High-bit audio The 02R has been capable of outputting 24-bit data all along, but it has a new feature that's easily worth the price of admission alone: using a bit-splitting scheme, the 02R's optional 24-bit mode records each track onto two tracks of your 16-bit digital recorder. This works with any recorder-ADATs, DA-88s, Pro Tools, etc. For example, Bus output 1 would get recorded onto a digital tape recorder's Tracks 1 and 5. Track 1 receives the upper 16 bits of data and Track 5 gets the lower eight. On playback the 02R automatically recombines the data and returns it to the lower-numbered channel's fader (e.g. Tape 1). Bus, aux, stereo bus, and direct out signals can all be recorded in 24-bit mode. 24-bit mode, I could finally understand why pro audio snobs label 16-bit audio as "harsh." A/B comparisons to 16-bit tracks revealed an astonishing difference. The 24-bit tracks sounded as if a veil had been lifted. The high end was much sweeter and silkier, and there was!

startling nuance, depth, and realism to the track. The 16-bit version sounded strident, pinched, and 2-dimensional in comparison. Also on the O2RV2 since the stereo bus can now be routed to card slot outputs, you

rough 16, but not to Tape 1-8 or any of the mic/line channels. You can even mult the same source to several channels, which among other things is useful for keying dynamics processing off adjacent channels. V2 allows input channels configured as a stereo pair to be routed independently. Also, their phase and attenuation functions are no longer linked, so they be adjusted independently. All input patching is stored with the mix scenes.Surround panning Whether surround sound will ever dominate consumer audio remains to be seen (this author is skeptical). But for post-production work, the V2 software's surround panning capabilities give the console a whole new identity. The new software uses Busses 1 through 6 to route/record surround channels to MDMs in the digital domain; routing the busses to the analog aux sends provides a pathway to a surround monitoring system. 2+2 (quad), 3+1 (for Dolby Surround) and 3+2+1 (5.1, for Dolby AC-3 Surround) are all supported; you choose w!

have no analog insert points. So I patched the ADAT's analog output to a tube compressor, brought the track into a mic/line input on the console, and simply moved all the automation events from the digital tape return to the mic/line fader. Awesome. V2 also allows you to trim or raise selected fader and rotary encoder levels over a region. All relative fader moves are preserved when you do this, and you can dial in the fade times you want between the existing and trimmed levels. A new End feature preserves a fader's position at the automix punch-out point to the end of the mix. This is a real time-saver--no longer must you let the tape roll to the end of the mix to replace multiple fader moves with a one-time fader level change. Timecode locations can now be captured on the fly, stored in eight on-board memory locations, and used to insert automix events. When you recall a location, automix events in the vicinity of the captured timecode address are displayed in the event e!

hich mode you want to use, and various icons and graphs guide you through your panning adventures. Sounds can be panned e

Some common words found in the essay are:
Pro Tools, Control Changes, Selected Channel, MDM Track, Awesome V2, AC-3 Surround, DVDAutomation Version, MS Mid-Side, MIDI Remote, Console High-bit, stereo bus, automix events, version 2, aux sends, digital tape, fader moves, tube compressor, 24-bit mode, midi remote, digital tape return, rotary encoder, digital recording console, 02r via midi,
Approximate Word count = 1408
Approximate Pages = 6 (250 words per page double spaced)