Important Notice The material in this document is copyright to AKAI professional M.I. Corp., and may not be quoted or reproduced in any form without written permission from the company. LIMITED SOFTWARE WARRANTY POLICY All the software provided with, or purchased especially for, AKAI professional products has been tested for functionality. AKAI professional M.I. Corp. will make its best efforts to correct reported software defects for future releases subject to technical practicabilities.
WARNING: WHEN USING ELECTRIC PRODUCTS, BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED, INCLUDING THE FOLLOWING: WARNING The DPS 24MK II is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your DPS 24MKII meets the power requirements in your area. If in doubt, consult a qualified electrician or AKAI professional dealer.
WARNING For U.K. customers only 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 FCC WARNING This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications.
iv Table of Contents Table of Contents INTRODUCTION .......................................................................................... 1 DPS24 STRUCTURE ................................................................................... 2 REAR PANEL ............................................................................................... 4 FRONT PANEL ............................................................................................ 7 TOP PANEL .....................................
Table of Contents v TRANSPORT KEYS......................................................................... 40 EDIT PLAY KEYS ............................................................................. 41 AUTOLOCATOR .............................................................................. 42 USING THE AUTOLOCATOR .......................................................... 43 QUICK LOCATE KEYS .................................................................... 45 GOTO NEXT / PREV CUE ..............
vi Table of Contents SOLO SETUP ................................................................................ 101 USING SOLO ........................................................................................................ 104 FX/AUX SETUP ............................................................................. 105 TALKBACK TO STUDIO OUT .................................................................... 106 PATCH MODE .......................................................................
Table of Contents vii ADDING EFFECTS TO A CONTROL ROOM MONITOR MIX ....... 151 ADDING EFFECTS TO A FOLDBACK MIX ................................... 151 PROJECT MODE ............................................................................... 152 LOADING PROJECTS ................................................................... 152 CREATING NEW PROJECTS ....................................................... 152 RECORD / PLAYBACK FROM EXTERNAL SCSI DISK DRIVES ............
viii Table of Contents OS UPDATE ................................................................................... 180 DISK ............................................................................................... 182 CLEANUP DISK .................................................................................................. 183 DISK TOOLS ......................................................................................................... 183 DISK FORMAT ....................................
ix APPENDIX ......................................................................................... 225 MIDI Implementation Chart ............................................................ 225 Block Diagrams .............................................................................. 226 Insatllation of Options - To service Technicians ............................. 230 OS Upgrade via USB (PC only) ..................................................... 231 OS Upgrade via CD (PC only) ...................
x Table of Contents User Guide
FEATURES 1 INTRODUCTION FEATURES Thank you for purchasing the DPS24 24-track personal studio. The DPS24 is packed full of highly professional features that allow you to make digital multi-track recordings and mixdowns in one convenient unit. These include: • 24-track hard disk recorder/editor offers non-compressed 16/24-bit linear operation at 32/44.1/48/88.2/96kHz sampling rates with non-destructive multi-track real-time editing (cut, copy, paste, insert, move, etc). (12 tracks at 88.
2 DPS24 STRUCTURE DPS24 STRUCTURE Internally, the DPS24 is laid out much like any conventional recording studio: At the heart of this 'typical' studio is a large, multi-channel mixer. This mixer has 46 channels: 12 mono + 1 stereo inputs, 24 track returns and 4 stereo FX returns. The mixer's 8 GROUP outputs are connected to the inputs of the MTR (multi-track recorder) and inputs are routed to tracks on the MTR via these.
3 If you are familiar with this setup, then you already understand most of the DPS24 as this is pretty much what the DPS24 offers! However, instead of separate analog units, all the above is done digitally within the DPS24 so that you enjoy the benefits of superior sound quality, automated mixing, non-destructive editing and much more besides in one convenient unit. The obvious benefit of the DPS24 versus individual components is the simplification of the cabling between components.
4 REAR PANEL REAR PANEL The rear panel has a comprehensive selection of connectors to interface the DPS24 with a wide range of analogue and digital equipment. These are: 1. INPUTS - BANK A Across the top of the rear panel are the two banks of analog inputs. The top row (Bank A) are balanced inputs on XLR/TRS jack combos. These can accommodate XLR connectors or TRS (tip, return, send - stereo) 1/4" jack plugs. 2.
REAR PANEL 5 ever, it is possible to patch other audio sources to appear at these outputs if you wish. 9. WORDCLOCK I/O When wordclock is selected as the sync source, this BNC is set to receive wordclock. At all other times, this BNC is set to generate wordclock. 10. MIDI IN/OUT/THRU The MIDI IN connection can accept MIDI Time Code for synchronising to external equipment such as sequencers. The MIDI OUT connector can generate MIDI Time Code or MIDI Clock so that sequencers, etc.
6 REAR PANEL 19. AUX IN This is a balanced stereo input that can be used for a variety of purposes. It can be used to bring in an external sub-mixer (for example, to expand the number of input channels for sound modules, samplers, drum machines, etc., that may be being sequenced during mixdown) or it can be used as a stereo effects return. By default, this signal feeds the main L/ R bus via the stereo AUX mixer channel prior to the master stereo fader.
FRONT PANEL 7 FRONT PANEL 1. 5inch Bay Internal Hard Disk drive is installed inside. An optional Canister may be installeed now. 2. CD-RW/CD-R DRIVE BAY An IDE CD-RW is installed here. It is also possible to install a removable IDE hard drive bay. 3. HEADPHONE OUTPUT Two headphone output connectors are provided. Both are identical (i.e. wired in parallel) and carry a duplicate of the MONITOR output. 4. HEADPHONE LEVEL This allows control of the level of the signal appearing at the headphone outputs.
8 Top Panel TOP PANEL GETTING AROUND THE DPS24 This section deals with the DPS24's control surface. Although we would like to think that most of it should be fairly self-explanatory, please read this section to gain a full understanding of the DPS24's functions.
INPUTS 9 INPUTS Across the top of the panel are controls associated with the twelve analog input preamps. The functions are: 48V ON/OFF Switches on 48 volt phantom power to Inputs A 1-4 allowing these channels to be used with condenser mics. A/B The switches running along the top switch between Input A or B. (A is the XLR combo, B is the 1/4" jack) LINE/MIC The next row of switches set the input (TRIM) sensitivity between line (15dB <> +45dB) and mic (0dB <> +60dB).
10 Top Panel RECORD/EDIT SELECT KEYS Below the inputs are the RECORD/EDIT SELECT keys for Tracks1-24: These keys have bi-coloured LEDs and normally, when recording, they illuminate red and are used to select tracks for record. However, when the EDIT mode is enabled, these keys illuminategreen and are used to select tracks for editing. The number shown to the right of each key shows the default Group assignment.
L/R AND GROUP ASSIGN KEYS 11 L/R AND GROUP ASSIGN KEYS Below the RECORD/EDIT SELECT keys to the left of the panel are the ASSIGN keys: These allow you to route signals to the groups and also to the stereo L/R bus. To route any channel to a Group (and hence to the track(s)), press the desired GROUP key. The current GROUP key will flash. The SELECT keys for any channels assigned to that group will illuminate whilst those that aren't assigned will flash.
12 Top Panel SUB-GROUPING CHANNELS TO THE L/R MIX Very often (especially during mixdown), it is very useful to be able to sub-group certain channels to the stereo L/R bus via the Groups. For example, all your drums and percussion channels could be sub-grouped to one group, all your keyboard parts to another, all your backing vocals to another, etc., so that you have control over these elements with a single Group fader.
Q-STRIP FUNCTION KEYS/CHANNEL ENCODERS 13 Q-STRIP FUNCTION KEYS/CHANNEL ENCODERS Below the RECORD/EDIT SELECT keys to the left of the panel are the Q-CHANNEL key and the Q-STRIP FUNCTION keys: Directly above the channel faders is a row of continuous rotary encoders (the Q-STRIP / QCHANNEL) with a 'collar' of LEDs around each of them that serve a variety of purposes. When the Q-CHANNEL key is off, they operate as the Q-STRIP.
14 Top Panel FADER FLIP It is also possible to 'flip' (or swap) the faders and FX/Aux sends allowing you to set FX/ Aux sends using the motorized faders. This is useful when you require very abrupt changes to FX/Aux sends... to allow for precision when setting the FX/Aux send levels, the encoders need a few turns to cover the entire range. The faders, on the other hand, can cover the entire range in one swift movement.
Q-CHANNEL SELECT / Q-CHANNEL ENCODERS 15 Q-CHANNEL SELECT/Q-CHANNEL ENCODERS In the centre of the panel is the Q-CHANNEL key: One of the most useful features of the DPS24 is that the row of encoders directly above the faders can be switched to become a complete channel's worth of parameters allowing you to have 'hands-on' control of panning, EQ and FX/Aux sends. This 'mode' is enabled by pressing the Q-CHANNEL switch located centrally on the upper panel.
16 Top Panel Furthermore, the function of the Q-STRIP FUNCTION keys described earlier also change when the Q-CHANNEL is enabled: The labelling underneath the keys denotes their function when in Q-CHANNEL 'mode' and you have 'hands-on' control to bypass the EQ and to switch FX/AUX 1-4 as pre- or post-fade. Of course, for the Q-CHANNEL 'mode' to be applicable, you must select a channel for editing (i.e. you should press a channel's SELECT key just under the row of encoders).
Q-STRIP / Q-CHANNEL ENCODERS 17 Q-STRIP/Q-CHANNEL ENCODERS Around the encoders is a collar of LEDs that show the encoder's value. As the control is moved, so do these LEDs illuminate to show its position. However, the way these LEDs illuminate depend on the control's function. PAN POSITION / EQ FREQUENCY When used as a pan pot, the LEDs around the encoders illuminate as follows: When the encoder is set to MID, the red LED at the bottom illuminates as well.
18 Top Panel FADERS/FADER BANKS Below the DPS24's Q-STRIP/Q-CHANNEL encoders are the channel faders and SELECT and ON/SOLO keys: Each channel is identical whether it's an input or a disk channel (the GROUP/FX channels are different and those differences are described on the next page). Each channel has a long throw 100mm motorised fader which is touch sensitive for use with the mixer's automation and simply touching the fader will make it active.
FADERS / FADER BANKS 19 The different channels are selected using the FADER BANK keys located above the transport keys. The types of mixer channel types are as follows: INPUTS 12 general purpose mixer channels which can be used to mix the DPS24's various input sources. The channels can also be used to add EQ and dynamics and also to send the channels to either the internal effects and/or the AUX bus. By default, input sources are ADCs 1-12.
20 Top Panel MASTER SECTION To the right of the channel faders is the MASTER fader: The MASTER section also has a long throw, touch sensitive, motorised fader. This controls the L/R bus which, by default, appears at the STEREO OUT. NOTE: Due to the DPS24's flexible patching system, it is possible to route audio sources other than the L/R bus to the STEREO output. If another audio source is patched to the STEREO output, the MASTER fader will not affect that audio source's level.
MONITOR SECTION 21 MONITOR SECTION Directly above the MASTER section is the MONITOR section: The functions are (from top to bottom): MONITOR LEVEL Sets the level of the signal appearing at the MAIN or NEARFIELD monitor outputs. !!! SOLO !!! This LED flashes whenever a channel is solo'd.
22 Top Panel MONO This switches the monitor output to mono. Switching to mono does not affect the STEREO L/R outputs, only the monitor outputs (MAIN and NEARFIELD). Thus it is possible to check a mix in mono on the control room speakers without affecting the STEREO L/R mix to the master recorder. Similarly, when monitoring the 2-TRACK input (either after or during mixdown), it is possible to switch to mono for reference checking.
LCD “POD” 23 LCD 'POD' Top right of the meters. To the right of the LCD are six Q-Link pots, Q1-Q6, used to set parameters on the LCD. Below the screen are six 'soft' keys, F1-F6, the functions of which change according to the screen being displayed. To the left of the function keys is a simple talkback mic. Its level can be regulated using the TB LEVEL pot directly below it. Underneath the function keys is a dedicated timecode display.
