dps16 DIGITAL PERSONAL STUDIO WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
WARNING!! To prevent fire or shock hazard, do not expose this appliance to rain or moisture. 1-En CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.
WARNING WARNING: WHEN USING ELECTRIC PRODUCTS, BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED, INCLUDING THE FOLLOWING: WARNING Power requirements for electrical equipment vary from area to area. Please ensure that your DPS16 meets the power requirements in your area. If in doubt, consult a qualified electrician or AKAI professional dealer. 120 VAC 220~240 VAC @ 60 Hz for USA and Canada @ 50 Hz for Europe PROTECTING YOURSELF AND THE DPS16 • Never touch the AC plug with wet hands.
WARNING WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows: 1) Remove the fuse cover and old fuse. 2) Fit a new fuse which should be a BS1362 5 Amp A.S.T.A or BSI approved type. 3) Refit the fuse cover.
WARNING VENTILATION Do not prevent the unit's ventilation, especially by placing the unit on the soft carpet, in a narrow space, or by placing objects on the unit's chassis—top, side, or rear panels. Always keep the unit's chassis at least 10 centimeters from any other objects. 31C-En CHANGES OR MODIFICATIONS NOT EXPRESSLY APPROVED BY THE MANUFACTURER FOR COMPLIANCE COULD VOID THE USER’S AUTHORITY TO OPERATE THE EQUIPMENT.
WARNING WARRANTY AKAI professional M.I. Corp. warrants its products, when purchased from an authorized “AKAI professional” dealer, to be free from defects in materials and workmanship for a period of 12 (twelve) months from the date of purchase. Warranty service is effective and available to the original purchase only, and only on completion and return of the AKAI professional Warranty Registration Card within 14 days of purchase.
Table of contents Table of contents Chapter 1: Overview of the DPS16 .......................................... 1 Features of the DPS16 ...................................................................................................... 1 About Q-Link ........................................................................................................ 1 Parts and functions ........................................................................................................... 2 Top panel ..........
Table of contents Using locate points ......................................................................................................... 28 Overdubbing .................................................................................................................. 30 Signal flow during overdubbing ............................................................................... 30 Overdub operation ..................................................................................................
Table of contents Chapter 5: Assigning Input Signals and Tracks (Quick Patch mode and V. Track mode) ................ 53 Main Quick Patch mode screen ..................................................................................... 53 Basic operations in Quick Patch mode ........................................................................... 54 Assigning recording sources to physical tracks .........................................................
Table of contents Using the Solo and Mute functions ................................................................................. 86 Solo function ........................................................................................................... 86 Mute function ......................................................................................................... 87 Digital input from an external device .............................................................................
Table of contents Backing up Projects to an external SCSI device ..................................................... 118 Backing up in multiple disks ................................................................................. 120 Backing up in an external DAT recorder connected to the DIGITAL jack ............... 120 Reloading the backup Project ....................................................................................... 122 Loading from the SCSI device ...................................
Table of contents XOVER CHORUS .................................................................................................. 158 MONO FLANGER ................................................................................................. 159 STEREO FLANGER ................................................................................................ 159 XOVER FLANGER ................................................................................................. 160 PAN FLANGER ...................
Chapter 1: Overview of the DPS16 Chapter 1: Overview of the DPS16 This chapter describes the features of the DPS16 and identifies its parts and functions. It also describes the DPS16’s unique conceptual design and operating method.
Chapter 1: Overview of the DPS16 Parts and functions This section describes part names and functions. The names of the controls on the top panel are shown in brackets [ ] to differentiate them from those buttons and knobs shown on the display.
Chapter 1: Overview of the DPS16 5 [INPUT TRIM] controls 1–8 Use these controls to adjust the gain of the signals (ranging from mic level to line-level) input from Input jacks 1–8. 6 [INPUT SELECT] keys These keys are used to select input signals and mixer channels. 7 [TRACK SELECT] keys These keys are used to select edit tracks and mixer channels. 8 [RECORD SELECT] keys These keys are used to select recording tracks and edit tracks.
Chapter 1: Overview of the DPS16 Y X MAIN SCREEN MIXER NUMBER /NAME SETUP EFFECT MUTE PATCH V.TRACK SOLO PROJECT DISK WAVEFORM EDIT MASTER T U V Z CURSOR W S MASTER EDIT POINT OUT IN PLAY IN-OUT TO FROM UNDO a LOCATE GO TO MEMORY REC b c S [CURSOR] key The cursor key is used to move the cursor (highlighted part) on the display to select an item. T [MASTER] key This key is used to select the master section to edit mix parameters.
Chapter 1: Overview of the DPS16 Y Edit point keys ([IN] key/[OUT] key) These keys are used to store IN/OUT points that are used to specify the range of the Auto Punch In/Out function and Edit function. Z Point play key ([IN-OUT] key/[TO] key/[FROM] key) These keys are used to play back data between the IN and OUT points or to play for a specified duration around the current position of the DPS16. a [UNDO] key This key is used to cancel the recording or editing operation you just performed.
Chapter 1: Overview of the DPS16 Rear Panel POWER ON FOOT SW. OFF SCSI MIDI OUT/ THRU IN DIGITAL OUT IN 1 2 AUX SEND 3 MASTER MONITER OUT OUT 4 L L R R MODEL NUMBER DPS16 J 9 8 7 6 5 4 3 2 1 1 MONITOR OUT jacks L/R These jacks output a monitoring signal, which is usually identical with the signal output from the MASTER OUT jacks. If the [SOLO] key is turned on, signals from soloed channels will be output.
Chapter 1: Overview of the DPS16 Internal IDE hard disk • The DPS16 has an internal hard disk (optional) that conforms to the IDE standards. You need to format this hard disk before you can use the DPS16. (See page 22 for more information on how to format the disk.) • Before you turn off the power to the DPS16, make sure that the hard disk is not being accessed. If you turn off the power to the DPS16 while the hard disk is being accessed, the hard disk may be damaged and data on the disk may be lost.
Chapter 1: Overview of the DPS16 ■ Connecting multiple SCSI devices Use a daisy chain connection to connect multiple SCSI devices as shown below: SCSI cable to SCSI connector external SCSI device JOG SHUTTLE DPS16 external SCSI device terminator external SCSI device Install a terminator on the last SCSI device in the daisy chain. (If the SCSI device has a built-in active terminator, turn it on.
Chapter 1: Overview of the DPS16 Terminology and functions unique to DPS16 The DPS16 is a product that integrates a hard disk recorder, digital mixer, and a digital effects processor. From recording to output at the MASTER OUT jack, all data is processed in the digital domain. Therefore, its concept and the way in which it works is slightly different than conventional MTRs or analog mixers. This section introduces that concept and terminology unique to the DPS16.
Chapter 1: Overview of the DPS16 For example, you can switch virtual tracks that are assigned to recording tracks (physical tracks) to record multiple takes of the main vocal performance. In this way, you can later select the best take for mixdown. You can also store data in a virtual track to perform ping-pong recording onto the data repeatedly until you are satisfied. Virtual tracks have various applications, and you can use the DPS16 without being limited to sixteen tracks.
Chapter 1: Overview of the DPS16 TRACK MIX channels and INPUT MIX channels The DPS16’s mixer section offers ten channels (called “INPUT MIX channels”) that enable you to control input signals that come directly from INPUT jacks 1–8 and the DIGITAL IN jack, as well as sixteen channels (called “TRACK MIX channels”) for which you can control track playback signals from the recorder section. Both channels are equipped with the same mix parameters, such as EQ, AUX send 1–4, Pan, and level.
Chapter 1: Overview of the DPS16 4 The master level of the stereo mix signal is adjusted by the master fader on the top panel. This signal is output from the MASTER OUT jacks (analog) and the DIGITAL OUT jack (digital). You can also send the input signals at the INPUT jacks directly to the mixer section, instead of sending them to the tracks. The following diagram shows a typical signal flow when the INPUT MIX channels are used.
Digital IN L - R Analog IN 1 - 8 EFFECT INSERT RECORD EFFECT INSERT OFF/ON HARD DISK PLAYBACK AUTO MONITOR SOURCE ASSIGN EQ EQ EFFECT INSERT OFF/ON EFFECT INSERT OFF/ON FX4 FX3 FX2 FX1 PAN PAN LEVEL SEND4 SEND3 SEND2 SEND1 EFFECT INSERT OFF/ON PRE/POST LEVEL LEVEL EFFECT BOARD TRACK/THRU PRE/POST SOLO SOLO SOLO SEND4 SEND3 SEND2 SEND1 x4 PHONES MONITOR OUT R MONITOR OUT L MASTER OUT R MASTER OUT L AUX SEND 1 AUX SEND 2 AUX SEND 3 AUX SEND 4 PHONES LEVEL MONITOR
Chapter 1: Overview of the DPS16 Scene memory The DPS16 can store a set of mix parameter settings as a scene, and recall the scene later. A scene is stored as part of the Project on the disk. You can store up to 8 scenes in one Project. For example, you may store multiple scenes with different balance and EQ settings for mixdown, and audition and compare different mixes. The following main parameters are stored in a scene.
Chapter 1: Overview of the DPS16 The Main screen shows the following information: 1 Project Indicates the name of the Project you are currently working on (current Project). 2 Remain Indicates the remaining time available for recording on the disk in hours/minutes. 3 Disk busy This meter indicates that the disk is being accessed. The more the meter moves, the more frequently the disk is being accessed. 4 Time counter Indicates the current transport position.
Chapter 1: Overview of the DPS16 Changing the settings and values You can either use the [JOG] wheel or enter a numeric value directly to change the settings or time values of the fields and the time counter. ■ Using the [JOG] wheel to change the settings Use the [JOG] wheel to change the time value of the time counter or the field settings. 1. Use the [CURSOR] key to move the cursor to the desired counter or field. 2. Turn the [JOG] wheel to change the setting.
