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 The DPS12 is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your DPS12 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 DPS12 • 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 Electric Co. Ltd. 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 Warranty Registration Card within 14 days of purchase.
Table of contents Table of contents Chapter 1: Outline of the DPS12 ............................................. 1 Features of the DPS12 ...................................................................................................... 1 Parts and functions ........................................................................................................... 2 Top panel ..................................................................................................................
Table of contents Chapter 3: Transport/Locate operation ................................... 39 Transport operation ........................................................................................................ 39 Transport button operation ...................................................................................... 39 Using the [JOG] dial and the [SHUTTLE] dial .......................................................... 39 Using [TO] key and [FROM] key ...................................
Table of contents ● When “STEREO” is selected: ................................................................................... 66 Send pan setting (AUX SEND PAN) ......................................................................... 66 Send level setting (AUX SEND LEVEL) ..................................................................... 66 Selecting PRE/POST (AUX PRE/POST) ..................................................................... 67 Other settings ......................................
Table of contents MIDI (Selecting a function of the MIDI OUT/THRU jack) ........................................ 94 LCD CONTRAST .................................................................................................... 94 OTHER (other setting) ............................................................................................. 95 Chapter 10: Project management (Project mode)................... 96 What is a Project? ........................................................................
Table of contents STEREO FLANGER (G) .......................................................................................... 129 XOVER FLANGER (G) ........................................................................................... 130 PAN FLANGER (G) ............................................................................................... 130 MONO PHASER (I) ............................................................................................... 131 STEREO PHASER (I) ................
Chapter 1: Outline of the DPS12 Chapter 1: Outline of the DPS12 This chapter describes the features of the DPS12 and the name of its parts and functions. It also describes the DPS12’s unique conceptual design and operating method. Akai recommends that you read this chapter thoroughly even though you may already be quite familiar with multitrack recorders and mixing consoles.
Chapter 1: Outline of the DPS12 Parts and functions This section describes the part names and functions. The names of the controls on the top panel are shown in brackets [ ].
Chapter 1: Outline of the DPS12 7 Channel faders These faders control the level of TRACK MIX channels. DIGITAL PERSONAL STUD H F1 I M F2 N F3 O F4 P F6 F5 Q R 8 Display This LCD display indicates various information required for operating the DPS12, such as the time counter and level meter. 9 Function keys ([F1] – [F6]) These keys are used to execute or turn on/off the functions that appear on the bottom row of the display.
Chapter 1: Outline of the DPS12 O [CURSOR] key The cursor key is used to move the cursor (highlighted part) on the display to select an item to set.
Chapter 1: Outline of the DPS12 • [ ] button ............ This button is used to rewind. Pressing this button while the transport section is stopped causes the time counter on the display to count backward at high speed. Pressing and holding down this button during playback causes fast reverse playback for as long as you hold it down (Review). • [ ] button ............ This button is used to fast forward.
Chapter 1: Outline of the DPS12 3 OPTICAL IN/OUT jacks These jacks are used to transmit digital audio signals to and from a connected external digital device, such as a DAT recorder. Depending on the settings, digital signals input from the OPTICAL IN jack are sent to the tracks in the recorder section (physical tracks), or directly to the mixer section. The OPTICAL OUT jack outputs the same signal as the digital signal output from the MASTER OUT jacks 1.
Chapter 1: Outline of the DPS12 PHONES LEVEL MIN MAX JAZ ■ Ejecting a JAZ disk 1. Press the eject button on the JAZ drive. The access indicator flashes for a while, then the JAZ disk is ejected about 2 cm beyond the slot. 2. Remove the disk carefully. Insert the disk in the case that came with the disk, and store it in a safe place. CAUTION : Never force a JAZ disk in or out of its slot. Doing so may damage not only the disk but the JAZ drive.
Chapter 1: Outline of the DPS12 About external SCSI devices The rear panel of the DPS12 is equipped with a half-pitch 50-pin SCSI connector (SCSI-2 standard), which you can connect to an external hard disk or MO drive to back up, record, or play back data. ➸ NOTES : • Some models of external SCSI devices may not be compatible with the DPS12. Also, you may not be able to record or playback, or you may have only a limited number of tracks available for simultaneous multitrack recording and playback.
Chapter 1: Outline of the DPS12 ■ Connecting multiple SCSI devices Use a daisy chain connection to connect multiple SCSI devices as shown below: SCSI cable To a SCSI connector External hard disk or MO drive INPUT dps12 INPUT GAIN DPS12 External hard disk or MO drive Terminator External hard disk or MO drive Connecting multiple SCSI devices 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: Outline of the DPS12 About Projects The DPS12 manages songs by treating them as “Projects.” A Project contains audio data, mixer settings, locate points (position information in a song), and scene memory (mix parameter settings). The internal hard disk can store multiple Projects. However, the DPS12 can handle only one Project at a time. When the power to the DPS12 is turned on, the DPS12 reads the first Project in the disk.
Chapter 1: Outline of the DPS12 TRACK MIX channels and THRU MIX channels The DPS12’s mixer section offers eight channels (called “THRU MIX channels”) that enable you to control input signals that come directly from the INPUT jacks, as well as twelve channels (called “TRACK MIX channels”) that you can control for panning and level from the top panel. Normally, you can record and mix down audio data using only the TRACK MIX channels.
Chapter 1: Outline of the DPS12 Analog signal Digital signal Mixer section L R INPUT (ANALOG) 1 GAIN 2 GAIN 3 GAIN 4 GAIN 5 GAIN 6 GAIN OPTICAL IN (DIGITAL) THRU MIX channel 1 2 3 4 5 6 DL DR Recorder section Tr1 Tr2 Tr3 Tr4 Tr5 Tr6 Tr7 Tr8 Tr9 Tr10 Tr11 Tr12 OPTICAL OUT (DIGITAL) LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL PAN PAN PAN PAN PAN PAN PAN PAN TRACK MIX channel 1 2 3 4 5 6 7 8 9 10 11 12 LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL PAN PAN PAN PAN PAN PAN
Chapter 1: Outline of the DPS12 ABLR SOLO LEVEL MIXER THRU INPUT GAIN INPUT 1 (analog) THRU EQ MIXER THRU ASSIGN THRU SEND A PRE/POST SEND B PRE/POST INPUT 2 (analog) PAN SEND A LEVEL INPUT 3 (analog) SEND B LEVEL INPUT 4 (analog) ASSIGN INPUT 5 (analog) SOURCE ASSIGN INPUT 6 (analog) SOLO LEVEL 1-12 FX RTN TRACK EQ INPUT L (digital) PAN 1-12 INPUT R (digital) SEND A PRE/POST SEND B PRE/POST SEND A LEVEL SEND B LEVEL PLAY MONITOR MAIN REC PLAY CONTROL PANEL MIXER TRACK PHYS
Chapter 1: Outline of the DPS12 About a scene memory The DPS12 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 in the disk. You can store multiple 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. • Channel level/master level settings (See page 61.
Chapter 1: Outline of the DPS12 5 Busy meter .............. This meter indicates that the disk is being accessed. The more the meter is moves, the more frequently the disk is being accessed. 6 Disc access indicator ... This indicator lights up when the disk is being accessed. Pressing any mode key other than the [MAIN] key in the MAIN screen will show the screen of the corresponding mode. For example, pressing the [TRACK VIEW] key will switch to Track View mode and the TRACK VIEW screen will appear.