24 Top Panel LCD LAYOUT The layout of the LCD is divided in various sections or blocks. A typical LCD screen of the DPS24 would look like this: SOFT KEYS In all pages, at the bottom of the screen, the functions the softkeys F1-F6 are shown. There are a few types of soft keys along the bottom of the LCD: This is typical 'do it' style key. This is a typical 'go-to-another-page' key. Some soft keys are also uses as ON/OFF switches: or Indicates that a function is on. or Indicates that a function is on.
SAVE INDICATOR 25 SAVE INDICATOR Whenever something is changed in a project, it is autosaved. When this happens, a small "warning" icon appears in the FREE box at the top right of the display: IMPORTANT NOTE: When this icon appears, it is essential that you do not switch the DPS24 off. Doing so might result in lost data and maybe irreparable damage to your disk drive. After making any changes to your project, always wait until the icon shown above clears before switching off.
26 Top Panel PROJECT OVERVIEW In the MAIN SCREEN, and also in the main page of EDIT/DSP modes, a Project Overview is displayed in the lower portion of the screen: This shows a graphic representation of the 24 tracks of the project, scrolling from right to left accross the NOW Time line during playback. The IN-OUT region is displayed inverted.
Q-LINK CONTROLS 27 Q-LINK CONTROLS In some pages, on the right side of the screen, adjustable parameters are available. Those parameters are adjusted using the corresponding Q1-Q6 Q-Link knobs directly to the right of the screen. Those Q-link knobs can be used to: * enter parameter values. For instance, in the FX or CHANNEL Dynamics pages: or * select option parameters.
28 Top Panel MOVING AROUND THE LCD Most pages provide immediate access to parameters via the Q-LINK controls on the right. An example of this would be the FX pages: Here, you simply select the FX channel and the FX type with the cursor keys and set the parameters directly with the Q-LINK controls. Most of the DPS24's pages are like this and have no parameters to set via tedious cursor movement. There are a few pages, however, which have multiple parameters to select.
MOVING AROUND THE LCD 29 To edit the value you can..... • Enter a number directly using the numeric keypad, followed by ENTER • Use the numeric keypad's +/- keys to nudge values • Use the Q6 as a typical DATA ENTRY encoder In this example, however, you would probably prefer to use the Q-CHANNEL function to set the functions shown.
30 Top Panel NAMING It is possible to name things on the DPS24 from the front panel. However, we thoroughly recommend that you connect a PS2 keyboard as this makes naming MUCH easier and suitable keyboards for the purpose can be bought very cheaply at any high street store that sells computers. Do not use a keyboard that requires a driver installation. Use only a keyboard that does not have special features such as Internet keys, Multimedia keys, built-in trackball. The simpler, the better.
PROMPTS 31 PROMPTS The DPS24 uses prompts to guide you through certain function of the user interface. For example: The DPS24 also uses progress displays for functions that take time.
32 MAIN CONTROL SECTION MAIN CONTROL SECTION Here, you find the following functions: This allows you to synchonize the DPS24 with external devices. EXT SYNC When the key is pressed (and the LED illuminated), it enables the Time Sync synchronization setting (Master or Slave, MIDI or SMPTE). If Time Sync is set to MTC Slave or SMPTE Slave, the DPS24 will not play and/or record unless it is receiving external timecode.
MAIN CONTROL SECTION PROJECT 33 Allows you to load, create, delete, copy, backup and restore Projects. Its SHIFT function (V.TRACK) gives access to the 'Virtual Tracks' function. SETUP Allows you to set global parameters that affect the DPS24 as a whole. Its SHIFT function allows access to the CD-R functions for mastering to and playing back from the (optional) CD-R. CURSOR Allows you to move around the screen where applicable.
34 MAIN CONTROL SECTION AUTO Activates the AUTO record function. When AUTO is switched on, monitoring switches from disk to input at the IN time on the selected track(s) and switches back to disk playback at the OUT point. Thus you can rehearse the recording simply by switching AUTO on.
MIX SCENE KEYS 35 MIX SCENE KEYS In a single DPS24 project, you can store and recall up to 100 'Mix Scenes'. These are 'memories' of the whole mixer's settings such as EQ, fader position, FX sends, etc.. for all Channels. The following table shows what is and isn't stored in Mix Scene: Also saved in a Mix Scene are Global FX/AUX Setup and FX selection and settings for all 4 Effects. Scenes are recalled using the SCENE RECALL key and are stored, not surprisingly, using the SCENE STORE key.
36 MIX SCENE KEYS STORING A MIX SCENE To store a mix scene, press STORE (the key will flash). You will see something like this pop-up prompt: You should use the CURSOR keys to move up or down the list of available mix scenes to select an 'unused' mix scene if you want to store a new scene. If you press the flashing ENTER key or STORE [F6], the scene will be stored..
RECALLING A MIX SCENE 37 RECALLING A MIX SCENE To recall a mix scene, if you know the scene number you want to use, recalling a scene is simply a matter of pressing RECALL (the key will flash), typing in a two-digit number (0099) on the adjacent numeric keypad followed by pressing ENTER (which also flashes when RECALL is pressed). The scene will be recalled.
38 MIX SCENE KEYS Pressing F3 or F4: RESET MIXER resets the mixer to its default configuration.
RECALLING A MIX SCENE 39 Pressing RESET MIXER will reset the entire mixer to 'flat' according to the option selected in RECALL CONTROLS as follows: ALL Will reset all controls (faders, pans, sends, EQ, channel dynamics channel on/off, FX/MBCX settings, etc.
40 MIX SCENE KEYS TRANSPORT KEYS A standard transport key layout is provided. The functions are: Rewinds the project at x10 normal play speed. REWIND FAST FORWARD Fast forwards the project at x10 normal play speed. Pressing REWIND or FAST FORWARD when a project is playing will rewind or fast forward it at x5 speed with 'tape chatter' as on an analogue reel-to-reel.
EDIT PLAY KEYS 41 EDIT PLAY KEYS Above the main transport keys are special 'edit play' keys to audition edit points: From the current NOW time (original location), their functions are: TO Rolls-back, plays up to the original location and stops. The play-to time can be set in the SETUP / PREFERENCES mode. FROM Plays from the current NOW time and returns to the original location. The play-from time can be set in the SETUP / PREFERENCES mode.
42 MIX SCENE KEYS AUTOLOCATOR Next to the EDIT PLAY keys are the AUTOLOCATE keys: Their functions are: Pressing this key allows you to locate to one of 100 (00-99) previously stored locate memory points, to the IN/OUT points, to the Project START / END, to the PREVIOUS / NEXT cue, return to zero, or roll-back by the pre-roll time. GOTO Pressing SHIFT+GOTO pops up a window that allows you to enter a locate time value with the numeric keypad. MEMORY Pressing this key allows you to store a locate point.
USING THE AUTOLOCATOR 43 USING THE AUTOLOCATOR To store a locate memory, the basic operation is as follows: press the MEMORY key followed by a two-digit number followed by ENTER. This will store the current NOW time into the selected locate memory.
44 MIX SCENE KEYS Once stored, they may be recalled using the GOTO key . Although the GOTO function is designed to be used 'blind' without referring to the LCD , when you press GOTO, a prompt is also shown on the LCD: You can.....
QUICK LOCATE KEYS 45 QUICK LOCATE KEYS To facilitate easier locating, 'quick keys' are also available. It is possible to use the numeric keypad 0-9 as Quick Locators without opening the GOTO/ MEMORY windows. To Store Quick Locates, press and hold MEMORY and press a numeric key 0 - 9. To Recall Quick Locates, press and hold GOTO and press a numeric key 0 - 9.
46 MIX SCENE KEYS LOCATE TO TIME You can also locate to a specific timecode position by pressing SHIFT+GOTO. This will pop up a prompt where you can enter the timecode value using the numeric keypad: If DISPLAY SELECT is set to BARS/BEATS/CLOCKS instead of Time Code, you can enter the locate time in Bars and Beats.
JOG/SHUTTLE WHEEL 47 JOG/SHUTTLE WHEEL The DPS24 features a combined JOG/SHUTTLE wheel: The outer shuttle wheel allows variable speed playback forward or backward at 2 x nominal speed whilst the inner jog wheel allows you to scrub audio. It is possible to scrub all 24 tracks. NOTE: When shuttling or jogging, any automation data is ignored. When forward playback commences, however, the automation data will be played back.
48 POWERING UP THE DPS24 POWERING UP THE DPS24 Ensuring that you monitor amplifier's master level control is turned down, switch the DPS24 on using the rear panel POWER switch. You will see this screen during power up: Followed shortly afterwards by this screen: Once the disk scan has completed, you should see the icons for the installed drive(s) appear at the bottom of the screen. Typically, these will be the Internal HD and maybe a CD drive (if the option is installed).
DPS24 MODES 49 DPS24 MODES Running below the LCD are the DPS24's 'mode' keys: These are: MAIN SCREEN This is the main operating screen that one normally works in. It shows meters for all mixer channels and an overview of the active project, as well as current Project setup information (Sample rate, Bit depth, Frame rate). Its SHIFT function shows an enlarged project display, GRID. EDIT Allows you to edit audio with functions such as copy, cut, paste, etc..
48 POWERING UP THE DPS24 POWERING UP THE DPS24 Ensuring that you monitor amplifier's master level control is turned down, switch the DPS24 on using the rear panel POWER switch. You will see this screen during power up: Followed shortly afterwards by this screen: Once the disk scan has completed, you should see the icons for the installed drive(s) appear at the bottom of the screen. Typically, these will be the Internal HD and maybe a CD drive (if the option is installed).
DPS24 MODES 49 DPS24 MODES Running below the LCD are the DPS24's 'mode' keys: These are: MAIN SCREEN This is the main operating screen that one normally works in. It shows meters for all mixer channels and an overview of the active project, as well as current Project setup information (Sample rate, Bit depth, Frame rate). Its SHIFT function shows an enlarged project display, GRID. EDIT Allows you to edit audio with functions such as copy, cut, paste, etc..
50 MAIN SCREEN MAIN SCREEN When a project is loaded, pressing the MAIN SCREEN key will show this screen: You can see an overview of the project plus level metering of inputs, the eight groups, the FX and AUX sends, FX returns and disk tracks. You may zoom in/out on the Track overview horizontally by pressing SHIFT+ CURSOR (you cannot zoom in vertically). The NOW line is fixed and the cues scroll across the screen from right to left.
GRID(Graphic Interface Display) 51 GRID (GRaphic Interface Display) Pressing SHIFT+MAIN shows and expanded track display: Functionality is the same as the MAIN SCREEN except, of course, you can see the GRID more clearly. This expanded view also allows you to see autolocate points shown as white triangles across the bottom of the display and the track numbers on the left side of the GRID. Track names can be shown in the GRID view.
52 EDIT MODE EDIT MODE Editing on the DPS24 is simple and non-destructive. You simply mark an IN/OUT region and subject that region to editing. It is possible to edit multiple tracks. When editing, you are not altering the actual audio data - instead, you are simply changing pointers to that audio thus editing is quick as you are not physically copying/removing/moving actual audio data around. Neither are you clogging up your hard disk with duplicate audio data.
EDIT MODE 53 When you press SHIFT and an EDIT SELECT track key, one track is shown: If you press SHIFT and quickly another EDIT SELECT track key, two tracks will be shown: You can also use SHIFT+CURSOR UP/DOWN to increase (or decrease) vertical (i.e. amplitude) resolution for the selected track(s). When editing, you can use the JOG wheel to fine tune your edit - jog to the point in the waveform display and press IN (or OUT) to re-define the edit region.
54 EDIT MODE Using SHIFT+CURSOR LEFT/RIGHT, you may zoom in/out on the waveform horizontally: At any resolution, you can use the numerical keypad's +/- keys or the Q5 knob, to nudge the NOW time forwards or backwards by one pixel increments to fine tune your edit points. At the maximum horizontal zoom, one pixel of the LCD represents one sample.This means that you can set sample accurate edit points.
