Recording format: ADAT (Alesis Digital Audio Tape)
Recording time: 40 minutes with S-VHS 120 cassette
Fast wind speed: 20x play speed with tape unwrapped
10x play speed with tape wrapped
Fast audio scan speed: 3x play speed
A/D conversion: 16 bit linear, Delta-Sigma 64 times oversampling, single convertor
Sample rate: 48kHz (varispeed 40.4 to 50.8kHz, +1, -3 semitones)
Frequency response: 20Hz to 20kHz +/-0.5dB
Dynamic range: >92dB from 20Hz to 20kHz A weighted
Distortion: 0.009% THD + noise @ 1kHz, 0.5dB below maximum output, A weighted.
Channel crosstalk: <-90dB @ 1kHz
Wow and flutter: Unmeasurable
Connectors: 56 pin ELCO
16 1/4” jack (8 input, 8 output)
2 EIAJ fibre optic (1 input, 1 output), Alesis Fibreoptic Multichannel protocol.
Which track for timecode?
It may seem like a giant leap backwards to have to sacrifice an audio track
for timecode when ADAT has inherent synchronising capability, but until the
extended (BRC) remote control appears, which I suspect will remedy this, we’ll
still have to do just this – and fortunately it’s nowhere near as problematical
as using timecode on an analogue multitrack. So on which track should the timecode
go on a sixteen track system with two ADATs?
Suppose your master ADAT is connected to tape outputs and inputs 1 to 8 and
the slave is connected to 9 to 16. If you record timecode on track 16 then the
slave will take three seconds or more to start after the master enters play
or record and only then can your sequencer attempt to lock up, so timecode really
has to be recorded on the master. It doesn’t matter which track you use
but you are now going to have to work around the ‘hole’ on your mixing
console, which is irritating. The alternative would be to connect the slave
to 1 to 8 and the master to 9 to 16 but I can’t help feeling that this
is thoroughly illogical. As the price of progress I’m sure we’ll get
used to it.