Chapter 1: Outline of the DPS12 ■ Field and cursor The parameter values that are shown on the display and that can be modified are called “fields.” The highlighted part of the screen is called the “cursor.” The field currently highlighted by the cursor indicates that the field is selected for editing. If there are multiple fields in a screen, use the [CURSOR] key to move the cursor to the desired field.
Chapter 1: Outline of the DPS12 ■ Window When you press the [UNDO] key, [GO TO] key, or [MEMORY] key, a window appears on the screen. A window is used to make a setting or operate a function that varies depending on the key you pressed. As you do in a normal screen, you can change the parameter settings by moving the cursor to the desired parameter, or use the function keys to execute the desired function. After the function or operation is complete, the previous screen will be restored.
Chapter 1: Outline of the DPS12 ■ Entering a numeric value directly (time counter/time field) You can use the keys on the top panel to directly enter a value for the time counter, and time field on the MAIN screen. Follow the steps below: 1. Use the [CURSOR] key to move the cursor to a time field. ➸NOTE : You do not need this step when you enter the time for the time counter in the MAIN screen. 2. Press the [NUMBER/NAME] key.
Chapter 1: Outline of the DPS12 4. Use the [CURSOR] key or the [SHUTTLE] dial to move the underline to the second character position. While the [NUMBER/NAME] key’s LED is flashing, you can move the underline back and forth using the [CURSOR] key or the [SHUTTLE] dial. 5. Repeat Steps 3 and 4 to complete naming. If you enter a wrong character, use the [CURSOR] key or the [SHUTTLE] dial to move the underline to the character you wish to correct. 6. Press the [NUMBER/NAME] key again.
Chapter 2: Recording on the DPS12 Chapter 2: Recording on the DPS12 This chapter describes basic operations of the DPS12, including recording preparation, recording the first part, overdubbing, mixdown to a master recorder. Connections The diagram below is an example of basic connections for recording on the DPS12. Monitor system Master recorder (DAT recorder/MD recorder) DIGITAL IN DIGITAL OUT LINE IN Sampler DIGITAL OUT Effect processor, direct box, pre-amp, etc.
Chapter 2: Recording on the DPS12 ■ Connecting sound sources You can connect line-level instruments, such as a synthesizer or a rhythm machine, and dynamic microphones directly to INPUT jacks 1–6. We recommend that you connect instruments with a high output impedance, such as an electric guitar or a bass guitar, via a compact effect processor, pre-amp, or direct box. ■ Connecting a monitor system Connect a monitor system, such as audio equipment, to the MASTER OUT jacks.
Chapter 2: Recording on the DPS12 Preparing to record This section explains the necessary preparations for recording. Turning on the power to the DPS12 1. Turn on the power to the peripheral devices, excluding the DPS12 and the monitor system. The sequence for turning on the power to each device is: peripheral devices (such as tone generator, external SCSI device) DPS12 monitor system. Reverse this order when you turn off the power. 2. Turn on the power to the DPS12.
Chapter 2: Recording on the DPS12 3. Use the [CURSOR] key to move the cursor to the select field for SCSI ID 4, and press the [F2] key. The following window appears. FORMAT 4. Rotate the [JOG] dial to select FORMAT for the select field that currently indicates Format operation. CAUTION : When you perform the format operation, all existing data on the disk will be erased.
Chapter 2: Recording on the DPS12 Creating a new Project Since the DPS12 requires that at least one project exists on the current disk for recording, the following window for creating a new Project automatically appears when the format operation is complete. The Project name field indicates the name of the Project you are creating. 1. Press the [NUMBER/NAME] key. An underline appears as follows, enabling you to name a new Project. 2.
Chapter 2: Recording on the DPS12 MAIN screen and TRACK VIEW screen The MAIN screen or TRACK VIEW screen can be useful when you are recording or playing back on the DPS12. (You can use the transport function and the locate function on either screen.) This section explains how to use the MAIN screen and TRACK VIEW screen. MAIN screen The MAIN screen is a start point for various operations on the DPS12.
Chapter 2: Recording on the DPS12 Level meters when TRACK is selected Maximum (clipping) Already recorded tracks 1 – 12 ..................... Output level of tracks 1–12 • LR ............................ Output level of master L/R • 6 Function display The names of the functions appear on the bottom of the screen. The [F1] key/[F2] key are used to switching the INPUT level meters/TRACK level meters, and the [F3] key – [F6] key are used to recall the Control Panel.
Chapter 2: Recording on the DPS12 Recording the first track This section explains how to record the first track, using an example of recording a rhythm machine connected to the INPUT jacks 1/2 into tracks 1/2. Recording signal flow The diagram below shows the signal flow for recording tracks 1 and 2.
Chapter 2: Recording on the DPS12 Recording to the first track 1. Connect the output jacks of a rhythm machine to INPUT jacks 1/2. 2. Press the [RECORD SELECT] keys 1/2. When you turn on the [RECORD SELECT] key (and its LED flashes in red), the corresponding track enters record ready mode. The type of signal output from each track varies depending on the status of the DPS12 and the status of the [RECORD SELECT] key for each track.
Chapter 2: Recording on the DPS12 7. Press the [ ] key when recording is complete. At this time, “_” appears at the TRACK level meters 1/2, which means that these tracks have recorded data. Indicating that tracks 1/2 have recorded data. 8. Press the [ ] key to check the recorded tracks. ✐TIP : To locate a point, you can use various methods besides using the transport keys. Refer to “Chapter 3: Transport/Locate operation.” 9. Press the [ ] key to start playback from the top of the song.
Chapter 2: Recording on the DPS12 Using a locate point 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 DPS12 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 on track 3 while listening to the rhythm machine recorded on tracks 1 and 2. Overdubbing signal flow The diagram below shows a typical signal flow of overdubbing in track 3 while monitoring tracks 1/2.
Chapter 2: Recording on the DPS12 Overdub operation 1. Connect the bass guitar to INPUT jack 3, and press the [RECORD SELECT] key of track 3. Track 3 enters record ready mode. At this time, you can monitor the input source through track 3. You can apply equalization to the input source signals to record to a track. Refer to page 62 for more information. 2.
Chapter 2: Recording on the DPS12 Undo level = 2 or higher When the undo level is set to 2 or higher, the corresponding number of takes are stored on the disk. Press the [UNDO] key and specify the number of operations you wish to be able to return to. 1. Right after recording or editing is complete, press the [UNDO] key. The UNDO window appears, in which you may specify the number of operations you wish to undo. 2. Turn the [JOG] dial to enter the number of undo operations.
Chapter 2: Recording on the DPS12 2. Press the [MEMORY] key at the point where you wish to punch in. The LOCATE MEMORY window appears. 3. Press the [IN] key. The LOCATE MEMORY window closes and the captured time is stored in the [IN] key. You can use the time (point) stored in the [IN] key (this is called “IN point”) as a locate point, as well as a punch in point. 4. In the same way, store the punch out point (OUT point) in the [OUT] key. 5.
Chapter 2: Recording on the DPS12 12. Press the [ ] key to stop playback. ✐TIPS : • When you punch out, the AUTO PUNCH field of the AUTO PUNCH Control Panel is automatically set to off. If you are going to perform the punch in/out operation repeatedly, it is convenient to have this Control Panel displayed all the time during the operation. • Refer to “Chapter 4: Punch In/Out” on page 48 for more information on the Punch In/Out function.
