******************************************************************************** Optical disk-based digital recording/editing/playback system.
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1 Akai DD1000 User Report: ******************************************************************************** At a Glance: Optical disk-based digital recording/editing/playback system. Disks hold 25 minutes per side of stereo audio, sampled at 44.1 khz. Provides waveform editing, with Cuelist, Song, or Playlist (cartridge-machine style) playback. 20 Hz - 20 khz frequency response, 16-bit linear quantization, signal-to-noise ratio better than 90 db s. ******************************************************************************** The new Akai DD1000 is one of the latest digital recorders to appear in the marketplace, and uses the new magneto-optical disk storage format. These optical disks are similar to hard disk drives, but are based on laser technology rather than magnetic recording. The disks hold around three hundred megabytes of data per side, which gives you about 25 minutes of stereo recording at 44.1 khz, which is OK for most purposes, and additional units may be connected via a SCSI interface. The DD1000 also allows alternative sampling frequencies of 48 khz, khz, and at 32 khz. As we shall see, the DD1000 provides an alternative to the currently popular personal computer-based hard disk recording systems, such as Digidesign s Sound Tools. IM decided that the best way to inform our readers about the capabilities of the DD1000 would be to ask a professional user who has had a good opportunity to check the machine out in depth. So, Mike Collins went along to the BBC Radiophonic Workshop to interview composer Peter Howell, in the extremely hi-tech synthesis/recording environment of the Workshop s Studio B, and came back with this report: Virtually everything in Studio B is controlled by a Macintosh II running Vision sequencer and custom hypercard software to operate a well-tasty synthesizer and sampler rig, with several racks of MIDI instruments all feeding DMP7 submixers. The equipment is arranged in a horseshoe shape to allow the composer to program it all with ease from a central sitting position. There are several racks of MIDI gear both to the right and the left raised up on shelves, each rack having a DMP7 submixer below it on the main working surface. A Yamaha KX88 keyboard is positioned in front of the composer, with the Mac II above this, and with a couple of DMP7 s nearby as Master mixers. The DD1000 had been slotted in to one of the end racks, and the audio outputs were being fed into another DMP7.
2 The studio has a dedicated stereo buss to feed the many stereo outputs and inputs around the room, so the DD1000 s stereo inputs slotted into this system perfectly. The DD1000 actually has four outputs, through which you can either send two stereo pairs, or two mono signals - or one stereo pair and one mono signal. So it is not really a 4-track system, in the sense of having four quite separate outputs. However, you can have any number of soundfiles, or takes to use DD1000 terminology, recorded onto disk (up to the capacity of the disk drives connected). You can also create a stereo pair from two mono tracks. By recording your four mono tracks first, and then creating two stereo tracks from these, you could output these four mono tracks through separate outputs (by panning them left and right via the two pairs of stereo outputs). This way you could achieve replay of your four original mono tracks through four separate outputs, although they would have had to be combined into two stereo tracks to satisfy the DD1000 s rules for playback! Over to Peter Howell for some impressions of the machine: I use the DD1000 as a slave device in my studio, rather than as a master device, in the sense that I don t use it as a master two-track recorder (I use DAT for that), but rather as a sub-system - via which I record, edit, and playback my sound effects and any incidental sound recordings. I can actually regard it as providing a kind of multitracking facility, bearing in mind the aspects we have discussed concerning track output assignments. As I work mainly with synthesizers and samplers, I don t actually need a full-blown audio multitracking capability, and the DD1000 is more than adequate for my purposes. I asked Peter to explain how he uses the machine in practice. To illustrate this, he showed me some of his Vision sequences on the Mac II with examples of his recent work. Peter told me: The DD1000 has a page which lets you assign up to 9 pieces of audio for instant replay. These must be primed first if you want replay to be instant, so that they are held ready in buffers. You can then replay these - cartridge-machine style - by punching buttons on the DD1000 s numeric keyboard, which is pretty handy. Better still, you can assign a MIDI note number and channel to each, and trigger them from your MIDI sequencer, which is the way I do it. This has the advantage that I can look at the graphic display on the sequencer and see where my sound elements are laid out in the sequence. It then becomes a easy task to record MIDI controller messages onto another sequencer track to mix these sound elements in and out via DMP7. So what about the operational side of the machine? The DD1000 has everything going for it from a logistic point of view, Peter declared without any hesitation. Asked to justify this comment, he took me on a guided tour through the machine, illustrating how you would record, edit, and replay using the frontpanel controls. The bottom row of front-panel buttons control the basic operations: First you prepare to record using the Setup functions. You choose the type of time display - which may be in sample points; bars, beats, clocks; or SMPTE format. Then you select a sync source - which may be internal, or from an external digital word clock. Naturally, you can choose a sample rate, from the
