Settings Menu

The Settings menu is used to configure yourSoundscape Hard Disk Recorder and allowsyou to select the following functions.

Active Tracks per Unit

Active Tracks per Unit determines the numberof active tracks per unit as 8, 10 or 12. Thesetting is also shown in the status bar as T/U.If you select 12 tracks per unit and a ‘DSPprocessing power limit reached’ errormessage appears, then try reducing thenumber of tracks per unit to 10, as this isrelated to the drive performance. If you usea number of simultaneous fades in yourarrangement, then you could also trychecking the same arrangement with fadesturned off.

If there are more active tracks in thearrangement than the active tracks per unitsetting, the parts that cannot be played willbe displayed with a large X'. The amount oftracks available for recording and playback may be different due to thespeed of your hard disk. (See the “tested drives” chart in the Troubleshootingchapter.)

Master Clock / Input

The Master Clock/Input parameter sets the audio input source and the sourceof the sample rate clock or ‘Master Clock’.

Internal Master Clock, In1-2 Analog selects the analogue inputs for recordingand uses Soundscape’s internal ‘Master Clock’ to set the sample rate.

Internal Master Clock, In1-2 Digital selects the digital inputs for recording anduses Soundscape’s internal ‘Master Clock’ to set the sample rate.

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Dig Inp Master Clock, In1-2 Analog selects the analogue inputs for recordingand uses the ‘Master Clock’ provided by the external source (i.e. DAT, CD ordigital mixing desk).

Dig Inp Master Clock, In1-2 Digital selects the digital inputs for recording anduses the ‘Master Clock’ provided by the external source (i.e. DAT, CD or digitalmixing desk).

TDIF Master Clock, In1-2 Analog selects the analogue inputs for recording anduses the ‘Master Clock’ provided by the external TDIF source (i.e. SS8IO-1,DA38, or digital mixing desk).

TDIF Master Clock, In1-2 Digital selects the digital inputs for recording anduses the ‘Master Clock’ provided by the external TDIF source (i.e. SS8IO-1,DA38, or digital mixing desk).

Note: When using TDIF Master Clock make sure the desired sample rate is set forSoundscape before switching to TDIF input.

Expansion Bus Clock, In 1-2 Analog selection is only available when thesoftware detects a connection during bootup. See Expansion Bus Clock Inputlater in the chapter.

Expansion Bus Clock, In 1-2 Digital selection is only available when thesoftware detects a connection during bootup. See Expansion Bus Clock Inputlater in the chapter.

When to use “Internal” or “External” modes

Internal Master Clock, In1-2 Analog

When you want to record analogue signals into Soundscape at your chosensample rate.

When you are using the unit as the “master” in a multiple Soundscape setup.

Internal Master Clock, In1-2 Digital

When you have a digital effects unit with digital inputs and outputs connectedto Soundscape in a “loop”. Soundscape can supply the sample clockreference, and therefore does not need to lock to a different sample clock atit’s input.

When you do not want to use the sample rate clocks from an external source.

Dig Inp Master Clock, In1-2 Analog

When you are recording an analogue source while using an external digitaleffects unit or other digital device that has digital outputs plugged intoSoundscape.

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Dig Inp Master Clock, In1-2 Digital

Whenever you are recording from a DAT or other digital device. Soundscapewill automatically synchronise to the sample rate received at it’s digital inputs.

All ‘slave’ units in a multiple Soundscape setup, so that they are synchronisedto the master unit sample rate.

TDIF Master Clock, In1-2 Analog

When you wish to record an analogue source through inputs 1-2 while using aTDIF device such as the SS8IO-1, Tascam DA88 or Yamaha Pro-3.

TDIF Master Clock, In1-2 Digital

When you wish to record a digital source throught inputs 1-2 while using a TDIFdevice such as the SS8IO-1, Tascam DA88 or Yamaha Pro-3. Soundscape willautomatically synchronise to the sample rate received at it’s digital inputs.

All ‘slave’ units in a multiple Soundscape setup, so that they are synchronisedto the master unit sample rate.

" If you have selected an external source sending to your Digital Inputs, youwill not be able to select a different sample rate.If there is no digital signal present at Soundscape’s digital input when youselect Dig Inp Master Clock, after a few seconds the following dialogue boxwill be displayed:-

If this persists after you have clicked on OK or pressed the Enter key, checkthat your DAT recorder is set to use internal sample rate, or check yourconnections.

Using TDIF Master Clock

Selecting TDIF Master Clock means that the system gets the sample ratedirectly from the TDIF port, so that the external device is the 'clock master'. Thisis the setting that should be used when connecting to a Tascam DA-38, DA-88or DA-98 and can also be used with a Yamaha digital console.

The Soundscape SS8IO-1 can be used with the TDIF Master Clock setting if youselect Internal Clock for the SS8IO-1, or if the ADAT or External clock settings areused for the SS8IO-1 and the sample rate is then provided by another device.

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Note: Make sure that you select the correct internal sample rate before switching toTDIF Master Clock, as the SSHDR1-Plus does not automatically detectwhether the external TDIF signal is at 44.1kHz or 48kHz. If the internal samplerate is incorrect the timecode calculations used in the software will also beincorrect.

$ Most problems with transferring multi-channel digital audio signals arise fromincorrectly routed wordclock signals or clock settings.

Using a TDIF Connection between two SSHDR1-Plus Units

You can use the TDIF port as an 8 channel bi-directional 'bus' between twoSoundscape SSHDR1-Plus units, so that signals can be routed from one unit toanother. For example, you could use real-time effects that are running onone unit with tracks that are played from the other.

Select Internal clock for the first unit and TDIF Master Clock for the second. Thesecond unit then locks to the sample rate from the first unit and if you alsoconnect the S/PDIF or AES/EBU signals between the units, these will also lockcorrectly. Use the TDIF routing (e.g. IN TD1-2 U1) in the V2 Mixer for the inputs,outputs and send elements to connect the signals where required.

Note: If the second unit is set to use Digital Input Master Clock and there is anS/PDIF or AES/EBU signal from unit 1 to unit 2, the TDIF may not be fullylocked, as the phase may be incorrect. Switch first to TDIF Master Clock andthen back to Digital Input Master Clock to ensure correct phase between theunits.

Using Chase Slave mode with TDIF

In Chase Slave mode, the internal SSHDR1-Plus sample rate is varied in order tomatch the incoming timecode rate. To use the TDIF connections, the externalunit must use the TDIF signal to provide the masterclock. With an SS8IO-1, usethe TDIF Clock setting.

For a Yamaha 02R or 03D mixing console, set the wordclock source to the TDIFport. The Tascam DA-38, DA-88 and DA-98 cannot use their external TDIF portto provide the sample rate, but they can use an external wordclock signal. Inthis case, you need to use an external unit (like the Rosendahl WIF unitsupplied by Soundscape Digital Technology) which converts the LTC or VITCtimecode rate into a wordclock signal that matches the timecode. Connectthe wordclock output of the convertor to the Tascam's wordclock input andselect external wordclock. The SSHDR1-Plus must then use TDIF Master Clockmode with Trigger Slave mode.

$ With a suitable cable, a TDIF port can be split into separate 8 channel inputand output connections.

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Expansion Bus - Using Superclock Signals & Chase Slave

Many systems commonly use a wordclock signal to synchronise differentdigital devices for passing digital audio between them. Wordclock signals areat the sample rate frequency of the system, but digital components like AD/DAconverters need much higher frequency clock rates to synchronise the digitalaudio streams. These higher frequency clocks are generally known as'Superclock' or '256 x Superclock' and for 48kHz, the superclock frequency is12.288MHz, 256 times the sample rate. Most digital devices use a PhaseLocked Loop (PLL) circuit to generate the superclock from the wordclocksignal, but these PLL circuits all have different locking delays. This causesproblems during chase slave, when the wordclock signal is derived from avarying timecode (i.e. with tape stretch or when starting a VTR etc.) and thereare two digital devices individually generating a superclock.

During the lockup period, the different locking delays can mean that the twosuperclock signals are not exactly the same frequency or phase and so digitalclicks are produced in the digital signals being transferred between the digitaldevices. This depends upon the amount or rate of change of the wordclocksignal and the locking time of the PLL circuitry. The only way to prevent this isalso to transfer the superclock signal between different devices, so that onlyone PLL is active for the system. Many systems need this solution, but not allhave the capability to use external superclock signals.

The SSHDR1-Plus includes a rear panel Expansion Bus which containsbi-directional superclock and L/R clock (like wordclock) signal connections anda 512 channel Time Division Multiplexed (TDM) audio bus. The SS8IO-1 can alsogenerate and receive a superclock signal (set with the rear panel Optionswitch), so that both units can be locked together via the superclock signal ifrequired. If you experience digital clicks when using the SS8IO-1 with theSSHDR1-Plus in Chase Slave mode, then this is the best solution.

With two SSHDR1-Plus units connected via TDIF, however, in Chase Slave modethe PLL for the digital input (S/PDIF or AES/EBU) will lock more quickly than the PLLfor the TDIF port. You may find that using Digital Input Master Clock instead ofTDIF Master Clock for the second unit may help - select TDIF first, then selectthe Digital Input. Make sure that you connect the digital S/PDIF signal betweenthe two units as well as the TDIF connection. This may not work in allcircumstances though, so the best solution may still be to use the ExpansionBus and superclock signals.

Expansion Bus Clock Input

In the Settings menu, under Input, there are two options for using Expansion BusClock. As the superclock and L/R clock signals are bi-directional (i.e. softwareswitched as input or ouput) the options are not available if there are no signalsdetected when the software is started. In this case, both signals are set asoutputs and the superclock can be used to connect to the SS8IO-1superclock/wordclock input.

