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

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!

ole's routing capabilities, greatly enhancing the board's flexibility and ergonomics. Bus outs, aux sends, channel direct outs, and the main stereo bus outputs can all be assigned independently to card slot digital outputs (each output can have one source). Bus outputs can now be paired (thereby linking their master levels and dynamics parameters), and you can assign them individually to the analog aux send outputs as well. One application: bus your entire mix to aux 1/2, patch the sends to a tube compressor, and return the compressed mix to stereo line inputs on the board. Then route the line inputs to the master stereo bus. With this set-up your aux sends now act as pre-fader insert sends for your master faders.Bus outputs can also be patched to tape channels for subgrouping or just monitoring what the outputs sound like. Also, any input can be routed anywhere within the domain of the card to which it belongs. For instance, you can route MDM Track 9 to any tape Channel 9 th!

ring functions can be controlled from the master 02R via MIDI. A new cue dim control allows you to set the level to which

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)