EDIT MODE 55 From the main EDIT mode, the F1-F6 softkeys provide access to the individual edit function pages. All EDIT function pages look more or less like this: In all EDIT function pages, you can see a graphic representation of the selected EDIT function. The Edit Tracks graphic shows you which tracks are selected for edit (same as the 24 RECORD/EDIT SELECT keys). The CLEAR (F3) and ALL (F4) buttons give you a quick way of deselecting or selecting all tracks for edit.
56 EDIT MODE EDITING AND AUTOMATION When performing edits that cause audio to move, it is necessary to edit any automation data that exists in that region accordingly. If automation data is left untouched by an audio edit, the mix will be wrong. For example, when removing a piece of audio: Without including the automation data in the edit, the fade is now in the wrong place.
COPY 57 The edit functions are as follows: COPY Pressing COPY [F1] displays this screen: Pressing COPY [F6] or the ENTER key will copy the region to the clipboard from where it may be subsequently pasted and/or inserted elsewhere in the project. NOTE: It is possible to copy edits between projects that are stored on the same drive. Select the track(s) you want to edit, mark your edit region and press COPY.
58 EDIT MODE CUT Pressing CUT[F2] displays this screen: Pressing CUT [F6] or the ENTER key will remove the selected IN/OUT region to the clipboard and close the gap, shifting all subsequent audio backwards. ERASE Pressing ERASE[F3] displays this screen: Pressing ERASE [F6] or the ENTER key will remove the selected IN/OUT region to the clipboard but subsequent audio will not slip in time.
INSERT INSERT 59 Pressing INSERT[F4] displays this screen: When pressing INSERT [F6] or the ENTER key, the contents of the clipboard are inserted at the NOW time and all subsequent audio is shifted in time. You can specify the number of times the inserted cue will repeat when inserted using Q5, No. of Inserts. This will insert in the cue n times (up to 99) with each one appended to the end of the previous one.
60 EDIT MODE PASTE Pressing PASTE[F5] displays this screen: When pressing PASTE [F6] or the ENTER key, the contents of the clipboard is pasted in at the NOW time. Please note, however, that the pasted audio will overwrite anything that exists after the NOW time. If you make a mistake, you should use UNDO. Using Q5, No. of Pastes, you may specify the number of times the pasted cue will be repeated (up to 99).
MOVE MOVE 61 Pressing MOVE[F6] displays this screen: Here, you can slip/move the selected edit region to the NOW time referenced either to its IN point or OUT point. IN > NOW [F6] OUT > NOW [F5] moves the IN/OUT region to start at the NOW time. moves the IN/OUT region to end at the NOW time.
62 EDIT MODE ORIGINAL Pressing F5 will move a recording to the timecode position at which it was originally recorded. NOTE 1: Any subsequent cues within the region on that track are moved such that they stay in the same place with respect to the first cue. This means you can edit or drop-in over a cue and then move the whole lot back to the *cue's* original position whilst keeping the edits intact.
WAV/AIFF IMPORT 63 WAV/AIFF IMPORT The DPS24 allows you to import audio files that have been recorded/edited on other systems. The IMPORT function is available in the EDIT mode in the PASTE and INSERT pages: The Source on Q2 allows you to select the source of the PASTE / INSERT. By default, this is set to CLIPBOARD and the paste / insert will be as normal from the DPS24's internal clipboard.
64 EDIT MODE Audio files can be imported from any connected drive, except the current Project drive.
WAV/AIFF IMPORT 65 Pressing BROWSE [F6] shows a screen that displays the files on the selected drive: Folders on the disk are shown and these can be opened with the OPEN key on F5: You will see the contents of the selected folder. In the example shown above, you can see the .wav files listed. You can move the cursor up and down through the list to see the various files.
66 EDIT MODE Once you have located the file that you wish to import, press SELECT [F5] to select it. The selected file will be 'ticked' for confirmation. To 'de-select' a file, either press SELECT again or press CLEAR [F3] Also the destination tracks will be shown alongside the file selected for import: Using the RECORD/EDIT SELECT keys, select the tracks to import the audio file to, so that the number to selected tracks is at least equal to the number of Channels in the audio file.
WAV/AIFF IMPORT 67 You now have two options you can choose before you proceed. TO TIMESTAMP [F2/F3]: Allows you to have the .wav file automatically placed at its own original timestamp within the DPS24 project. With Broadcast wavs (.wav or .bwf), it is possible to store the timestamp information as part of the file. This is not to be confused with the time of the day it was recorded (i.e. 2.15pm) but the time/position in the project where it was recorded.
68 EDIT MODE IMPORTING MULTIPLE WAV FILES TO MULTIPLE TRACKS Importing multiple .wav files to multiple tracks is pretty much the same as importing single files. The DPS24 allows you to import up to 24 tracks in one pass. To recap the import process, locate to the point where you want to import the files, press EDIT and select the required number of tracks for edit. Go to PASTE or INSERT and select the appropriate source drive that contains the files you want import.
IMPROTING MULTIPLE WAV FILES TO MULTIPLE TRACKS 69 Now, as you select each file, you will see an indication of the tracks that each file will end up on shown to the right of the filename: In the above example (which shows a typical application for multiple file insertion - importing projects made on other systems), the track are shown in descending order and so it would make sense to put the various files on the same tracks as the DPS24.
70 EDIT MODE Also, if you are importing projects from another system, it's quite likely that the tracks will have been named so it might be wise to use IMPORT NAMES as well. Whatever you choose, to import the files, press OK. You will see a progress display as the files are imported and at the end of the process, you will see a confirmation dialogue - press OK [F6]. Importing multiple files in this way is ideal for working on projects that have been created on other systems.
WAV/AIFF EXPORT 71 WAV/AIFF FILES EXPORT The DPS24 also allows you to export audio recordings to an IDE or SCSI CD-R (ISO 9660) or hard disk (FAT32/16), or to a computer via USB. You can export up to 24 tracks in one pass. The export function is available as part of the COPY function in the EDIT pages. The process is almost identical to copying audio within a project: select the track(s) you want to export, mark an IN/OUT region, and copy it.
72 EDIT MODE These options are: START <> END Only the actual audio contained from the start of the first cue to the end of the last cue within the IN/OUT region will be exported. IN <> END The audio between the marked IN point and the end of the actual audio within the IN/OUT region will be exported. START <> OUT The audio between the actual start of the audio within the IN/OUT region and the marked OUT point will be exported. IN <> OUT The audio between the marked IN / OUT point will be exported.
WAV/AIFF EXPORT 73 If the selected drive is a hard drive (Internal, External or Remote HD), you will see this screen: If the selected drive is a CD-R/RW drive, you will see this slightly different screen : The main export features are identical but CD and HD drives have some specific functions. In both cases, Q2 allows you to select the Export file Format, as WAV or AIFF. AIFF is only intended for use with older Apple Macintosh based systems. However, the AIFF file format does not include timestamps.
74 EDIT MODE Those options are the same as in the EXPORT REGION screen and are duplicated here for convenience. Also shown in the lower part of the display are: Edit Tracks graphic : shows which tracks are going to be exported Free : shows the available space on the Destination disk Size : shows a calculation of the total export size The export size is recalculated in real-time as the region selection (IN/ OUT points, Edit Tracks), Export Region and Type parameters are changed.
WAV/AIFF EXPORT 75 If a file already exists on the CD/harddisk with the same name as a file to be exported, a dialog will pop-up allowing the user to auto-rename the file. Auto-renaming consists of appending an incremental number onto the filename (e.g. 'export.wav' -> 'export 2.wav' -> 'export 3.wav'). For harddisks it is possible to overwrite the existing file by selecting NO [F5] at the auto-rename prompt.
76 DSP MODE DSP MODE Pressing SHIFT+EDIT gives access to the off-line DSP functions: As you can see, the screen layout is virtually identical to the main real-time EDIT screen. Operation is also the same.... Jog over the point where you want the off-line edit to start and mark an IN point as appropriate. Do the same to mark the OUT point. Once you are happy with the edit region you have created, you can select the DSP function you wish to apply to it.
DSP MODE TIMESTRETCH 77 This allows you to expand/compress the length of the edit region without changing its pitch. Pressing STRETCH [F1] displays this screen: Using Q2, you can select the timestretch preset. All the stretch-related DSP processes have a series of presets optimised for certain types of material. These are: SPEECH 1 This works well on female speech. SPEECH 2 This works well on male speech. SPEECH 3 This is more appropriate for deeper male speech.
78 DSP MODE ROCK 1,2,3 Suitable for processing a wide range of musical styles that have a broad band of bass and high frequency content and rhythmic elements. SWING This works well on material with a wide frequency range that is not too percussive. ALLEGRO 1 This works well on orchestral music with lively dynamic strings and HF content. ALLEGRO 2 This is optimised to handle bass content better. ADAGIO This is better suited to slow orchestral material with long, sustained notes.
DSP MODE 79 The process can be aborted at any time by pressing F1. This will leave the original untouched. NOTE: This progress display is shown for all the off-line editing processes. PITCH SHIFT Allows you to change the pitch of the selected edit region without changing its length. Pressing PITCH [F2]displays this screen: As in the TIMESTRETCH page, you may select a preset, adjust it manually. But instead of the strech amount, here you set the tuning offset that you want to apply.
80 DSP MODE This allows you to match the selected edit region to another tempo without changing its pitch. This is exactly the same processs as Timestretch, but this allows to enter a Tempo instead of an amount in %. BPM Pressing BPM [F3] displays this screen: As in the TIMESTRETCH page, you may select a preset, adjust it manually. To match tempi, you need to know the tempo of the original audio. This is entered in the SOURCE TEMPO field.
DSP MODE 81 Here, you can only adjust the amount of varispeed using Q4. Varispeed is a much simpler process than Timestretch or Pitch Shift and thus does not require to select a Preset nor Adjust. PROCESS [F6], or the ENTER key, initiates the process. F2 [SLIP] allows you to select whether audio after the processed region will slip in time to accommodate the varispeed. Another application of the Varispeed feature is known as 'Rendering' (also known as 'Consolidate Audio').
82 DSP MODE NORMALISE Allows you to normalise the selected edit region. The signal is analysed for its peak level and the edit region is then increased proportionally to obtain maximum level. Pressing MORE [F6] followed by NORMAL [F1] displays this screen: There are no parameters to adjust for this function and pressing PROCESS will simply normalise the selected edit region bring it to maximum level.
DSP MODE 83 F2 [SLIP] allows you to select whether audio after the processed region will slip in time to accommodate the varispeed. The main application of the Resample feature is to convert the sample rate of a region that is being pasted into a Project set at a different sample rate than the Project it was copied from. This can also be used to dither a 44.1kHz/24bit stereo project down to 16bit before burning it to CD.
84 MIXER MODE MIXER MODE Pressing the MIXER key shows this screen: As in the MAIN screen, the top half of the MIXER screen shows the meters for the 12 inputs, 8 groups, 8 FX/AUX sends, 4 stereo FX returns and 24 disk tracks. Under the meters block, you can see an overview of a selected parameter for all the channels. The displayed parameter is selected using Q6. The default parameter is LEVEL, showing the Fader position for all channels.
MIXER MODE 85 Channel ON (Mute): For this parameter, a clear circle indicates that the Channel is ON, while a black circle indicates that the Channel is OFF (muted).
86 MIXER MODE MIXVIEW To see a more detailed overview of the mixer's status, pressing MIXVIEW [F2] in the main MIXER page shows this: Here, you can see the level, pan, mute status and FX/Aux send levels for the 24 disk tracks. Pressing INPUTS/FX/GROUP (F3/4) shows this screen: Here, you can see the same for the Inputs, FX/AUX send master levels, FX return and the 8 x Group sends. The master fader or L/R meters are not shown as these are always visible on the front panel.
CHANNEL 87 CHANNEL In the main MIXER page, pressing CHANNEL (F1) will show the settings for the selected channel. NOTE: Enabling the Q-CHANNEL button automatically calls up the MIXER / CHANNEL page of the selected Channel on the LCD. Then , when disabling Q-CHANNEL, the display returns to the previous screen. There are actually multiple Channel pages: EQ Channel page Dynamics Channel pages: Compressor/Expander sub-page Noise Gate sub-page Channel Utilities page There are also several Channel types.