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Multiple SSHDR1-Plus units can be synchronised using the Expansion Bus tophase lock the entire system, also for transferring multiple TDIF signals to otherdevices like digital consoles or digital multitrack tape machines. Theprocedure is that all the Expansion connectors are linked, and when thesoftware is started, the superclock & L/R clock inputs for each unit are checkedin turn and those receiving a signal are switched to input mode. The normalsituation would be that Unit 1 provides the masterclock for the entire system.Each of the other 'slave' units should be set to Expansion Bus Clock mode.

Synchronisation

Soundscape can synchronise to external devices as a ‘master’ or ‘slave’ usingit’s MIDI IN or MIDI OUT connections.

Select MTC Master (M key) if you want to use Soundscape as the master unit,and a slave device is synchronised using MIDI Timecode. When yourSoundscape is in PLAY or RECORD modes, MIDI Timecode will be generatedfrom the MIDI OUT socket.

Select MIDI Clock Master if Soundscape is to be the master unit and a slavedevice such as a MIDI sequencer is synchronised using MIDI Song PositionPointer and MIDI Clock Messages. In PLAY or RECORD modes, Soundscape willgenerate MIDI SPP and Clock messages from the MIDI OUT socket, the actualMIDI Clock timing depending upon the tempo value selected.

Select MTC Chase Slave (S key) mode if Soundscape is to be synchronised asa slave, to an external master device which uses MIDI Timecode. In PLAY orRECORD modes, Soundscape will then wait for MIDI Timecode messages at it’sMIDI IN socket and will lock to the timecode in about 1 second.

" With Mtc Chase Slave mode, the internal sample rate is determined by theincoming timecode rate. This means that digital inputs cannot be used, asthen the internal sample rate would need to be locked to the sample ratereceived at the digital input (except for the Dig In, Internal M.C. mode,where the sample rate is provided by Soundscape).

Soundscape implements a full ‘Chase Lock’, which means that it continuouslymonitors the timecode, and if the incoming timing changes, Soundscape willvary it’s sample rate to maintain optimum synchronisation. This is essential ifsynchronising to a tape machine which has timecode recorded on one track,as the tape speed can vary and without chase lock significant timing errorswould occur. Soundscape will also follow large changes in timing which occurwhen using varispeed etc.

" If you are RECORDING music performances while “CHASING” a tapemachine or other source that may produce large changes in timing, youare likely to hear pitch changes on playback when using a stable Mtcsource (MIDI sequencer, DAT etc...) or Soundscape’s internal clock.

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With MTC Trigger Slave mode, the received MIDI timecode only provides thestart and stop location and the sample rate used can either be internal, orderived from the digital input as required. This means that with external digitalequipment which provides both a timecode and a digital audio signal (suchas a multi-track digital tape recorder), full lock-up is provided by the digitalinput signal once MTC has triggered playback or record.

To use SMPTE timecode with Soundscape requires an external MIDI-SMPTEConverter which can convert SMPTE into MIDI Timecode and vice versa. Mostlow cost converters can read and write LTC and there are several which canread and write VITC.

VITC and MTC Full Frame - SS Slave Application

MTC Full Frame is a message that is transmitted by VITC-MTC converters (suchas the Rosendahl VIF or WIF units supplied by Soundscape Digital Technology)during pause or slow running (jog/shuttle). Start the SS Slave application fromthe Start Menu, so that when a Full Frame message is received by the PC’sMIDI input the play pointer is positioned at the received timecode. This ensuresthat it is always at the frame shown on the VTR, ready for an edit to be madeor a sound effect to be placed. To use a VITC-MTC converter, connect theMTC output into the SSHDR1 MIDI IN (for chase slave to normal MTC QuarterFrame messages) and then connect MIDI THRU into the PC’s MIDI input.

Sample Rate

Soundscape supports all standard sample rates commonly in use.

Most types of consumer equipment (CD players) sample at 44.1kHz (44100Hz)and this is adequate for high quality recording in most instances. Professionalor studio equipment often uses the highest quality 48kHz sample rate, or canbe switched between 44.1kHz and 48kHz. Broadcast equipment may use32kHz, as the audio bandwidth requirement is lower for radio or TV. 22.05kHzwill provide adequate bandwidth for speech or lower bandwidth signals.44056kHZ and 47952kHz are provided for synchronising to the “drop frame”SMPTE used with NTSC video.

With higher sample rates, more disk space is required to store the digital audio,so it makes sense to use the lowest sample rate which will provide adequatereproduction of your material. The table below gives a guide to the amount ofdisk space required per minute of track storage (mono 16 bit) at the differentsample rates. For example, to work out the disk size required to store 5minutes of 4 track audio at 44.1kHz, multiply the figure for 44.1kHz by 5, thenby 4, giving 101MB.

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SAMPLE RATE Megabytes per Track Minute (16 bit)

22.05 kHz 2.52 MBytes

32 kHz 3.66 MBytes

44.056 kHz 5.04 Mbytes

44.1 kHz 5.05 MBytes

47.952 kHz 5.48 Mbytes

48 kHz 5.49 Mbytes

Varispeed...

The Varispeed setting provides a +/-10%variation in the sample rate. Varispeed can beset either using the - and + keys (from the mainkey area, not the numeric keypad), whichchange the varispeed value by 0.1% eachpress, or by selecting Varispeed from theSettings menu and entering the amountrequired. The Varispeed parameter is saved in the arrange file.

" Varispeed can be active in RECORD mode. Therefore, if you save anarrangement with a Varispeed value, your new recordings will be made atthe wrong speed! If the Varispeed value is not 0.00%, the Sample Ratedisplayed in the Status bar will be shown in RED!

Mtc / SMPTE Format

Soundscape can work with any of the commonly used SMPTE or EBU framerates, 24 frames per second for film, 25, 29.97, 29.97df, 30 or 30df frames persecond for video.

NTSC Video

Drop frame timecode (29.97df and 30df) is fully supported in Master andSlave modes. When the Time Axis is set to SMPTE time, the time valuesdisplayed the drop frame specification, so that 2 frames are dropped at thestart of every minute, except for 0, 10, 20, 30, 40 and 50 minutes during eachhour.

In total 108 frames are dropped each hour, the difference between 29.97frames per second and 30 frames per second. This provides a convenientway to deal with seconds and minutes at 30 frames per second, instead ofusing fractions of seconds and minutes at 29.97 frames per second.

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MTC / SMPTE Offset

The MIDI Timecode/SMPTE Offset is used to align the Soundscape correctly withthe timecode from an external device.

For instance, if a section of film which requires an audio track has timecodestarting at 02:05:20:00 (2 hours, 5 minutes, 20 seconds) entering this value forthe Offset will make the arrangement also start at this time. In ‘Slave’ mode,the Offset is subtracted from the external timecode and in ‘Master’ mode it isadded to Soundscape’s timing before the MIDI Timecode is generated.

The Mtc/Smpte Offset allows a maximum limit of 24 hours.

Time Axis

Timing can be displayed in the TimeAxis Bar in the Arrange Window as ameasure (i.e. Bars, Beats & Ticks) or in

SMPTE timecode form. When ‘Bars’ is selected, the tempo and time signaturesettings determine the actual relationship between real-time and the measurevalue displayed.

If you are synchronising to a MIDI sequencer, a measure display is probablymore useful, as both applications will then display the same value, as long asthe time signature and tempo values are identical.

SMPTE display is best used for “audio for video” or radio productions.

Waveform Axis

The display of waveforms and fadecurves can be changed fromlogarithmic to linear using theWaveform Axis entry. The logarithmic

mode has the effect of compressing the waveform, making lower levels morevisible. It also makes a linear fade appear curved, due to the compression.

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> Logarithmic Waveform Axis

> Linear Waveform Axis

Snap

The Snap value is used when making edits with the cut tool, copyingor moving ‘parts’ around the Arrange window, setting the left andright locators or when selecting the song position with the play pointer.

If a single part is positioned with the mouse using the move or copytools, the start of the part will locate at the nearest bar, beat, 8th,16th. second or frame depending upon the current snap value. If thesnap is turned off, the part can be positioned with sample accuracy(i.e.. the part can start at any sample in the arrangement).

If a group of parts are selected for moving or copying, the part whichis being pointed at with the mouse when the group is dragged will be‘snapped’ to the current snap setting. The other parts of the group willfollow the moved part, keeping their original relative positions.

The Snap function is not the same as the quantise function used by MIDIsequencers.

In a sequencer MIDI notes can be moved around easily, as they are justrepresented by numbers in the computer’s memory. To perform the sameoperation automatically with digital audio would require individual notes to beidentified in the waveform, cut up and then moved around without causingany noise or glitches, a process which is currently beyond all but the mostpowerful systems.

However, Soundscape does allow you to to cut up the waveform into smallerparts and manually move the sections using a new snap value.

$ If you really want to quantise your drummer, use compute tempo to find thenearest BPM - use the noise gate to cut up the drum performance - set thesnap to 16ths or 32nds and manually move all the beats into perfect time.Note: this also works for sloppy bass, vocals, guitar etc...

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Record Setup...

The Record Setup dialogue boxallows you to set Pre/Postrolldurations, how the systemallocates SDisk space for manualpunch outs and selects howSoundscape responds whenmaking a looped recording.

Preroll

Active - Soundscape will playfrom a preset time before theleft locator (using the value setfor Length) and will drop intorecord mode as normal whenthe left locator is reached.

Preroll is also used in Loopedrecording mode. Instead of

returning to the left locator when looping, Soundscape will start playing fromthe Preroll length before the left locator allowing you to prepare for the nextrecording attempt.

Length - This value sets the loop position before the left locator and can be setin bars, beats and ticks or in SMPTE time. e.g. If 1 bar is selected, the loop willstart 1 bar before the left locator.