Chapter 2: Recording on the DPS12 4 Use channel faders 1–12 and [PAN] controls 1–12 on the top panel to set the level and pan for the TRACK MIX channels 1–12. 5 Signals that passed through the channel faders and the [PAN] controls are mixed into a stereo signal and fed to the [MASTER] fader. 6 The signal adjusted by the [MASTER] fader for the output level is output to the master recorder connected to the MASTER OUT jacks or OPTICAL OUT jacks. Mixdown procedure 1.
Chapter 2: Recording on the DPS12 3. Use the [CHANNEL SELECT] keys on the top panel to select the channel for which you wish to set the parameters. In Mixer mode, the [CHANNEL SELECT] keys are used to select the desired channel. When the TRACK MIX channels are selected, use the [CHANNEL SELECT] keys 1–12 to select TRACK MIX channels 1–12. The cursor moves to a graphic field for the selected channel. ✐TIP : You may also move the cursor to a graphic field for any channel, using the [CURSOR] key. 4.
Chapter 2: Recording on the DPS12 ✐TIP : You can use the transport functions and the locate function in Mixer mode in the same way as in Main mode and Track View mode. With the MIXER screen displayed, you can set the mix parameters while playing the tracks. 6. In the same way, set the other mix parameters and the parameters for other channels. ✐TIPS : • Refer to “Chapter 6: Mixer Function (Mixer mode)” on page 58 for more information on Mixer mode.
Chapter 3: Transport/Locate operation Chapter 3: Transport/Locate operation This chapter describes the transport and locate operations of the DPS12. Transport operation You may perform locate operations and shuttle playback using the [JOG] and [SHUTTLE] dials, and part playback using the [TO] and [FROM] keys, as well as the usual transport operations using the transport buttons.
Chapter 3: Transport/Locate operation 1. Press the [JOG PLAY] key on the top panel. The [JOG PLAY] key’s LED lights up and the transport section enters Jog Play mode, in which you can perform the jog/shuttle playback. The screen displays the waveform of the data in the selected track. The selected number appears in the upper right corner of the screen. Current position 2. Use the [CHANNEL SELECT] key to select a track to play. 3. Operate the [JOG] dial or the [SHUTTLE] dial.
Chapter 3: Transport/Locate operation 4. Press the [JOG PLAY] key again when the JOG/SHUTTLE playback is complete. The [JOG PLAY] key’s LED turns off, and the [JOG] and [SHUTTLE] dials restore their original function. ✐TIP : The track selected in Step 2 is stored after you turn the [JOG PLAY] key off. If you press the [JOG PLAY] key again, the last track you selected will be selected again.
Chapter 3: Transport/Locate operation Locate operation You may specify up to 100 points (locate points) in a song and store them in a locate list to help you locate points quickly. The DPS12 also features a Quick 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. Storing locate points You can name and store up to 100 points in the locate list.
Chapter 3: Transport/Locate operation Moving to a locate point You can recall a locate point stored in the locate list to locate a point. Use the [GO TO] key to recall a stored locate point. LOCATE GO TO MEMORY [GO TO] key 1. Press the [GO TO] key while the DPS12 is stopped. ➸NOTE : The [GO TO] key is disabled except in Main mode, Track View mode, and Mixer mode. The LOCATE LIST window appears. A B 1 This select field indicates the locate function to be executed.
Chapter 3: Transport/Locate operation Locating the end point of a song The DPS12 can locate the end point of a song while the LOCATE LIST window is displayed. 1. Press the [GO TO] key while the DPS12 is stopped. The LOCATE LIST window appears. 2. Press the GO END [F3] key. The DPS12 locates the end point of the song and the window closes. ➸NOTE : The end point of the song means the last position of the sound data in physical tracks 1–12.
Chapter 3: Transport/Locate operation ■ Storing quick locate points (IN point/OUT point) 1. Press the [MEMORY] key to capture the desired locate point. 2. Press one of the [CHANNEL SELECT] 1–12 keys or the [IN] or [OUT] key. The captured locate point is stored in the specified key, and the window closes.
Chapter 3: Transport/Locate operation 4. Press the [F4] key to set the select field REPEAT 2 to ON. 5. Press the [ ] key. The data between the IN point and the OUT point is repeatedly played. If you start playing back from a position before the OUT point, the playback continues up to the OUT point, then returns to the IN point. If you start playing back from a position after the OUT point, the IN point is located, then playback starts.
Chapter 3: Transport/Locate operation Entering a time value in the counter You may enter a time in the counter on the MAIN screen to locate the corresponding position. Follow the procedure below: 1. Press the [NUMBER/NAME] key on the MAIN screen. The time counter value disappears enabling you to enter a desired value. At this time, the [CHANNEL SELECT] keys 1–10 function as number keys. 2. Use the [CHANNEL SELECT] keys 1–10 to enter the desired time value.
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. This chapter describes various uses of the Punch In/Out function. Manual Punch In/Out Manual Punch In/Out is to perform the punch in/out operation manually.
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. With the exception of performing the punch in/out operation with a foot switch, the operation of the DPS12 itself is the same as the punch in/out operation using the transport buttons. 1.
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. 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. When the IN point is reached, the signal monitored through the record ready track changes from the recorder’s playback sound to the input source signal, but nothing is actually recorded. The Rehearsal function is available for both Manual and Auto Punch In/Out functions.
Chapter 5: Assigning Input Signals and Virtual Tracks Chapter 5: Assigning Input Signals and Virtual Tracks (Assign Mode) This chapter describes functions and operations in Assign mode, in which you can assign input signals and virtual tracks. About Assign mode When the DPS12 is set to default, signals input at INPUT jacks 1–6 on the top panel are distributed to physical tracks 1–6 and 7–12 of the Recorder section. Physical tracks 1–12 are assigned to virtual tracks 1–12.
Chapter 5: Assigning Input Signals and Virtual Tracks With the THRU MIX setting, the input signal is routed directly to the THRU MIX channels of the mixer section. Use this setting when you wish to add an analog input signal or a digital input signal to the 12-track playback sound. When THRU MIX is selected: Mixer section Input Recorder section ✐TIP : Refer to page 11 for information on the signal flow of the TRACK MIX channels and THRU MIX channels.
Chapter 5: Assigning Input Signals and Virtual Tracks Assigning input sources to tracks (SOURCE) Pressing the SOURCE [F3] key in Assign mode causes the following screen to appear. In this screen, you may assign input signals to each physical track. A B 1 This is a select field in which you can assign input signals to physical tracks.
Chapter 5: Assigning Input Signals and Virtual Tracks Follow the procedure below to assign input signals to tracks: 1. Use the [CURSOR] key to move the cursor up and down and select a track for which you wish to change the input signal assignment. Example: Track 3 is selected and analog INPUT jack 3 has been assigned to that track. 2. Turn the [JOG] dial to select other input. Example: Analog INPUT jack 1 is assigned to track 3. Now the signal from analog INPUT jack 1 is routed to track 3.
Chapter 5: Assigning Input Signals and Virtual Tracks Assigning a virtual track to a physical track Pressing the V.TRK [F4] key in Assign mode causes the following screen to appear. In this screen, you can assign up to 250 virtual tracks to physical tracks 1–12. A B C 1 This select field allows you to select one of the 250 virtual tracks. The value indicates a virtual track number (1–250). 2 This character field indicates the name of the virtual track.
