNING
The RE32 is designed to be used in a standard household environment.
Power requirements for electrical equipment vary from area to area. Please ensure that your
RE32 meets the power requirements in your area. If in doubt, consult a qualified electrician or
AKAI professional dealer.
120VAC @ 60Hz for USA and Canada
220-230/240VAC @ 50Hz for Europe
240VAC @ 50Hz for Australia
PROTECTING YOURSELF AND THE RE32
Â¥
Never touch the AC plug with wet hands.
Â¥ Always disconnect the RE32 from the power supply by pulling on the plug, not the cord.
Â¥ Allow only an AKAI professional dealer or qualified professional engineer to repair or reas-
semble the RE32. Apart from voiding the warranty, unauthorized engineers might touch live
internal parts and receive a serious electric shock.
Â¥ Do not put, or allow anyone to put any object, especially metal objects, into the RE32.
Â¥ Use only a household AC power supply. Never use a DC power supply.
Â¥ If water or any other liquid is spilled into or onto the RE32, disconnect the power, and call your
dealer.
Â¥ Make sure that the unit is well-ventilated, and away from direct sunlight.
Â¥ To avoid damage to internal circuitry, as well as the external finish, keep the RE32 away from
sources of direct heat (stoves, radiators, etc.).
Â¥ Avoid using aerosol insecticides, etc. near the RE32. They may damage the surface, and may
ignite.
Â¥ Do not use denaturated alcohol, thinner or similar chemicals to clean the RE32. They will
damage the finish.
Â¥ Modification of this equipment is dangerous, and can result in the functions of the RE32 being
impaired. Never attempt to modify the equipment in any way.
Â¥ In order to assure optimum performance of your RE32, select the setup location carefully, and
make sure the equipment is used properly. Avoid setting up the RE32 in the following locations:
1. In a humid or dusty environment
2. In a room with poor ventilation
3. On a surface which is not horizontal
4. Inside a vehicle such as a car, where it will be subject to vibration
5. In an extremely hot or cold environment
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RECORDING
BIT LENGTH This selects the audio bit length for new recordings.
Â¥ 16-bit: This is the compact Disc standard.
Â¥ 20-bit: This option allows 20-bit audio to be recorded, giving greater
resolution and headroom.
Â¥ 24-bit: This option allows 24-bit audio to be recorded, giving even
greater resolution and headroom.
Â¥ 20-bit (packed): This is a special option that is only available when
recording AKAI format audio files. Typically, 20-bit audio occupies
the same space on disk as 24-bit audio (the extra 4-bits of storage
space in each sample being wasted). The 20-bit Ã-packedÕ mode avoids
this waste of space by writing the audio to disk in a special pattern.
Sample 3 Sample 1 Sample 2
Sample 3 Sample 1 Sample 2
Sample 3 Sample 1 Sample 2
24-BIT :
20-BIT :
20-BIT PACKED :
Note that this mode does not involve any Ã-audio compressionÕ. It just
places the data on disk in an optimal manner to maximise disk storage
space and bandwidth.
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MULTI-MACHINE EDITING
MULTI- MACHINE EDIT
Multi-machine edit mode provides a quick and convenient method for copying audio from one
region to another on the same track(s). For example, it can be used to copy the chorus of a song
from one position to another. The only restriction in this mode is that audio cannot be moved from
one track to another. For edits that involve moving audio from one track to another, SINGLE-
MACHINE EDIT should be used as described in a later section.
MULTI-MACHINE EDIT is selected by pressing the EDIT key and then selecting MULTI in the
TRACKS field. You will see the following display similar to this:
The soft keys show the edit functions that are available.
COPYING A REGION
This allows you to copy a selected audio region on any combination of tracks in the system to a
new location on the GRID.
First, mark the region you want to copy using the IN and OUT keys and select the tracks containing
audio you wish to copy using the EDIT TRACK SELECT keys. Cues within the marked region will
be shown in green on the display to show that they are selected.
Next, press the COPY (F1) key. The audio region selected will Ã-pop-outÕ of the GRID and will be
shown as a Ã-ghostÕ image in red on top of the original cues:
NOW
Audio region selected
Now, you can use any of the transport controls to move selected region to the position you want to
copy it to. You can use PLAY, REW, FF etc., as well as LOCATE functions and then the JOG wheel
to Ã-fine tuneÕ your selection. As you move to new areas in the GRID, the selected region will remain
as a Ã-ghostÕ image referenced to the NOW time:
NOW
Jog wheel turned to the right to move the selected region
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MULTI-MACHINE EDITING
CUT
This allows you to remove a selected region of audio copy on any combination of tracks from the
GRID and close the gap(s) thus created, shifting all audio after the edit accordingly. For example:
INOUT
BEFORE CUT
AFTER CUT
First, mark the region you want to cut using the IN and OUT keys and select the tracks containing
audio you wish to remove using the EDIT TRACK SELECT keys. Cues within the marked region
will be shown in green on the display to show that they are selected.
