It's fully MMC compliant so you can control the transport functions from sequencers and it also responds to FEX Fostex Exclusive Message which offers enhanced communication ability when controlled by a computer. This item is sold As-Is and cannot be returned unless it arrives in a condition different from how it was described or photographed. This item is sold As-Described and cannot be returned unless it arrives in a condition different from how it was described or photographed.
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Before recording, it's necessary to select a Program to record into, which may be done by depressing the Hold button, then using the Store key to step through the Program numbers. It is also important to manually set the sample rate of the D90 to match that of the source, and different Programs can be recorded at different sample rates if required.
This information is stored as part of the Program. The type of digital input is selected in the Setup menu, one of the three main display modes selected by means of the Disp Sel button.
To reset a channel for analogue input, it is only necessary to ensure that it isn't assigned to a digital source. Selecting a track for recording follows the usual rules of arming the track via separate Record buttons for each track, and putting the machine into input monitor mode for armed tracks is simply a matter of pressing Record twice.
The same is true of selecting start and end points for edit selections. This all works extremely smoothly, and my only minor whinges are directed towards the occasionally cryptic display and the fact that the control buttons look too much alike. For example, Locate could usefully have been made a different colour or size to the other buttons.
Though not exactly silent, the disk drive in the D90 is reasonably quiet, with only the faintest of clunkings and whirrings to betray its existence.
Even so, you wouldn't want to have a sensitive mic right on top of it, which is why the remote front panel is such a good idea for solo recordists.
For all practical purposes, the recording quality is as good as DAT or ADAT, punching in and out is seamless, and the most commonly executed functions are reasonably straightforward.
More advanced sync scenarios, such as running multiple machines or integrating with ADATs, requires a bit of careful manual reading, but the information is there if you look hard enough — it's just that it could have been presented a lot better than it is. Even so, that's still one stage of undo that you don't get with a tape recorder, and even though you can do copy and paste editing between a couple of ADATs, it's much faster with the D90, and you only need one machine to do it.
It also proved straightforward to pass ADAT recordings to and from the D90 via the optical interface. Price restructuring means that the D90 isn't much more expensive than the D80 originally was, yet it contains a number of genuinely useful enhancements, the most notable of which are the SCSI option, the removable drive, the ADAT interface, and more flexible sync options.
I'm particularly enthusiastic about the inclusion of an ADAT interface, and it's also useful that D90s can sync in both master and slave modes. The flexibility available from combining multiple D90s or a mixture of D90s and ADATs in a synchronised system is extremely welcome, as it allows ADAT data to be lifted off, edited, and then replaced to tape relatively simply.
The basic principle of operation remains the same as for the D80, however, and I feel that, for a great number of users, this relatively simple approach is absolutely right, though both the display and the manual could be more friendly towards inexperienced users.
A D90 internal tempo map can contain up to 64 tempo changes, and, once the tempo map has been created, the D90 can send MTC related to absolute time, with up to six hours offset to sync a sequencer or other MIDI device.
To allow time for sync to occur, the D90 is set up so that ABS 0 occurs a couple of bars before the song start point, so that by the time the song start is reached, the external device should have had time to sync up. According to the manual, this doesn't normally happen, but as we only had one D90 for review, there was no means of testing the effectiveness of locking multiple machines, other than with an ADAT.
It seems odd to have come so close without providing full ADAT emulation. For this to work, the D90 must contain a recording, even if only of silence — if there's no recording, the machine can't sync. Once in sync, the real recorded parts can be added and the blank audio track or tracks overwritten.
For MTC lock to be maintained, the source speed should be within plus or minus 5. Outside these limits, chase lock sync cannot be maintained. If you liked the D80, the D90 offers more features, more flexibility and more options for relatively little extra cost.
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