Chapter 5: Assigning Input Signals and Virtual Tracks 3. To name a virtual track, move the cursor to the character field of the virtual track you wish to name, then press the [NUMBER/NAME] key. An underline appears at the top of the character field in which you can enter a name. 4. Use the [JOG] dial or the keys on the top panel to enter a name for this virtual track. Refer to page 18, 19 for information on entering characters. After entering characters, press the [NUMBER/NAME] key to confirm the name.
Chapter 6: Mixer Function Chapter 6: Mixer Function (Mixer Mode) This chapter describes the functions and operations in Mixer mode, as well as the scene memories that store the Mixer mode settings. About Mixer mode The DPS12 has an internal 20-channel (TRACK MIX channel x 12, THRU MIX channel x 8) digital mixer. Mixer mode is used to control mix parameters, such as the channel level, pan, EQ, AUX send A/B, and channel on/off settings.
Chapter 6: Mixer Function If you press the TRACK [F1] key, TRACK MIX channels are selected and the level meters indicate the output level of each track. If you press the THRU [F2] key, THRU MIX channels are selected and the level meters indicate the input level of INPUT jacks. 2. Use a [CHANNEL SELECT] key on the top panel to select the channel whose settings you wish to adjust. In mixer mode, you use [CHANNEL SELECT] keys to select desired channels.
Chapter 6: Mixer Function If you press multiple [CHANNEL SELECT] keys simultaneously, you can select the corresponding channels at once. Example: TRACK MIX channels 3 and 4 are selected. ✐TIPS : • You can use the [CURSOR] key to move the cursor to the graphical field of a desired channel, instead of using the [CHANNEL SELECT] key to select the channel. However, in this case you cannot select multiple channels simultaneously.
Chapter 6: Mixer Function Level/pan settings LEVEL You can adjust the input level of each channel (LEVEL) and the master output level (MASTER). Range: 0–127 ■ When TRACK MIX channels are selected: ■ When THRU MIX channels are selected: ✐TIPS : • Since the channel faders on the top panel always allows you to adjust the TRACK MIX channel level, you can use the faders to set the track level even when the THRU MIX channels are selected.
Chapter 6: Mixer Function Equalizer settings You can set the parameters for the 3-band (HIGH – shelving type, MID – peaking type, and LOW – shelving type) equalizer. ➸ NOTE : You can use the 3-band equalizer for up to six channels. If you wish to apply equalization to all twelve channels, switch to the 2-band (HIGH, LOW) equalizer. With a sampling rate of 48kHz, 3-band equalization can be applied to up to five channels, and 2-band equalization to up to ten channels.
Chapter 6: Mixer Function While this screen is displayed, the [F5] key and the [F6] key function as follows: • ON/OFF [F5] key .... switches EQ on/off for the selected channel. To check the on/off status of the selected channel EQ, select the EQ ON/OFF parameter (see page 62). • STRIP [F6] key ........ displays all the EQ parameters for the selected channel. See page 64 for more information.
Chapter 6: Mixer Function Displaying all EQ parameters of a given channel (STRIP) You can display on the screen a set of all EQ-related parameters of a given channel. This is called “EQ STRIP.” This function is useful when you wish to focus on controlling the EQ of a single channel. When one of the EQ parameters is selected, press the STRIP [F6] key. The following EQ strip screen appears. A B C D E F * This screen is an EQ strip for the 3-band EQ.
Chapter 6: Mixer Function Mixer section AUX A B L R Analog signal Digital signal Routing the signal to AUX send A EQ LEVEL PAN SEND A PRE/POST SEND A Level Routing the signal to AUX send B EQ LEVEL PAN SEND B PRE/POST SEND B EB2M Level SEND A Master level EFFECT A AUX SEND A (ANALOG) EFFECT B SEND B Master level AUX SEND B (ANALOG) Flow of AUX send A (B) signals ✐TIP : You cannot select the SEND A (B) MASTER parameter using the [CHANNEL SELECT] key.
Chapter 6: Mixer Function When this screen is displayed, the [F5] key and the [F6] key function as follows: EFFECT [F5] key .... Recalls the screen used to set the internal effects. (Needs optional EB2M) • SCENE [F6] key ....... Recalls the SCENE MEMORY window used to store and recall a scene memory. • ● When “STEREO” is selected: Send pan setting (AUX SEND PAN) This parameter enables you to set a stereo image (PAN) of the channel signal sent to AUX send.
Chapter 6: Mixer Function When this screen is displayed, the [F5] key and the [F6] key function as follows: EFFECT [F5] key .... Recalls the screen used to set the internal effects. (Needs optional EB2M) • SCENE [F6] key ....... Recalls the SCENE MEMORY window used to store and recall a scene memory. • Selecting PRE/POST (AUX PRE/POST) This parameter sets whether the channel signal sent to AUX send is routed from the pre-fader position (PRE) or from the post-fader position (POST).
Chapter 6: Mixer Function SETUP These parameters enable you to select the type of EQ and AUX. To change the setting, use the [CURSOR] key to move the cursor to the desired field and turn the [JOG] dial. A 2 1 EQ type: This select field enables you to select a type of EQ. 3BAND .......................... Selects a 3-band EQ. 2BAND .......................... Selects a 2-band EQ. 2 AUX type: This select field enables you to select a type of AUX. 2 MONO........................
Chapter 6: Mixer Function SCENE MEMORY In Mixer mode, you may name the mix parameter settings, such as LEVEL, EQ, and PAN, and store them in a scene memory. A stored scene can be recalled any time the transport section is stopped. A scene is stored in the disk as part of the project. While any screen other than the EQ or SETUP screen is selected in Mixer mode, pressing the SCENE [F6] key will cause the following SCENE MEMORY window to appear. The SCENE MEMORY window displays a list of the stored scenes.
Chapter 6: Mixer Function 2. Press the RECALL [F4] key. The scene is recalled, and the DPS12 returns to the last Mixer mode that was obtained before you recalled the scene memory. ➸NOTES : • When you recall a scene, the current Mixer parameter settings are replaced with those in the recalled scene. If necessary, store the current Mixer parameter settings before you recall a scene.
Chapter 7: Advanced technique for mixing Chapter 7: Advanced technique for mixing The DPS12 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 DPS12. Mixing and recording several input signals On the DPS12, you can assign input channels (INPUT jacks 1–6, OPTICAL IN jacks) to physical tracks.
Chapter 7: Advanced technique for mixing 7. Press the [RECORD SELECT] keys 1 and 2. Tracks 1 and 2 enter record waiting mode, and you can monitor the input sources (stereo mix source) for Tracks 1 and 2 at the MASTER OUT jacks and the OPTICAL OUT jacks. 8. Start recording on the DPS12 and start playing back the sound source. The signals input from INPUT jacks 1–6 are mixed in stereo and recorded onto Tracks 1 and 2.
Chapter 7: Advanced technique for mixing 8. Adjust the level, PAN, and EQ for each channel. Play the DPS12 and adjust the level and PAN of the playback sound for TRACK MIX channels 1 and 2. Then, set the level and PAN of AUX SEND for THRU MIX channels 1–6. 9. Start recording on the DPS12. You can mix input signals from INPUT jacks 1–6 into stereo and record them onto Tracks 3 and 4 while listening to the sound from Tracks 1 and 2.