88 MIXER MODE However, it is also possible to navigate the 'channel' window (i.e. pan, level, EQ, FX parameters) using the CURSOR keys or Q5. For the field that is selected by the cursor: You can set precise values from the numeric keypad or using the DATA +/- keys. You can also set values using the DATA ENTRY Q-Link control on Q6. In the EQ Channel page, the Q-LINK parameters on the right of the page are as follows: INPUT SOURCE If the selected channel is an Input channel, Q1 selects the input source.
CHANNEL 89 NOTE: The METER setting is the same global setting as in the MAIN/GRID pages. It selects the type of metering for all channels, as well as in the MAIN screen and Mixer screen and akSys. Q6 can be used to enter data as a conventional encoder, the idea being that you move the cursor to the appropriate field with the cursor keys or Q5, and use Q6 to set its value. However, you may find it easier to use the channel's actual control (fader, pan pot, FX/Aux send, EQ (in Q-Channel), etc..
90 MIXER MODE FX/AUX SENDS In this section you can set the FX/AUX send levels and you can also set whether the sends are pre-fader or post-fader. Above the PRE/POST controls, it is possible to override the 'global' FX/AUX bus routing. In the main mixer's GLOBAL page, you can set whether FX/AUX1, 2, 3 and 4 go to the internal effects or to AUX buses 1-4. Here, however, it is possible to override these individually for each channel if you want.
CHANNEL GROUPS 91 Under the FX/AUX send section, you can see the group assignment for the selected channel. These may be changed in the PATCH pages or more conveniently directly on the console using the ASSIGN keys. The soft key functions on the CHANNEL EQ page are: EXIT [F1] Takes you back to the main MIXER page. UTILS [F2] Takes you to the Mix Channel Utilities page (see below) DYN [F3] Takes you to a page where you can set the channel's dynamics processors (see below).
92 MIXER MODE CHANNEL DYNAMICS PROCESSOR Each input and disk track has its own dynamics processor which is accessed in the DYN page: When in the Compressor or Noise Gate sub-pages, instead of the EQ curve and controls, you'll see a graphic designed to illustrate the effect of the chosen dynamics parameter values on the level of the audio passing through the selected channel.
CHANNEL DYNAMICS PROCESSOR 93 Pressing N.GATE [F3] shows the following screen: The parameters are: THRESHOLD Sets the threshold for the noise gate. HYSTERESIS Smoothes the closure of the gate and prevents 'chatter' if the gate is rapidly opening and closing with a decaying signal around the threshold level. RANGE Allows a certain proportion of the signal to always pass through.
94 MIXER MODE EQ / COMPRESSOR / GATE PRESET LIBRARIES EQ/Compressor/Gate preset libraries provide a convenient way to store and recall your favourite channel processing parameters for use on another channel, or even in another project. We've provided a number of factory presets that you can recall and tweak to suit your own needs.
EQ / COMPRESSOR / GATE PRESET LIBRARIES 95 The Compressor and Noise Gate preset libraries are used in exactly the same way. Let's look now at how to store Noise Gate settings as a User preset. Pressing the LIBRARY button while looking at the Noise Gate parameters will take you to the Noise Gate preset library: NOTE: If the Compressor parameters are on the screen, the LIBRARY button on F6 will access the Compressor preset library.
96 MIXER MODE Press the STORE button to store the current noise gate settings as a new User preset. You will see this screen: Give the preset a name (the name must be unique to the Noise Gate preset library) and press OK - the preset is stored for future use: NOTE: This will only store the Noise Gate settings _ Compressor presets are stored in a separate library.
EQ AND DYNAMICS SNAPSHOTS 97 EQ AND DYNAMICS SNAPSHOTS In addition to using the global EQ, Compressor and Noise Gate preset libraries to share presets between channels and projects, you can also store snapshots of channel EQ or Dynamics (Compressor + Noise Gate) settings in each project. Recall of these snapshots to any channel can be recorded and played back by the DPS24's automation system.
98 MIXER MODE To recall the snapshot onto another channel, select the 'destination' channel by pressing its SELECT button. For example, selecting Track 4 will show (something like) this: Press the MIX SCENE RECALL button to display the SNAPSHOT RECALL page: Now select the snapshot you just stored. Press RECALL (F6) or ENTER to recall the snapshot.
EQ AND DYNAMICS SNAPSHOTS 99 Now Track4 has the dynamics settings we stored earlier from Track3. NOTE: To store EQ or Dynamics presets from the global libraries as an automate-able snapshot, simply recall the chosen preset onto a mixer channel then store it as a snapshot. Conversely, storing snapshots into the global preset libraries can be achieved by recalling the snapshot onto a mixer channel then storing the recalled settings as a preset.
100 MIXER MODE STEREO CHANNELS Channels can be linked to act as a stereo pair. This is achieved simply by pressing and holding an odd numbered channel's SELECT key and pressing an adjacent even numbered channel or vice versa.. NOTE: When two channels are linked as stereo and one channel's parameters are different to the other, one channel will adopt the settings of the other. This is achieved according to the order in which you press the channel SELECT keys.
SOLO SETUP 101 SOLO SETUP Back in the main MIXER mode page, pressing SOLO.SET [F3] takes you to the SOLO SETUP screen where you can set how the SOLO keys will function for the Monitor outputs. The different SOLO modes are selected using F3 - F6.: PFL Pre Fade Listen - monitors the signal before the fader and ON switch. AFL After Fade Listen - monitors the signal after the fader and ON switch.
102 MIXER MODE SIP Solo In Place - monitors the signal after the channel's Pan pot thus allowing you to hear it in its stereo position. DSIP Destructive Solo In Place - also after the channel's Pan pot. All channels not in solo are muted, including in the Stereo outputs. Sometimes, when soloing a channel, it is useful to solo it in the context of any effects that may be applied to it. For example, you may have a guitar part recorded to which you have added chorus, delay and reverb.
SOLO SETUP 103 You can isolate the channels that you don't want to be solo'd when SOLO is pressed using the ISOLATE key on F2. Pressing this will show this screen: Pressing MORE on F2 will show this screen: Those channels that are 'ticked' will not be muted when another channel is solo'd.
104 MIXER MODE Please note one important difference between this SOLO mode and the others... the clue is in the word 'destructive' (and the block diagram in the above screen). With the other SOLO modes (PFL, AFL and SIP), these merely affect what you hear on the MAIN and NEAR monitor outputs. In other words, you can solo channels whilst you are mixing down through the MASTER STEREO OUTPUT and the master stereo mix will not be affected.
FX / AUX SETUP 105 FX/AUX SETUP Pressing FX/AUX SETUP [F5/F6] in the main MIXER page shows this screen: Here you can set up the configuration of the FX/Aux busses. The Q-Link functions are: FX/AUX 1/2 Allows you to configure FX/AUX 1/2 as two mono sends or one stereo send.
106 MIXER MODE Using the mono/stereo option for the sends, you can create various different foldback configurations and you can have the following setups: • 1 x mono foldback mix on either AUX 3 or AUX 4. • 2 x independent mono foldback sends each with a separate mix on each send. • 1 x stereo foldback mix with control of level and pan for each channel allowing you to set a stereo mix in the STUDIO outputs. This is the most common setting for this application.
PATCH MODE 107 PATCH MODE Pressing SHIFT+MIXER takes you to the PATCH mode where you can route external and internal audio around the DPS24. The first page you see is the CHANNEL SOURCES: SOURCE The INPUT CHANNEL SOURCES fields at the top of the screen allow you to select the input source for each of the 12 input channels.
108 PATCH MODE Assignments in this page (and all the other PATCH pages) are made by using the cursor keys to move to the appropriate box and then using the DATA +/- keys to select your options. The DISK RECORD SOURCES allow you to select audio sources to be recorded to the disk tracks.
OUTPUTS 109 OUTPUTS Pressing OUTPUTS shows this screen: Here, you can patch internal audio sources to any of the DPS24's outputs. Basically, in this page, any audio source within the DPS24 can be assigned to any of the physical output connectors on the rear panel.
110 PATCH MODE GROUPS Pressing GROUPS shows this screen: INPUT CHANNEL GROUP ASSIGN allows you to decide which groups the input channels will be assigned to and any channel may be assigned to any group 1-8. Note, however, that routing is done in pairs. NOTE: Although it is perfectly feasible to route channels to groups in this page, you may find it easier to use the front panel keys - i.e. press the appropriate GROUP ASSIGN key and then press the channels you want to assign to that group).
L/R 111 L/R Pressing L/R shows this screen: This page allows you to route channels to the L/R bus (and hence the master STEREO output). All channels (inputs, disk tracks, FX return and group outputs) can be assigned to the L/R bus. The options here are simple - off (- - - -) or L/R. As with the group assignments, you may find it easier to route channels to the L/R bus using the control surfaces dedicated keys.
112 PATCH MODE PATCH PRESETS PATCH PRESETS [F5/6] provide access to patch presets and pressing it shows this pop-up: Using the cursor keys or Q6, you can move up and down the list of available presets and, using the SELECT key [F6], totally re configure the DPS24's internal patching. In this way, you can have presets suitable for track laying and overdubbing, presets for mix down and so on. For example, "Inputs > Tracks Via Groups" - the default - allows track laying via the groups.
AUTOMATION 113 AUTOMATION Pressing AUTOMATION shows this screen: Down the right are the various automation parameters that can be set. They are: RECORD EVENTS Allows you to choose which events will be recorded. The options are: ALL All controls will be recorded FX/AUX SEND Only FX/AUX send control movements will be recorded.
114 AUTOMATION NOTE: Of course, the above depends on the setting of the RECORD EVENTS parameter. If, for example, RECORD EVENTS is set to PAN, only PAN control movements will be recorded if any PAN controls are moved. Touch a fader, switch a channel and/or adjust the FX/AUX controls in this case, those movements will be ignored - only PAN movements will be recorded into the automation data.
ABOUT THE AUTOMATION 115 ABOUT THE AUTOMATION To record automation data, the automation must be enabled so set AUTOMATION to ON. Also, use Q2 to select AUTO DROP or OVERWRITE record modes. With OVERWRITE, it is necessary to select the channel(s) you wish to record automation data on. When you select OVERWRITE, the CHANNEL SELECT keys flash (much like the track RECORD SELECT keys flash) - select the channel(s) for which you wish to record automation passes.
116 AUTOMATION However, doing this kind of 'Automation drop-in' can be a potential source of problems. For example, with this original fade data: You punch-in/out some automation data as follows: The problem here, however, is that the level at the punch-out does not match the original. When the automation is played back, the result will be: The level will stay constant after the drop-out point until a fader movement is detected at which point it will jump abruptly to the new value.
RECORD SAFE 117 RECORD SAFE The main panel shows the RECORD SAFE function. Here, you can 'protect' channels from being accidentally over-written when automation data is being recorded. Channels can be protected by moving the cursor to the appropriate channel(s) and using the DATA +/- keys to switch protection on (+) or off (-). When a channel is protected, it is 'checked' ( ): When a channel is 'safe', any control movement or switch action is ignored when automation is being recorded.
118 AUTOMATION TRIM FADERS Another way to edit automation data is to use TRIM FADERS. This allows you to add or subtract values to previously recorded automation data. For example, you may have recorded a perfect set of fader movements only to find the whole thing needs to be 3dB higher. Rather than re-record the whole thing again, you can use TRIM to add 3dB to that channel.
TRIM FADERS 119 The window shows the fader(s) selected for trimming. In the event of a mistake (or if you change your mind) you can reset all the channels using RESET ALL (F3/4) or you can use the CURSOR UP/DOWN keys or Q6 to select a particular fader and reset just that one using RESET SELECTED (F2/3). Pressing TRIM will add or subtract the value shown in the TRIM column - in the example shown on the previous page, 3dB will be added overall to the automation data on Input Channel 12.