Chapter 1: Overview of the DPS16 Entering characters You can either select a character using the [JOG] wheel or type a character directly to enter characters in the character fields (for naming virtual tracks or Projects). ■ Using the [JOG] wheel to enter characters 1. Use the [CURSOR] key to move the cursor to a character field. 2. Press the [NUMBER/NAME] key. The [NUMBER/NAME] key’s LED flashes and an underline appears under the first character in the character field.
Chapter 1: Overview of the DPS16 3. Press the key that corresponds to the letter, number, or symbol you wish to enter. The character that corresponds to the pressed key is entered and the underline moves to the right. 4. Repeat Step 3 repeatedly to complete naming. 5. Press the [NUMBER/NAME] key again. The [NUMBER/NAME] key’s LED turns off, and the entered characters are confirmed.
Chapter 1: Overview of the DPS16 ■ When the QLMC mode is set to MIXER: Pressing the [F6] key repeatedly toggles the following two options: • EQ • SEND ................ Enables you to adjust the center frequency ( Freq) and the boost/cut amount ( Level) of the 3band EQ (High, Mid, Low). ........... Enables you to adjust the Send (AUX send) 1-4, Pan, and Level. ■ When the QLMC mode is set to EFFECT: Pressing the [F6] key repeatedly toggles the four options in the following order: • FX1 ..............
Chapter 2: Recording on the DPS16 Chapter 2: Recording on the DPS16 This chapter describes the basic operations of the DPS16, including recording preparation, recording the first part, overdubbing, and mixing down to a master recorder. Connections The diagram below is an example of the basic connections for recording on the DPS16.
Chapter 2: Recording on the DPS16 ■ Connecting sound sources • You can connect line-level instruments, such as a synthesizer or a rhythm machine, and dynamic microphones directly to INPUT jacks 1–8. • INPUT jacks 1–2 accept either a standard 1/4" TRS phone plug or a balanced XLR-type plug. Use these jacks to connect a condenser microphone or a direct box that requires phantom power, and turn on the [PHANTOM POWER] switch on the top panel.
Chapter 2: Recording on the DPS16 Preparing to record This section explains the necessary preparations for recording. Turning on the power to the DPS16 1. Turn on the power to the peripheral devices, excluding the DPS16 and the monitor system. The sequence for turning on the power to each device is: peripheral devices (such as tone generator, external SCSI device) → DPS16 → monitor system. Reverse this order when you turn off the power. 2. Turn on the power to the DPS16.
Chapter 2: Recording on the DPS16 This Disk List screen indicates the status of the internal hard disk and the external drive connected to the SCSI bus. In this example, the ATA field indicates the internal hard disk and the SCSI ID 6 field indicates the DPS16. SCSI ID 7 is not allowed. ✐TIP : “ NOW SELECTED” appears in the Status field of the current drive. “ NOT in the field of non-formatted drives.
Chapter 2: Recording on the DPS16 Creating a new Project You can create a new Project using the Create New Project window. This window appears when you press the [F5] ( NEW) key after the disk is formatted or after you press the [PROJECT] key to place the DPS16 in Project mode. 1 2 3 1 New project This field enables you to name a new Project. 2 Resolution This field enables you to set the bit resolution (16-bit or 24-bit) for recording/playing back the Project.
Chapter 2: Recording on the DPS16 Recording the first track This section explains how to record the first track, using an example of recording a rhythm machine connected to INPUT jacks 1 and 2 onto tracks 1 and 2. Signal flow during recording The diagram below shows the signal flow for recording tracks 1 and 2.
Chapter 2: Recording on the DPS16 Recording to the first track 1. Connect the output jacks of a rhythm machine to INPUT jacks 1 and 2. INPUT jacks 1 and 2 accept either the XLR-type plug and 1/4" TRS phone plug. To connect a standard 1/4" phone plug to one of these jacks, insert the plug in the center of the jack. 2. Press [RECORD SELECT] keys 1 and 2. When you turn on the [RECORD SELECT] keys (and their LEDs flash in red), the corresponding tracks enter record-ready mode.
Chapter 2: Recording on the DPS16 6. Press the [ ] button while holding down the [REC] button and start playing the rhythm machine. Recording starts on the tracks in record-ready mode (tracks 1 and 2). 7. Press the [ ] button when recording is complete. 8. Press the [ ] button to check the recorded tracks. Pressing the [ ] button will cause the time counter on the Main screen to return to zero (00:00:00:00.0). ✐TIP : To locate a point, you can use various methods besides using the transport buttons.
Chapter 2: Recording on the DPS16 Using locate points After you have finished recording the first track, you may want to store the points (time values) where a tune or tone changes, such as the end of the intro, the start of the chorus, bridge, etc., as locate points before you start recording the next track.
Chapter 2: Recording on the DPS16 5. To locate the stored direct locate point, press the [GO TO] key when the DPS16 is stopped. The Shortcuts window and the Locate List window appear where you can perform the locate operation. 6. Press the [INPUT SELECT] key or [TRACK SELECT] key that is assigned to the direct locate point. The DPS16 moves to the specified location, and the Shortcuts window and the Locate List window close.
Chapter 2: Recording on the DPS16 Overdubbing “Overdubbing” is a recording operation in which you record another part in a new track while monitoring the playback sound from tracks that have already been recorded. In this example, we overdub a bass guitar sound from INPUT jack 8 to track 3 while listening to the rhythm machine recorded on tracks 1 and 2.
Chapter 2: Recording on the DPS16 Overdub operation 1. Connect the bass guitar to INPUT jack 8. Play the bass guitar and use [INPUT TRIM] knob 8 to adjust the signal level while checking the level meter, so that the OVER indicator will not light up even when the volume level reaches maximum. If the bass guitar is high-impedance, turn the [GUITAR/NORMAL] switch to GUITAR.
Chapter 2: Recording on the DPS16 5. Press the [MAIN SCREEN] key. The display returns to the Main screen. 6. Press the [RECORD SELECT] key of track 3. Track 3 enters record-ready mode. At this time, you can monitor the input source (bass guitar) through track 3. 7. Raise channel fader 3 to an appropriate position, then set [TRACK PAN] control 3 to the center position. Now, you can monitor the bass guitar sound panned to the center. 8.
Chapter 2: Recording on the DPS16 Using the Undo/Redo functions If you are not satisfied with a recording, you can use the Undo function to cancel the previous recording. With the DPS16’s default setting, the undo level is set to “1”. (The undo level is a parameter that determines the number of previous operations you can undo. The setting “1” means that you can restore one previous operation.) You can set this value in a range from 0 to 250, inclusive. (See page 109 for more information.
Chapter 2: Recording on the DPS16 Take # : Current take Take # : Take on the disk to be used in the undo operation Take 6 Press the [UNDO] key Take 5 (Number of steps: 0)Take 4 Take 5 Press the [UNDO] key Take 5 Take 2 Take 4 (Number of steps: Take 4) 4 Take 1 Take 3 Take 3 Take 2 Take 2 Take 6 Take 1 Take 6 Press the [UNDO] key Take 5 (Number of steps: 2)Take 4 Take 6 Take 3 Take 3 Take 2 Returns to the previous status. Take 1 Take 1 Returns to the second previous status.
Chapter 2: Recording on the DPS16 4. In the same way, store the punch out point (OUT point) in the [OUT] key. 5. Press the Quick Function [F4] ( SELECT) key and turn the [JOG] wheel to select the function. AUTO PUNCH While the DPS16 displays the Main screen, the [F1] – [F4] function keys are used to quickly edit various internal settings. First, press the [F4] ( SELECT) key, then turn the [JOG] wheel to select a function you want to set.
Chapter 2: Recording on the DPS16 Mixdown You can repeat the steps described thus far to record up to sixteen tracks. However, this does not mean that you now have a completed work. Next, you will need to set the level and pan for each recorded track, and record the data onto a connected DAT tape recorder or cassette tape recorder. This phase of the recording process is called “mixdown”. Signal flow during mixdown The following diagram shows the signal flow during mixdown.
Chapter 2: Recording on the DPS16 Mixdown procedure 1. Make sure that the master recorder is connected to the MASTER OUT jacks or the DIGITAL OUT jack. 2. Turn off all of [RECORD SELECT] keys 1–16. 3. Play back the song from the beginning on the DPS16, and adjust the channel faders, the [TRACK PAN] knobs, and the master fader to appropriate positions. At this time, you can check the output levels of the tracks and the output level of the Master L/R by observing the level meters on the Main screen.
Chapter 2: Recording on the DPS16 • EQ ON/OFF (equalizer on/off) • EQ HIGH FREQ • EQ HIGH LEVEL • EQ MID FREQ • EQ MID LEVEL (boost/cut amount in the middle range) • EQ MID WIDTH (band width in the middle range) • EQ LOW FREQ • EQ LOW LEVEL (center frequency in the high range) (boost/cut amount in the high range) (center frequency in the middle range) (center frequency in the low range) (boost/cut amount in the low range) 3.
Chapter 2: Recording on the DPS16 Completing operations on the DPS16 Follow the steps below to turn off the power to the DPS16 and connected peripheral devices after you finish recording or mixdown. 1. Turn off the power to the monitor system. 2. Make sure that the DPS16’s internal hard disk and the external drive are not accessed. Turn off the power to the DPS16. Use the Disk Busy field on the Main screen to check to see whether or not the disks are being accessed.
Chapter 3: Transport/Locate Operation Chapter 3: Transport/Locate Operation This chapter describes the transport and locate operations of the DPS16. Using the transport functions The DPS16 enables you to perform normal transport operations, such as playback, recording, and fast rewind, as well as jog playback using the [JOG] wheel and shuttle playback using the [SHUTTLE] knob.
Chapter 3: Transport/Locate Operation 1. Press the [WAVEFORM] key. The DPS16 enters Waveform mode and displays the following screen. 1 2 3 4 5 1 Displays the audio waveform of the currently selected track. 2 [F3] (ZOOM ) key 3 [F4] (ZOOM ) key These function keys are used to zoom the waveform in and out vertically. 4 [F5] (ZOOM ) key 5 [F6] (ZOOM ) key These function keys are used to zoom the waveform in and out horizontally. 2. Select a monitoring track using the [TRACK SELECT] key. 3.