Chapter 7: Advanced technique for mixing 4. Press the SOURCE [F3] key in Assign mode and assign respectively. DIGITL L and DIGITAL R to Tracks 1 and 2 Input signals from the OPTICAL IN jacks will be assigned to physical tracks 1 and 2. 5. Set Tracks 1 and 2 to record waiting mode, and start recording. Using the Solo function The mixer section of the DPS12 provides a Solo function that allows specified channels to be routed to Master L/ R.
Chapter 7: Advanced technique for mixing ■ When TRACK MIX channels are selected RECORD SELECT 1 2 3 4 5 6 A B C D E F CHANNEL SELECT TRACK MIX channels 7 G 8 H 9 I 10 11 12 J K L QUICK LOCATE 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 0 +/– .
Chapter 7: Advanced technique for mixing Using virtual tracks The DPS12 provides 250 virtual tracks for twelve physical tracks. You cannot directly control the virtual tracks, but you can record, play, and edit them by assigning them to the physical tracks. For example, if you record each take in several virtual tracks for overdubbing a given part, you can select the best take for mixdown later.
Chapter 7: Advanced technique for mixing Physical tracks Virtual tracks Track 1 V.TRK 1 Track 2 V.TRK 2 Track 3 V.TRK 3 Track 4 V.TRK 4 Track 5 V.TRK 5 Track 6 V.TRK 6 Track 7 V.TRK 7 Track 8 V.TRK 8 Track 9 V.TRK 9 Track 10 V.TRK 10 Track 11 V.TRK 11 Track 12 GT-SOLO1 GT-SOLO2 GT-SOLO3 GT-SOLO4 You can also assign these recorded virtual tracks to multiple physical tracks simultaneously.
Chapter 7: Advanced technique for mixing 3. Assign MASTER L and MASTER R to Tracks 11 and 12. The L/R outs of the mixer section are assigned as input signals to Tracks 11 and 12. 4. Press the [RECORD SELECT] keys 11 and 12. Tracks 11 and 12 enter record waiting mode. 5. Start recording on the DPS12. TRACK MIX channels 1–10 signals are mixed in stereo and recorded onto Tracks 11 and 12.
Chapter 7: Advanced technique for mixing 7. Select THRU MIX channels in Mixer mode, and use the PAN parameters for THRU MIX channels 1 and 2 to expand the panning. Also, use the LEVEL parameters to adjust the level of the effect sound. The MASTER OUT jacks and the OPTICAL OUT jacks output a mix signal of the TRACK MIX channels (source sound) and THRU MIX channels (effect sound).
Chapter 8: Edit technique Chapter 8: Edit technique (Edit mode) The DPS12 provides various editing capabilities in Edit mode. You can specify a range of audio data in a physical track to copy to a different position or another track. 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 Example: Tracks 1 and 2 are selected as EDIT tracks. ✐TIP : Use the [RECORD SELECT] key to select a TO track and the EDIT track, and use the [CHANNEL SELECT] key to select a FROM track. 8 DO IT [F6] key This function key is used for 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 6. Use the [CHANNEL SELECT] key and the [RECORD SELECT] key to select a FROM track and a TO track (or EDIT track). The selected tracks appear as follows on the screen. Example: This setting is used to cut Track 2 and paste it to Track 1 99 times. 7. Press the DO IT [F6] key. The Edit command is executed. ✐TIP : You can undo the execution of edit commands using the Undo function. Refer to page 32 for more information on the Undo function.
Chapter 8: Edit technique • If the number of TO tracks is smaller than the number of FROM tracks, the edit command will be executed for the number of TO tracks in the order of the FROM track number.
Chapter 8: Edit technique CUT PASTE This command enables you to cut (delete) data between the IN point and OUT point, and paste the data after the NOW point. Silence will be created between the IN and OUT point, and the existing data in the destination will be overwritten. IN point OUT point IN point FROM track OUT point Silence CUT PASTE The data is overwritten. TO track NOW point NOW point ➸NOTE : You may select multiple tracks as FROM tracks and TO tracks respectively.
Chapter 8: Edit technique CUT DISCARD This command enables you to cut data between the IN point and OUT point. The data is deleted and replaced with a silence. IN point OUT point EDIT track OUT point Silence CUT CUT IN point DISCARD 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 IN point EDIT track CUT MOVE The data moves backward to the IN point.
Chapter 9: Control Panel Chapter 9: Control Panel This chapter describes the functions and operations of the Control Panel used for the setting of the DPS12 operation. Basic operation of the Control Panel The Control Panel is a screen in which you can set various internal parameters related to the DPS12 operation. To recall the Control Panel, press the CONTROL PANEL([F3] – [F6] keys) in the MAIN screen. (You may also recall the Control Panel during recording or playback.
Chapter 9: Control Panel The parameters have the following functions: 1 REPEAT [F4] key (repeat) When this parameter is turned on, the PDS12 plays back data between the IN point and OUT point (specified by the [IN] and [OUT] keys) repeatedly. See page 45 for more information. 2 REHEARSAL [F5] key (rehearsal) When this parameter is turned on, actual recording is not performed. Only the monitoring source (input or track playback) is changed.
Chapter 9: Control Panel TIME DISPLAY (Setting the time counter display) This function has the following parameters related to the time counter display. A B C In this screen, you can select a format for the time counter, select absolute time or relative time, and set a frame rate. The parameters have the following functions. 1 Style (display format) This select field enables you to set a format for the time displayed on the time counter and in various time fields.
Chapter 9: Control Panel 3 Frame rate This parameter enables you to select a frame rate (the number of frames per second) that appears on the time counter and time fields. Options are 24, 25, 30 (30 frames, non-drop), 29.97, 30D (30 frame, drop). ➸NOTE : Match the frame rate of the DPS12 and a connected external device to synchronize the system using MIDI timecode. TIME OFFSET (offset of relative time) This function allows you to set an offset for the relative time indication on the time counter.
Chapter 9: Control Panel TO/FROM TIME (time settings for the [TO] key and [FROM] key) You can set the start and end points at which playback starts when you press the [TO] key and [FROM] key. A B The following parameters enable you to set the point at which playback starts when you press the [TO] key, and the point at which playback ends when you press the [FROM] key.
Chapter 9: Control Panel Sync (synchronization) You can set various parameters for the syncing operation via the MIDI IN and OUT jacks. A 2 3 The following parameters are used to synchronize the DPS12 to an external MIDI device or to control the DPS12 remotely from an external MIDI device. (See page 109 for more information on synchronization and remote control.) 1 Type (Selecting the type of sync signal) This field enables you to select a method for synchronizing the DPS12 to an external MIDI device.
Chapter 9: Control Panel SAMPLING RATE You can select a sampling rate and digital clock source for the DPS12. A B You can choose a sampling rate of 48kHz, 44.1kHz, or 32kHz, and select a digital clock in this Control Panel. The following parameters are available. 1 FS (sampling rate) This field enables you to select a sampling rate for the DPS12 operation. Use the [CURSOR] key to move the cursor to this field, and turn the [JOG] dial to select one of the following three sampling rates.
Chapter 9: Control Panel sequencer may slip from the playback sound of the DPS12.) In this Control Panel, you need to enter the time signature information in the measure in which the time signature changes. The parameters and function keys have the following functions. 1 Bar (the number of a measure) Use the [CURSOR] key to move the cursor to this field, and turn the [JOG] dial to specify the number of the measure that contains the existing time signature information.