Postroll

Active - Soundscape will drop out of record when the right locator is reachedand carry on playing for the duration of the postroll length before returning tothe preroll position in looped recordings. Postroll is particularly useful indialogue replacement. It is much easier for the V/O artist to determine the“feel” or “rhythm” of the dialogue if the playback carries on past the replacedsection.

Maximum record time per Track for manual punch out

It is possible to allocate a set duration of disk space per track for “manualpunch out”. Alternatively, a setting of “0” allocates the maximum amount offree contiguous disk space.

Autostop

At end of recording - When selected, Soundscape drops out of record andstops when reaching the right locator. When unselected, Soundscape dropsout of record at the right locator and carries on playing until you hit stop.

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At end of recording loop stack - When selected, Soundscape automaticallystops when the final loop stack has been recorded. When unselected,Soundscape will restart recording the loop stack from the top down after theend of the loop stack is reached. It will carry on re-recording like this until youhit stop. If you hit stop anytime during loop record, the most recent takes willbe safe... ready for playback.

$ If, for example, you set a loop stack of 4 on track 1 and a loop stack of 6 ontrack 2, Soundscape would stop recording on track 1 after 4 loops and carryon for two more on track 2 before stopping.

MIDI Setup...

MIDI In Merge

Soundscape’s MIDI input merges incoming MIDI messages with timinginformation generated internally, and re-transmits it at the MIDI output socket.All MIDI messages, except for MIDI Real Time messages, are merged.

A MIDI sequencer can be synchronised to MIDI Timecode or to Song PositionPointer and MIDI Clock messages generated at Soundscape’s MIDI output,while using Soundscape’s MIDI input to pass MIDI to the sequencer forrecording.

When a sequencer is slave synchronised to Soundscape via MIDI and thesequencer’s MIDI output is connected back to Soundscape’s MIDI input, a MIDIloop would be formed. In this case, uncheck the MIDI In Merge select box inthe MIDI Setup dialogue box to turn off all MIDI merging. Alternatively, youcan use Soundscape as a slave (via MIDI Timecode) to the sequencer andremove the MIDI lead from Soundscape’s MIDI output to the sequencer’s MIDIinput.

Muted Parts Solo Output

The Solo tool allows you to listen to virtual tracks which are not assigned to aphysical output. You can set which output is used to solo the virtual tracks asshown.

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Colors

You can set a different colour for each physical track output in play or recordmodes. This allows different tracks to be identified easily when multiple rackunits are used.

You will be presented with a standard Windows colour palette to design yourown colour scheme.

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Customise Tool Page...

You can access the CustomizeTool Page pop up window toalter the currently selected toolpage. It can also beactivated by double clickingon a free space on thetoolbar.

(see Customisable Toolbar inthe Tutorial chapter)

Preferences

Fast Redraw

Selecting Fast Redraw mode allowsSoundscape to take full advantage of theimproved screen update speed which ispossible with a graphics accelerator card.

Fill Waveform

Selecting Fill Waveform displays waveformsas solid black. Disabling Fill Waveformdisplays waveforms as outlines and speedsup redraws.

Show Part Name in waveform

This setting selects whether all names are visible when parts are displayed aswaveforms as shown above.

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Show Part Volume

When Show Part Volume is enabled, you can view the volume contour (shownby the part colour). On some slower PCs (especially 486SX or 386SX/DXwithout a 387 Co-processor) the display of volume contours may make screenredraws slower. With Show Part Volumes off, the contour is always shown forselected parts or when dragging the contour with the Volume Trim tool.

Auto Delete Takes

If Auto Delete Takes is selected, the take will be deleted without displaying anywarning dialogue boxes.

" Be careful when using Auto Delete Takes, as you can only UNDO the lastTEN operations and in certain circumstances (ie. if the disk has beenoverwritten by another operation) then it may not be possible to undo thedeletion.

Confirm Deletes

This setting enables an extra warning when adelete part operation is performed. Thefollowing dialogue box is now displayedeach time.

Deglitch

The Automatic De-glitching can be turned ON or OFF. Automatic deglitchingmode detects when the audio material is continuous before and after the cutwhen a part is fading in or out, and then does not perform a deglitch. SeeJoining Parts Together in the Tutorial chapter, for more information on thede-glitching function.

Keep Part Selection

When selected, the Keep Part Selection parameter allows the currentlyselected parts to remain selected after an edit. This is useful if a number ofdifferent operations have to be performed on a group or if all selected partsare not on screen at the current zoom level and to reselect them would meanzooming out, then zooming in again etc...

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Keep all generated Waveform files

When selected, all Waveform files generated will automatically be saved inthe c:\Soundscape\wvf folder when you exit the Soundscape software. If notselected, only the waveform files for takes that are still on the SDisk will besaved and all others will be deleted from the PC.

Play till next Marker

When Play till next Marker is enabled, Soundscape will stop playing at eachmarker. This is useful for “previewing” edits, or even “cueing” up audio for radiospots or theatre. Putting markers at the beginning of each new “cue” woulddefine the start and stop points of each audio segment. So, when the audio istriggered, it plays “till the next marker” and is automatically cued for the nexttrigger.

Fast REW/FF Mode

Select Fast REW/FF mode to set the speed 4 times as fast as normal.

Remote Control Enable

This setting enables the SSHDR-1 to be controlled by the JL Cooper CS10, MCSor the Penny+Giles MM16/DC16 software modules.

Shift Markers with Global Insert/Delete

When active this setting maintains the relationship between the markers andthe arrangement when performing a global insert or delete. If unselected,any global inserts or deletes will not move the marker positions.

Digital Transmit Channel Status

This allows Consumer or ProfessionalChannel Status to be selected for thedigital data stream transmitted from the

digital outputs. Some professional DAT recorders will not record from theirdigital inputs if consumer format is received, so set professional status if youare using these machines and you have problems when set to consumerstatus.

Soundscape responds to either format automatically, so there is no need toset the format for receiving a digital input.

If Digital Input Masterclock is selected, but received Channel Status samplerate information is ‘not indicated’ (e.g. this is the case for the OTARI DTR900),then Soundscape maintains the current sample rate selection.

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SDisk Auto Calibration (Used for older drives which use a periodic thermal calibration)

Optimize SDisk Auto Cal

When the Optimize SDisk Auto Calibration mode is selected, you candetermine the time between automatic recalibrations. Soundscape performsthese recalibrations just before starting record or play, in order to maximiseuninterrupted disk operation.

Recalibration Duration...

The default setting is 120secs, but you may wishto increase this to reduce the frequency of thedelay while recalibration occurs.

Recalibration Timeout...

The Recalibration Timeout value sets the lengthof time that the hard disk is given to recalibrate.The default setting is 2500 ms, but you may wishto decrease or increase this depending on thetype of hard disk.

Note: This mode is notrequired for the hard disks that we recommend for use with Soundscape.However, you may have a disk in use that is not recommended, but apart fromthe Periodic Thermal Calibration cycles that the disk performs regularly (aboutonce every 30 minutes), the disk works fine. This mode will optimise theamount of uninterrupted time for which you can continuously record orplayback.

SFile Manager Sort

The four SFile Manager Sort modes are:-

by Name - in alphabetical orderby Recording Date & Time - in date/time order, oldest lastby Length - smallest firstby SoundDisk position - in order of storage on disk

Marker Directory Sort

The three Marker Directory Sort modes are:-

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by ID - in order of Marker ID numbersby Name - in alphabetical order, lastby Loc - in order of marker location

Big Current Time

It is possible choose the font,size and colour of the BigCurrent Time display. It willdisplay Bars+Beats or SMPTEdepending what you have

selected in the Time Axis display setting under the Settings menu.

Selecting Font will open the following settings window:-

Here you can choose any Windows ‘True Type’ font for your Big Current Time.

Selecting Background Color will open the standard Windows colour pallette foryou to choose your own background.

Selecting Always on Top will keep the Big Current Time visible even if you switchto another programme such as a MIDI sequencer.

Note: The smallest sizing of the time code reader is determined by the font and size.

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AVI Player

AVI Files

AVI files are opened viathe “Open PC file AVI”selection under the Filemenu.

Offset

The first option available is to set the AVI timecode offset. The easiest way todo this is to make sure that the SMPTE Offset in the Settings menu is set to00:00:00:00. This will ensure that the first frame in the AVI file will be displayed.If you have captured with timecode in vision, you can then just read this fromthe video window and type this in as the AVI Timecode Offset. If not, you mayhave to identify a significant event in the video that can be related to theaudio in some way.

In any event, you must ensure that the SMPTE Format(i.e. 25fps) matches the timecode format of thecaptured video. To check that there issynchronisation from the start to the end of the videofile, move the Soundscape play locator and checkthat the video shows the same timecode as theSoundscape transport window.

Save to AVI File allows you to save the offset within the AVI file so that the nexttime you load the file, the offset will be automatically set.

With AVI files captured at a lower frame rate than the current SoundscapeSMPTE Format, you will find that as the playback of Soundscape advances,there will be missing frames in the AVI file, so the same frame is displayedtwice. However, there should be no overall synchronisation error betweenvideo and audio. If you do find a slippage, then the AVI file may have beencaptured with dropped frames.

" You may find that there is a one frame error right at the start of the file.This is common with several of the capture cards we have tested, but all itmeans is that the AVI timecode offset must be adjusted one frame up ordown.

Display Size

The second option is setting the display size. If set to Auto, the file will bedisplayed at the size and frame rate it has been captured at. So if the AVI wascaptured at 320x240 it will occupy 320 horizontal pixels and 240 vertical. Thismay take up too much space on your Soundscape window, so you haveother settings to make the display 1/4, 1/2 ,1/1 or 2/1 of the original capturedsize.