Chapter 3: Transport/Locate Operation 4. When you finish using the [JOG] wheel/[SHUTTLE] knob, press the [MAIN SCREEN] key or any other mode key to exit Waveform mode. The [JOG] wheel/[SHUTTLE] knob are restored to their original functions.
Chapter 3: Transport/Locate Operation Locate operation You may specify up to 100 points (locate points) in a song and store them to help you locate points quickly. The DPS16 also features a Direct Locate function that enables you to assign a locate point to a key on the panel and locate the point with a simple key operation. This section explains various locate operations. Locating the zero position of the time counter The DPS16 can locate the zero position of the time counter. Follow the steps below.
Chapter 3: Transport/Locate Operation Locating the end point of a song The DPS16 can locate the end point of a song. ➸NOTE : The end point of a song means the last position of the audio data in physical tracks 1–16. 1. Press the [GO TO] key while the DPS16 is stopped. The Shortcuts/Locate List window appears. 2. Press the [ ] button. The DPS16 locates the end point of the song and the window closes.
Chapter 3: Transport/Locate Operation Storing locate points You can name and store up to 100 points in a song. You can store a position at which the mood of a song changes, such as bridges or choruses, to facilitate overdubbing later. LOCATE GO TO MEMORY [MEMORY] key REC 1. Press the [MEMORY] key at the position you wish to store the desired point. You may store locate points while the DPS16 is recording, playing, or stopped.
Chapter 3: Transport/Locate Operation Deleting a locate point from the locate list You can delete a locate point stored in the locate list. 1. Press the [GO TO] key while the DPS16 is stopped. The Locate List window appears, showing the list of stored locate points. 2. Use the [CURSOR] keys or the [JOG] wheel to select a locate point you wish to delete. 3. Press the [F4] ( ERASE) key. The selected locate point is deleted. ✐TIP : Press the [F1] (CLOSE) key to cancel the delete operation.
Chapter 3: Transport/Locate Operation IN point and OUT point You may also store locate points to the [IN] key and the [OUT] key in the same way as for the [INPUT SELECT] keys and the [TRACK SELECT] keys to later recall the points directly. In addition, you can use the locate points stored in the [IN]/[OUT] keys (these points are called the “IN point” and “OUT point”) not only for the locate operation but to specify the area for re-recording (punch in/out) or the edit area.
Chapter 3: Transport/Locate Operation ■ Using the stored direct locate points 1. Press the [GO TO] key while the DPS16 is stopped. The Locate List window appears. 2. Press the [IN] key or the [OUT] key. The DPS16 locates the point stored in the key you pressed and closes the window. Repeat function The Repeat function plays back data between the IN point and the OUT point repeatedly. 1. Press the [F4] ( SELECT) key and turn the [JOG] wheel to select the AUTO PUNCH function. 2.
Chapter 4: Punch In/Out Chapter 4: Punch In/Out Punch In/Out is a function that enables you to re-record only a specified part of the already recorded track(s). This function is useful when you wish to correct mistakes in a recorded performance or extend the recording. The DPS16 offers two types of Punch In/Out: Manual Punch In/Out (performing the punch in/out operation manually), and Auto Punch In/Out (performing the punch in/out operation automatically for a specified section).
Chapter 4: Punch In/Out Punch in/out operation using a foot switch This section explains how to perform the punch in/out operation using a foot switch. This is useful when you are playing instruments with both hands and you need to use your foot to punch in and out. Before using a foot switch for punch in/out recording, make sure that the Foot switch field in the OTHER window in the Setup mode is set to “ PUNCH IN / OUT”. (See page 109.) 1. Connect a foot switch to the [FOOT SW.] jack on the rear panel.
Chapter 4: Punch In/Out Auto Punch In/Out Auto Punch In/Out is a function that automatically executes the punch in/out operation if you have specified punch in/out points. The benefit of this function is that you can concentrate on your performance without being distracted by the transport operation, making it easy to punch in/out even a very short phrase. 1. Specify the desired punch in/out points as IN and OUT points. The IN point and OUT point are used to perform the Auto Punch In/Out function.
Chapter 4: Punch In/Out Punch In/Out Rehearsal Rehearsal is a function that enables you to practice playing instruments or singing a song, pretending to punch in/ out record, but nothing is actually recorded. This is useful when you wish to practice the punch in/out timing and check the range of auto punch in/out. In this section, we offer the example of rehearsing the manual punch in/out operation and explain how to use the Rehearsal function. 1. Locate a position a little before the punch in point.
Chapter 5: Assigning Input Signals and Tracks Chapter 5: Assigning Input Signals and Tracks (Quick Patch mode and V. Track mode) This chapter describes functions and operations in Quick Patch mode for routing signals inside the DPS16 and in V. Track mode for assigning virtual tracks to physical tracks 1–16. Main Quick Patch mode screen When the DPS16 is set to default, signals input (for example) at INPUT jacks 1 and 2 are routed to tracks 1 and 2. In Quick Patch mode, you can change signal routings.
Chapter 5: Assigning Input Signals and Tracks Basic operations in Quick Patch mode Assigning recording sources to physical tracks When the DPS16 is set to default, the signals from INPUT jacks 1–8 and DIGITAL IN jacks are routed to physical tracks 1–16. However, you can select any recording source for each track.
Chapter 5: Assigning Input Signals and Tracks ➸NOTE : When you select the input signal as the recording source, make sure that the input signal is routed to the Source section on the Quick Patch screen (that is, a thick line is descending). Even if you select the input signal (an ascending thick line) sent directly to the master section, it will not be sent to any tracks. Use the [INPUT SELECT] key to change the direction of the thick patch line.
Chapter 5: Assigning Input Signals and Tracks Routing input signals directly to the mixer’s master section With the default settings, signals input at INPUT jacks 1-8 and the DIGITAL IN jack are routed via the source section to physical tracks 1-16. You can just turn on the desired tracks’ [RECORD SELECT] keys to record. However, you may sometimes want to mix the input signals with the tracks’ playback sound, without routing them via tracks.
Chapter 5: Assigning Input Signals and Tracks ■ Erasing the patch To erase the patch, press the [F4] ( CLEAR) key in Quick Patch mode. As shown below, all patches that connect the recording sources in the Source section and physical tracks will be cancelled. ➸NOTE : If you erase the patch, you will not be able to monitor or record input signals from the INPUT jacks and DIGITAL IN jack until you create a new patch.
Chapter 5: Assigning Input Signals and Tracks Selecting output signals You can select any signal output from the MASTER OUT jacks, AUX SEND 1–4 jacks, and DIGITAL OUT jack in Quick Patch mode. 1. While the DPS16 is in Quick Patch mode, press the [F2] ( OUTPUT) key. The following Output Terminal screen appears, where you can assign signals to each output jack. 1 2 The Output Terminal screen shows the following information.
Chapter 5: Assigning Input Signals and Tracks Resetting the output signal assignment to the default setting Reset the output signal assignment to the default setting as follows. 1. While the DPS16 is in Quick Patch mode, access the Output Terminal screen and press the [F6]( DEFAULT) key. The output signal assignment is reset as follows.
Chapter 5: Assigning Input Signals and Tracks Main V. Track mode screen The DPS16 offers two types of tracks: physical tracks and virtual tracks. Virtual tracks are used to store audio data. Unless you assign them to physical tracks, you cannot record or edit in virtual tracks. In V. Track mode, you can assign virtual tracks to physical tracks. Press the [V.TRACK] key to display the following Assign Virtual Track screen. 1 2 3 The Assign Virtual Track screen shows the following information.
Chapter 5: Assigning Input Signals and Tracks Basic operations in V. Track mode Follow the steps below to assign virtual tracks to physical tracks. 1. While the DPS16 is in V. Track mode, move the cursor to the physical track (1–16) field for which you wish to change the assignment. The currently assigned virtual track number appears in the middle of the virtual track list. 2. Turn the [JOG] wheel to select the desired track in the virtual track list. The virtual track assignment is now changed. 3.
Chapter 6: Mixer Function (Mixer Mode) Chapter 6: Mixer Function (Mixer Mode) This chapter describes the functions and operations in Mixer mode to set mix parameters for each channel, as well as the scene memories that store the Mixer mode settings. Mixer mode screen The DPS16 has an internal 26-channel (TRACK MIX channel x16, THRU MIX channel x10) digital mixer. Mixer mode is used to control mix parameters, such as the channel level, pan, EQ, AUX send 1–4, and channel on/off settings.
Chapter 6: Mixer Function (Mixer Mode) Control View page Pressing the [F1] ( CONTROL) key while holding down the [MIXER] key or while the Channel View page is displayed will access the Control View page, which displays the currently selected mix parameters for all channels. 4 1 3 5 2 1 This field indicates the INPUT MIX channel ( 1– 8, DL/ DR). 2 This field indicates the TRACK MIX channel ( 1– 16).
Chapter 6: Mixer Function (Mixer Mode) 2. Use the [CURSOR] key to move the cursor to the Control field, and turn the [JOG] wheel to select a mix parameter. This parameter is set to “ L5 ” for the currently selected TRACK MIX channel 2. 3. Move the cursor to the Value field, and turn the [JOG] wheel to adjust the parameter value. ✐TIP : If you have selected multiple channels in step 1, the values of the corresponding channels change simultaneously.
Chapter 6: Mixer Function (Mixer Mode) ■ PAN You can adjust the stereo image for the channels. Range: R63 – 0 – L63 ✐TIP : You can also use the [PAN] controls on the top panel to adjust the pan setting for TRACK MIX channels. ➸NOTE : When you change the pan setting of the TRACK MIX channels using the [JOG] wheel, a square appears on top of the knob graphic on the screen. This square icon ■ means that the current knob position does not match the actual pan setting.