Chapter 9: Control Panel FOOT SWITCH You can select a function for a connected foot switch. In this Control Panel, you can select a function for a foot switch connected to the FOOT SW jack on the rear panel. Use the [CURSOR] key to move the cursor to the Function field, and turn the [JOG] dial 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 9: Control Panel OTHER (other setting) You can set parameters related to the level meters and the Undo function. A B In this Control Panel, you can toggle between pre and post faders for the level meter indication, and set how many previous operations can be restored by the Undo function. The following parameters are available.
Chapter 10: Project management Chapter 10: Project management (Project mode) This chapter describes various methods to manage Projects. What is a Project? The DPS12 manages recorded songs as “Projects.” Each Project contains the following information.
Chapter 10: Project management 1 Current project(Project name) This field indicates the name of the current Project. Use the [CURSOR] key to move the cursor to this field, and press the [NUMBER/NAME] key to enter characters. (Refer to pages 18 and 19 for more information on entering characters.) 2 Used (Project size) This field indicates the size of the current Project on the disk. 3 Protect (protect on/off) This field enables you to select whether or not the current Project is protected.
Chapter 10: Project management Recalling a Project When you recall a Project from the disk, the Project becomes the current Project, and audio track data, mix parameters, input assignments, and various other parameters change to reflect the current Project. Follow the steps below to recall a Project from the disk. 1. Press the SELECT [F6] key in Project mode. The SELECT PROJECT window displays the Project list.
Chapter 10: Project management 4. Press the ERASE [F5] key to execute the erase operation. The DPS12 erases the selected Project and returns to the PROJECT screen. ✐TIP : Press the CANCEL [F2] key to cancel the erase operation. ➸NOTE : If the disk has only one Project and you erase the current Project, the NEW PROJECT window automatically appears.
Chapter 10: Project management NOTES: • You cannot directly access backup data on an external SCSI device directly. You must first load the backup data into the DPS12. See page 99. If you wish to make a copy of the Project that you can access directly, use the Copy function in Disk mode. (See page 107.) • In Disk mode (see page 103), make sure that the DPS12 recognizes the drive of the SCSI ID you are going to set. • You can create only one backup Project per disk.
Chapter 10: Project management 3. Move the cursor to the select field 1 and select DAT. 4. Move the cursor to the select field 2 and select a Project for backup. 5. Move the cursor to the select field 3 and select a sampling rate for recording on the DAT recorder ( 32kHz, 44.1kHz, 48kHz ). If you select DAT in field 1, select field 3 becomes the Sampling freq field, where you can select a sampling rate for the backup operation. 6. Press the DO IT [F6] key. The following window appears. 7.
Chapter 10: Project management ■ Reloading from a DAT 1. Press the RELOAD [F3] key in Project mode. The DATA RELOAD window appears. 2. Select DAT in the Device field. 3. Press the DO IT [F5] key. The DPS12 waits for the data to be loaded. 4. Play the DAT tape that contains the backup data. When the reload operation is complete, the display returns to the PROJECT screen. CAUTION : Do not monitor the audio via the DAT during the backup operation.
Chapter 11: Using a disk Chapter 11: Using a disk (Disk mode) This chapter explains Disk mode, in which you can set up an internal JAZ disk and external SCSI devices. Notes on handling a disk CAUTION : Be sure to eject a JAZ disk from the drive before you turn off the power to the DPS12. Similarly, turn on the power to the DPS12 first before inserting a JAZ disk into the drive. The DPS12 searches and detects disks connected to the SCSI bus in order of SCSI ID when the power is turned on.
Chapter 11: Using a disk 2 0–7 (drive condition) These fields indicate the current drive condition of each SCSI ID. You can also select a drive to operate. Each field has the following meaning. (no device)................ No device is connected. • REC NOT READY...... A device is detected, but you need to format it or erase data to use it. If no disk is • inserted in the removable drive, or a backup disk or unformatted disk is inserted, this message appears. • REC READY................
Chapter 11: Using a disk 2. Press the SELECT [F4] key. The SELECT DISK window appears. Example: A drive with the SCSI ID number 3 is selected as the current drive. 3. Press the DO IT [F5] key. The device with SCSI ID=3 becomes the current drive, and the DPS12 returns to the DISK SETUP screen. ➸NOTES : • When the current drive is changed, the first Project in the Project list stored in the new current drive is automatically recalled.
Chapter 11: Using a disk Formatting a disk You may format a current disk using one of the following two methods: format and erase. Formatting is an operation that writes format information to the disk, enabling it to be used on the DPS12. To use a new JAZ disk or an external hard disk, you first need to format it. Also, you may wish to re-format a formatted disk that is causing a write/read error to occur. This operation takes a while to complete.
Chapter 11: Using a disk Defragmenting a disk Repeated recording and edit operations on the DPS12 fragments audio data written on the disk. If this fragmentation is significant, recording or playback may be interrupted. The DPS12 enables you to re-align the fragmented audio data (“defragment”) to solve this problem. Follow the steps below to defragment a disk. ✐TIP : You can check the busy meter in the MAIN screen to see how frequently a disk is accessed.
Chapter 11: Using a disk 4. Select FORMAT (or ERASE) in the Format operationfield. 5. Press the DO IT [F5] key. The following window appears to confirm the operation. 6. Press the DO IT [F5] key. After formatting or erasing the destination disk, the copy operation is executed. When the operation is complete, the DPS12 returns to the DISK SETUP screen. ✐TIP : Press the CANCEL [F2] key to cancel the operation.
Chapter 12: MIDI applications Chapter 12: MIDI applications Connecting an external device, such as a MIDI sequencer, to the MIDI IN jack or the MIDI OUT/THRU jack of the DPS12 enables you to synchronize the DPS12 to the MIDI sequencer or record and play back the mix parameters via the MIDI sequencer. This chapter describes some examples of using the DPS12 via MIDI. Synchronizing an external device to the DPS12 (MTC) This application is an example of using the DPS12 as a sync master.
Chapter 12: MIDI applications 5. Move the cursor to the Type field, and turn the [JOG] dial to select MTC is selected as a sync signal that the DPS12 transmits. 6. Press the [F6] key to set the MTC/MASTER. SYNC field to ON. 7. To change the frame rate of the MTC (default = 30, non-drop), move the cursor to the SLCT: field, and turn the [JOG] dial to recall the TIME DISPLAY Control Panel. 8. Move the cursor to the Frame rate: field, and select a frame rate of the MTC from 24, 25, 30 (30, non-drop), 29.
Chapter 12: MIDI applications 1. Use a MIDI cable to connect the DPS12’s MIDI OUT/THRU jack and the MIDI sequencer’s MIDI IN jack. MIDI Clock + Song Position Pointer MIDI OUT/ THRU MIDI IN INPUT DIGITAL PERSONAL STUDIO dps12 MIDI sequencer INPUT GAIN DPS12 2. Press the [F3] key – [F6] key in the MAIN screen, then turn the [JOG] dial to recall the MIDI Control Panel. 3. Move the cursor to the 4. Move the cursor to the Out/Thru: field, and select OUT.
Chapter 12: MIDI applications 8. Move the cursor to the Style: field and select BAR.BEAT.CLOCK. The DPS12’s time counter and the time fields will use bar/beat/clock notation. ✐TIP : This is useful since you can specify the locate point and edit region in bar/beat/clock notation. 9. Move the cursor to the SLCT: field, then turn the [JOG] dial to recall the BEAT MAP Control Panel. 10. Move the cursor to the Beat: field, and enter the first time signature of the song.