Settings Menu 19

SSEditor V2.02a

Always on Top once again allows the video file to be displayed in front of allother active Windows programmes.

About AVI Files and Video on the PC

An AVI file (Audio Video Interleaved) is a standardised format file for video andaudio capture and playback on the PC. With Microsoft Video for Windows,different frame rates, image sizes, video compression standards and colourformats are supported. Software only decompression algorithms are installedautomatically in Windows 95/98/NT4™, but these require a very fast PC even toplayback reduced frame rates of say, 15fps (frames per second) with a smallsize image. For full screen video at full frame rates (i.e.. 25 or 30 fps),hardware decompression cards are required and usually a fast PCI bus PCwith a fast hard drive is also necessary.

The Soundscape AVI Player receives timecode from the Soundscape SSHDR1hardware and uses Video for Windows to display the frame required tosynchronise to the audio.

Scrubbing audio and video is always frame accurate and every frameavailable in the AVI file will be played even if full rate playback is not possibledue to PC speed limitations. This makes it easy to accurately place soundeffects for AV post-production work. If the PC is not fast enough to play everyframe requested by the AVI Player at normal play speeds, then there will be noslip between the video and audio tracks, as the next video frame available willbe displayed in sync.

You may find that Microsoft Media Player can play a file smoothly, but playedusing the Soundscape AVI Player it is jerky or cannot be played at full rate. Thisis because Media Player uses a simple playback mechanism, one frame afteranother, without regard for any synchronisation to audio rates, whereas theSoundscape AVI Player must maintain synchronisation, and so requests thatVideo for Windows locates each particular frame in the file as necessary. Thistakes more processing time from the PC and so you may need to optimiseplayback by reducing the image size or frame rate. You should alsodefragment the disk to ensure that unnecessary disk head movement doesnot interrupt playback. You may find that you need to upgrade your PC inorder to get optimum playback performance. The same is true even if youhave a video capture/playback card installed.

There is also a Command Line Switch (-sx) that allows optimisation of the AVIupdate rate to obtain smoother playback with faster PCs. See the CommandLine Switches section in the Installation chapter for details.

Capturing the Video

For full motion (up to 60 fields per second) full screen video capture, you willneed a PCI bus Pentium PC (166 MHz or faster), a minimum of 16MB of RAM, aseparate, fast IDE hard drive (SCSI is sometimes recommended) and a BusMastering PCI video capture card (e.g. Fast AV Master). Most capture cards

20 Chapter 9

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now provide Video for Windows drivers and so can work with the SoundscapeAVI Player. Usually a capture utility is provided with the card, but you can useMicrosoft’s Vidcap or a video editing application like Adobe Premiere. In anycase, you should endeavour to capture the video without dropped frames.

$ We recommend that you capture the video in “single field” with no audio.You do not have to capture the audio (most capture utilities allow you todeselect audio recording) unless you plan to save it as a .WAV file for importinto Soundscape. This will also reduce the amount of data that your PC harddrive has to store per second. 16 bit stereo audio at 44.1kHz has a data rateof 176.4 kilobytes per second in addition to the compressed video data(150kbytes per second to several MB per second) and this could causedropped video frames. Most video editing applications can save the audiofrom an AVI file as a .WAV file and can also import a .WAV file (exported fromSoundscape) and ocmbine it with a video sequence for layback to a VTR.

Lower cost ISA bus cards can also be used, but do not expect to be able tocapture a broadcast quality image! However, they will be fine for recording asmaller size/resolution image in a video overlay window on the PC monitor thatcan be used with the SSHDR1 for AV post-production work.

The AVI file format supports a timecode offset for the first frame of the video,but as most capture cards do not read timecode (LTC or VITC) they are unableto record video against timecode. The Soundscape AVI Player allows you toenter a timecode offset and to write it to the AVI file if required. To make thiseasy to determine and enter, it is recommended that for AV post-production,you capture the video with BITC (burnt-in timecode, i.e.. timecode in vision).Most professional video players can provide this, but you can also obtain lowcost synchroniser units that can add this to the video signal before capture(e.g. Midiman Video Syncman LTC/MTC/VITC/BITC).

You can select parameters in the capture utility which optimise the videorecording. Some of these affect the output rate to hard disk (compressionratio, frame rate, image size, colour resolution), but others affect the amountof work that the compression device on the card must perform per frame (e.g.number of key frames, compression type). You may find that in order tocapture without dropped frames, you have to reduce the frame rate to say,20 frames per second. This will still be OK for synchronisation to speech(lipsync). A basic rule is that if you cannot play the file properly using MediaPlayer, you will never be able to use the Soundscape AVI Player.

Tested Video Capture Cards

FAST Electronics AV Master (PCI bus, full motion, full screen, separate monitor,SVHS quality output) - Recommended

FAST Electronics DV Master (FireWire In/Out - Requires a fast PC) - Recommended

Settings Menu 21

SSEditor V2.02a

MIRO DC30 (PCI bus, full motion, full screen, separate monitor, SVHS qualityoutput) - Recommended

Other cards that work with Video for Windows (e.g. Truevision Targa 1000/2000,Perception Video Recorder) will usually work fine.

Contact your local Soundscape distributor or supplier for a list of tested cards.

Save Settings

You can save the current values from the Settings menu to the initialisation (.ini)file using Save Settings. Also saved are the currently selected tools, the verticaland horizontal zoom levels, the screen positions, sizes and orientation of allwindows. The Record Track Arming and Record Track Positions are not savedin the initialisation file, but are saved in the arrange file (.arr), with the SampleRate, Varispeed, Mtc/SMPTE Format, Mtc/SMPTE Offset, EQ, Tempo and TimeSignature.

When multiple Soundscape SSHDR1-Plus units are being used, the settingsfunction will be saved for all units automatically when a Save Settings isperformed.

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V2 ContentIntroductionChapter 1Hardware SpecificationsPage 3Software SpecificationsPage 4

InstallationChapter 2System RequirementsPage 1Installation ProceduresPage 2Soundscape Host Interface CardPage 2Soundscape Parallel Port (LPT) Interface CablePage 2Using Soundscape with a Notebook Computer and Docking StationPage 2Soundscape Host Interface CardPage 3Configuring the HardwarePage 3

Installing the Host Interface Card in Your PCPage 4Choosing a Hard Disk for SoundscapePage 5Installing a Hard DiskPage 5Installing Fixed DrivesPage 6Installing Removable DrivesPage 7Configuring the Soundscape Rack UnitPage 7Connecting the Soundscape Rack Unit(s) to the PCPage 7Using the TDIF Port (Tascam Digital Interface)Page 10TDIF CablesPage 10

Expansion Bus ConnectorPage 10Installing the Soundscape Operating SoftwarePage 11Installing from the Floppy Disks Page 11

Installing DSP Plug-insPage 11Installing the Soundscape Device DriverPage 12Windows 95/98Page 12Setting the Soundscape Device Driver I/O AddressPage 12

Windows NT4Page 13Starting the Soundscape Software for the First TimePage 14Removing older versions of Soundscape V2.XX softwarePage 15Installing from RUNSS2XX.EXE Page 15

Formatting the SDisksPage 15Starting the Soundscape Software after Installing a Second DrivePage 16Configuring a Multiple Soundscape SystemPage 16Using Removable Drives and Multiple Sound DisksPage 17Running the Hardware Remotely over a NetworkPage 17ProcedurePage 18Windows 95/98Page 18Windows NT4Page 18

Problems when starting the Soundscape software over a NetworkPage 18Windows 95/98Page 19TutorialChapter 4Main ScreenPage 1Main Window and ToolbarPage 2Tool SelectionPage 2Status BarPage 2Mouse PositionPage 2Snap ValuePage 3SyncPage 3Sample RatePage 3

Customisable Toolbar fiPage Up / Page Downfl to scroll ToolbarsPage 3Arrange Window fiAflPage 5Record Track ColumnPage 5To make a recording:-Page 6Record Track Arming using the KeyboardPage 7

Record Looping, Preroll and Stacked takesPage 10Recording while Slaving to MIDI TimecodePage 11

Zoom In/OutPage 11PartsPage 13Selecting Multiple PartsPage 13

Left and Right LocatorsPage 13Setting the Locators fiLfl and fiRflPage 13

Play PointerPage 14Tape TransportPage 15Rewind and Fast Forward Buttons fiLeft and Right ArrowsflPage 15Stop Button fiDown ArrowflPage 15Play Button fiUp ArrowflPage 15Record Button fiAddflPage 15Using the Keyboard to Control the Tape TransportPage 16Tempo and Time SignaturePage 15Timing ResolutionPage 16

MarkersPage 17Marker Directory fiWflPage 17Inserting MarkersPage 17Moving MarkersPage 18Moving L & R Locators to Marker LocationsPage 18Moving the Play Pointer to Marker LocationsPage 18Playing from a Marker LocationPage 18Naming a MarkerPage 18Deleting Markers in the Marker DirectoryPage 19

Buffer Activity Window fiBflPage 19Editing ToolsChapter 5Joining Parts Together - Automatic De-glitchingPage 2NudgePage 2Locator Based Editing fiCtrl+Alt+M (or C, or X)flPage 4Fade CurvesPage 6Volume & Fades for Multiple PartsPage 8Changing the Overall Level for Multiple PartsPage 8Fading Multiple PartsPage 9Setting Scrub VolumePage 10Performing the MixdownPage 13Saving Noise Gate SettingsPage 16

Noise Gate ParametersPage 16Edit MenuPage 27Undo fiCtrl+ZflPage 27View MenuPage 27Tape MenuPage 28Options MenuPage 28