Chapter 6: Mixer Function (Mixer Mode) ■ S1 ROUTE – S4 ROUTE (Send 1–4 routing) You can select how the signals of each channel are sent to AUX send 1–4 or the internal effects (FX 1–4). Range: PRE/POST/INSERT The parameter settings are as follows: (pre-fader) Signals are routed to AUX send 1–4 (or FX 1–4) before they pass the faders (LEVEL parameter).
Chapter 6: Mixer Function (Mixer Mode) ■ SEND1 LEV – SEND4 LEV (Send level 1–4) You can set the level of channel signals sent to AUX send 1–4 and the master level of AUX send 1–4. Range: 0 – 127 ✐TIPS : • Use the [MASTER] key to select the AUX 1–4 master (M) level fields. • You can also use the QLMC knobs on the top panel to adjust the send level. See page 76 for more information.
Chapter 6: Mixer Function (Mixer Mode) ➸NOTE : The number of AUX SENDs you can use simultaneously varies depending on the sampling rate setting. The number of effects you can use simultaneously is also affected in the same way. If the sampling rate is 32kHz, 44.1kHz, or 48kHz, you can use up to four AUX SENDs (and effects). If the sampling rate is 96kHz, you can use up to two AUX SENDS (and effects). For more information on the Project’s sampling rate setting, see page 24 and 106.
Chapter 6: Mixer Function (Mixer Mode) ■ EQ HIGH L/EQ MID L/EQ LOW L (EQ level) You can set the boost and cut amounts for each EQ band. Range: –12dB – +12dB ✐TIP : You can also use the QLMC knobs on the top panel to control the boost/cut amount. See page 19 for more information. ■ EQ MID W (EQ width) You can adjust the width of the MID EQ’s boost/cut point. Range: 0.
Chapter 6: Mixer Function (Mixer Mode) Channel View page Pressing the [F2] ( CHANNEL) key while the Control View page is displayed accesses the Channel View page, which indicates all mix parameters for the currently selected channel (or master section). This page is useful when you wish to focus on a particular channel.
Chapter 6: Mixer Function (Mixer Mode) ■ Master section view If the master section is selected on the Channel View page, the following screen appears. Use the [CURSOR] key to move the cursor to the desired parameter, and turn the [JOG] wheel to adjust the value. 1 2 1 3 4 Master Level This field enables you to set the output level of the master bus.
Chapter 6: Mixer Function (Mixer Mode) 2 Send type This field enables you to select whether the two AUX sends (1–2 or 3–4) are used as individual monaural sends or are used together as a stereo send. 3 Control via MIDI This field is used to set up a MIDI channel that receives MIDI data to control the mix parameters using the external MIDI data. • 1–16 ............ Enables you to select a MIDI receive channel. • OFF .............. MIDI data is not received.
Chapter 6: Mixer Function (Mixer Mode) Scene Memory page While the Control View page or the Channel View page is displayed, pressing the [F4] (SCENE) key accesses the Scene Memory page, where you can store all mix parameters in Mixer mode as a “scene” and recall stored scenes. The following mix parameters can be stored as part of a scene.
Chapter 6: Mixer Function (Mixer Mode) 3. Press the [F4] ( STORE) key. The current mix parameter settings are stored and the scene name changes from “ (unused)” to “SCENE MEMORY”. ✐TIP : You can name a scene using the [NUMBER/NAME] key after step 3, if necessary. ➸NOTE : If you try to store a scene to a number which already has a stored scene, the following screen appears. If you wish to overwrite the memory, press the [F3] ( DO operation, press the [F1] (CANCEL) key. IT ) key.
Chapter 6: Mixer Function (Mixer Mode) ■ Erasing a scene 1. While the Control View page or the Channel View page is displayed in Mixer mode, press the [F4] ( SCENE) key to the Scene Memory page. 2. Use the [CURSOR] key to move the cursor to the number of the scene memory you wish to erase. 3. Press the [F2] ( ERASE) key. The selected scene is erased and the scene name is changed to “ (unused)”. ➸NOTE : You cannot use the Undo function for the erase operation.
Chapter 6: Mixer Function (Mixer Mode) 2. Use the [INPUT SELECT] keys, [TRACK SELECT] keys, and [MASTER] key to select the desired channel. The following keys can be used to select a channel when the QLMC mode is set to “ MIXER ”. • [INPUT SELECT] keys ............. INPUT MIX channels • [TRACK SELECT] keys ............ TRACK MIX channels • [MASTER] key ......................... Master section The currently selected channel appears on the upper part of the QLMC section of the display.
Chapter 6: Mixer Function (Mixer Mode) • SEND • RETURN [F6] key Send 1 Master: Master level setting for Send 1 Send 2 Master: Master level setting for Send 2 Send 3 Master: Master level setting for Send 3 Send 4 Master: Master level setting for Send 4 Master Level: Output level setting for Master bus FX 1 Return: Return level setting for internal effect 1 FX 2 Return: Return level setting for internal effect 2 FX 3 Return: Return level setting for internal effect 3 FX 4 Return: Return level setting for
Chapter 7: Advanced Technique for Mixing Chapter 7: Advanced Technique for Mixing The DPS16 is designed for ease of operation from recording to mixdown, similar to a cassette multitrack recorder. It also enables you to combine various functions for more advanced mixing operations. This chapter introduces advanced techniques for mixing with the DPS16. Assigning virtual tracks to physical tracks The DPS16 provides 250 virtual tracks for sixteen physical tracks.
Chapter 7: Advanced Technique for Mixing 2. Move the cursor to the field for track 16, then press the [NUMBER/NAME] key and name this virtual track “ GUITAR SOLO1”. Refer to page 17 for how to enter characters. 3. Return to the Main screen and record the first guitar solo take to Track 16. 4. Press the [V. TRACK] key. 5. Move the cursor to the track number field 16. 6. Turn the [JOG] wheel to select an unused virtual track (indicated as (unused)) and assign it to track 16. 7.
Chapter 7: Advanced Technique for Mixing You can also assign these recorded virtual tracks to multiple physical tracks. Track Track Track Track Track 1 2 3 4 5 GUITAR GUITAR GUITAR GUITAR GUITAR SOLO SOLO SOLO SOLO SOLO 1 2 3 4 5 In this way, you can use the edit commands (such as COPY → OVERWRITE) to extract only good parts and assign them to one track. For more information, refer to “Chapter 8, Audio Data Editing (Edit Mode).
Chapter 7: Advanced Technique for Mixing Ping-pong recording A “ping-pong recording” is an operation that enables you to mix multiple tracks and record the mix onto another track. After ping-pong recording, extra tracks (that were used before) become available for overdubbing other parts. The DPS16 performs ping-pong recording within the digital domain. The following section explains how to mix the signals of physical tracks 1–14 into stereo and ping-pong recording to physical track 15 and 16. 1.
Chapter 7: Advanced Technique for Mixing 5. On the Quick Patch screen, route the Bus L/R signals in the source section to track 15 and 16 in the record track section as shown below. Now, ping-pong bus L/R (stereo mix of TRACK MIX channels 1–14) is selected as the recording source for TRACK MIX channel 15 and 16. 6. Press the [MAIN SCREEN] key to return to the Main screen. 7. Press [RECORD SELECT] keys 15 and16 to place tracks 15 and 16 in record-ready mode.
Chapter 7: Advanced Technique for Mixing Mixing and recording several input signals On the DPS16, you can assign input channels (INPUT jacks 1–8, DIGITAL IN jack) to physical tracks. However, you may sometimes wish to mix multiple input sources to record them onto tracks 1–2 using the ping-pong bus.
Chapter 7: Advanced Technique for Mixing 9. Raise the master fader up to the = mark. The proper level cannot be monitored when the 1/2 channel faders are raised up at this time, since the bus sound are mixed together. 10. Press the [MIXER] key to place the DPS16 in Mixer mode, and while playing the rhythm machine, adjust the pan, EQ, and level of INPUT MIX channels 1–8. ✐TIP : Check the output level from the ping-pong bus using the level meter for TRACK MIX channels 1 and 2. 11.
Chapter 7: Advanced Technique for Mixing Adding sounds during mixdown The DPS16 is capable of playing back up to sixteen physical tracks via the TRACK MIX channels in the mixer section. Send signals from INPUT jacks 1–8 and/or the DIGITAL IN jack to the Master section to mix with TRACK MIX channel signals. For example, if you have a MIDI sequencer synchronized with the DPS16, you can mix signals from synthesizers or samplers.
Chapter 7: Advanced Technique for Mixing Using the Solo and Mute functions The DPS16 provides a Solo function that allows specified channels to be routed to MONITOR OUT jacks, and a Mute function that allows specified channels to be muted. The Solo function is useful when you wish to monitor only certain channels without affecting the signals output from the MASTER OUT jacks and the DIGITAL OUT jack.
Chapter 7: Advanced Technique for Mixing Mute function 1. Press the [MUTE] key to access the Mute function. The [MUTE] key flashes, indicating that the Mute function is available. 2. Use the [INPUT SELECT] keys, [TRACK SELECT] keys, and [F1]( FX1) – [F4] ( FX4) keys to mute the desired channels. (You can mute multiple channels simultaneously.) While the [MUTE] key is flashing, the signals of the mute channels will not be output to the Master bus or ping-pong bus.
Chapter 7: Advanced Technique for Mixing Digital input from an external device The DIGITAL IN jack on the rear panel of the DPS16 enables you to route digital audio signals output from the digital output jacks of a connected DAT or MD recorder, CD player, or sampler into the DPS16. In this example, we will record digital audio signals output from a connected DAT recorder onto tracks 1 and 2 of the DPS16.
Chapter 7: Advanced Technique for Mixing 6. On the Quick Patch screen, route the input L/R signal (from the DIGITAL IN jack) to tracks 1 and 2 of the record track section. The input signal from the DIGITAL IN jack is now sent to physical tracks 1 and 2. 7. Press the [MAIN SCREEN] key to return to the Main screen. 8. Press [RECORD SELECT] keys 1 and 2 to place tracks 1 and 2 in record-ready mode and start recording.