Chapter 12: MIDI applications Synchronizing the DPS12 to an external device (MTC) In this example, the DPS12 is used as a sync slave device. MTC (MIDI timecode) is supplied from an external MIDI sequencer or computer-based sequence software to the DPS12, which will synchronize to the MIDI sequencer operation. This method is useful when you are using a device that cannot be used as a slave device in the sync system (such as an analog MTR). 1.
Chapter 12: MIDI applications 8. Start the external device that supplies MTC to the DPS12. When the DPS12 receives MTC, it starts playing, syncing to the MIDI sequencer. ✐TIP : If the MTC supplied from the external device passes through the zero point (00:00:00:00.0) of the DPS12’s absolute time (ABS), the DPS12 will stop at the zero point.
Chapter 12: MIDI applications Recording and playing back a scene memory of the mix parameters The DPS12 can transmit and receive a mix scene memory (mix parameter settings) as a series of MIDI Control Change messages. If you record this scene memory to a MIDI sequencer, you can play back the same mix settings each time you play the MIDI sequencer. 1. Use MIDI cables to connect the MIDI IN/OUT jacks of the DPS12 to the MIDI OUT/IN jacks of a MIDI sequencer.
Chapter 12: MIDI applications 7. Start recording on the MIDI sequencer. 8. Press the SEND MIX DATA[F5] – [F6] keys while the SETUP Control Panel is displayed. The current settings of the mix parameters are transmitted as a series of Control Change messages. ➸NOTE : Be sure not to stop the MIDI sequencer during transmission. 9. When transmission is complete, stop the DPS12 and MIDI sequencer. 10.
Chapter 12: MIDI applications 4. Select the DPS12’s MIDI channel that transmits and receives Control Change messages in the Control via MIDI field and the Tx mixer changes:field respectively. 5. Create a mix beginning at the start position of the song on the DPS12, and follow the instructions under “Recording and playing back a scene memory of the mix parameters” to record the scene memory in the top position of the MIDI sequencer.
Chapter 12: MIDI applications DPS12 MIDI Control Change Assign Table 118 1 TRACK1 LEVEL 41 TRACK1 * AUX SEND-A 81 121 2 TRACK2 LEVEL 42 TRACK2 * AUX SEND-A 82 122 3 TRACK3 LEVEL 43 TRACK3 * AUX SEND-A 83 123 4 TRACK4 LEVEL 44 TRACK4 * AUX SEND-A 84 124 5 TRACK5 LEVEL 45 TRACK5 * AUX SEND-A 85 125 6 TRACK6 LEVEL 46 TRACK6 * AUX SEND-A 86 126 7 TRACK7 LEVEL 47 TRACK7 * AUX SEND-A 87 127 8 TRACK8 LEVEL 48 TRACK8 * AUX SEND-A 88 9 TRACK9 LEVEL
Chapter 13: Using the effects Chapter 13: Using the effects If you have installed an optional effect board EB2M, you can use various types of effects. This chapter describes their functions and usage. ➸NOTE : If the EB2M is not installed in the DPS12, the effect setting screens still appear. However, they will not respond to your operation. Effect signal flow If you have installed an optional effect board EB2M in the DPS12, you can use two channels of stereo effects: EFFECT A and EFFECT B.
Chapter 13: Using the effects If you are using Insert effects on some channels during mixdown, you do not need to mix a dry sound and an effect sound, since the effect return signal includes a processed sound or a mixture of dry and effect sounds. Therefore, route the channel signal to which you wish to apply effects from the pre-fader position to AUX SEND A/B, and set the LEVEL parameter to 0.
Chapter 13: Using the effects 5. If necessary, move the cursor to the parameter you wish to adjust in field 2, and turn the [JOG] dial to set the value. ✐TIPS : • The parameters of some effect types are displayed over two screens. In this case, press the MORE [F6] key in the first screen to recall the second screen. Press the BACK [F6] key to return to the first screen. • Some effect types require you to switch between different effects manually.
Chapter 13: Using the effects • 1 MIXED STEREO EFFECT A and B return signals L/R are mixed and routed as analog inputs 5 and 6. You cannot use analog INPUT jacks 5 and 6 to input external signals. ASSIGN FX RTN INPUT 3 (ANALOG) GAIN INPUT 4 (ANALOG) GAIN INPUT 5 (ANALOG) GAIN INPUT 6 (ANALOG) GAIN Optional internal effects R EFFECT A L R EFFECT B L • 2 STEREO PAIRS EFFECT A return signals L/R are routed as analog inputs 3 and 4, and EFFECT B return signals L/R are routed as analog inputs 5 and 6.
Chapter 13: Using the effects ✐TIP : If you selected Global effects for both EFFECT A and B, you may want to select 1 MIXED STEREO or 2 STEREO PAIRS. If you have selected Insert effects for either EFFECT A or B or both, you may want to select 2 STEREO PAIRS. Routing effect return signals to THRU MIX channels You can send effect return signals that have been switched as analog input signals to the THRU MIX channels in the mixer section to mix them with the TRACK MIX channel signals (track playback).
Chapter 13: Using the effects ■ If you selected Insert effects 1. Select TRACK MIX channels in Mixer mode, and adjust the AUX SEND-A or AUX SEND-B level of the channel to which you wish to apply effects. At this time, you can check the output level of AUX SENDs A/B using level meters SA/B. 2. Recall the AUX-A PRE/POSTand AUX-B PRE/POSTparameters to select PRE (pre-fader) to send channel signals to the Insert effects. 3.
Chapter 13: Using the effects Recording sound to a track while applying an Insert effect You may sometimes wish to record sound with an Insert effect applied via an input. This section describes an example in which we apply a stereo phaser of EFFECT A to the INPUT 1 signal and record on Tracks 5 and 6. 1. Press the THRU [F2] key in Assign mode, and set the input to which you wish to apply the effect to THRU MIX. The input signal is routed to a THRU MIX channel in the mixer section.
Chapter 13: Using the effects 5. Press the EFFECT [F5] key in Mixer mode and select a type of Insert effect. Also, set the other effect parameters, if necessary. 6. Press the FX RTN [F1] key in Assign mode, and select 2 STEREO PAIRS. The effect return signals from EFFECT A and B are switched to analog input signals 3/4 and 5/6. Example: Set the effect return signals to 2 STEREO PAIRS. In this case, the effect return signals from EFFECT A are routed as analog inputs 3 and 4. 7.
Chapter 13: Using the effects The following diagram illustrates the signal flow when you are using an Insert effect. (Dotted boxes indicate the steps described above.
Chapter 13: Using the effects Effect type and parameter This section describes the types and parameter functions of the optional internal effects. Global effects are indicated with (G) and Insert effects are indicated with (I) after their names. When you select an effect type, recommended values appear for the parameters. These settings can be changed, if necessary. MONO CHORUS (G) This is a common chorus effect. Fdback 1 B 3 4 5 6 PAN Delay LFO1 Parameter LFO2 Setting range Function 1 Rate1 0.