120 AUTOMATION CLEAR AUTOMATION It is possible to clear dynamic automation on all or selected disk tracks. Pressing the CLEAR [F3] function key shows this screen: Select the tracks using the EDIT SELECT keys. Alternatively, press ALL [F4] to select all disk tracks, or select ALL in the Channels [Q5] field to select all channels (i.e. all inputs, all tracks, FX returns, etc.). Pressing F5/6 will clear the automation on the selected channels.
AUTOMATED SCENE AND SNAPSHOT RECALL 121 AUTOMATED SCENE AND SNAPSHOT RECALL In addition to dynamic automation, it is also possible to automate scene and snapshot recalls - that is, as the dynamic automation is running, scenes and snapshots can be recalled at any time as part of the automation. Snapshots can be used to change EQ or Dynamics settings of a specifc channel or to change effects, at the specified time.
122 AUTOMATION USING AUTOMATED SCENE/SNAPSHOT RECALL Here are just a few things you can use automated scene/snapshot recall for: • Static EQ changes - change the settings of a channel's EQ using EQ Snapshot Recall at specific points in your project. This is particularly useful if you have to have two different instruments on one track. For example, on Track 5, you may have electric piano during the verses and strings during the chorus and each need specific EQ settings.
NOTES REGARDING AUTOMATED SCENE RECALL 123 NOTES REGARDING AUTOMATED SCENE RECALL • Because scene recalls take a certain time to be effective, be sure to insert a scene recall a fraction in advance of where you want it to occur. Ideally, scene recalls should be inserted during a moment of silence on the channel(s) selected to be affected. You can use the EVENT EDITOR to move scene recalls to the optimum point.
124 AUTOMATION The chances are that in practice, you will use the dynamic automation for level control and the rest of the automation will be switching 'static' controls such as pan, FX send, EQ, etc. via scene or snapshot recalls. If this is the case, in the AUTOMATION page, set RECORD EVENTS to FADER and in the SCENE STORE/RECALL prompt, select NO FADER.
AUTOMATION EVENT EDITOR 125 AUTOMATION EVENT EDITOR A simple automation event editor is available to edit scene recall, snapshot recall and channel mute events, so that they can be placed accurately or deleted. Pressing EVENT [F4] in the AUTOMATION page shows something like this: In the AUTOMATION EVENTS window, you can see any scene or snapshot recall events or channel mutes.
126 AUTOMATION EDITING EVENTS Events can be deleted and/or moved. To delete an event, simply press DELETE EVENT [F5/F6]. If you make a mistake and accidentally delete an event, you can use UNDO. To move an event, press MOVE EVENT [F3/F4]. You will see this prompt: You can either type in a new value or you can move the cursor to the appropriate digit and 'nudge' the value using the DATA ENTRY +/- keys. Press MOVE to actually move the event (or CANCEL to abort). If you make a mistake, you can use UNDO.
EFFECTS MODE 127 EFFECTS MODE Pressing FX shows (something like) this screen: You can see the four effects channels and the effect type assigned to them. A graphic depiction of the selected channel's effect is shown and the effect's parameters are available down the right side of the panel for editing.
128 EFFECTS MODE are available for immediate editing. To select effect types, move the cursor to the EFFECT list using the CURSOR > key: The cursor moves to the right hand column where you can select effects. To select a different effect, use CURSOR UP/DOWN. The new effect is not active until RECALL [F3] is pressed. Pressing RECALL will assign the effect type to the selected effects channel: The FX Channel shows the new effect assignment and the new effect's parameters are available for editing.
EDITING EFFECTS 129 EDITING EFFECTS To edit an effect, no special mode is required - simply change the Q-LINK controls. The edit remains valid for the effects channel until either another effects preset is selected or another project is loaded/created. NOTE: If you edit an effects preset but then go on to select another preset, if you re-select the effects preset you edited, its original values will be recalled, NOT your edited values.
130 EFFECTS MODE EFFECTS LIBRARY Another way to select effects is by way of the EFFECTS LIBRARY. The EFFECTS LIBRARY also allows you to store effects for recall in other projects. To select an effect from the library, first select the channel you want to assign the effect to. Now press FX LIBRARY [F1/F2] in the main FX page. You will see this screen: Here, you can also change the current FX Channel using the CHANNEL [F2] key.
FX LIBRARY FACTORY PRESETS 131 You may now select an effect and assign it to the selected FX channel using RECALL [F3]. It is possible to delete Custom effects using the DELETE key [F5] It is possible to rename Custom effects using the RENAME key [F6] It is possible to copy (and store) effects using the COPY key [F4] NOTE: It is not possible to delete, rename and/or copy effects categories. Neither is it possible to delete or rename Preset effects types.
132 FX PARAMETERS FX Parameters This section describes all types and parameters of the effects included in the DPS24's internal effects. The FX page shows a graphic representation of the currently selected effect, and the parameters for that effect can be edited using the Q-Link knobs Q1-Q6.
REVERB 133 REVERB>SMALL ROOM This stereo reverb effect simulates reverberations in a small room. REVERB>BIG ROOM This stereo reverb effect simulates reverberations in a big room. REVERB>SMALL HALL This stereo reverb effect simulates reverberations in a small hall. REVERB>BIG HALL This stereo reverb effect simulates reverberations in a big hall. REVERB>NON-LINEAR This special stereo reverb effect (gated reverb) stops reverberation at a specified time.
134 FX PARAMETERS REVERB>STD PLATE This stereo reverb effect simulates reverberations of a plate with standard character. REVERB>STD HALL This stereo reverb effect simulates reverberations in a hall with standard character. REVERB>DRUM BOOTH This stereo reverb effect simulates reverberations in a drum booth. REVERB>BRIGHT PLATE This stereo reverb effect simulates reverberations of a plate with expressive character.
DELAY 135 PANPONG DELAY This delay effect is a variation of the PINGPONG DELAY, with a Center delay between Left and Right. An additionnal Mode parameter is available to set the direction of the panning effect: • Mode : LCR .......... Left, center, then right RCLR .......... Right, center, then left STEREO DELAY This delay effect can be set for the left and right channels individually. • LDelay (1ms - 1500ms) Adjusts the Delay time of the Left channel.
136 FX PARAMETERS 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. • Head 1 (1ms - 1500ms) Adjusts the Delay time of Head 1. • Head 2 (1ms - 1500ms) Adjusts the Delay time of Head 2. • Head 3 (1ms - 1500ms) Adjusts the Delay time of Head 3. • Fdback (0% - 100%) Adjusts the amount of delay Feedback .
COMBINED 137 COMBINED Those effects combine a modulation effect (Chorus, Flasger or Phaser) and a Delay. The parameters are : • Rate (0.1Hz - 10.
138 FX PARAMETERS CHORUS The common parameters for the chorus effects are: • Rate1 (0.1Hz - 10.0Hz) Adjusts the speed (rate) of LFO1 • Rate2 (0.1Hz - 10.0Hz) Adjusts the speed (rate) of LFO2 • Fdback (0% - 100%) Adjusts the amount of the chorus effect feedback • Depth1 (0% - 100%) Adjusts the depth of LFO1 • Depth2 (0% - 100%) Adjusts the depth of LFO2 MONO CHORUS This is a typical chorus effect with mono-in and mono-out.
FLANGER 139 FLANGER The common parameters for the Flanger effects are: • Rate (0.1Hz - 10.0Hz) Adjusts the speed of LFO • Depth (0% - 100%) Adjusts the depth of LFO • Fdback (0% - 100%) Adjusts the feedback amount • FB Inv (ON/OFF) Inverses the phase of feedback signals when enabled MONO FLANGER This is a typical flanger effect with mono-in and mono-out.
140 FX PARAMETERS PHASER The common parameters for the Phaser effects are: • Rate (0.1Hz - 10.0Hz) Adjusts the speed of LFO • Depth (0% - 100%) Adjusts the depth of LFO • Fdback (0% - 100%) Adjusts the feedback amount MONO PHASER This is a typical phaser effect with mono-in and mono-out. You can adjust the pan setting of the effect sound with the additional Pan parameter: • Pan (-60 - +60) STEREO PHASER This is a stereo phaser effect (mono in - stereo out).
ROTARY SPEAKER 141 ROTARY SPEAKER ROTARY SPEAKER This mono-in / stereo-out effect simulates rotary speakers for organ sound. (0.1Hz - 10.0Hz) Adjusts the rotation speed (Rate1) of the speakers. • Rate2 (0.1Hz - 10.0Hz) Adjusts the rotation speed (Rate2) of the speakers. • Accel (0.1sec - 10sec) Adjusts the time (duration) taken for switching from Rate1 to Rate 2. • Init (R1/R2) Sets the initial rotation speed (Rate1/Rate2).
142 FX PARAMETERS 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. • L Semi (-12.00 - +12.00) Semitone adjustment of pitch shift for the L channel • L Cents (-12.00 - +12.00) Cents adjustment of pitch shift for the L channel • R Semi (-12.00 - +12.00) Semitone adjustment of pitch shift for the R channel • R Cents (-12.00 - +12.
EQ 143 EQ Digital EQ This is a monaural, three-band parametric equalizer. • EQ Freq 1 (20Hz - 20kHz) Sets the center frequency for EQ1 • Gain 1 Adjusts the gain for EQ1 (-18dB - +18dB) • EQ Freq 2 (20Hz - 20kHz) Sets the center frequency for EQ2 • Gain 2 Adjusts the gain for EQ2 (-18dB - +18dB) • EQ Freq 3 (20Hz - 20kHz) Sets the center frequency for EQ3 • Gain 3 Adjusts the gain for EQ3 (-18dB - +18dB) Pressing the [F5] MORE softkey accesses additional parameters: •Q1 (0.
144 FX PARAMETERS DYNAMICS COMPRESSOR / LIMITER This monaural effect compresses signals above a certain level and limits the dynamic range. It also provides a noise gate that cuts noise during silence. • Link (ON/OFF) Links FX1 and FX2 (or FX 3 and FX4). See details below.
DYNAMICS 145 EXPANDER GATE This monaural effect limits signals at a certain level (threshold) or lower and expands the dynamic range, providing an effect opposite to the compressor effect. (ON/OFF) Links FX1 and FX2 (or FX 3 and FX4). See previous page.
146 FX PARAMETERS PITCH CORRECTOR Pitch Corrector This monaural effect corrects the pitch of monophonic input signals in real-time. This is useful when you wish to correct the pitch of the vocal track. • Ratio (0% - 100%) Adjusts the amount of correction to the pitch • Calib (415Hz - 466Hz) Sets the standard pitch • Scale (See diagram below) Sets the standard scale • Key (C/C#...
PITCH CORRECTOR 147 User scale When USER Scale is selected, the custom scale is defined by the ScaleBits parameter which can be accessed by pressing the [F5] MORE softkey. The ScaleBits parameter is a numeric value calculated using a binary representation of the notes, where C is 1, C# is 2, D is 4, D# is 8, E is 16, F is 32, F# is 64, G is 128, G# is 256, A is 512, A# is 1024 and B is 2048.
148 EFFECTS MODE FX SNAPSHOTS Snapshots of FX settings can be stored from any of the four FX unit channels in much the same ways as channel EQ and Dynamics. Recall of FX snapshots to any of the FX channels can also be automated. Here's an example, storing the settings on FX channel 2 to a snapshot, then recalling it onto FX channel 4. In the FX page, select FX channel 2.
FX SNAPSHOTS 149 To recall the snapshot onto FX channel 4 select FX channel 4 in the FX page then press the MIX SCENE RECALL button to display the SNAPSHOT RECALL PAGE. You can see that the default name for an FX snapshot is the name of the FX settings originally stored. Position the cursor on the snapshot you want to recall and press RECALL (F6) or ENTER. The FX settings contained in the snapshot saved from FX channel 2 will be recalled onto FX channel 4.
150 EFFECTS MODE EFFECTS SEND/RETURN LEVELS Effects levels are governed by the amount sent to them via the FX sends on each channel. The MASTER FX/AUX SEND levels, however, are set using the default assignments in the USER BANK on Faders 1-4 (FX Sends 1-4) and Faders 5-8 (AUX Sends 1-4). By default (Reset Mixer), all Master Send levels (AUX and FX) are set to 0dB.