Chapter 7: Advanced Technique for Mixing Applying EQ while recording With the DPS16’s default settings, signals input from the INPUT jacks are routed to the physical tracks. Normally during track recording or overdubbing, signals are recorded without being processed. After recording, you adjust the volume, pan, and tone of each track using the TRACK MIX channel faders, pan controls, and EQ controls during mixdown. However, you can first apply EQ to input signals, then record them to the tracks.
Chapter 8: Edit Technique (Edit Mode) Chapter 8: Edit Technique (Edit Mode) The DPS16 provides various editing capabilities in Edit mode. You can specify a range of audio data in a track to copy to a different position. You can also delete the specified portion of data. For example, you may use the same chorus or guitar phrase repeatedly, or you may move all track data to a different position to change the structure of the song.
Chapter 8: Edit Technique (Edit Mode) 7 Repeat times This parameter determines the number of repeated overwrite/insert operations. 8 This area displays the content of the edit command by the illustration and numbers. 9 [F6] ( DO IT) key This function key is used to execute the edit operations. Basic operations in Edit mode Follow the steps below to perform basic operations in Edit mode. 1. Store the IN point and OUT point to specify a range to edit in Main mode.
Chapter 8: Edit Technique (Edit Mode) If you select a command that enables you to edit a single track (such as INSERT SILENCE command), use the [RECORD SELECT] keys to select a track to be edited. 7. Set the Repeat times, New length, and other parameters, if necessary. Refer to “Type and function of edit commands” on this page for more details on edit commands. 8. Press the [F6] ( DO IT) key. The edit command is executed. ✐TIP : You can undo the execution of edit commands using the Undo function.
Chapter 8: Edit Technique (Edit Mode) ■ COPY → INSERT This command enables you to copy data between the IN and OUT points and insert it after the Now time (current position). The copy source data between the IN and OUT point will remain intact, and the existing data in the destination after the Now time will move forward in time.
Chapter 8: Edit Technique (Edit Mode) ■ CUT → INSERT This command enables you to cut data between the IN and OUT points and insert it after the Now time (current position). The source data between the IN and OUT point will be replaced with silence, and the existing data in the destination after the Now time will move forward in time.
Chapter 8: Edit Technique (Edit Mode) ■ CUT → MOVE This command enables you to cut data between the IN point and OUT point. The data after the OUT point moves backward to the IN point. IN point OUT point Before edit 1 2 3 4 5 6 7 After edit 1 2 5 6 7 8 9 8 9 ■ TIME STRETCH This command changes the length between the IN point and the OUT point. It does not change the pitch. When you select this command, you can access the Length field and the New length field.
Chapter 8: Edit Technique (Edit Mode) ■ STRETCH → MOVE This command changes the length between the IN point and the OUT point. It does not change the pitch. If you stretch the region, the subsequent audio data moves forward by the amount of stretch. If you shorten the region, the subsequent audio data moves backward by the amount of shortening. When you select this command, you can access the Length field and the New length field. The Length field displays the current length between the IN and OUT points.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Chapter 9: Various Settings (Q-Link Functions, Setup Mode) This chapter describes Q-Link functions and the operations in Setup mode used for the settings related to DPS16 operations. Q-Link Functions The DPS16 provides Q-Link functions that enable you to set various parameters of the DPS16 while the main screen is displayed. This section explains the functions and operations of Q-Link functions.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) • Press the corresponding function key to execute the function. Press a function key to execute the function. [F1] [F2] Press a function key to execute the function. [F2] What Q-Link functions offer You can select the following functions and set the following items and functions using Q-Link functions.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Q-Link Functions This section describes functions you can select from Q-Link Functions, and the parameters and operations assigned to the [F1]–[F3] keys for each function. Auto Punch function This function has parameters related to the Auto Punch In/Out function. [F1] [F2] [F3] [F4] ■ [F1] key/REPEAT parameter This parameter enables you to set the Repeat function on or off. Pressing the [F1] key toggles between ON and OFF.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) ■ [F2] key/SYNC parameter The following parameters are used to synchronize the DPS16 to an external MIDI device. Use the [F2] key to toggle the sync operation ON and OFF. When this field is set to ON, the DPS16 and the external device operate in sync as specified in the field (2). (Refer to Chapter 12 “MIDI Applications” for more information on the sync operation using external devices.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Time Display function This function enables you to set the time counter and BBC counter displayed on the main screen. [F1] [F2] [F3] [F4] ■ [F1] key/TIME DISPLAY parameter This parameter enables you to select absolute time or relative time for the time counter. Use the [F1] key to toggle between two options ( ABSO / RELA). • ABSO (absolute time) .............. Absolute time referenced to the DPS16’s internal zero point (00:00:00:00.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) ■ [F3] key/STANDBY TRACK MONITOR parameter While the DPS16 is playing, you can switch between input signals and track playback signals to monitor record standby tracks (that have their [RECORD SELECT] keys turned on) while the DPS16 is playing back. Use the [F3] key to toggle between two settings ( PLAY and SOURCE). • PLAY • SOURCE ............................ Track playback signals assigned to the tracks are selected for monitoring.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Setting a beat map During the sync operation using the DPS16 and MIDI sequencer via the MIDI clock and Song Position Pointer, if the time signature does not match that of the actual song and you try to play back from the middle of the song, the time value indicated on the time counter and the playback position of the MIDI sequencer may be out of sync with the playback sound of the DPS16.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Setting a tempo map When an external device, such as a MIDI sequencer, synchronizes to the Song Position Pointer and the MIDI clock transmitted from the DPS16, the tempo settings of the MIDI sequencer are ignored and it runs by the tempo information from the DPS16. Therefore, you must specify the tempo of the MIDI clock on the DPS16 using the tempo map. (See page 134 for more information on the sync operation using MIDI clock.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) 8 [F6] ( INSERT) key Press the [F6] ( INSERT) key to insert tempo change information of the current position indicated on the BBC counter (2). ➸NOTE : The first bar of the tempo map (0001.01.00 ) contains a tempo of 120 as a preset. You cannot move or erase this tempo information, but you can change the tempo value. Other settings Pressing the [F3] ( MISC.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Sync/MIDI You can set parameters related to the frame rate, MMC device ID, and MIDI OUT/THRU connector. 3 3 4 5 SMPTE frame rate This parameter enables you to select a frame rate (the number of frames per second) that appears in the time counter and time fields. Move the cursor to this field and turn the [JOG] wheel to set the value. Options are 24, 25, 30 (30 frames, non-drop), 29.97, and 30D (30 frames, drop).
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Time You can set the offset time and the time value for the [TO] key and [FROM] key. 7 6 6 8 9 J Absolute time This display only field indicates the current position of the DPS16 in absolute time (hour, minute, second, frame, sub-frame) or by bar, beat, clock.
Chapter 9: Various Settings (Q-Link Functions, Setup Mode) Others You can set the foot switch function and the Undo function. K L K Foot switch You can select a function for an optional foot switch connected to the FOOT SW jack on the rear panel. Move the cursor to this field, and turn the [JOG] wheel to select one of the following options. • PUNCH IN/OUT .................... This option is used to perform the Punch In/Out operation. • Others ( PLAY, STOP, etc.) ......
Chapter 10: Project Management (Project Mode) Chapter 10: Project Management (Project Mode) This chapter describes various methods to manage Projects. It also explains how to create an audio CD using a SCSI-compatible CD-R/CD-RW drive. ➸NOTE : Some of the steps described here involve deletion of material recorded on the disk or the DPS16. Proceed carefully so that important data will not be lost. What is a Project? The DPS16 manages recorded songs as “Projects”.
Chapter 10: Project Management (Project Mode) 2 Disk free Displays the amount of free space on the current disk. 3 Current Project Displays the current Project information (Project name, size, number of bits, sampling rate). 4 [F1] ( MORE) key This function key is used to recall the screen to back up Projects on the current disk to an external SCSI device or DAT machine. (See page 118.
Chapter 10: Project Management (Project Mode) Creating a new Project You need to create a new Project to make a new recording. Follow the steps below to create a new Project. 1. Press the [F5] (NEW) key on the Project screen. The following window appears. 1 2 3 1 New project This field enables you to name a new Project. Press the [NUMBER/NAME] key to start naming the Project. (See page 17.) 2 Resolution This field enables you to set the resolution for recording and playback of Projects.
Chapter 10: Project Management (Project Mode) Erasing a Project This operation erases Projects from the current disk. If the disk cannot accommodate the data, erase unnecessary Projects from the disk until you retrieve sufficient space. Follow the steps below to erase Projects from the disk. CAUTION : Erasing Projects will permanently delete all data related to the Projects. Proceed very carefully. 1. Move the cursor on the Project screen to select a Project to erase. 2. Press the [F3] ( ERASE) key.
Chapter 10: Project Management (Project Mode) Follow the steps below to write a Project to a CD-R/CD-RW disc. ➸NOTE : Before starting the steps below, check the Disk mode main screen to see if the DPS16 recognizes the CD-R/CD-RW drive connected to the SCSI connector. (For more information on Disk mode, see page 125.) Also, insert a CD-R/CD-RW disc into the CD-R/CD-RW drive. 1. On the Project screen, select a Project to write onto the disc as the current Project. 2. Press the [F2] ( CD-R) key.
Chapter 10: Project Management (Project Mode) 4. Move the cursor to the Region field (3) and select the track region ( IN-OUT/ ALL) to write. • IN-OUT ........................ Writes a region between the IN and OUT points of the track selected in step 3. • ALL ............................... Writes the entire audio data of the track selected in step 3.
Chapter 10: Project Management (Project Mode) Playing back the CD-R/CD-RW You can play back the disc you recorded in the CD-R/CD-RW drive. ➸NOTE : You may play back the disc you just recorded only in the CD-R/CD-RW drive. The Finish process must first be performed in order to make the CD-R/CD-RW disc playable on an audio CD player. (See page 117 for more information on the Finish process.) 1. Press the [F2] (CD-R) key on the Project screen. 2. Press the [F2] (PLAYER) key. The following screen appears.