Chapter 13: Using the effects XOVER CHORUS(G) This is a variation of the STEREO CHORUS. LFO1 LFO2 Delay 1 B 3 4 5 6 Width Fdback PAN Delay inverter LFO1 Parameter Setting range LFO2 Function 1 Rate1 0.1Hz – 10.0Hz Adjusts the speed of LFO1. 2 Rate2 0.1Hz – 10.0Hz Adjusts the speed of LFO2. 3 Fdback 0 – 127 Adjusts the feedback amount. 4 Depth1 0 – 127 Adjusts the depth of LFO1. 5 Depth2 0 – 127 Adjusts the depth of LFO2.
Chapter 13: Using the effects Parameter Setting range Function 1 Rate 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth 0 – 127 Adjusts the depth of LFO. 3 Fdback 0 – 127 Adjusts the feedback amount. 4 FB Inv ON/OFF Inverses the phase of feedback signals when turned on. 5 Width 0 – 127 Adjusts the width and spread of the stereo image. XOVER FLANGER (G) This is a variation of the STEREO FLANGER.
Chapter 13: Using the effects MONO PHASER (I) This is a common phaser effect. Fdback 1 B 3 Pan Phaser 4 LFO Parameter Setting range Function 1 Rate 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth 0 – 127 Adjusts the depth of LFO. 3 Fdback 0 – 127 Adjusts the feedback amount. 4 Pan L63 – MID – R63 Adjusts the stereo image of the effect sound. STEREO PHASER (I) This is a phaser effect that adds width and spread to the stereo image.
Chapter 13: Using the effects PAN PHASER (I) This effect pans the sound image of the mono phaser effect sound to left and right. Fdback 1 B 3 L autopan Phaser 4 R LFO Parameter Setting range Function 1 Rate 0.1Hz – 10.0Hz Adjusts the speed of LFO. 2 Depth 0 – 127 Adjusts the depth of LFO. 3 Fdback 0 – 127 Adjusts the feedback amount. 4 Width 0 – 127 Adjusts the panning width.
Chapter 13: Using the effects ROTARY SPEAKER (I) This effect simulates rotary speakers. Use external MIDI Control Change messages or the function key on the DPS12 to switch between two rotation speeds (Rate1/Rate2). When the DPS12 receives a specified Control Change message, Rate1 is selected if the value falls between 0 and 63, and Rate2 is selected if the value falls between 64 and 127. Pressing the MANUAL [F6] key will toggle between Rate1 and Rate2.
Chapter 13: Using the effects TRIGGER PAN (I) This auto pan effect becomes enabled when the output level of AUX SEND A or AUX SEND B exceeds a certain level. You can also press the MANUAL [F6] key to start the auto pan effect manually. 1 B autopan 3 4 5 Trigger Parameter Setting range Function 1 Rate 0.1Hz – 10.0Hz Adjusts the speed of panning. 2 Mode Pan/L>R/R>L Sets the effect of panning. (Refer to AUTO PAN.
Chapter 13: Using the effects PANNING DELAY (G) This delay effect pans the delay sound left, center, then right (LCR), or right, center, then left (RCL). 1 B 3 4 5 Parameter Setting range 1 – 1500ms Function 1 Delay Adjusts the delay time. 2 Fdback 0 – 127 Adjusts the amount of delay that is fed back. 3 HFdamp 20Hz – 20kHz Sets a frequency at which the higher range of the feedback sound is cut. 4 Mode LCR/RCL Sets the effect of panning. 5 Width 0 – 127 Adjusts the panning width.
Chapter 13: Using the effects Parameter 1 LDelay 2 3 Setting range Function 1 – 1500ms Adjusts the delay time of the L channel. Fdback 0 – 127 Adjusts the amount of delay that is fed back. HFdamp 20Hz – 20kHz Sets a frequency at which the higher range of the feedback sound is cut. 4 RDelay 1 – 1500ms Adjusts the delay time of the R channel. 5 Width 0 – 127 Adjusts the width and spread of the stereo image. TAPE ECHO (G) This delay effect simulates a three-head tape echo machine.
Chapter 13: Using the effects Parameter Setting range 1 – 100ms Function 1 Pre-D Adjusts the delay time of early reflections. 2 Time 0.1 – 10sec Adjusts the time of attenuation of reverberation. 3 Diff 0 – 127 Adjusts the density of reverberation. 4 HFdamp 20Hz – 20kHz Adjusts a high-frequency damp (the high range is attenuated) of reverberation. 5 Width 0 – 127 Adjusts the width and spread of the stereo image.
Chapter 13: Using the effects REVERB>NON-LINEAR (Non-linear Reverb) (G) This reverb effect (gate reverb) stops reverberation at a specified time. 1 B 3 4 Parameter Setting range Function 1 Pre-D 1 – 100ms Adjusts the delay time of early reflections. 2 Hold 0 – 127 Adjusts the time (duration) until reverberation is stopped. 3 Diff 0 – 127 Adjusts the density of reverberation. 4 Width 0 – 127 Adjusts the width and spread of the stereo image.
Chapter 13: Using the effects EXPANDER (I) This effect expands (boosts) signals with a certain level or lower and broadens the dynamic range. 1 B 3 4 5 6 Parameter Setting range Function 1 Thresh –60dB – 0dB Adjusts the level at which the effect is enabled. 2 Ratio 1:2 – 1:100 Adjusts the boosting ratio for signals that exceed the threshold value. 3 Output –24dB – +24dB Adjusts the level of the effect sound. 4 Att 0 – 127 Adjusts the attack time of the effect.
Chapter 13: Using the effects AUTOWAH (I) This effect adds a swelling wah. 1 B 3 Parameter Setting range Function 1 Rate 0.1 – 10.0Hz Sets the speed (rate) of swelling (LFO) of the wah effect. 2 Depth 0 – 127 Sets the depth of the effect. 3 Reso 0 – 127 Sets the amount of resonance. TOUCH WAH (I) This effect adds a wah effect to signals at a certain level or higher.
Chapter 13: Using the effects FLANGE>DELAY (G) This effect consists of a flanger effect and a delay effect connected in series. 1 B 3 4 5 6 Parameter Setting range Function 1 Rate 0.1Hz – 10.0Hz Sets the speed of LFO for the flanger effect. 2 Depth 0 – 127 Sets the depth of LFO for the flanger effect. 3 Fdback 0 – 127 Sets the amount of the flanger effect that is fed back. 4 Delay 1ms – 1500ms Sets the delay time of the delay effect.
Appendix Appendix Specifications Power supply : AC 100 – 240V, 50/60Hz, 21W Operating temperature : 10˚C – 35˚C Operating humidity : 10% – 60% (no condensation allowed) Dimensions (mm) : 445 (W) x 98 (H) x 334 (D) (max. 443.5 measured on the projection) Weight : 4.3kg Display : 248 x 60 dots, backlit, graphical LCD Recording media : Internal JAZ drive (1Gbyte), or an external JAZ or hard disk Sampling rate : 48kHz, 44.
Appendix Stereo phone output x 1 : ø6.3mm stereo phone jack (max. output: 24mW, load impedance at 32 Ω) Digital audio input : Optical (SPDIF) Digital audio output : Optical (SPDIF) Foot switch jack x1 : ø6.3mm phone jack SCSI x 1 : Half-pitch 50-pin for external hard disks Accessories : 3-pin power cable (with a two-polar conversion plug) Owner’s manual Option : EB2M (Effect Board) The specifications are subject to change for improvements without notice.
Appendix MIDI Implementation Chart Date: 11/97 Version: 1.