V2 Mixer fiXfl or fiQflChapter 6V2 Mixer PasswordPage 1Loading and Saving Mixer ConfigurationsPage 1Mixer ConceptsPage 2Virtual Mixer Channels and DSP Processing PowerPage 2Basic HierarchyPage 3Viewing the MixerPage 3Standard Mixer ControlsPage 5Fader and Solo GroupsPage 5Fader GroupsPage 5Solo GroupsPage 6

Naming Mixer ChannelsPage 6Track and Input/Output IdentificationPage 6

Creating/Editing a MixerPage 7Placing a New Mixer ChannelPage 8Understanding the Signal PathPage 9

Step by Step Mixer ChannelPage 11Placing Mixer Elements in the Mixer ChannelPage 14Signal Routing in the Mixer ChannelPage 15Track InsertsPage 15Track Insert - OptionsPage 15

Using the 16 Internal BussesPage 16Send ElementsPage 16

Equalisers - EQPage 16Sample Delay LinePage 18Chorus/ FlangerPage 18DynamicsPage 18DelayPage 18TC ReverbPage 18WM ReverbPage 18

SFile ManagerChapter 7Auditioning Takes from the SFile ManagerPage 2Dragging Takes from the SFile Manager to the Arrange WindowPage 3Dropping Takes at Original Timecode or at Locators - Ctrl & Alt KeysPage 3Creating an SFolder on the SDiskPage 3StartUp Folder - Auto load of Arrangement and Mixer SfilesPage 4Move, Copy, Cut and Paste for SFilesPage 5Importing/Exporting PC Files to the SDiskPage 6SDisk Window fiKflPage 7

File MenuChapter 8New ArrPage 1Open Arr fiCtrl+OflPage 1Append Arr fiCtrl+AflPage 2Save Arr fiCtrl+Sfl & fiCtrl+Alt+SflPage 3Save Arr AsPage 3Delete ArrPage 4New MixPage 4Open Mix fiCtrl+OflPage 5Save Mix fiCtrl+Q & Ctrl+Alt+QflPage 5Save Mix AsPage 5Delete MixPage 6Backing Up Digital Audio Takes via the PCPage 6Import PC file to SFile ...Page 6Importing a Complete Arrangement from the PCPage 7

Export SFile to PC filePage 8Writing a Complete Arrangement to the PCPage 9Writing All SFiles to the PCPage 9

Windows Wave Files (.WAV)Page 10Import .WAV file to TakePage 10Export Take to .WAV filePage 10Open PC file AVI...Page 12Close PC file AVIPage 12ExitPage 12

Settings MenuChapter 9Active Tracks per UnitPage 1Master Clock / InputPage 1When to use fiInternalfl or fiExternalfl modesPage 2Internal Master Clock, In1-2 AnalogPage 2Internal Master Clock, In1-2 DigitalPage 2Dig Inp Master Clock, In1-2 AnalogPage 2TDIF Master Clock, In1-2 AnalogPage 3TDIF Master Clock, In1-2 DigitalPage 3

Using TDIF Master ClockPage 3TDIF Connection between two SSHDR1-Plus UnitsPage 4Chase Slave mode with TDIFPage 4

Expansion Bus - Using Superclock Signals & Chase SlavePage 5Expansion Bus Clock InputPage 5SynchronisationPage 6VITC and MTC Full Frame - SS Slave ApplicationPage 7

Sample RatePage 7Varispeed...Page 8Mtc / SMPTE FormatPage 8NTSC VideoPage 8

MTC / SMPTE OffsetPage 9Time AxisPage 9Waveform AxisPage 9SnapPage 10Record Setup...Page 11PrerollPage 11PostrollPage 11Maximum record time per Track for manual punch outPage 11AutostopPage 11

MIDI Setup...Page 12MIDI In MergePage 12

Muted Parts Solo OutputPage 12ColorsPage 13Customise Tool Page...Page 14PreferencesPage 14Fast RedrawPage 14Fill WaveformPage 14Show Part Name in waveformPage 14Show Part VolumePage 15Auto Delete TakesPage 15Confirm DeletesPage 15DeglitchPage 15Keep Part SelectionPage 15Keep all generated Waveform filesPage 16Play till next MarkerPage 16Fast REW/FF ModePage 16Remote Control EnablePage 16Shift Markers with Global Insert/DeletePage 16Digital Transmit Channel StatusPage 16

SDisk Auto Calibration (Used for older drives which use a periodic thermal calibration)Page 17Optimize SDisk Auto CalPage 17Recalibration Duration...Page 17Recalibration Timeout...Page 17

SFile Manager SortPage 17Marker Directory SortPage 17Big Current TimePage 18AVI PlayerPage 19AVI FilesPage 19OffsetPage 19Display SizePage 19

About AVI Files and Video on the PCPage 20Capturing the VideoPage 20Tested Video Capture CardsPage 21

Save SettingsPage 22Global MenuChapter 10Cut & Insert Space Between L/R Locators fiShift+IflPage 1Cut & Delete Parts Between L/R Locators fiShift+DflPage 1Cut & Select Parts Between L/R Locators fiShift+CflPage 2Select All Parts fiShift+AflPage 2Select All Parts On Same Virtual Track fiShift+VflPage 2Select All Parts With Same Output fiShift+OflPage 2Select All Parts That Use Same Take fiShift+TflPage 3Select Muted Parts fiShift+MflPage 3Select Parts Between L/R Locators fiShift+SflPage 3Select Parts from L Locator to End fiShift+RflPage 3Unselect All Parts fiShift+UflPage 4Invert Part Selections fiShift+XflPage 4Set L/R Locators at Selected Parts Begin/End fiShift+LflPage 4Set L Locator at Selected Parts End fiShift+EflPage 4Set R Locator at Selected Parts Begin fiShift+BflPage 5Compute TempoPage 5

Backup MenuChapter 11Backup SFiles to DAT...Page 2Verifying a DAT BackupPage 4

Restore SFiles from DAT...Page 5Backing Up and Restoring to DAT with Multiple SoundscapesPage 8

Restore BUFV1.8 SFiles or earlier from DAT...Page 8Digital Bypass Mode...Page 9Master Clock for DAT BackupPage 9

SDisk MenuChapter 12Recording/Processing target SDiskPage 1Defragment SDiskPage 1Shrink Takes...Page 2Delete All TakesPage 4Delete All Active TakesPage 4Delete All Inactive TakesPage 4Format SDiskPage 5Quick Format SDiskPage 6Recover SDiskPage 6Hardware ControllersChapter 13Selecting the MIDI PortsPage 2General OperationPage 3Multiple Unit OperationPage 3Console FunctionsPage 4PreferencesPage 4Move current locator with wheel while playingPage 4Autostart after moving the play locator to marker positionPage 4Stop rewind and fast forward after depressingPage 4Keep window always on top of screenPage 4Save SettingsPage 4

JL Cooper MCS-2 OperationPage 5ShiftPage 5Moving the Play Locator with the Scrub WheelPage 5Scrubbing (OPTION)Page 5RewindPage 5Fast ForwardPage 5StopPage 5PlayPage 5RecordPage 5

JL Cooper CS10 OperationPage 6ShiftPage 6FadersPage 6Fader buttonsPage 6Button ModePage 6Rotary Controls - PanPage 7Zooming and Scrolling the Arrange WindowPage 7Moving the Play Locator with the Scrub WheelPage 7Drop Marker and Move to Marker Functions (F1)Page 7Tool Page Selection (F2)Page 7Bank Switch (F3)Page 8Scrubbing (F4)Page 8Tool Selection (F5 - F9)Page 8Left/Right LocatorsPage 8RewindPage 8Fast ForwardPage 8

Penny & Giles MM16/DC16 OperationPage 9Shift (STORE)Page 9FadersPage 9Fader buttonsPage 9Fader Mode (UTIL)Page 9Button Mode (EDIT)Page 10Bank Switch (SEND)Page 10Zooming and Scrolling the Arrange WindowPage 10Moving the Play Locator with the Scrub WheelPage 10Scrubbing - (HOLD)Page 10Tool Selection - (Program Select 1 - 7 or F1 - F7)Page 11Tool Page Selection - (Program Select 8 or F8)Page 11Left/Right Locators (SNAP/TEMPO)Page 11Drop Marker and Move to Marker Functions (PROG)Page 11RewindPage 11Fast ForwardPage 11

Soundscape Remote Device ControlChapter 14Software Installation - Floppy DiskPage 1Installing and assigning RS-422 and MIDI portsPage 1To install the RS-422 cardPage 2

Starting the SoftwarePage 3Remote Device Control SettingsPage 4Timecode DisplayPage 5Transport ControlPage 5Shuttle ControlPage 5Track ArmingPage 6LocatorsPage 6Remote Device Control Shortcut KeysPage 6

HelpPage 7Connections for a RS-422/RS-232 to Sony 9 Pin CablePage 7

Options MenuChapter 15Time Module (option)Chapter 16Stereo Reverb Module by Wave Mechanics (option)Chapter 17Main SectionPage 3Mix Page 3Size Page 3PreDelayPage 3HighCut Page 3

Normal/Gate On Decay sectionPage 3Reverb Decay Parameters (Normal/Gate On)Page 3Reverberation Time - Rt60 Page 3Low Frequency Decay - LoDc Page 4Low Frequency Crossover - LoXO Page 4High Frequency Decay - HiDcPage 4High Frequency Crossover - HiXO Page 4

Gate Off Decay sectionPage 5Gate Related ParametersPage 5Gate LevelPage 5Gate EnablePage 5Gate Hold TimePage 6

Reverb Post - EQ ParametersPage 6Low Frequency EQ Level - LoLvlPage 6High Frequency EQ Level - hiLvlPage 6Low Frequency EQ Crossover - LoFqPage 6High Frequency EQ Crossover - HiFqPage 6

