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PCM 3348 HR 
 | 24-bit High
Resolution Recording |
| Fully Compatible
with 16-bit DASH Machines - PCM 3348/3324 |
| Built-in 20-bit
A/D, D/A Converters |
| Versatile Digital
Audio Inputs/Outputs |
| MADI Inputs/Outputs
|
| 8 channel AES Inputs/Outputs
|
| Sony 9-pin Serial
Remote Interface |
| Remote Control
Unit - RM-3348HR |
|
PCM 3348
| 1/2-inch
DASH recorder with 48 digital audio tracks, 2 cue tracks and
one track each for CTL and time code signals |
| Compatible
with PCM-3324S/3324A/3324 in recording and playback of - digital
audio tracks 1 through 24.
|
| 2
times oversampling digital filtering for both A/D and D/A converters
|
| Wide
interfacing-balanced analog multi l/O and three types of digital
l/O (AES/EBU SDIF-2 balanced/unbalanced)
|
| Comprehensive
microprocessor controlled servo system, unique design and excellent
mechanics for fast and stable transport
|
| Built-in
time code generator/reader capable of handling SMPTE drop frame/non-drop
frame, EBU and film time codes
|
| 48kHz,
44.1kHz or 44.056kHz sampling frequency selectable
|
| Advanced
digital/analog output function enables pre-delay adjustment in
1-sample steps to compensate for signal processing delay in external
equipment
|
| Approx
20 seconds of digital audio data can be stored in sound memory
and re-recorded back onto tape at any position
|
| Real-time
digital ping pong. |
|
PCM-7030
|
Designed
with a 4- head rotary system , the PCM-7030 recorder provides
two recording modes, RAW (Read-After-Write) and RMW (Read-Modify-Write).
In RAW mode, real-time off tape monitoring is provided. In the
RMW mode, the PCM-7040 allows enhanced punch in and punch out
operation with crossfading at the punch in and out points. |
 DR-8
| 18-bit 64x oversampling
ADC
|
| 20-bit 8x oversampling
DAC 24-bit internal processing. |
| Instantaneous access
to 109 autolocate points.
|
| Link up to 8 DR8s
for 64 tracks.
|
| "Take"
function for easy recording and auditioning of alternate takes.
|
| Standard SCSI interface
allows access to external drives including M/O and JAZ removable
mediadrives. |
|
 ADAT XT
| The
audio quality actually improves on the ADAT's high standard,
|
| Records
8 tracks of audio with 18 bit 128 times oversampling A/D converters
and 20 bit 8 times oversampling D/As. |
| Up
to 16 ADAT recorders can be linked together for 128 tracks with
no external synchronizer required and without sacrificing a track
to timecode. |
| The
ADAT-XT offers an improved transport which operates up to 4 times
faster than the original ADAT, with new Dynamic Braking control
for more accurate locates and faster lock times. |
| An
onboard digital editor allows you to make flawless copy-paste
digital edits between tracks on a single unit, or between multiple
machines. |
| Features
Tape Offset, Track Copy, Track Delay, and ten autolocate buttons
for sophisticated flexibility and control over your productions.
|
| Both
+4 dBu balanced and -10 dBV unbalanced connections and the ADAT
Optical Digital Interface™ are provided for flexible hookup
in your studio, and a comprehensive Vacuum Fluorescent Display
provides all the critical information. |
| A
rugged six pound die-cast aluminum chassis offers strength and
stability while lessening torque stress on the transport mechanism.
|
| With
its fast, software-controlled transport, onboard digital editor,
10-point autolocator and 100% compatibility with over 70,000
ADATs worldwide, the ADAT-XT builds upon the ADAT format as the
most world's popular professional multitrack recorder. |
|
BRC
|
The
Alesis BRC Master Remote Control adds a set of powerful creative
andoperational tools to your ADAT or ADAT-XT digital recording
system. Itprovides SMPTE, MIDI and Video synchronization, digital
editing, and afull-function multi-machine autolocator with an
onboard memory. The BRC isthe only device that allows you to
control up to 128 ADAT tracks from one location, either table
top mounted, in a studio rack, or on an optionalroll-around stand.
Another BRC function that can't be found anywhere else isthe
ability to edit and assemble your songs using bars and beats.
Otherfeatures include mple-accurate auto punch in/out and rehearsal
modes, 460Location points with 8-character alphanumeric names,
full control of Track Delay (up to 170 ms per track), Tape Offset
between multiple recorders,SMPTE Offset and Generation, MIDI
Tempo Maps and Clock Generation, andMIDI Machine Control. |
 DA 88
| The
standard digital multitrack for post production and winner of
the coveted Emmy award for technical excellence. |
| Record
time of roughly 1 hour and 50 minutes on a single tape. |
| Expandable
up to 128 Tracks/16 machines |
| User-definable
track delay & crossfade Shuttle & Jog capability. |
| Auto
punch with rehearsal SMPTE, MIDI and Sony 9-Pin sync capability
|
|
MMR-8
| The MMR-8 and MMP-16
dubbers just keep getting better and better!
|
| Now, the much anticipated
addition of Fairlight playback is ready.
|
| Since the Fairlight
system works with 24 tracks on a disk, v4.1 allows an MMR-8 and
an MMP-16 to read from the same disk, so there is no need for
extra drive duplication.
|
|
SV 3700 
|
Front-panel
shuttle wheel 0.5-15X speed range IR remote control 4 stage,
1-bit Delta-Sigma A-to-D converters 20-bit equivalent D-to-A
converters. Program, absolute and time-remaining displays. Pushbutton
selection of 44.1kHz/48kHz sampling rates via either analog or
digital inputs. Balanced
inputs and outputs via XLR connectors with choice of -10dBu
or +4dBm output levels. Up to 400X fast forward/rewind and search
speeds to provide high-speed access to any point on a 2-hour DAT
tape within 27seconds. Single program and skip play feature is
handy for post-production work. The SV-3700 automatically clocks
to incoming frequencies of 32kHz,44.1kHz or 48kHz. |
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