Next, press the CUT (F2) key on the main MULTI-MACHINE EDIT page. The audio region selected
will be removed from the GRID and subsequent audio shifted accordingly.
ERASE
ERASE is similar to CUT except that it will remove the currently selected region but will keep any
gap(s) thus created.:
I N OUT
I N OUT
BEFORE ERASE
AFTER ERASE
First, mark the region you want to cut using the IN and OUT keys and select the tracks containing
audio you wish to remove using the EDIT TRACK SELECT keys. Cues within the marked region
will be shown in green on the display to show that they are selected.
Next, press the ERASE (F3) key on the main MULTI-MACHINE EDIT page. The audio region
selected will be removed from the GRID.
DISCARD
The DISCARD function will discard material on either side of the selected region but will not slip
any subsequent audio:
I N OUT
I N OUT
BEFORE DISCARD
AFTER DISCARD
First, mark the region you want to cut using the IN and OUT keys and select the tracks containing
audio you wish to remove using the EDIT TRACK SELECT keys. Cues within the marked region
will be shown in green on the display to show that they are selected.
Next, press the DISCARD (F4) key on the main MULTI-MACHINE EDIT page. Audio material on
either side of the selected region will be removed from the GRID.
The main use for DISCARD is to get rid of any rubbish from cues before a certain point and after
a certain point.
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SINGLE-MACHINE EDITING
INSERTING TO OUT AND SYNC REFERENCES
As with PASTE and OVERLAY, you may also insert material referenced to the source materialÕs
OUT point by pressing INSERT, OUT, EXECUTE. The REFERENCED TO field in the LCD will
show OUT and the effect would be as follows:
BEFORE INSERT
AFTER INSERT + OUT NOW
In this example, the inserted material all audio before the NOW time would slip allowing you to
back-time the insert.
You may also insert referenced to the source materialÕs SYNC mark. This is useful for bringing in
material that needs to synchronise to specific visual events or to another piece of audio (a clichŽd
example would be to sync a music crescendo to a gun shot).
Pressing INSERT, SYNC, EXECUTE would give this result:
BEFORE INSERT
AFTER INSERT + SYNC NOW
NOTE: If you try to insert referenced to a SYNC mark and there isnÕt one, it will insert referenced
to the source materialÕs IN point
In both examples, you may also use the clipboards 1-9. For example, INSERT, OUT, 6, EXECUTE
would insert clipboard 6 referenced to its OUT point.
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EDIT TOOLS
CROSSFADE TOOLS
The crossfade tools allow you to modify a cueÕs start and end point to create a crossfaded overlap
or to remove the gap between two cues and butt them together.
While in the CROSSFADE TOOLS page, the width of the tracks is halved on the display in order to
clearly show overlaps of cues sharing the same track:
All the CROSSFADE TOOLS can be applied to a single track or across multiple tracks limited, in
the case of cross fades, by the amount of audio buffer RAM you have fitted in each machine.
Where appropriate, therefore, the term Ã-cueÕ can also be read as Ã-cuesÕ.
The standard transport controls are disabled while in the CROSSFADE TOOLS pages.
Pressing the XFADE key (SHIFT+EDIT Q) takes you to main CROSSFADE TOOLS page where
you have access to each of the Ã-Quick ToolÕ options - XFADE, BUTT, FADES - as shown below:
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DISK MANAGEMENT
DISK MANAGEMENT
Now that we have some material recorded and edited, itÕs time to look at the utilities provided for
managing disks connected to machines in the system.
All DISK functions are accessed using the DISK key. Pressing the DISK key will take you to this
screen:
This screen is used for loading new projects and displays a list of the projects available on the
selected disk. However, before looking at this in more detail, we should save the current project
containing the material we have recorded and edited!
SAVING PROJECTS
Pressing SAVE (F1) displays this screen:
The page shows the name of the currently loaded project. Just press the flashing EXECUTE key
to save (or EXIT to abort). This will save the project and leave the page. You will receive the
following pop-up prompt when you leave the page after the file has been saved:
This message will flash up very quickly to confirm the project is saved.
NOTE: No ÒARE YOU SURE?Ó prompts are given as it is felt that a quick way to save projects
is very important. However, please be careful not to accidentally save something you do not
wish to keep!!
If, at any time, you change your mind and do not wish to save the project, press EXIT to leave the
SAVE page.
The parameters on the SAVE PROJECT page have the following functions:
TRACKS When several machines are connected to the RE32 to expand the total
number of tracks available, the system will behave as if there is a single
Ã-multi-trackÕ project containing all of these tracks. However, in reality each
connected machine maintains its own internal project containing data
for the tracks assigned to that machine.