ADDING EFFECTS TO A CONTROL ROOM MONITOR MIX 151 ADDING EFFECTS TO A CONTROL ROOM MONITOR MIX Very often, vocalists like to hear reverb on their vocals during the track laying process in order to have their performance 'flattered'. However, it's not a good idea to commit the reverb to disk at that stage. To record a vocal coming in on Input 1 to Track 4 dry but with reverb 'monitoring'... 1. Route Input 1 to Group 4, select Track 4 for record. 2. Monitor the vocal line via Disk Channel 4. 3.
152 PROJECT MODE PROJECT MODE Pressing PROJECT shows this screen: Here, you can see a list of projects which may be loaded into the DPS24. The list also shows the date it was created. Depending on the setting of the Project Info parameter in the SETUP / PREFERENCES, the sample rate and bit-depth of each project might also be shown.
PROJECT MODE 153 If you are working in a studio where the same basic mixer / patch setup remains constant between projects (for example, you have a sampler connected to inputs 1 / 2 in stereo, a drum machine to inputs 3-6 as individual mono channels, a sound module / synth to inputs 7 / 8 in stereo, whatever) and this setup is re-used between projects, you will probably want to use the currently loaded project's settings.
154 PROJECT MODE RECORD / PLAYBACK FROM EXTERNAL SCSI DISK DRIVES It is possible to record and playback using external disk drives connected via the optional IB24SCSI, 68pin wide-SCSI interface. In fact, it is now possible to use the DPS24 without any internal drives fitted at all which might be useful if you are recording with microphones close to the DPS24. Although the internal drive is relatively quiet, you can now house your drive away from the DPS24 for even quieter operation.
RECORD / PLAYBACK FROM EXTERNAL SCSI DISK DRIVES 155 NOTES ABOUT USING EXTERNAL DRIVES FOR RECORD/PLAYBACK • Using SELECT DRIVE, the contents of an alternate drive can be viewed whilst playing back rom another. For example, in the above screen shot, you are viewing the contents of an external drive oSCSI #1 whilst a project from the internal drive on IDE #0 is actually loaded (and possibly playing). The current drive only changes when a project from another drive is loaded.
156 PROJECT MODE MANAGING PROJECTS In the main PROJECT page, the PROJECT TOOLS key [F3/F4] provides access to various 'project management' functions: Here, you can copy, backup, restore, delete and rename projects. To rename a project, use the CURSOR UP/DOWN keys to select the project to rename. Pressing RENAME [F6] will pop-up the usual naming prompt and you can rename the selected project in the usual way. Press OK [F6] at this prompt to confirm and commit the rename (or press CANCEL to abort).
DISK COPY 157 DISK COPY Pressing COPY [F2] shows this screen: This page allows you to copy projects from a Hard Disk drive to another Hard Disk drive (with copies of the audio files used by the selected projects), or to copy project data (without audio) on the same Hard Disk drive. The files to be copied are shown down the right hand side. Use the up/down cursors to highlight the project(s) you want to copy and press SELECT PROJECT [F2/F3] for each one you want to copy.
158 PROJECT MODE PROJECT COPY VIA USB With akSysServer running on a computer connected to the DPS24 via the USB port, you will also be able to select HOST 0, 1, 2, etc.. as the "To Disk" destination for the COPY PROJECT function. To copy projects back from the HOST to the DPS24, select the HOST drive as the source drive using SELECT DRIVE in the main PROJECT page. NOTE: When an HOSTdrive is selected, when you return to the main PROJECT page, you will see the list of projects on that drive as normal.
BACKING UP FROM EXTERNAL HARD DRIVES 159 Before making the backup, you should set WRITE SPEED to the correct speed (SLOW if your CD-R/CD-RW is an older model, FAST if it is a later model) using Q5. You can also select whether the drive will perform a TEST WRITE, a process in which a weak laser is projected onto the disc surface to check whether any malfunctions will occur during data transfer.
160 PROJECT MODE RESTORING PROJECTS Pressing RESTORE [F4] shows this screen: This page allows you to restore a backup from a CDR drive onto a Hard Disk Drive. If you have connected external drives to the optional SCSI interface, you can select the source CDR drive (Internal or External) in the CDR Drive list on the left and the destination HD Drive in the HD Drive list on the right, using the cursors. To restore a backup, press RESTORE [F6].
VIRTUAL TRACKS 161 VIRTUAL TRACKS Pressing SHIFT+PROJECT gives access to the 'virtual' tracks function: To assign a virtual track to a 'physical' track, first select the 'physical' track you wish to replace using the CURSOR UP/DOWN keys. Once the track you want to replace is selected, press CURSOR > to move to the list of VIRTUAL TRACKS and use the CURSOR UP/DOWN keys to scroll through them. When you find the virtual track you want to use, press ASSIGN to assign that virtual track to the physical track.
162 VIRTUAL TRACKS N.UNUSED Automatically finds the next unused 'virtual' track and assigns it to the selected 'physical' track. It is similar to the NEW TAKE function but without the auto-name process. ASSIGN Allows you to manually select a 'virtual' track and assign it to the selected 'physical' track. However, since a V.Track can only be assigned to one Physical Track at a time, it is not possible to assign a V.track that is already assigned to another Physical track without unassigning it first.
USING THE VIRTUAL TRACKS 163 USING THE VIRTUAL TRACKS To make operation clearer, we'll run through a typical real-world application for the V-Track function. OK.... we'll imagine you've just recorded an electric guitar solo onto Track 6. It's good but you think you might be able to do better. You don't want to record over it - you just want to have another go at it in case you can do a better job. In the V-TRACKS page, place the cursor on Physical Track 6: Press N.TAKE [F4].
164 VIRTUAL TRACKS You can see that 'virtual' Track 25 has been used and the original name has been given a unique numeric identifier at the end of the name -001 appended to the original now on V.Track 6, and -002 for the new version assigned to 'physical' Track 6. You can now record a new guitar solo onto track 6 whilst safely retaining the original recording. If you were to repeat the process, you'd see this: The original guitar part is on V.Track 6, the second pass is on V.
OPTIONS 165 OPTIONS Pressing OPTIONS will show these extra functions: With INC PHYSICAL checked, when you assign a V.Track to a physical track, the cursor will automatically move down to the next 'physical' track (and the next 'virtual' track). In this way, you can quickly swap out physical tracks with virtual tracks without having to manually move the cursor around. With ASSIGN STEREO checked, any tracks that were paired as stereo will be dealt with automatically in any of the V.
166 SETUP MODE SETUP MODE The SETUP page allows you to set certain functions that affect the DPS24 as a whole. Pressing SETUP shows this page: Here, you can set the following functions using Q1-Q6: SAMPLE RATE Here, you can set the sample rate for the DPS24. The options are 32kHz, 44.1kHz, 48kHz, 88.2kHz and 96kHz NOTE: The mix processing, track count and FX are reduced by half when using the high sample rates (88.2kHz or 96kHz).
SETUP MODE 167 You should respond accordingly. As the prompt advises, please bear in mind that changing the sample rate will cause the project to play back at the wrong speed. DIGITAL SYNC Selects the digital clock source. The options are: INTERNAL The DPS24 will sync to its own internal clock WCLK The DPS24 will sync to a sync source connected to the Wordclock BNC connector on the rear of the DPS24.
168 SETUP MODE Using SMPTE SLAVE, it is possible to record to timecode that is not playing at nominal speed, only if Digital Sync is set to Internal.. In this case, the DPS24 can record in sync with a fluctuating timecode source and will subsequently play back accurately. This is useful when running the DPS24 alongside analogue reel-to-reel MTRs that can exhibit less than perfect play speeds.
MMC SETUP 169 MMC SETUP This page allows separate MMC device IDs to be assigned for MMC transmit and MMC Receive. Pressing MMC shows this page: SEND ID sets the MMC ID for transmission - this should match the ID of the machine you want to control. ID 127 is "Broadcast" to all connected MMC machines. RECEIVE ID sets the MMC ID for control by external machines. The setting here should match the MMC ID of the controlling device.
170 SETUP MODE TEMPO MAPS Pressing TEMPO in the main SETUP page takes you to this page: Here, you can set up a 'Tempo Map' so that a sequencer that is being synchronised to the DPS24 via MIDI CLOCK can follow time signature and/or tempo changes. The Tempo Map is also used by the DPS24 for calculating its own BARS/BEATS/CLOCK display (enabled using the dedicated DISPLAY SELECT key next to the LED Time Display).
TEMPO MAPS 171 You will see that there is a tempo and time signature entry at the start of the song. These determine the map's starting tempo and cannot be deleted. You may edit them, however, to something more suitable simply by moving to the VALUE field and entering the tempo and time signature. Time signature values can be edited using the +/- keys of the numric key pad or using Q5. Tempo values can also be entered directly via the numeric key pad.
172 SETUP MODE PREFERENCES Back in the main SETUP page, pressing PREFS [F3] takes you to this page: The options are: PLAY TO Sets the 'pre-roll' time for the PLAY TO key. The PLAY TO range is 0-99 seconds. PLAY FROM Sets the 'post-roll' time for the PLAY FROM key. The PLAY FROM range is 0-99 seconds. NOTE: PLAY TO time + PLAY FROM time = PLAY OVER time. METRONOME Sets the level of the metronome function. FOOTSWITCH Allows you to select the function of the footswitch input.
PREFERENCES 173 24-TRACK RECORD Enables/disables the 24-Track Record mode. Normally, when this parameter is OFF, the maximum number of audio sources you can record simultaneously is 16. When it is ON, the 24-Track Record mode allows you to record more than 16 separate sources at any one time.
174 SETUP MODE WAVEFORM GENERATION In order for waveforms to be shown in ak.Sys, it is necessary to first enable a new parameter found in SETUP / PREFS / MORE. The WAVE FILE GEN [Q1] causes the DPS24 to calculate each audio files waveform for display in ak.Sys. This is a background function and has no impact on the DPS24's operation.
TRACK NAMES IN GRID 175 You should respond accordingly. A similar message will be displayed if you start ak.Sys with waveform generation switched off. Because some disk space is used, you can reserve a portion of the disk so that after a certain percentage, the generation of waveforms will be inhibited and the remaining space used exclusively for audio recording and projects. This is set in the WAV GEN INHIBIT [Q2] parameter.
176 SETUP MODE SHUTTLE X5 MODE It is possible to select how FF and REW 'shuttle' will perform. A unique feature of the DPS24 is its ability to rewind and fast forward in PLAY with 'tape chatter' just like analogue reel-to-reel tape machines. By default, this is achieved by pressing FF or REW when the DPS24 is playing... the DPS24 will go into this 'tape chatter' shuttle playback mode (at 5 times the nominal speed) until such time as PLAY is pressed (to resume playback) or STOP is pressed.
AUDIO SETUP 177 AUDIO SETUP If you select AUDIO SETUP [F3/F4], you will see this screen: The parameters are: SOURCE [Q1] Here you may select 2-TRACK L/R, DIGI IN L/R or AUX IN as the physical inputs for the 2-Track Source. LEVEL [Q2] Here you can set the level of the incoming 2-track source. 2-TRACK SENS [Q3] Here you can set the input sensitivity of the 2-track source.
178 SETUP MODE NOTE: The data stream for the PROFESSIONAL format is identical to that used on AES/EBU format digital audio connectors. However, more often than not, such connectors are balanced. You may need to make (or buy) a balanced jacl/XLR > phono cable or better, an adapter. NOTE: It should be noted that the stereo SPDIF input of the DPS24 includes a real-time Sample Rate converter. It is therefore not required to lock the digital clocks of the DPS24 and of the Stereo Digital source.
USER BANK 179 USER BANK Pressing U-BANK in the main SETUP page will show this screen: Here you can assign any channel to the 12 'user channels' of a User Bank. This is useful as it allows you to have important channels conveniently available in one bank so that you have access to those channels quickly without having to switch banks all the time. A User Bank can also be used for MIDI mixing of external sound modules, samplers, etc.