Advanced Reverb ParametersPage 6Shape - natural room, fast, medium, or slow attackPage 6DensityPage 7Chorus RatePage 7Chorus DepthPage 7

Wave Mechanics Reverb Plug-inPage 7

Wave Mechanics Reverberation PresetsPage 8Audio Toolbox (option)Chapter 18Chorus/Flanger Plug-inPage 1Dynamics Plug-in - Gate/Expander/Compressor/LimiterPage 2Dynamics Control FunctionsPage 2CompressorPage 3ExpanderPage 3Hard Knee/Soft Knee CompressorPage 4LimiterPage 5GatePage 5Setting the Attack & ReleasePage 6

Drive Speed and Setting the No. of Active Tracks per UnitPage 1Warnings and Error MessagesPage 1Soundscape 1 ‚\.SSDEV0™ can not be opened! Page 1Hardware Not Responding CorrectlyPage 2Soundscape 1: Unit communication error! Page 2SoundDisk Initialisation ErrorPage 2DSP Processing Power Limit ReachedPage 3SoundDisk ErrorPage 4Soundscape Disk Filing System (SDFS) FilePage 5Startup Errors due to bad SDFS or SDisk FormatPage 5

Recovering an SDisk - Retrieving Deleted TakesPage 5Startup Errors due to bad SDFS or SDisk FormatPage 6Recovering from a Disk Error on StartupPage 6Recovering from SDisk FormattingPage 6

Recovering a V1.18 or earlier DAT Backup which will not RestorePage 7Mixer processing power limit reached!Page 7Tested Hard Drives for SoundscapePage 9

V2 IndexAActive Tracks per UnitChapter 9 - Pg. 1Drive SpeedChapter 19 - Pg. 1

Append ArrChapter 8 - Pg. 2Arrange WindowChapter 4 - Pg. 5ArrangementDeleteChapter 8 - Pg. 4NewChapter 8 - Pg. 1OpenChapter 8 - Pg. 1Save, Save asChapter 8 - Pg. 3

Audio ToolboxChapter 18 - Pg. 1Chorus/FlangerChapter 18 - Pg. 1Delay - 2-TapChapter 18 - Pg. 8Delay - Cross linkChapter 18 - Pg. 8Dynamics - Gate/Expander/Compressor/LimiterChapter 18 - Pg. 2

Auditioning TakesSDisk WindowChapter 5 - Pg. 4SFile ManagerChapter 7 - Pg. 2

Auto De-glitchingChapter 9 - Pg. 15Auto Delete TakesChapter 9 - Pg. 15Auto load of Arrangement and Mixer SfilesChapter 7 - Pg. 4AVI file openingChapter 8 - Pg. 12AVI files on PCChapter 9 - Pg. 20AVI PlayerChapter 9 - Pg. 19Always on topChapter 9 - Pg. 20Capturing the VideoChapter 9 - Pg. 20Display SizeChapter 9 - Pg. 19OffsetChapter 9 - Pg. 19Playback performanceChapter 9 - Pg. 19

BBack Panel DiagramChapter 2 - Pg. 8Backing up via PCChapter 8 - Pg. 6BackupCommentChapter 11 - Pg. 1Session nameChapter 11 - Pg. 1

Backup MenuChapter 11 - Pg. 1Backup SFiles to DATChapter 11 - Pg. 2Digital Bypass ModeChapter 11 - Pg. 9Master Clock for DAT BackupChapter 11 - Pg. 9Multiple SoundscapesChapter 11 - Pg. 8Restore BUFV1.8 SFiles or earlier from DATChapter 11 - Pg. 8Restore SFiles from DATChapter 11 - Pg. 5

Backup to PC™s DriveChapter 8 - Pg. 9Base Address TableChapter 2 - Pg. 3Base DIP Switch SettingChapter 2 - Pg. 3Big Current TimeChapter 9 - Pg. 18Buffer Activity WindowChapter 4 - Pg. 19

CChase LockMtc SlaveChapter 9 - Pg. 6Trigger SlaveChapter 9 - Pg. 7

Chase Slave with TDIFChapter 9 - Pg. 4Chorus/Flanger Plug-inChapter 18 - Pg. 1ClosePC file AVIChapter 8 - Pg. 12

ColorsChapter 9 - Pg. 13Command Line Switches Chapter 2 - Pg. 22ConfigureHardwareChapter 2 - Pg. 3Multiple Soundscape SystemChapter 2 - Pg. 16Rack UnitChapter 2 - Pg. 7

Confirm DeletesChapter 9 - Pg. 15Connecting Soundscape to PCChapter 2 - Pg. 7Connecting two SSHDR1-Plus via TDIFChapter 9 - Pg. 4CopyPartsChapter 5 - Pg. 2

Copy ToolChapter 5 - Pg. 2at LocatorChapter 5 - Pg. 4verticalChapter 5 - Pg. 3

Create ToolChapter 5 - Pg. 1Creating/Editing a MixerChapter 6 - Pg. 7Customise Tool PageChapter 9 - Pg. 14CutPartsChapter 5 - Pg. 3

Cut ToolChapter 5 - Pg. 3and deleteChapter 10 - Pg. 1and insertChapter 10 - Pg. 1and selectChapter 10 - Pg. 2at LocatorChapter 5 - Pg. 4

DDAT BackupLog fileChapter 11 - Pg. 7Restoring SFilesChapter 11 - Pg. 5VerifyingChapter 11 - Pg. 4

DC Removal ToolChapter 5 - Pg. 13Default AddressChapter 2 - Pg. 3Defragment SDiskChapter 12 - Pg. 1De-glitchingChapter 5 - Pg. 2Delay Plug-inChapter 18 - Pg. 8DeleteArrChapter 8 - Pg. 4MixChapter 8 - Pg. 6PartsChapter 5 - Pg. 22

Delete AllActive TakesChapter 12 - Pg. 4Inactive TakesChapter 12 - Pg. 4TakesChapter 12 - Pg. 4

Delete ToolChapter 5 - Pg. 22Digital Bypass ModeChapter 11 - Pg. 9Digital InputsChapter 9 - Pg. 2Digital Transmit Channel StatusChapter 9 - Pg. 16DSP Processing power limit reachedChapter 4 - Pg. 20 / Chapter 19 - Pg. 3Dynamics Plug-inChapter 18 - Pg. 2CompressorChapter 18 - Pg. 3ExpanderChapter 18 - Pg. 3GateChapter 18 - Pg. 5LimiterChapter 18 - Pg. 5

EEdit menuChapter 5 - Pg. 27Editing ToolsChapter 5 - Pg. 1EQMixer ElementChapter 6 - Pg. 16

Error MessagesDSP Processing Power Limit ReachedChapter 19 - Pg. 3DSP TimeoutChapter 19 - Pg. 2Hardware Not PresentChapter 19 - Pg. 1Hardware Not Responding CorrectlyChapter 19 - Pg. 2SDisk Initialisation ErrorChapter 19 - Pg. 2SoundDisk ErrorChapter 19 - Pg. 4

ExitChapter 8 - Pg. 12Expansion ConnectorChapter 9 - Pg. 5ExportSFile to PC fileChapter 8 - Pg. 8Take to WAV fileChapter 8 - Pg. 10

External clockwhen to useChapter 9 - Pg. 2

FFade CurvesChapter 5 - Pg. 6Fade In/Out ToolsChapter 5 - Pg. 6Fast REW/FF ModeChapter 9 - Pg. 16File MenuAppend ArrChapter 8 - Pg. 2Close PC file AVIChapter 8 - Pg. 12Delete ArrChapter 8 - Pg. 4Delete MixChapter 8 - Pg. 6ExitChapter 8 - Pg. 12Export SFile to PC fileChapter 8 - Pg. 8Export Take to .WAVChapter 8 - Pg. 10Import .WAV to Take...Chapter 8 - Pg. 10Import PC file to SFileChapter 8 - Pg. 6New Arr...Chapter 8 - Pg. 1New MixChapter 8 - Pg. 4Open Arr...Chapter 8 - Pg. 1Open MixChapter 8 - Pg. 5Open PC file AVIChapter 8 - Pg. 12Save ArrChapter 8 - Pg. 3Save Arr As...Chapter 8 - Pg. 3Save MixChapter 8 - Pg. 5

Fill WaveformChapter 9 - Pg. 14Format SDiskChapter 12 - Pg. 5Formatting the SDiskChapter 2 - Pg. 15

GGlobal MenuChapter 10 - Pg. 1Glue ToolChapter 5 - Pg. 13

HHard DisksChoosing for SoundscapeChapter 2 - Pg. 5RemovableChapter 2 - Pg. 17

Hardware ControllersChapter 13 - Pg. 1Console FunctionsChapter 13 - Pg. 4General OperationChapter 13 - Pg. 3JL Cooper CS10Chapter 13 - Pg. 6JL Cooper MCS 2Chapter 13 - Pg. 5MIDI hookupChapter 13 - Pg. 1MIDI port assignChapter 13 - Pg. 2Multiple Unit OperationChapter 13 - Pg. 3Penny & Giles MM16/DC16Chapter 13 - Pg. 9Remote EnableChapter 13 - Pg. 1

Host Interface CardChapter 2 - Pg. 2-3 / Chapter 2 - Pg. 16

IImportPC file to SFileChapter 8 - Pg. 6WAV file to TakeChapter 8 - Pg. 10

ImportingComplete Arrangement from PCChapter 8 - Pg. 7

Info ToolChapter 5 - Pg. 20Initialisation FileChapter 9 - Pg. 22InstallationChapter 2 - Pg. 1Hard DiskChapter 2 - Pg. 5Host Interface CardChapter 2 - Pg. 4ProceduresChapter 2 - Pg. 2Soundscape Operating SoftwareChapter 2 - Pg. 11