Chapter 10: Project Management (Project Mode) Finish process This process writes a data region (readout information), which includes the position data for data and tracks, to the disc. Until you perform the Finish process, you can continue writing other Projects to the disc. However, the Finish process must first be performed in order to make the CD-R/CD-RW disc playable on the audio CD player. (Playable only on the CD-R/CD-RW drives.
Chapter 10: Project Management (Project Mode) Backing up Projects You can back up Projects on the current disk to external SCSI devices (such as MO, CD-R, CD-RW drives) as well as a DAT machine connected to the DIGITAL connector. Be sure to back up important Projects in case the internal hard disk breaks down or the Project is accidentally erased. Backing up Projects to an external SCSI device You can back up the current Project to a connected SCSI device, such as a hard disk, MO drive, CD-R, CD-RW drive.
Chapter 10: Project Management (Project Mode) 4. Move the cursor to the Device field (2) and set to “SCSI”. 5. Move the cursor to the Destination device. Disk field (3) and select the ID number of the backup SCSI 6. Move the cursor to the Disk Operation field (8) and specify whether to format the backup SCSI device ( FULL FORMAT), erase the data on the device ( FAST ERASE), or add backup data ( APPEND). • If the backup disk has not been formatted, select “ FULL FORMAT”.
Chapter 10: Project Management (Project Mode) Backing up in multiple disks You may back up one Project into multiple removable disks (such as Jaz, Zip, or MO disks). Execute the backup operation as usual. Select a removable media device in step 4 above. When the first disk becomes full, the following window appears. 1. Eject the removable disk and insert a new disk. 2. As was done previously, set the Disk 3. Press the [F5] (DO IT) Operation field to FULL FORMAT or FAST ERASE.
Chapter 10: Project Management (Project Mode) The following screen appears. 1 2 1 Approx. time Indicates approximate time taken until the backup operation is completed. This estimate is calculated based on the sampling rate of 48kHz. 2 Sampling rate ( 32kHz/44.1kHz/48kHz) Enables you to select a sampling rate used for recording to a connected DAT recorder. 5. In the Sampling rate field (2), select a sampling rate ( 32kHz/44.1kHz/48kHz) used for recording to a connected DAT recorder. 6.
Chapter 10: Project Management (Project Mode) Reloading the backup Project Follow the steps below to reload the backup Project from the external SCSI device or DAT recorder onto the current disk. Loading from the SCSI device 1. On the Project screen, press the [F1] ( MORE) key, then the [F5] ( RELOAD) key. The following screen appears. 2. Set the Device fields to SCSI. The following screen appears. 1 2 1 Source disk This field is used to select a disk that has the stored backup data.
Chapter 10: Project Management (Project Mode) ➸NOTE : While the Project backed up in multiple removable media is being reloaded (see page 120), the following screen appears after the data on the first disk is loaded. Insert the next disk and press the [F5] ( DO IT) key.
Chapter 10: Project Management (Project Mode) Reloading from a DAT 1. Use the digital audio COAXIAL cable (that you used for backup) to connect the DIGITAL IN jack on the rear panel of the DPS16 and the digital output jack on the DAT recorder. COAXIAL cable DIGITAL IN DIGITAL OUT JOG SHUTTLE DAT DPS16 2. On the Project screen, press the [F1] ( MORE) key followed by the [F5] (RELOAD) key. 3. Set the Device field to “ DAT ”. The following screen appears. Press the [F6] ( DO IT) key.
Chapter 11: Using a Disk (Disk Mode) Chapter 11: Using a Disk (Disk Mode) This chapter explains Disk mode, in which you can set up an internal hard disk and external SCSI devices. ➸NOTE : Some operations described in this chapter involve the deletion of the entire disk contents. Proceed carefully so that important data is not lost. Handling disks CAUTION : Never turn off the power to the DPS16 or move the DPS16 while it is accessing the disk (recording or playback).
Chapter 11: Using a Disk (Disk Mode) • CD-ROM • Other .......................... Indicates • (inhibit) 2 ....................... Indicates that a CD-ROM drive has been connected. that other SCSI drive has been connected. ................ You cannot use this ID. Product/ Vender/ Rev Indicates the product name, manufacturer and version number of the corresponding device. ➸NOTE : The indication for some disks may not be correct. 3 Self ID Enables you to set the ID (Self ID) of the DPS16.
Chapter 11: Using a Disk (Disk Mode) Selecting the current disk When you turn on the power to the DPS16, the internal hard disk is automatically selected as the current disk. However, you can select another external hard disk connected to the SCSI connector as the current disk. ➸NOTE : Some types of hard disk cannot be used for recording or playing with the DPS16. Consult the AKAI professional Service Center for information on compatible external hard disks.
Chapter 11: Using a Disk (Disk Mode) Follow the steps below to format or erase the disk. 1. On the Disk List screen, move the cursor to select a hard disk (ATA or SCSI 0-7) to format or erase. Select a device that has an indication of NOW SELECTED, NOT FORMATTED, or RECORDABLE DISK in the Status field. To format an unformatted hard disk, select a NOT FORMATTED device. 2. Press the [F1] ( FORMAT) key. The following screen appears.
Chapter 11: Using a Disk (Disk Mode) Defragmenting a disk Repeated recording and edit operations on the DPS16 fragments audio data written on the disk. If this fragmentation is significant, the DISK BUSY error message appears and recording or playback may be interrupted because accessing data on the disk takes more time. The DPS16 enables you to re-align the fragmented audio data (“defragmentation”) to solve or avoid this problem.
Chapter 11: Using a Disk (Disk Mode) Follow the steps below to defragment audio data. 1. On the Disk List screen, move the cursor to the hard disk you wish to defragment. Select from the devices with the NOW SELECTED or RECORDABLE DISK indication in the Status field. 2. Press the [F5] (ALIGN) key. The following screen appears. 3. Press the [F5] ( FULL) or [F6] (JOIN) key, depending on the method chosen. The DPS16 executes the selected defragmentation method ( FULL or JOIN ).
Chapter 11: Using a Disk (Disk Mode) Follow the steps below to copy data on the current disk. This operation takes time to complete. 1. Select the copy source hard disk as the current disk. (Refer to “Selecting the current disk” on page 127.) 2. Press the [F4] ( COPY) key. The following screen appears. 1 2 3 1 Source Disk Indicates the information of the current (source) disk (ID, product name, manufacturer, and version number).
Chapter 12: MIDI Applications Chapter 12: MIDI Applications This chapter describes some examples of using the DPS16 via MIDI. Possible operations using MIDI You can perform the following operations on the DPS16 via MIDI. ■ Synch operation using the DPS16 and external devices The DPS16 can synchronize external devices (MIDI sequencer, another DPS16, etc.).
Chapter 12: MIDI Applications 2. Press the [SETUP] key to recall Setup mode and press the [F3] ( MISC.) key. The following screen appears. 3. Move the cursor to the MIDI out/thru field, and turn the [JOG] wheel to set the field to “OUT”. In this field, you can select whether the MIDI OUT/THRU connector will be used as a MIDI OUT (that is, the MIDI data of the DPS16 is output), or used as a MIDI THRU (that is, signals received at the MIDI IN connector are output as is).
Chapter 12: MIDI Applications 7. Move the cursor to the [F2] key (SYNC parameter) and turn the [JOG] wheel to select “ MTC/MASTER”. The SYNC parameter enables you to select a type of synchronization of the DPS16 and the external device. If you select “ MTC/MASTER”, the MTC is selected as a sync signal and the DPS16 becomes the MTC master. [F1] [F2] [F3] 8. Press the [F2] key to set the SYNC parameter to “ON”. Now the DPS16 can transmit the MTC from the MIDI OUT/THRU connector . [F1] [F2] [F3] 9.
Chapter 12: MIDI Applications 1. Use a MIDI cable to connect the DPS16’s MIDI OUT/THRU connector and the MIDI sequencer’s MIDI IN connector. ✐TIP : A device transmitting MTC (DPS16 in this case) is called an “MTC master”, and a device receiving MTC (MIDI sequencer in this case) is called an “MTC slave”. MIDI clock Song Position Pointer MIDI OUT MIDI IN JOG SHUTTLE External MIDI device (MIDI sequencer, etc.) DPS16 MIDI slave MIDI master 2.
Chapter 12: MIDI Applications 6. Press the [F1] (TEMPO) key on the same screen. The DPS16 displays the screen where you can set a tempo map (Project’s tempo information). 7. Move the cursor to the Tempo field and turn the [JOG] wheel to set the initial tempo of the song. You can set the tempo in the range between 30 and 300. If a tempo changes during the song, press the [F6] ( INSERT) key to insert new tempo information, and adjust the position and value of the tempo. (See page 105.) 8.
Chapter 12: MIDI Applications Synchronizing the DPS16 to an external device (MTC) MTC (MIDI timecode) is supplied from an external MIDI device to the DPS16, which will synchronize to the MIDI device operation. This method is useful when you wish to sync the DPS16 to a device that cannot be used as a slave device in the sync system (such as an analog MTR). Follow the steps below to synchronize the DPS16 to an external device. 1.
Chapter 12: MIDI Applications 6. Set up the external device so that it will transmit MTC from the MIDI OUT connector, and start playing the device. When the DPS16 receives MTC, it starts playing, syncing to the MIDI device. ✐TIP : If the MTC supplied from the external device passes through the zero point (00:0:00:00.0) of the DPS16’s absolute time, the DPS16 will stop at the zero point.
Chapter 12: MIDI Applications Recording and playing the DPS16’s snapshot on a MIDI sequencer The DPS16 can transmit and receive a mix snapshot (mix parameter settings) as a series of MIDI Control Change messages. If you record this snapshot to a MIDI sequencer, you can play back the same mix settings each time you play the MIDI sequencer. Follow the steps below to record and play a mix snapshot on a MIDI sequencer. 1.