When MULTI is selected in this field, the RE32 will tell each connected
machine to save its local project. In other words, the systemÕs Ã-multi-
trackÕ project is saved in its entirety.
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DISK MANAGEMENT
COPYING FILES/DISKS
It is possible to copy data from one disk to another. You may copy individual projects and libraries
or copy the whole disk. Pressing COPY (F5) will give you this screen:
The parameters are:
TRACKS Here you may select the machine that is connected to the disks drive
you wish to copy between. To avoid confusion, the machines are listed
by the tracks they represent. For example, machine 1 will be shown as
Ò1-16Ó, machine 2 as Ò17-32Ó etc..
NOTE: Files can only be copied between two disks attached to the same machine.
DISK Here you may select the Ã-sourceÕ disk you are copying from.
TO DISK Here you may select the Ã-destinationÕ or Ã-targetÕ disk you are copying to.
COPY TYPE You may select the type of file you wish to copy in this field. You may
select:
SINGLE FILE - this will copy a specific file as shown in the FILE TYPE
and FILE NAME fields.
ALL PROJECTS - This will copy all projects on the source disk to the
destination disk.
ALL LIBRARIES - This will copy all the libraries on the source disk to the
destinations disk.
ALL FILES - This will copy all the files on the source disk to the destination
disk.
DUPLICATE DISK - This will copy everything from the source disk to the
destination disk.
IMPORTANT NOTE: DUPLICATE WILL FIRST ERASE THE DESTINATION DISK BEFORE
DUPLICATING THE SOURCE DISK TO IT.
FILE TYPE When SINGLE FILE is selected, you may select the type of file you wish
to copy (i.e. PROJECT, LIBRARY or SETTINGS) in this field.
FILE NAME This parameter allows you to select the file you wish to copy.
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DISK MANAGEMENT
DELETE FILES
In the disk DIRECTORY page, you can delete projects and/or libraries depending on the selection
made in the FILE TYPE field. First select the type of file you wish to delete in the FILE TYPE field
and then move the cursor to the file you wish to delete. Pressing DELETE will give you this prompt:
The EXECUTE keyÕs LED will be flashing and you should press EXECUTE (YES) or EXIT (NO/
CANCEL) accordingly. As the prompt tells you, there is no undo for this so please check carefully
that the correct file is selected for deletion before proceeding. If in any doubt at all, press EXIT to
abort.
If you press DELETE (F6) and the cursor is not on a file (i.e. it is on the DISK or FILE TYPE fields),
the screen will pop-up the prompt:
This prompt will appear for a few seconds. You should move the cursor to the file you wish to
delete and press F6 (DELETE) again.
If you try to delete a project that is currently loaded, you will receive this prompt:
You should either load another project or create a new one and then return to the DISK page to
delete the project you originally wanted to delete.
If you have deleted any files, when you leave the DIRECTORY page, you will receive this prompt:
When a project or library is deleted, the audio associated it with not deleted at the point of deletion.
This may seem a bit odd but the reason for this is that if audio was deleted when you pressed
EXECUTE, every time you delete a file, the system would have to go through a lengthy search
process to check if the audio associated with that file is referenced anywhere else (i.e. in other
projects and/or libraries) and this could take some time.
As a result, to make the deletion process quick, only the file itself is deleted. Then, when you come
to leave the DISK page, you are offered the choice of Ã-cleaningÕ up the disk. What this means is
that the machine will search any connected disks and look to see if the audio associated with the
files you have deleted is used anywhere else. If any part of it is referenced by any other projects
and/or libraries, the audio will not be deleted. If, however, the audio associated with the file(s) you
have deleted is not used by any other project and/or library, the audio will be erased from disk,
thus freeing up extra disk space.
To save yourself some time, if disk space is not a problem, you can choose to ignore this prompt
by pressing EXIT and you can come back to this when itÕs more convenient. If you wish to proceed
and erase any unreferenced audio, press the flashing EXECUTE key (see later - CLEANUP DISK).
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DISK MANAGEMENT
CLEANUP DISK
CLEANUP DISK allows you to clear out redundant recordings and so save valuable disk space.
Pressing CLEAN (F4) from the DISK UTILITIES page shows this screen:
It is possible to have a disk full of unreferenced audio files. These are pieces of audio that have no
association with any project or library. These are usually created when recording. For example,
you make one recording and make a mistake. You drop in again over that, recording a new piece
of audio. If the original recording is not in a library or another project, the audio associated with the
original cue you recorded of it has become Ã-unreferencedÕ and is taking up disk space needlessly.