InstallingFixed Hard DrivesChapter 2 - Pg. 6from Floppy DiskChapter 2 - Pg. 11Parallel Port Interface CableChapter 2 - Pg. 19Removable Hard DrivesChapter 2 - Pg. 7Soundscape Device DriverChapter 2 - Pg. 12updates from InternetChapter 2 - Pg. 15

Internal clockwhen to useChapter 9 - Pg. 2

IntroductionChapter 1 - Pg. 1Invert Part SelectionsChapter 10 - Pg. 4

JJoining Parts TogetherChapter 5 - Pg. 2

KKeep all generated Waveform filesChapter 9 - Pg. 16Keep Part SelectionChapter 9 - Pg. 15

LLocatorsChapter 4 - Pg. 13moving to Marker locationsChapter 4 - Pg. 18settingChapter 4 - Pg. 13

MMain ScreenChapter 4 - Pg. 1Marker DirectoryChapter 4 - Pg. 17Deleting MarkersChapter 4 - Pg. 19Inserting MarkersChapter 4 - Pg. 17Locate to MarkersChapter 4 - Pg. 18Moving MarkersChapter 4 - Pg. 18Naming a MarkerChapter 4 - Pg. 18SortChapter 9 - Pg. 17

Master Clock/InputChapter 9 - Pg. 1MenusBackupChapter 11 - Pg. 1EditChapter 5 - Pg. 27FileChapter 8 - Pg. 1GlobalChapter 10 - Pg. 1OptionsChapter 15 - Pg. 1SDiskChapter 12 - Pg. 1SettingsChapter 9 - Pg. 1TapeChapter 5 - Pg. 28ViewChapter 5 - Pg. 27

MIDI SetupMIDI In MergeChapter 9 - Pg. 12

MixdownChapter 5 - Pg. 13Mixdown ToolChapter 5 - Pg. 13MixerChapter 6 - Pg. 1Basic HierarchyChapter 6 - Pg. 3ConceptsChapter 6 - Pg. 2ControlsChapter 6 - Pg. 5Creating/EditingChapter 6 - Pg. 7DSP PowerChapter 6 - Pg. 2EPPChapter 6 - Pg. 11Equal Power PanningChapter 6 - Pg. 11Fader GroupsChapter 6 - Pg. 5Internal BussesChapter 6 - Pg. 16Loading and SavingChapter 6 - Pg. 1PasswordChapter 6 - Pg. 1Placing a new channelChapter 6 - Pg. 8Signal RoutingChapter 6 - Pg. 15Solo GroupsChapter 6 - Pg. 6Step by step exampleChapter 6 - Pg. 11ToolsChapter 6 - Pg. 7Understanding Signal PathChapter 6 - Pg. 9ViewsChapter 6 - Pg. 3

Mixer ChannelsFader & Solo GroupsChapter 6 - Pg. 5NamingChapter 6 - Pg. 6

Mixer ElementsChorus/FlangerChapter 18 - Pg. 1Delay - 2-TapChapter 18 - Pg. 8DynamicsChapter 18 - Pg. 2EqualiserChapter 6 - Pg. 16PlacingChapter 6 - Pg. 14ReverbChapter 17 - Pg. 1Sample Delay LineChapter 6 - Pg. 18SendChapter 6 - Pg. 16Track InsertsChapter 6 - Pg. 15

Mouse PositionChapter 4 - Pg. 2MovePartsChapter 5 - Pg. 1SFilesChapter 7 - Pg. 5

Move Tool Chapter 5 - Pg. 1at LocatorChapter 5 - Pg. 4verticalChapter 5 - Pg. 3

Move, Copy & Cut at Locator ToolsChapter 5 - Pg. 4MTC Full FrameChapter 9 - Pg. 7MTC/SMPTE FormatChapter 9 - Pg. 8NTSC VideoChapter 9 - Pg. 8

MTC/SMPTE OffsetChapter 9 - Pg. 9Multiple Soundscape SystemChapter 2 - Pg. 16Host Interface Card addressesChapter 2 - Pg. 16

Mute ToolChapter 5 - Pg. 13Muted Parts Solo OutputChapter 9 - Pg. 12

NNetworkProblems when starting the Soundscape softwareChapter 2 - Pg. 18Running RemotelyChapter 2 - Pg. 17Windows 95/98Chapter 2 - Pg. 18Windows NT4Chapter 2 - Pg. 18

NewArrChapter 8 - Pg. 1MixChapter 6 - Pg. 1

Noise Gate ToolChapter 5 - Pg. 15ParametersChapter 5 - Pg. 16Saving Noise Gate settingsChapter 5 - Pg. 16

Normalise Process ToolChapter 5 - Pg. 10Notebook with DockingChapter 2 - Pg. 2NudgeChapter 5 - Pg. 2

OOpenArrChapter 8 - Pg. 1MixChapter 6 - Pg. 1PC file AVIChapter 8 - Pg. 12

Optimize SDisk Auto CalibrationChapter 9 - Pg. 17Options MenuChapter 15 - Pg. 1

PParallel Port InterfaceChapter 2 - Pg. 2PartsChapter 4 - Pg. 13Selecting multipleChapter 4 - Pg. 13

PasswordChapter 15 - Pg. 1Phase Invert ToolChapter 5 - Pg. 25Pitch Shift ProcessChapter 16 - Pg. 3Play ButtonChapter 4 - Pg. 15Play PointerChapter 4 - Pg. 14moving to Marker locationsChapter 4 - Pg. 18

Play till Next MarkerChapter 9 - Pg. 16PostrollActiveChapter 9 - Pg. 11

Power Failure or PC Crash During RecordingChapter 19 - Pg. 7PreferencesChapter 9 - Pg. 14Auto Delete TakesChapter 9 - Pg. 15Confirm DeletesChapter 9 - Pg. 15DeglitchChapter 9 - Pg. 15Digital Transmit Channel StatusChapter 9 - Pg. 16Fast RedrawChapter 9 - Pg. 14Fast REW/FF ModeChapter 9 - Pg. 16Fill WaveformChapter 9 - Pg. 14Keep all generated Waveform filesChapter 9 - Pg. 16Keep Part SelectionChapter 9 - Pg. 15Play till next MarkerChapter 9 - Pg. 16Remote Control EnableChapter 9 - Pg. 16Shift Markers with Global Insert/DeleteChapter 9 - Pg. 16Show Part Name in waveformChapter 9 - Pg. 14Show Part VolumeChapter 9 - Pg. 15

PrerollActiveChapter 9 - Pg. 11LengthChapter 9 - Pg. 11Record SetupChapter 4 - Pg. 10

Punch-in Punch-out Recording ModeChapter 4 - Pg. 9

QQuick Format SDiskChapter 12 - Pg. 6Quick Start TutorialChapter 3 - Pg. 1

RRecalibrationDurationChapter 9 - Pg. 17TimeoutChapter 9 - Pg. 17

Record ButtonChapter 4 - Pg. 15Record Looping, Preroll and Stacked takesChapter 4 - Pg. 10Record SetupChapter 4 - Pg. 10 / Chapter 9 - Pg. 11AutostopChapter 9 - Pg. 11Max record time for punch outChapter 9 - Pg. 11PostrollChapter 9 - Pg. 11PrerollChapter 9 - Pg. 11

Record Track ColumnChapter 3 - Pg. 1 / Chapter 4 - Pg. 5Record Track Arming using the KeyboardChapter 4 - Pg. 7slaved to MTCChapter 4 - Pg. 11

Recover SDiskChapter 12 - Pg. 6Recovering an SDiskChapter 19 - Pg. 5Redraw (Fast)Chapter 9 - Pg. 14Remote Control EnableChapter 9 - Pg. 16Remote Device ControlChapter 14 - Pg. 1Connections for a RS-422/RS-232 to Sony 9 Pin CableChapter 14 - Pg. 7HelpChapter 14 - Pg. 7Installing and assigning RS-422 and MIDI portsChapter 14 - Pg. 1LocatorsChapter 14 - Pg. 6SettingsChapter 14 - Pg. 4Shortcut KeysChapter 14 - Pg. 6Shuttle ControlChapter 14 - Pg. 5Software InstallationChapter 14 - Pg. 1Timecode DisplayChapter 14 - Pg. 5Track ArmingChapter 14 - Pg. 6Transport ControlChapter 14 - Pg. 5

Removable Drives and Multiple Sound DisksChapter 2 - Pg. 17Repeat ToolChapter 5 - Pg. 25Reverb - Wave MechanicsChapter 17 - Pg. 1Reverb Process ToolChapter 17 - Pg. 2Reverberation PresetsChapter 17 - Pg. 8Reverse ToolChapter 5 - Pg. 12Rewind and Fast Forward ButtonsChapter 4 - Pg. 15RS-422 cardInstallingChapter 14 - Pg. 2

SSample Delay LineChapter 6 - Pg. 18Sample RateChapter 4 - Pg. 3 / Chapter 9 - Pg. 7Sample Rate Convert ProcessChapter 16 - Pg. 4Samples per frameChapter 4 - Pg. 17SaveArrChapter 8 - Pg. 3Arr AsChapter 8 - Pg. 3MixChapter 6 - Pg. 1Mix AsChapter 8 - Pg. 5

Save SettingsChapter 9 - Pg. 22Scrub ToolsChapter 5 - Pg. 9SDFSChapter 7 - Pg. 1 / Chapter 12 - Pg. 1SDiskChoosing for SoundscapeChapter 2 - Pg. 5DefragmentChapter 12 - Pg. 1Recording/ProcessingChapter 12 - Pg. 1Shrink TakesChapter 12 - Pg. 2