Chapter 12: MIDI Applications 6. On the same screen, move the cursor to the Control via MIDI field, and turn the [JOG] wheel to select a DPS16 MIDI channel (1–16) to receive the Control Change messages. ✐TIP : To avoid confusion, assign different channels to the MIDI receive channel (specified in the Control via MIDI field) and the MIDI channel that is used to switch the internal effect settings.
Chapter 12: MIDI Applications Recording and playing back a mix automation The operations of the channel faders, [MASTER] fader, and [PAN] controls on the top panel can be transmitted as the Control Change messages. Recording and playing back these Control Change messages on the MIDI sequencer will enable you to automate mixing operations on the DPS16. Follow the steps below to record and play a mix automation. 1.
Chapter 12: MIDI Applications BBC counter indication 0001.01.00 TRACK 1 TRACK 2 DPS16 TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 Recording/playing back a scene memory Recording/playing back a mix automation ••••• MIDI sequencer 0002.01.00 Silence A song starts. 6. Set up the MIDI sequencer as instructed below, and set it in record standby mode. 1 Set the MIDI sequencer so that it will record MIDI messages transmitted from the DPS16. 2 Turn off the MIDI thru function.
Chapter 12: MIDI Applications DPS16 MIDI Control Change Assign Table Control No.
Chapter 13: Using the Effects Chapter 13: Using the Effects You can use various types of the DPS16’s built-in effects (optional). This chapter describes their functions and usage. DPS16’s internal effects The DPS16 provides four independent effect channels (FX 1–4), offering 44 types of effects (effect types), such as reverb, chorus, and compressor. You can select different effects for FX 1–4 independently, and use the “effect parameters” to adjust the intensity of the effects.
Chapter 13: Using the Effects Effect mode screen In Effect mode, you can set various effect parameters. When you press the [EFFECT] key, the DPS16 enters Effect mode and displays the following Effect screen. The information on this screen is as follows: 1 FX 5 1 6 2 3 4 This field indicates the effect types selected for FX1–4. 2 OnOff This field enables you to turn the effects for FX1–4 field and rotate the [JOG] wheel. ON or OFF.
Chapter 13: Using the Effects 2. Turn the [JOG] wheel to move the cursor to the desired effect type. 3. Press the [F1] ( SELECT) key. PING PONG DELAY is selected as an effect type for FX1, and the Effect screen is restored. Editing effect parameters The effect parameters are set to the recommended values. However, you can change these values if necessary. 1. In the FX field, select the target effect ( FX1–4) for which you wish to edit the parameters. 2.
Chapter 13: Using the Effects 3. Move the cursor to the target parameter and turn the [JOG] wheel to change the value. ✐TIPS: • If you set QLMC’s “mode” to “EFFECT” and “panel” to FX1–4, you can adjust some parameters of the target effects using QLMC ([C1]–[C6] knobs). • You can also use the [F3] key to toggle between two parameter screens of some effect types. 4. When you finish setting the parameters, press the [F1]( EXIT) key to return to the Effect screen.
Chapter 13: Using the Effects 2. Press the [F6] key to select the effect you wish to control. If you select “ EFFECT” as the QLMC mode, pressing the [F6] key repeatedly will select the internal effects (FX1–FX4) in order. The effect parameters displayed on the screen vary depending on the currentlyselected internal effect. 3. Operate the Q-Link knobs ([C1]–[C6] knob) to adjust the effect parameters.
Chapter 13: Using the Effects 5. Move the cursor to the right of the knob displayed in the Send 1 field, and adjust the Send 1 level. • Set the level to 60 – 70 so that you can hear the reverb effects. Fine-adjust the level later while playing the DPS16. • Inside the DPS16, AUX buses 1–4 are physically routed to FX 1–4 respectively (except for the effects being used as insert effects).
Chapter 13: Using the Effects 9. Play the DPS16. The reverb effect sound is mixed with the playback sound on the TRACK MIX channel (for which the send level is adjusted in step 5), and output from the MASTER OUT jack and DIGITAL OUT jack. • To change the effect amount for each channel, adjust the send level of the target channel in Mixer mode. (See step 5.) • To change the effect level while keeping the balance between effect sound and dry sound for each channel, adjust the effect return level. (See step 8.
Chapter 13: Using the Effects Using effects during ping-pong recording You can perform ping-pong recording while applying effects to multiple tracks. This section describes how to apply FX1 (reverb) to tracks 1–8 and record them to tracks 15 and 16. 1. Move the cursor to the FX1 field in the Effect screen, and select a reverb type.
Chapter 13: Using the Effects 6. Press the [MASTER] key and adjust the Send Master 1 level. Leave the level to 100 (default). Fine-adjust the level later while playing the DPS16. 7. Set the FX1’s Bus parameter to “ON”. Now the signal output from the FX1 (the reverb sound in this example) is sent to the ping-pong bus and mixed with the original dry sound from the TRACK MIX channels. 8. Adjust the Effect Return 1 level in the same screen.
Chapter 13: Using the Effects 10. Press the [MAIN SCREEN] key to display the Main screen, then press [RECORD SELECT] keys 15 and 16 to place tracks 15 and 16 in record-ready mode. 11. Press the [ ] key to play the DPS16 and monitor the track 1-8 playback sound combined with the reverb sound. • To change the effect amount for each channel, adjust the send level of the target channel in Mixer mode. (See step 5.
Chapter 13: Using the Effects Inserting effects to input signals while recording You may apply the DPS16’s effects to the specified INPUT MIX channel or TRACK MIX channel signals. This technique is useful, for example, when you wish to apply compressor to the bass during recording, or apply exciter only to the vocal track during mixdown. This section describes how to apply the FX1’s compressor to the INPUT 1 signal during recording. 1.
Chapter 13: Using the Effects ✐TIPS: • If you insert two effects of the same type to two channels, you can use them as stereo-in/out effects. For example, you can apply the compressor to the signals from a stereo microphone. • Compressor, expander, and noise gate effect types offer a LINK parameter that allows FX2 to use the edited FX1 effect parameters. This is useful when you wish to use the same effect type for two channels.
Chapter 13: Using the Effects 5. Move the cursor to the right side of the knob indicated in the Send signal sent to FX1. Usually, set the level to the maximum (127). 1 field and adjust the level of ✐TIP : With some effects, the result may vary depending on the input level. If you are using such an effect on multiple channels, change the SEND level to adjust the level of the signal input to the effect. 6. While playing the DPS16, adjust the effect parameters, if necessary. 7.
Chapter 13: Using the Effects Effect types and parameters This section describes all types and parameters of the effects included in the DPS16’s internal effects. ✐TIPS: • Those parameters that have “*1–*6” marks after their names can be controlled via QLMC1–6 (C1–C6 knobs). • FX1–4 have a mono input. MONO CHORUS This is a common chorus effect with mono-in and mono-out. You can adjust the pan setting of the effect sound.
Chapter 13: Using the Effects STEREO CHORUS This is a stereo chorus effect that adds the width and spread of the stereo image. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Rate1 *1 0.1Hz – 10.0Hz Adjusts the speed of LFO1. 2 Depth1 *2 0 – 127 Adjusts the depth of LFO1. 3 Rate2 *3 0.1Hz – 10.0Hz Adjusts the speed of LFO2. 4 Depth2 *4 0 – 127 Adjusts the depth of LFO2. 5 Fdback *5 0 – 127 Adjusts the feedback amount.
Chapter 13: Using the Effects MONO FLANGER This is a common flanger effect with mono-in and mono-out. You can adjust the pan setting of the effect sound. 1 3 5 7 Parameter Setting range 2 4 6 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth *2 0 – 127 Adjusts the depth of LFO. 3 FB Inv *4 ON/OFF Inverses the phase of feedback signals when turned on. 4 Fdback *5 0 – 127 Adjusts the feedback amount.
Chapter 13: Using the Effects XOVER FLANGER This is a variation of the STEREO FLANGER. The feedback from the L/R channels is input to the opposite channels. 1 3 5 7 Parameter Setting range 2 4 6 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth *2 0 – 127 Adjusts the depth of LFO. 3 FB Inv *4 ON/OFF Inverses the phase of feedback signals when turned on. 4 Fdback *5 0 – 127 Adjusts the feedback amount.
Chapter 13: Using the Effects MONO PHASER This is a common phaser effect with mono-in and mono-out. You can adjust the pan setting of the effect sound. 1 3 5 Parameter Setting range 2 4 6 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth *2 0 – 127 Adjusts the depth of LFO. 3 Fdback *5 0 – 127 Adjusts the feedback amount. 4 Pan *6 L63 – MID – R63 Adjusts the stereo image of the effect sound.
Chapter 13: Using the Effects XOVER PHASER This is a variation of the STEREO PHASER. The feedback from the L/R channels is input to the opposite channels. 1 3 5 Parameter Setting range 2 4 6 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth *2 0 – 127 Adjusts the depth of LFO. 3 Fdback *5 0 – 127 Adjusts the feedback amount. 4 Width *6 0 – 127 Adjusts the width and spread of the stereo image.
Chapter 13: Using the Effects PITCH SHIFT This effect has a pitch shift with a range of +/– one octave, and can be set for the left channel and the right channel independently. 1 3 5 Parameter Setting range 2 4 6 Function 1 Left *1 –12.99 – +12.99 Adjusts the amount of pitch shift for the L channel. 2 Fdback *2 0 – 127 Adjusts the amount of delay that is fed back on the L channel. 3 Right *5 –12.99 – +12.99 Adjusts the amount of pitch shift for the R channel.
Chapter 13: Using the Effects • Switching the speed using the [F4]( MANUAL) key: Pressing the [F4] ( MANUAL) key repeatedly toggles between Rate 1 and Rate 2. Use the Accel parameter (3) to adjust the time (duration) taken for switching between two speeds. • Switching the speed using the Control Change messages: When the DPS16 receives a specified Control Change message, Rate 1 is selected if the value falls between 0 and 63, and Rate 2 is selected if the value falls between 64 and 127. Use the CtrlNo.