Of course, if you keep recording over and over again on the same spot, you can fill your disk up
fairly quickly. Also, if you delete a cue from a project or a clip from a library, you can end up with
unreferenced audio. Another way audio can become Ã-unreferencedÕ is if you make a recording and
then donÕt save the project. The functions in the CLEANUP page allow you to deal with this.
The CLEANUP functions are:
CLEANUP
This will only erase unreferenced audio but will not Ã-top and tailÕ the cues that are valid. However,
because CLEANUP keeps all the audio that may be being referenced (no matter how small), it
could be you will see no or only a small change in the FREE ON DISK field because unlike MINIMISE,
if just one cue in one project uses one second of a ten minute recording, the whole ten minutes will
be kept. If you need to free up a further nine minutes and 59 seconds, use MINIMISE. Pressing
CLEANUP DISK (F1/F2) will give this message:
Because audio may be being referenced by the EDIT CLIPBOARD, you could try a cleanup and
end up with no appreciable increase in available disk space. This option allows you to select
whether you want the clipboard to be deleted as well. You should make your choice accordingly
using F5 or F6 as appropriate.
Pressing F5 or F6 will give this final safeguard prompt:
When performing a cleanup, you should be aware that it is possible to have a project on a removable
disk but for the audio for that project to exist on another disk (maybe the project is on an MO but
the audio associated with it is all on a fixed hard disk). If the removable Ã-projectÕ disk is not present
on the system when you perform a cleanup, you run the risk of losing all the audio for that project.
The reason is simple...
The CLEANUP function works by searching all the projects and libraries on all the disks currently
attached to the system and it establishes what audio is being used by those projects and libraries
and what is not. It then deletes any audio NOT being referenced by those projects and libraries
from the disks.
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SYSTEM SETUP
SETUP - MULTI
When MULTI mode is selected, pressing the SETUP key will display the following options:
The MULTI SETUP pages are designed to allow easy configuration of parameters that should be
set identically on each machine connected to the system.
Pressing RATES (F1) will take you to the SYSTEM RATES page:
This page is used to set the systemÕs global sample rate and frame rate.
The parameters are:
SAMPLE RATE This sets the systemÕs sample rate. You may select 32kHz, 44.056kHz,
44.1kHz and 48kHz. Other options may be available depending on the
facilities available on the connected machines.
On entry to this page, if all connected machines are set to the same
sample rate, then this rate will be displayed. If not, the sample rate field
will say Ò* DO NOT MATCH *Ó until a new rate is selected.
NOTE 1: This page will only allow selection of sample rates that are supported on all the
connected machines.
NOTE 2: Recordings made at a sample rate other than the selected sample rate will play back
at the wrong speed. For example, if the sample rate is set to 44.1kHz and you try to play back
a recording made at 48kHz, the recording will play back slow. Therefore, please make sure
that your recordings are made at the correct sampling rate. Recordings made at different
sample rates cannot be used in the same project.
TC FRAME RATE This shows the systemÕs timecode rate.
This field is not editable, but instead serves as a visual check that all
machines are configured correctly. If all machines are set to the same
frame rate, then this rate will be displayed here. If not, this field will say
Ò* DO NOT MATCH *Ó.
Timecode frame rates can be individually set on each machine as
explained later in the section on TIMECODE SETUP.
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SYSTEM SETUP
EXT WORDCLOCK OK - The GPO will change level while external
wordclock is being successfully received.
EXT TIME LOCK - The GPO will indicate when the transport is
successfully locked to external timecode.
REC TRACK - These options allow a tally to be sent when any of the
record tracks are switched on/off.
REHEARSE - These options allow a tally to be sent when rehearse
mode is enabled.
TRACK SLIP 1 ..8 - These options allow an appropriate tally to be
generated when a track is slipped.
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SPECIFICATIONS
RE32 SPECIFICATIONS
Power Requirements : 120V AC 60 Hz 19 W
220 - 240V AC 50Hz
Operating Temperature : 5°C ~ 40°C
Operating Humidity : 30% ~ 80% (without condensation)
Dimensions : 483 x 86 x 310 (330 maximum) (W x H x D, mm) EIA 7U
Weight : 5.6kg
Display : 248 x 60 dot graphic LCD
Edit Resolution : Sub-frame
Connectors
Display Output : 15-pin D-sub male, Analogue level VGA (640 x 480) IBM PC
Format
Expansion Port : 9-pin D-sub male, for RC15 (optional) connection
AKAINET : BNC 50-ohms, for Ethernet (10 Base-2) connection
Keyboard Input : 6-pin mini-DIN female, for PS/2 Keyboard connection
Accessories : AKAINET Cable (BNC 50-ohms, 20m) x 1
AC Cord x 1
OperatorÕs Manual x 1
h Above specifications are subject to change without prior notice.