3 four available rates. And finally, you can Load or Save your setups as global parameters. The next button lets you control Disk Operations. This is where you format, copy, or whatever. The disk directory lets you view takes (unedited recordings), cue lists, songs, or play sheets (more on these later). When you are ready, with a newly formatted disk, or with space available on an existing disk, you hit the Record button, and this brings up a display with various options. Here you can name your recording (or take ), choose either an analogue or a digital record source, and, if digital, whether Emphasis is in use or not. There is an overdub facility, but, unfortunately, when you replay the newly overdubbed material, you cannot hear the original accompanying track - only the new stuff. You do hear everything OK when recording, but on playback you must enter the cuelist to hear it all at once. This is quite awkward really, because you would always want to check if your overdub was successful straight away once you have it, and you would nearly always want to hear it in place! This seems to be a flaw in the design which Akai should try to sort out - if this is possible! Once you have finished recording, you can look at a waveform in the Edit display page. Peter commented: I think this is very good, and it is just one of the several reasons why I appreciate using this machine so much. In the Edit display you mark up your sections, or cuts as the DD1000 calls them. (Note that when you make your cuts you aren t editing the waveform, just pointing to regions of a take to replay.) Editing waveforms is similar to editing samples on an S but better. However, the Jog wheel function does not really work properly - not really letting you scrub past edit points as you could with a tape recorder. It is worth noting that Sound Tools is no better in this respect, although the more expensive Dyaxis system on the Macintosh does have a scrub feature which works well - so it can be done! But if you want to edit start points of cuts, you can just place the cursor on the entry-field for the start point, and use the data-entry keys to adjust this. Each time you increment or decrement, the section or cut re-triggers from the new point. This makes it very easy to shift back and forth to find the right start point. So, the sytem is very useable for editing accurately without using the Jog function at all! Once the cuts are prepared you have three options for replay. Whichever of these you choose, you can decide how each track will behave - by setting fade up time, level, fade town time, which output, and where it is panned in the stereo output. The first option is to make a Cuelist. A DD1000 cuelist is very similar to a Sound Tools cuelist, with crossfades and everything, but with the addition of MIDI program change and note commands (for instance, to configure DMP7 snapshot mix configurations, or to trigger sound effects or whatever simultaneously from another device such as a sampler or synth.) It is worth noting that you could even replay a cuelist containing the bits of sound you want into a new mono or stereo recording internally. This is similar to track bouncing on a multi-track, and there is no generation-loss as everything is digital internally, of course!
4 The second option is to create a Song. This is essentially like a drum-machine (pattern-based) sequencer s song. Here you can arrange the cuts in a play order, specifying the number of repeats of each section. (Note that when you play this it automatically creates a cuelist, so if you have previously set a cuelist, you need to save this before using song-edit, or it will be cleared. The software could be improved here by warning the user of this possibility!) The third option is to create a Playsheet. Here you can assign up to 9 cuts to be instantly playable from the keypad buttons, 1-9, in a similar way to how you would use a cartridge machine in a radio station. Selecting a Playlist primes the playback buffers for instant replay. And don t forget that you can set a MIDI channel and note number and velocity sensitivity to trigger any of these. I must admit that I had looked at the brochures and information sheets describing the DD1000, and had felt inclined to dismiss it as a machine which could find a useful role in my studio setup. Having seen it in action at the Radiophonic workshop, I found that I was having to change my mind about it almost completely. I had been thinking of it as yet another two or four track mastering machine, and had wondered where it could find a suitable niche. Especially with the current proliferation of new recording systems and formats. At a price of just under 8,000 it certainly provides a viable alternative digital recording and editing system to Sound Tools on a personal computer, especially if you prefer to have a dedicated box for this purpose (rather than occupy your computer which you will probably be using for sequencing). And you can still cut and paste the notes on your sequencer to trigger replay of the DD1000 sounds. I think that many recording studios would find (as Peter Howell has found at the Radiophonic Workshop) that the DD1000 would fit into their studio setup more readily, in many ways, than a computer-based system. For instance, the DD1000 comes with a full complement of professional audio connectors on the back panel to facilitate reliable installation - whereas you have to buy these as an expensive extra interface with Sound Tools. Peter Howell had these final words to say about the machine: The most convenient page for me is the Play Sheet (cart-style) page, because this fits with my use of MIDI sequences. One restriction here is that you must have the playsheet in 2-track (single stereo pair) output mode, so that when you retrigger a new sound, the old one will cut off, like on a mono synth. However, if you wish to use four track mode, so more than one sound can play simultaneously, you will lose the instant triggering of the sound - it could take perhaps a quarter of a second for a sound to load before playback. You could, of course, overcome this by shifting back by a few clocks to compensate in your MIDI sequencer. I think one of the main advantages of the DD1000 is that it gives you amazingly fast access to 25 minutes of stereo Digital Audio per disk side at 48kHZ (29 secs at 44.1kHz), which you can control very conveniently from a MIDI sequencer. I see the DD1000 as a very task-specific tool, rather than as a general recording device - such as the Akai ADAM, or a conventional tape recorder. But it is just the perfect tool for my particular application here at the Radiophonic Workshop.
5 Mike Collins September 1990
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