Chapter 13: Using the Effects TRIGGER PAN This auto pan effect becomes enabled when the output level of one of AUX sends 1–4 exceeds a certain level. You can also press the [F3] ( MANUAL) key to start the auto pan effect manually. 1 3 5 7 Parameter Setting range 2 4 6 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of panning. 2 Mode *2 Pan/L>R/R>L Sets the effect of panning. (Refer to AUTO PAN.) 3 Trigger *4 AUX-1 – AUX-4 Selects signals that enable the auto pan effect.
Chapter 13: Using the Effects PING PONG DELAY This delay effect pans the effect sound left and right. 1 3 5 Parameter Setting range 2 4 6 Function 1 Delay *1 1ms – 1500ms Adjusts the delay time. 2 Fdback *2 0 – 127 Adjusts the amount of delay feedback. 3 HFdamp *3 20Hz – 20kHz Sets a frequency at which the higher range of the feedback sound is cut. 4 Width *6 0 – 127 Adjusts the panning width. 5 Balance +50 – 0 – –50 Adjusts the balance between the effect sound and dry sound.
Chapter 13: Using the Effects STEREO DELAY This delay effect can be set for the left and right channels individually. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 LDelay *1 1ms – 1500ms Adjusts the delay time of the L channel. 2 Fdback *2 0 – 127 Adjusts the amount of delay feedback (Lch). 3 HFdamp *3 20Hz – 20kHz Sets a frequency at which the higher range of the feedback sound (Lch) is cut. 4 RDelay *4 1ms – 1500ms Adjusts the delay time of the R channel.
Chapter 13: Using the Effects TAPE ECHO This delay effect simulates a three-head tape echo machine. You can set three delay times individually. This effect has mono-in and mono-out; however, you can adjust the pan setting of the effect sound. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Head 1 *1 1ms – 1500ms Adjusts the delay time of Delay 1. 2 Head 2 *2 1ms – 1500ms Adjusts the delay time of Delay 2. 3 Head 3 *3 1ms – 1500ms Adjusts the delay time of Delay 3.
Chapter 13: Using the Effects REVERB>BIG ROOM This stereo reverb effect simulates reverberations in a big room. 1 3 5 7 Parameter Setting range 2 4 6 Function 1 Pre-D *1 1ms – 100ms Adjusts the delay time of early reflections. 2 Time *2 0.1sec – 10sec Adjusts the time of attenuation of reverberation. 3 Diff *3 0 – 127 Adjusts the density of reverberation. 4 HFdamp *4 20Hz – 20kHz Sets a frequency at which the higher range of reverberation is cut.
Chapter 13: Using the Effects REVERB>BIG HALL This stereo reverb effect simulates reverberations in a big hall. 1 3 5 7 Parameter Setting range 2 4 6 Function 1 Pre-D *1 1ms – 100ms Adjusts the delay time of early reflections. 2 Time *2 0.1sec – 10sec Adjusts the time of attenuation of reverberation. 3 Diff *3 0 – 127 Adjusts the density of reverberation. 4 HFdamp *4 20Hz – 20kHz Sets a frequency at which the higher range of reverberation is cut.
Chapter 13: Using the Effects REVERB>LIVE HOUSE This stereo reverb effect simulates reverberations in a live house. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Pre-D *1 1ms – 100ms Adjusts the delay time of early reflections. 2 Time *2 0.1sec – 10sec Adjusts the time of attenuation of reverberation. 3 Diff *3 0 – 127 Adjusts the density of reverberation. 4 HFdamp *4 20Hz – 20kHz Sets a frequency at which the higher range of reverberation is cut.
Chapter 13: Using the Effects REVERB>BRIGHT HALL This stereo reverb effect simulates bright reverberations in a hall. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Pre-D *1 1ms – 100ms Adjusts the delay time of early reflections. 2 Time *2 0.1sec – 10sec Adjusts the time of attenuation of reverberation. 3 Diff *3 0 – 127 Adjusts the density of reverberation. 4 HFdamp *4 20Hz – 20kHz Sets a frequency at which the higher range of reverberation is cut.
Chapter 13: Using the Effects REVERB>REVERSE This stereo reverb effect reverses the reverberations. 1 3 5 Parameter Setting range 2 4 6 Function 1 Pre-D *1 1ms – 100ms Adjusts the delay time of early reflections. 2 Time *2 0.1sec – 10sec Adjusts the time (duration) until reversed reverberations are played. 3 Diff *3 0 – 127 Adjusts the density of reverberation. 4 Width *6 0 – 127 Adjusts the width and spread of the stereo image.
Chapter 13: Using the Effects 1 Link parameter The Link parameter appears on the FX 1 and FX 3 screens. If you select the COMPRESSOR/LIMITER effect for the FX 1 and FX 2 (or FX 3 and FX 4) and set the Link parameter for the FX 1 (or FX 3) to ON, the FX2 (or FX 4) parameters will use the FX 1 (or FX 3) parameter settings. If you did not select the COMPRESSOR/LIMITER effect for the FX 2 and FX 4, the Link parameter setting will be ignored.
Chapter 13: Using the Effects NOISE GATE This monaural effect mutes signals at a certain level (threshold) or lower. This is useful for cutting noise during silent parts of a performance. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Thresh *1 –60dB – 0dB Adjusts the level at which the gate opens or closes. 2 Key *2 AUX-1 – AUX-4 Selects the source signal that triggers the gate to open or close (AUX send 1–4). 3 Output *3 –20dB – +20dB Adjusts the level of the effect sound.
Chapter 13: Using the Effects AUTOWAH This monaural effect adds a swelling wah. 1 3 2 4 Parameter Setting range Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed (rate) of swelling (LFO) of the wah effect. 2 Depth *2 0 – 127 Adjusts the depth of the effect. 3 Reso *3 0 – 127 Adjusts the amount of resonance. 4 Effect ON/BYPASS Selects whether the effect is enabled (ON) or bypassed (BYPASS). TOUCH WAH This monaural effect adds a wah effect to signals at a certain level or higher.
Chapter 13: Using the Effects CHORUS>DELAY This effect consists of a chorus effect and a delay effect connected in series. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO for the chorus effect. 2 Depth *2 0 – 127 Adjusts the depth of LFO for the chorus effect. 3 Fdback *3 0 – 127 Adjusts the amount of the chorus effect feedback. 4 Delay *4 1ms – 1500ms Adjusts the delay time of the delay effect.
Chapter 13: Using the Effects PHASER/DELAY This monaural effect consists of a phaser effect and a delay effect connected in series. 1 3 5 7 Parameter Setting range 2 4 6 8 Function 1 Rate *1 0.1Hz – 10.0Hz Adjusts the speed of LFO for the phaser effect. 2 Depth *2 0 – 127 Adjusts the depth of LFO for the phaser effect. 3 Fdback *3 0 – 127 Adjusts the amount of the phaser effect feedback. 4 Delay *4 1ms – 1500ms Adjusts the delay time of the delay effect.
Chapter 13: Using the Effects ENHANCER This monaural effect gives frame to the sound by adding new overtones. ENHANCER 1 3 5 Parameter Setting range 2 4 6 Function 1 Drive *1 0dB – 30dB Adjusts the gain of the signal input to the harmonics generator. 2 Tune *2 0 – 127 Adjusts the filter cut-off frequency. 3 Damp *3 0 – 127 Adjusts the filter attenuation curve (slope). 4 Harm *4 0 – 127 Adjusts the signal level of the emphasized harmonics.
Chapter 13: Using the Effects Dry sound Delay sound Shape –10 0 +10 –10 0 +10 Slope PITCH CORRECTOR This monaural effect corrects the pitch of input signals in real-time. This is useful when you wish to correct the pitch of the vocal track. 1 2 3 4 5 6 Parameter 1 Ratio *1 2 Calib *3 3 Scale *4 4 5 6 Scale display Setting range Function 0% – 100% Adjusts the amount of correction to the pitch. 415Hz – 466Hz Sets the standard pitch. See the diagram below Sets the standard scale.
Appendix Appendix Specifications Power supply : AC 120V 60Hz (US, Canada), 220–240V 50Hz (Europe) 30W Operating temperature : 10 – 35 C˚ Operating Humidity : 10% – 60% (without condensation) Dimensions (mm) : 515 (W) x 127.5 (H) x 358.5 (D) (with LCD tilted down) Weight : 6.4kg (without drive) Display : 320 x 240 dot FSTN graphical LCD with back light Recording media : Internal IDE/external SCSI Harddisk Sampling rate : 96kH, 48kHz, 44.
Appendix Output level : MASTER OUT : –10dBu (max. +5dBu, load impedance: 47k ohms) MONITOR OUT : –10dBu (max. +5dBu, load impedance: 47k ohms) AUX SEND 1 – 4 : –10dBu (max. +5dBu, load impedance: 47k ohms) Impedance : MASTER OUT : 1k ohms MONITOR OUT : 1k ohms AUX SEND 1 – 4 : 1k ohms Stereo phone output : x 1, 6.
Appendix MIDI Implementation Chart Date: 12/99 Version: 1.
Appendix Installation of Options - For Service Technicians • Consult your AKAI professional dealer where you purchased or the AKAI professional Service Center for the installation of disk drive. Installing EB4M EB4M contents EB4M P.C. Board ........................................ x1 Plastic Support ............................................ x3 Mounting EB4M P.C. Board 1. Loosen the 4 screws for the bottom cover and remove it as illustrated. 2. Place the Plastic Supports to the MAIN P.C.
Appendix Mounting Disk Drive Follow the following procedure to mount the Disk Drive inside the DPS16. Note 1: Set the Disk Drive in Master (or Single Mode, if so eguipped) mode referring to the operation manual of the drive. 1. Loosen the 4 screws for the bottom cover and remove it. 2. Screw in the 4 Metal Props (inch-thread) on the drive and then fix the disk drive to the bottom cover with 4 Drive Mounting Screws (inch-thread, 3.2x5). 3.
% 1-3, Hiranuma 1-chome, Nishi-ku, Yokohama, Japan 000301-2 APC Printed in Japan
