Other Features
An input delay is provided, variable up to 4.95 secs, selectable in 66 ms increments via the "Utility" function button. Input delay gives you a buffer if, as they suggest, you're doing a live recording and want to have your finger on the trigger and insure against missing the beginning of the song. This also helps if you're doing an archive of an LP (my own observation).

The utility function also allows you to set the threshold for the auto track ID increment, from -30 to -96 dB (-96dB is the theoretical equivalent to silence in a 16-bit system). Similar to a DAT, the CDR1000 will begin to ID a track when it sees signal below a certain level (the threshold) for 2 seconds. Fade In and Fade Out times can be set from 0-10 sec in 1 sec increments, activated by the record and stop buttons, respectively. Clock select, copy bit (SCMS) settings for the S/PDIF coaxial out (copy protection bits are not carried by the AES/EBU stream), remote on/off and sample rate conversion on/auto are also set from this utility section.

The Sync Record function, accessible from the set of front panel function switches, gives you options for synching the CDR1000 to a source at the S/PDIF input, in which case the unit will start and stop recording and plus increment track and index numbers from the source tape and according to the mode selected. In "One-track" sync mode, the CDR1000 will begin recording when it sees a track number or start ID and record until it sees the next track number, start ID or skip ID, at which point it will automatically stop. This can be useful when creating a master from a source with varied placement of material. In "All-track" sync, the entire S/PDIF source will be recorded through to the end of the source material.

As mentioned, the SRC, or sample rate conversion switch, can be set to "On" or "Auto." There's no "Off" switch, but when set to auto, the SRC is essentially off when the CDR1000 is locked to incoming a 44.1k source. SRC is switched on, when in auto, if the sample rate varies by +/- 150 parts per million.

The CDR1000 by default outputs 44.1k S/PDIF and AES/EBU digital audio while recording. This can be a handy pass-through mode, useful when additional targets will benefit from the CDR1000's sample rate and UV22 conversions. Using the Utility function switch, pass-through can be switched from this "Normal" mode to "Thru" mode, in which AES/EBU and S/PDIF outputs the signal received at the inputs, or the unconverted signals. This, in a sense, bypasses the CDR1000's conversions.

Another handy function is the "AES/EBU Playback Clock" selection, also within the Utility function set of software switches. In playback, the AES/EBU output can be locked to an external source or use the internal clock (always running at 44.1). Choices for external sources are the wordclock input, the AES/EBU or the S/PDIF inputs. This would be very useful when used with the Digital Multitrack/Digital Mixing console/CDR 1000 scenario, where the system is running at 48k and the CDR1000 is being monitored via the AES/EBU 2-track return on the console. Using this feature would maintain the 48k sampling rate of the console, necessary for seamless recording/monitoring of a mix. Well thought out, Yamaha folks.

Lastly (I think), a parallel port is provided on the back of the unit for synching some of the remote control functions between two CDR1000s. It's suggested that using some sort of parallel port matrix system, multiple units can be controlled by one remote for disc duping situations.

Why the CDR1000?
A mixdown deck with these features that allows someone to walk away with a CD is a no-brainer good thing. This will work in any studio, with an analog mixing desk or digital mixer at any sample rate (up to 48k) and bit depth. Where I see the Yamaha CDR1000 as an invaluable tool is in the studio that has a digital console, and especially when it's used with ADATs or any modular digital (or analog) multitrack. Since the default sampling rate is 48 kHz, probably running at 20 bits, one would be forced to run a DAT at 48k when mixing in the digital domain, plus lop off a couple of bits to boot. Ultimately, a conversion and another truncation/dithering would have to happen to bring it to 44.1k/16 bit, or you'd just go back to analog for mastering (sometimes the better choice and the preferred choice of many mastering engineers).

The CDR1000 potentially solves that initial dilemma. But does it do its sample rate conversion and bit reduction thing and still sound good? Let's start recording some CDs.

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