SDisk Auto CalibrationChapter 9 - Pg. 17Optimize SDisk Auto CalChapter 9 - Pg. 17Recalibration DurationChapter 9 - Pg. 17Recalibration TimeoutChapter 9 - Pg. 17

SDisk menuChapter 12 - Pg. 1Delete All Active TakesChapter 12 - Pg. 4Delete All Inactive TakesChapter 12 - Pg. 4Delete All TakesChapter 12 - Pg. 4Format SDiskChapter 12 - Pg. 5Quick Format SDiskChapter 12 - Pg. 6Recover SDiskChapter 12 - Pg. 6

SDisk WindowChapter 7 - Pg. 7Select All PartsChapter 10 - Pg. 2on Same Virtual TrackChapter 10 - Pg. 2that use Same TakeChapter 10 - Pg. 3with Same OutputChapter 10 - Pg. 2

Select Muted PartsChapter 10 - Pg. 3Select Partsbetween L/R LocatorsChapter 10 - Pg. 3from Left Locator to EndChapter 10 - Pg. 3Set L Locator at EndChapter 10 - Pg. 4Set LocatorsChapter 10 - Pg. 4Set R Locator at Part BeginChapter 10 - Pg. 5

SFile ManagerChapter 7 - Pg. 1Auditioning TakesChapter 7 - Pg. 2Dragging Takes into ArrangementChapter 7 - Pg. 3SFolderChapter 7 - Pg. 3SortChapter 9 - Pg. 17

SFilesArrangementChapter 7 - Pg. 2Deleting, Renaming and EditingChapter 7 - Pg. 4MixChapter 7 - Pg. 2Move, Cut, Copy and Paste Chapter 7 - Pg. 5SelectingChapter 7 - Pg. 5TakeChapter 7 - Pg. 2

SFoldersCreating on SDiskChapter 7 - Pg. 3Deleting, Renaming and EditingChapter 7 - Pg. 4

Shift Markers with Global Insert/DeleteChapter 9 - Pg. 16Shortcut for the SSEditor ApplicationChapter 2 - Pg. 21Show Part VolumeChapter 9 - Pg. 15Shrink TakesChapter 12 - Pg. 2SlaveChaseChapter 9 - Pg. 6TriggerChapter 9 - Pg. 7

Slip ToolChapter 5 - Pg. 24SMPTEFrame RatesChapter 9 - Pg. 8OffsetChapter 9 - Pg. 9

SnapChapter 9 - Pg. 10ValueChapter 4 - Pg. 3

SoftwareAfter installing a second driveChapter 2 - Pg. 16Starting for the first timeChapter 2 - Pg. 14

Solo Part Tool Chapter 5 - Pg. 4Solo ToolChapter 5 - Pg. 4Sound Disk (SDisk)Chapter 7 - Pg. 7SoundscapeHost Interface CardChapter 2 - Pg. 2Parallel Port InterfaceChapter 2 - Pg. 2

Soundscape Device DriverChapter 2 - Pg. 12Windows 95/98Chapter 2 - Pg. 12Windows NT4Chapter 2 - Pg. 13

Soundscape Disk Filing System (SDFS) FileChapter 19 - Pg. 5SpecificationsChapter 1 - Pg. 3HardwareChapter 1 - Pg. 3SoftwareChapter 1 - Pg. 4

Start In folderChapter 2 - Pg. 21 - 22Startup ErrorsChapter 2 - Pg. 16Bars:Beats:Ticks modeChapter 4 - Pg. 3SMPTE modeChapter 4 - Pg. 3

Stereo Link ToolChapter 5 - Pg. 23Stereo MixdownChapter 5 - Pg. 14Stereo Reverb ModuleChapter 17 - Pg. 1ParametersChapter 17 - Pg. 3PresetsChapter 17 - Pg. 8

Stop ButtonChapter 4 - Pg. 15Superclock Signals & Chase SlaveChapter 9 - Pg. 5SyncChapter 4 - Pg. 3SynchronisationChapter 9 - Pg. 6MIDI Clock MasterChapter 9 - Pg. 6MTC Chase SlaveChapter 9 - Pg. 6MTC MasterChapter 9 - Pg. 6MTC Trigger SlaveChapter 9 - Pg. 7SMPTEChapter 9 - Pg. 7SPP & MIDI ClockChapter 9 - Pg. 6

System RequirementsChapter 2 - Pg. 1

TTakesAuditioning from SFile ManagerChapter 7 - Pg. 2Dragging from SFile ManagerChapter 7 - Pg. 3

Tape MenuChapter 5 - Pg. 28Tape TransportChapter 4 - Pg. 15Keyboard ControlChapter 4 - Pg. 16

TC Reverb plug-inChapter 6 - Pg. 18TDIFChapter 6 - Pg. 6TDIF Master ClockIn 1-2 AnalogChapter 9 - Pg. 3In 1-2 DigitalChapter 9 - Pg. 3

TDM (Time Division Multiplex)Chapter 9 - Pg. 5TempoComputeChapter 10 - Pg. 5

Tempo and Time SignatureChapter 4 - Pg. 16Thermal CalibrationChapter 9 - Pg. 17Time AxisChapter 4 - Pg. 12 / Chapter 9 - Pg. 9Time Division Multiplex (TDM)Chapter 9 - Pg. 5Time Module (option)Chapter 16 - Pg. 1Time Stretch/CompressChapter 16 - Pg. 1Timing ResolutionChapter 4 - Pg. 16ToolbarChapter 4 - Pg. 2CustomisableChapter 4 - Pg. 3Tool SelectionChapter 4 - Pg. 2

ToolsCopyChapter 5 - Pg. 2CreateChapter 5 - Pg. 1CutChapter 5 - Pg. 3DC RemovalChapter 5 - Pg. 13DeleteChapter 5 - Pg. 22FadeChapter 5 - Pg. 6GlueChapter 5 - Pg. 13InfoChapter 5 - Pg. 20MixdownChapter 5 - Pg. 13MoveChapter 5 - Pg. 1Move & Copy VerticalChapter 5 - Pg. 3Move, Copy & Cut at LocatorChapter 5 - Pg. 4MuteChapter 5 - Pg. 13Noise GateChapter 5 - Pg. 15Normalise ProcessChapter 5 - Pg. 10Phase Invert Chapter 5 - Pg. 25Pitch ShiftChapter 16 - Pg. 3Repeat Chapter 5 - Pg. 25ReverseChapter 5 - Pg. 12Sample Rate ConvertChapter 16 - Pg. 4ScrubChapter 5 - Pg. 9Slip Chapter 5 - Pg. 24SoloChapter 5 - Pg. 4Solo PartChapter 5 - Pg. 4Stereo LinkChapter 5 - Pg. 23Stereo Reverb ProcessChapter 17 - Pg. 2Time Stretch/Compress ProcessChapter 16 - Pg. 1Track AssignChapter 5 - Pg. 1TrimChapter 5 - Pg. 24Volume Fade & EditChapter 5 - Pg. 5Volume TrimChapter 5 - Pg. 6WaveformChapter 5 - Pg. 20

Track Assign ToolChapter 5 - Pg. 1Track Input/Output IDChapter 6 - Pg. 6Trim ToolChapter 5 - Pg. 24TroubleshootingChapter 19 - Pg. 1Recovering a V1.18 or earlier DAT Backup which will not RestoreChapter 19 - Pg. 7Recovering an SDiskChapter 19 - Pg. 5Recovering from a Disk Error on StartupChapter 19 - Pg. 6Recovering from SDisk FormattingChapter 19 - Pg. 6Startup Errors due to bad SDFS or SDisk FormatChapter 19 - Pg. 5Warnings and Error MessagesChapter 19 - Pg. 1

TutorialChapter 4 - Pg. 1

UUndoChapter 5 - Pg. 27Unique FilenamesChapter 8 - Pg. 9Unselect All PartsChapter 10 - Pg. 4Update Prev/Next Part VolumeChapter 5 - Pg. 5

VVarispeedChapter 9 - Pg. 8Verifying a DAT BackupChapter 11 - Pg. 4Video Capture Cards (Tested)Chapter 9 - Pg. 21View MenuChapter 5 - Pg. 27Virtual TracksChapter 4 - Pg. 5VITC and MTC Full FrameChapter 9 - Pg. 7Vital StatisticsChapter 19 - Pg. 10Volume Trim ToolChapter 5 - Pg. 6Volume & Fades for Multiple PartsChapter 5 - Pg. 8

WWarnings & Error MessagesChapter 19 - Pg. 1WAV FilesChapter 8 - Pg. 10Waveform AxisChapter 9 - Pg. 9Waveform ToolChapter 5 - Pg. 20WindowsArrangeChapter 4 - Pg. 5AVI PlayerChapter 9 - Pg. 19Big Current TimeChapter 9 - Pg. 18Buffer ActivityChapter 4 - Pg. 19Main ScreenChapter 4 - Pg. 1Marker DirectoryChapter 4 - Pg. 17MixerChapter 6 - Pg. 4SDiskChapter 7 - Pg. 7SDisk DirectoryChapter 12 - Pg. 3SFile ManagerChapter 7 - Pg. 1Status BarChapter 4 - Pg. 2ToolbarChapter 4 - Pg. 2

Windows 95/98Chapter 2 - Pg. 12WM Reverb plug-inChapter 6 - Pg. 18Writing a complete Arrangement to the PCChapter 8 - Pg. 9Writing All SFiles to PCChapter 8 - Pg. 9

ZZoom BoxChapter 4 - Pg. 12Zoom ButtonsChapter 4 - Pg. 11Zoom LevelsChapter 4 - Pg. 12