180 SETUP MODE It is possible to assign the following to any given channel: INPUT 1-12 TRACKS 1-24 GROUPS 1/2 - 7/8 (*) FX SEND 1-4 (*) AUX SEND 1-4 (*) FX RETURN 1-4 AUX INPUT L/R (*) MIDI CONTROLLER 1-16 (*) (*) Pan, EQ and effects sends are not available on these channel assignments The default assignments for the main USER BANK are: 1 FX SEND 1 2 FX SEND 2 3 FX SEND 3 4 FX SEND 4 5 AUX SEND 1 6 AUX SEND 2 7 AUX SEND 3 8 AUX SEND 4 9 AUX L/R 10 MIDI 1 11 MIDI 2 12 MIDI 3 You c
OS UPDATE 181 You can update the OS of the DPS24 from an ISO CD in the Internal CD drive (IDE#1). However, you also have the option to update your DPS24 OS from any connected drive - any valid drives will show up in the Upgrade Device [Q2] field (including SCSI and HOST drives). You have the option to browse the contents of the selected drive to select the OS you want to upgrade to. Select the drive where your OS is stored and use BROWSE [F6] to navigate your way to it.
182 SETUP MODE DISK Pressing DISK will show something like this screen: Here, you can see the list of drives connected to the DPS24, either internal IDE drives or external SCSI drives. When the DPS24 is connected to a computer via USB and either akSys TrackView V1.21 or akSysServer are running, all the valid folder paths are shown in the DPS24 as additional HOST drives. However, DISK TOOLS and CLEAN UP functions are not available for HOST drives.
CLEANUP DISK 183 CLEANUP DISK The Cleanup Disk function allows you to clear your disk of 'orphaned' audio. A piece of audio can become orphaned when cues are deleted from a project. For example, you make a recording onto a track which appears as a cue. At some later date, you delete that cue - the cue has gone and the audio won't play but the audio is still on disk wasting disk space. Cleanup Disk will delete such audio off the disk thus freeing up space.
184 SETUP MODE DISK FORMAT Pressing FORMAT [F6] will show this prompt: FULL FORMAT [F2/3] will format the disk and will also perform a disk surface test checking for (and marking) bad blocks. It will erase all data from the drive. Depending on the size of your drive, this can take a long time. QUICK FORMAT [F4/5] also formats the disk but because it does not do the lengthy surface test, it is relatively fast.
AUDIO RECOVERY 185 AUDIO RECOVERY When recording on the DPS24, audio is recorded to disk and what you see in the track display is a visual representation of pointers to that audio that tells the audio files when and where to playback. However, it is the 'pointers' that are edited when you are working and what's happening to the actual underlying audio data is of little consequence to you as a 'user'.
186 SETUP MODE As in WAV Import, the DATE RANGE parameter allows you to narrow down the number of files you will view when you press the BROWSE key [F6]. The options are the same as for the WAV IMPORT function. If you want to recover all 'orphaned' audio, select ALL. However, if your problem occurred a few days ago, you can specify PAST WEEK or if it only just happened a few minutes ago, you could specify TODAY. Pressing BROWSE will show something like the following.
PERFORMING AN AUDIO RECOVERY 187 PERFORMING AN AUDIO RECOVERY We are going to assume the following scenario..... You have just recorded a guitar part on Track 6 of the project NEW SONG 3 but you don't think it's very good so you delete it. You want to listen to a guitar part you recorded in another project for a guideline or for some inspiration or whatever so you load that project. You listen to that guitar part and think that maybe the one you just recorded in NEW SONG 3 wasn't so bad after all.
188 CD-RECORDER CD-RECORDER The SETUP key's SHIFT function is CD-R and shows you this screen: This page provides access to all the functions related to Audio CD creation. The large window on the left shows general information. None of the parameters are editable but are: CD DRIVE Shows the selected CDR Drive SOURCE PROJECT Shows the currently selected project. To select another to record to CD, load the appropriate project in the PROJECT mode.
CD-RECORDER 189 REGION Selects which portion of the selected tracks will be recorded to the CDR/CD-RW. The options are IN/OUT or ALL. WRITE SPEED Specify the writing speed here. You may select SLOW or FAST. SLOW writes at normal (real-time) speed. FAST, however, does not necessarily write at the CD-RW/CD-R's fastest speed but at the highest mutually compatible speed. This is likely to be slower than the CD's fastest possible speed (e.g.
190 CD-RECORDER DOWNSAMPLING PROJECTS FOR CD MASTERING If you have made projects at sample rates other than 44.1kHz and/or you have projects which contain recordings made at bit-depths other than 16-bit which you want to master onto CD, you will need to convert them to 44.1kHz/16-bit. Pressing CD-R (SHIFT+SETUP) will show this screen: CONVERT TO 44.1 allows you to convert a project recorded at any sample rate and with recordings of any bit-depth to 44.1kHz/16-bit suitable for CD mastering.
HOW TO PREPARE MATERIAL FOR DISK-AT-ONCE 191 HOW TO PREPARE MATERIAL FOR DISK-AT-ONCE Assuming you have mixed down all the stereo masters you want to put on your CD, create a project and, using copy and insert, create your 'playlist' so that all the songs you want to put on the CD are placed end to end thus: You could just make your CD from this. However, you will probably want to put track markers on your CD. This is done using the autolocator.
192 CD-RECORDER Even if your CD is made up of one long piece of music, you can place track markers at points throughout the piece. For example, if you have done a remake of the 25 minute opus 'Supper's Ready' by Genesis, each 'section' can have track markers. Alternatively..... If you want, you can also mark 'indexes'. These can be used to locate to positions within a track (for example, intro, verse 1, chorus 1, verse 2, chorus 2, instrumental, final chorus or whatever).
MIXING DOWN 193 MIXING DOWN It is not possible to mixdown a multitrack project directly to CD-R so first, you should make a stereo mix to the DPS24's 'virtual 2-track recorder'. This is done in the MIXDOWN page: The graphic in the window represents what is happening - you are mixing down up to 24 channels of disk tracks to a 2-track machine and you can use the four effects channels.
194 SETUP MODE MULTI-BAND COMPRESSOR/EXPANDER Included in the DPS24 is a multi-band compressor/expander (MBCX) that can be used to improve stereo mixes before writing to CD. The algorithm used is identical to that released in our QuadComp VST plug-in. Whilst it is possible to use an ordinary compressor for tightening up and adding punch to a stereo mix, it is very common that low frequencies can cause 'pumping' effects on the overall signal.
MULTI-BAND COMPRESSOR / EXPANDER 195 Pressing the COMP button on F2 will show this screen: Each band (LF, LM, HM, HF) is selected using Q1. As you select each band, it is highlighted in the window to the left: In this way, it is clear to see which band of the compressor you are editing.
196 SETUP MODE The compressor and expander have almost identical controls. These are: BAND Selects the frequency band. THRESHOLD Sets the level at which the processors have an effect. The results are different for the compressor and the expander. For the compressor, the threshold sets the level at which compression takes place. Signals above the threshold will be compressed but signals below this level pass through the compressor unaffected.
MULTI-BAND COMPRESSOR / EXPANDER 197 Another way to look at the relationship between the two is thus: NOTE: The compressor's threshold cannot be set below the expander's. Likewise, the expander's threshold cannot be set above the compressor's. RATIO Sets the ratio for the compressor or the expander. NOTE: For the expander, a ratio of -INF means that the expander is effectively disabled. ATTACK Sets the time it takes before the audio is processed.
198 SETUP MODE LOADING/SAVING MBCX PRESETS Several preset MBCX configurations are provided that cover a wide range of applications. These can be selected by pressing LIBRARY (F5) in the MBCX page. This will take you to a page where you can select the presets. Move to the preset you want to use and press RECALL (F3). In this page, you can also store your own presets simply by pressing STORE (F4). You will see a naming prompt - enter an appropriate name and press OK.
MASTERING ON THE DPS24 199 MASTERING ON THE DPS24 Although it is possible to use the MBCX when mixing down your 24-track project, you lose the possibility of using the internal effects. Therefore, the best way to master your recordings using the MBCX is to first perform a stereo mixdown as normal (i.e. multitrack mixdown via effects to the DPS24's 'virtual' 2-track).
200 SETUP MODE 7 Now press SELECT - this will take you to the this page: Here you can either select a project you want to overwrite (for example, a stereo mix you made previously which you are not happy with) or you can press NEW to create a new mixdown project. Either way, you will automatically be taken to the MAIN screen. 8 Press the PLAY+REC transport controls - your stereo mix will be 'mastered' via the MBCX.
CD PLAYER 201 CD PLAYER Pressing CD PLAYER (F1/2) shows this screen: Here you can play tracks recorded on the CD-R/CD-RW using a simple user interface. Use the CURSOR UP/DOWN keys to select a track to play and use the CD player's 'transport' keys on F3-F6 to play, stop, pause or rewind/fast forward through tracks on the CD. When a track is playing, you can skip to the next using the CURSOR UP/DOWN keys which will cause playback to skip to the next track.
202 EXT SYNC KEY EXT SYNC KEY To synchronise the DPS24 with external devices, the EXT SYNC key should be pressed: This key enables the Time Sync [Q4] and T/C rate [Q3] selections made in the SETUP page: If Time Sync is set to MTC MASTER or MIDI CLOCK OUT, the DPS24 will now generate MTC or MIDI CLOCK during playback. If it is set to MTC SLAVE or SMPTE SLAVE, the DPS24 will now only play upon reception of external timecode.
SETTING EXT SYNC OFFSET 203 SETTING EXT SYNC OFFSETS Pressing SHIFT+EXT SYNC allows you to set a timecode offset. This prompt appears on the LCD: The first digit is highlighted and you should enter a value from the numeric keypad as appropriate. To set the 'sign' (i.e. + or - ), move the cursor to the sign and press '+' or '-' on the numeric keypad as appropriate. Once an offset has been entered, press ENTER orSET [F6]. Then, use F3/F4 to enable/disable the offset.
204 INTEGRATING ADAT MACHINES NOTE: EXT. SYNC must be switched ON for external machine control. If EXT SYNC is not enabled, the DPS24 will not control the connected ADAT machines. With the IB-24ADT option board installed, the extra ADAT channels ADAT 9-24 become available in addition to ADAT1-8. ADAT inputs 9-24 are available as sources for Input Channels, Disk Record Sources and FX Return Sources, both in the PATCH / SOURCE page and in the MIXER / CHANNEL pages.
24-TRACK TRANSFER - ADAT TO DPS24 205 24-TRACK TRANSFER - ADAT TO DPS24 Normally, the maximum number of audio sources the DPS24 can record simultaneously is 16. In order to record 24 tracks simultaneously from the three sets of ADAT input connectors, the 24TK RECORD parameter in the SETUP / PREFERENCES should be switched ON. This sets the DPS24 up for recording on all 24 tracks to enable 24 track transfers from your ADATs to the DPS24.
206 INTEGRATING ADAT MACHINES With only the standard 8 channels of ADAT I/O, the DPS24 can send its master FX/AUX sends to the ADAT outputs and use the computer as global loop effects. But with the IB-24ADT option board, the DPS24 can send simultaneously its 24 tracks to the computer for individual track processing. In any case, effects returns from the computer via ADAT input can be assigned to the four stereo FX Return channels, and/or to any available input channel.
SURROUND MIXING 207 S URROUND M IXING User Guide
208 SURROUND MIXING INTRODUCTION .............................................................................................. 209 CREATING A SURROUND PROJECT ............................................................. 210 DIFFERENCES AND LIMITATIONS IN SURROUND MODE ........................... 214 GROUPS ............................................................................................... 214 PATCH ......................................................................................
INTRODUCTION 209 INTRODUCTION Version 2.00 introduces Surround sound mixing facilities to the DPS24. Supported Surround formats are: 5.1, LCRS and 2+2 (Quadraphonic). The new Surround Mixing mode is an additional mode, on top of the existing features. In Stereo Mixing mode, all existing features are unchanged , and operation is the same as V1.60. NOTE: It is essential that you back up all files and data before installing any new version of DPS24 operating system .
210 SURROUND MIXING CREATING A SURROUND PROJECT All existing projects created with earlier OS versions will load as Stereo Projects. Any new project that you create with this version will be a Stereo Project by default. In order to mix your project in surround, you will need to convert it to a surround project. This operation is performed in the new MIXER MODE page. In MIXER mode, a new MODE.SET softkey (F4) is available: Pressing MODE.
CREATING A SURROUND PROJECT 211 To convert your project to a surround project follow the instructions on the screen. Pressing the CONVERT TO 5.1 SURROUND Key will start the process of creating a new surround project from your current project. You will be asked to enter a new name for the surround project. The default name for the new project is the current project name with the suffix “SM” (as long as there’s space for the suffix), but you can name it whatever you want.
212 SURROUND MIXING Before the new project is created you will be given the opportunity to choose whether you would like to copy the mixer settings from the current project or reset the mixer to the factory defaults. NOTE: Copying the mixer settings from the current project will carry over all mixer control positions, automation and scenes from the current project. The new controls for surround panning will be set to their default values.
CREATING A SURROUND PROJECT 213 When 5.1 is selected as the Pan Mode, an additional parameter is available on [Q2] for the LFE Filter setup. The possible settings are: LFE Filter; • ON: a 120Hz Low Pass Filter is always applied to the LFE Bus. • OFF: the Low Pass filter is not applied to the LFE Bus, except in Stereo or Mono fold-down (or Downmix ) mode (when the NEAR or MONO key is enabled), as explained further in this manual. • FORCE OFF: the Low Pass filter is never applied to the LFE output.
214 SURROUND MIXING DIFFERENCES AND LIMITATIONS IN SURROUND MODE In order to accommodate the increased signal routing demands of surround mixing certain changes have been made in the operation of the DPS24 in Surround modes. GROUPS Perhaps the first thing you will notice is that there are no GROUP channels. The space left by the group meters in the MIXER and MAIN pages has been used to display surround output meters.
DIFFERENCES AND LIMITATIONS IN SURROUND MODE 215 PATCH The PATCH pages also look slightly different in surround mode. Because of the absence of GROUP channels these are unavailable as patch sources or destinations. If a patch configuration is loaded (as part of a project or as a preset) in which GROUP channels are used as disk record sources or patched to physical outputs the GROUP source will be replaced with silence.
216 SURROUND MIXING Patch assignments from the INPUT, DISK and FX RETURN channels to the main surround bus are accessed by pressing the MAIN.BUS key. RECORD The main purpose of the surround feature is for mixing, and it is intended to be used after track laying is complete. As such, recording functionality is limited in surround mode. The "24 track record" mode is not supported in surround modes. You can simultaneously record up to 6 independent sources in 5.1 mode or 4 in LCRS and 2+2 mode.
DIFFERENCES AND LIMITATIONS IN SURROUND MODE 217 SOLO Solo functionality is fixed to Destructive Solo In Place (mute all channels not in SOLO) when in surround mode. AFL, SIP and PFL solo modes are not supported. MBCX MBCX facilities are unavailable for surround mixdown.
218 SURROUND MIXING METERING The PRE-EQ metering facility is not available in surround modes. Only PRE and POST metering options are available. METRONOME In surround modes the metronome is not routed directly to the monitor outputs when turned on. To hear the metronome you need to select it as the source for an input channel and route that channel to the surround bus.
MIXING IN SURROUND 219 MIXING IN SURROUND Surround Bus Routing Routing of channels to the surround bus is done in exactly the same way as routing to the main L/R bus in stereo mode. The L/R ASSIGN key allows routing channels to the Main Surround Bus. The L/R MASTER fader controls the overall level of the mix as in stereo mode.
220 SURROUND MIXING This is also true for the LFE bus: in normal Surround mode (i.e. not Downmix), it is routed only to the LFE output (with or without Filter, depending on the LFE Filter setting: ON = with filter, OFF or FORCE OFF = without filter), and in Downmix modes, it is routed to the Front L/R monitor outputs (with or without Filter, depending on the LFE Filter setting: ON or OFF = with filter, FORCE OFF = without filter).
MIXING IN SURROUND 221 The pan placement graphic on the CHANNEL PAN page shows the combined effect of the Pan Left-Right and Pan Front-Back controls. A smaller version of this graphic remains above the channel fader graphic on all MIXER CHANNEL subpages and MIXVIEW pages. The Surround Panning controls are: Pan Left-Right [Q1] has the same function as Pan in stereo mode, controlling leftright placement of the channel audio.
222 SURROUND MIXING Pan-Fader Flip Pan Front-Back controls can be accessed from the mixing console surface via the Pan-Fader flip feature, in a similar way to the Aux-Fader flip feature. This feature is toggled on and off by pressing the Q-Strip FunctionPAN key while PAN is the selected QStrip function. The PAN key will flash when Pan-Fader flip is active.
MIXING IN SURROUND 223 FX Return Channels FX/Aux return channels have an extra control which allows you to choose how you would like the FX return signal to be routed to the surround bus. The Surround Route [Q6] control has four states: STEREO: FX Return Channel routed as a stereo source to all surround bus components except Center. Left leg is routed to Front Left, Rear Left and LFE; Right leg is routed to Front Right, Rear Right and LFE. Divergence is disabled.
224 SURROUND MIXING Surround Mixing Index 2-Track 220 Automation 222 Aux Input 218 CONVERT TO 5.1SURROUND Divergence 221 Downmix 220 Fader Flip 222 Fold-down 213 Front-Back 221 FX Return 223 Groups 214 Left-Right 219 LFE 221 LFE Filter 213 MBCX 217 Metering 218 Metronome 218 Mixdown 220 MIXER MODE Mixview 222 MODE.
APPENDIX 225 APPENDIX MIDI Implementation Chart Date: 02-09-05 Version: 2.
226 APPENDIX Block Diagrams FX BUS ADC 1-12 ADAT 1-8 SPDIF IN AUX IN INV ATT EQ SEND 1 SEND 2 SEND 3 SEND 4 PAN DYN ON 2-TRACK IN FX 1-4 METRONOME FADER L/R GRP 1/2 GRP 3/4 GRP 5/6 GRP 7/8 To Disk SOLO INPUTS SEND 1 SEND 2 SEND 3 SEND 4 DISK TRACKS 1-24 INV ATT EQ DYN PAN ON FADER L/R GRP 1/2 GRP 3/4 GRP 5/6 GRP 7/8 SOLO DISK TRACKS FX RTN 1-4 ADC 1-12 SPDIF IN AUX IN 2-TRACK IN ADAT 1-8 SEND 1 SEND 2 SEND 3 SEND 4 ON FADER BALANCE L/R GRP 1/2 GRP 3/4 GRP 5/6 GRP 7/8 SOLO FX RETURNS ADC
Block Diagrams 227 SEND 1 SEND 2 SEND 3 SEND 4 INPUTS 1-12 GROUPS 1-8 ADC 1-12 ADAT 1-8 SPDIF IN AUX IN 2-TRACK IN FX 1-4 STEREO L/R BUS METRONOME PAN INV ATT EQ DYN ON FADER L/R GRP 1/2 GRP 3/4 GRP 5/6 GRP 7/8 SOLO RECORD SOURCES RECORD SOURCES FX BUS AUX BUS GROUPS BUS FX MASTER SENDS AUX MASTER SENDS GROUP MASTER LEVELS L/R BUS SOLO BUS MASTER FADER SOLO LEVEL GROUPS TO L/R BUS GROUP SOLO AUX TO INTERNAL OUTPUTS FX TO DISK TRACKS L/R MASTER SOLO MONITOR BUSSES User Guide
228 APPENDIX 1 2 AUX bus Aux Send 1 Aux Send 2 Aux Send 3 3 4 Aux Send 4 TB Switch Studio L Studio R Talkback Mic 2 Track input MONO SOLO bus STEREO L/R bus SOLO STUDIO > CR switch 2 TRACK switch MONITOR LEVEL MAIN L MAIN R NEAR L NEAR R NEAR switch LEVEL PHONES Stereo L Stereo R OUTPUTS User Guide
Installation of Options - To Services Technicians 229 User Guide
230 APPENDIX Installation of Options - To Service Technicians IB-24LTC/IB-24ADT 1. Remove the screws for the cover of expansion slot and remove the cover. Save the screws. 2. Slide the Option Board in along the guide groove and press it firmly to ensure secure connection. 3. Tighten the screws back that have been removed in the previous step. IB-24SCSI 1. From the bottom of the unit, remove the screws for the bottom cover and open the bottom. 2.
231 DPS24 OS Upgrade via USB (PC only) You can check the current O/S Version in the SETUP page. 1) From akaipro.com Operating System Download page, download: • the latest OS Version (dps24***.zip) • the OS Loader utility (dpsosldr.zip) if you haven't already installed it. 2) Create a new folder on your PC in a location that you will remember! For instance, create a folder named "Akai DPS24" in "My Documents". 3) Unzip the downloaded files into the folder created above.
232 APPENDIX 6) From the Windows Start menu, select Programs / Accessories / Command Prompt (Windows XP) or Programs / MS-DOS Prompt (Windows 98 ) -> This will open the DOS prompt window 7) Open the "Akai DPS24" folder (created in step 2). In the "Akai DPS24" folder, click on the "usbrom" file and drag it into the DOS window. Click on the DOS prompt window and enter a Space. In the "Akai DPS24" folder, click on the "DPS24.BIN" file and drag it into the DOS window.
233 DPS24 ASCII Keyboard Commands DPS24 ADAT™ LRC Key Assignment • Hold “SET LOCATE” and press “IN or OUT” to set In/Out points • Press IN, OUT or RTZ to Goto In/Out points or Zero • Hold AUTO PLAY and press IN, OUT or RTZ to Goto In/Out points or Zero and Play • Press IN>OUT to Play from In to Out points • Hold AUTO PLAY and press IN > OUT to enter LOOP play User Guide
234 APPENDIX Specifications Power Supply AC 120V 60Hz (US, Canada), 220-240V 50Hz (Europe) 110W Operating Temperature 10 - 35° C Operating Humidity 10% - 60% (without condensation) Dimensions (mm) 726 (W) x 190 (H) x 579 (D) max. (with LCD tilted down) Weight 19.5kg Display 320 x 240 dots STN graphic LCD with back light Sampling Rate 96kHz, 48kHz, 44.
Specifications Impedance Mic mode 3k ohms (1 - 12ch) Line mode 12k ohms (1 - 12ch) Hi-Z 1M ohms 235 ADC In10k ohms AUX In 10k ohms 2-Track 15k ohms Analog Audio Output Stereo Out 6.3mm Stereo Phone - balanced Main (monitor) 6.3mm Stereo Phone - balanced Nearfield (monitor) 6.3mm Stereo Phone - balanced Output Level Studio Out 6.3mm Stereo Phone - balanced Direct Out 6.3mm Stereo Phone - balanced AUX Sends 1 - 4 6.3mm Stereo Phone - balanced Stereo Out +4dBu (+22dBu balanced max.
236 INDEX Index !!! SOLO !!! 21 2-TRACK 5, 21 24-Track Record 179 A Abort Record 40 ADAT I/O 4 ADAT OUTPUT ASSIGN 109 ADJUST 78 AFL 101 AMOUNT 78 Analog Input Preamps 9 Assign Keys 11 ATTACK 92, 93 ATTENUATION 88 Audio Recovery 185 AUTO 34 Autolocator 42 AUTOMATE 32, 49 AUTOMATION 116 Automation Edit 56 AUX IN 6 AUX OUTPUT ASSIGN 109 Auxilliary Sends 4 B Backing Up Projects 158 BIT DEPTH 168 BPM 80 C CANCEL 34 CD PLAYER 201 CD-Recorder 188 CD-RW/CD-R Drive 7 CHANNEL 87 Channel Dynamics 92 Channel Insert
Index Mix Scene 35 MIXDOWN 193, 189 MIXER 32, 49, 86 Mixview 86 MMC 169 Modes 49 MONITOR LEVEL 21 Monitoring 21 MONO 22 MOVE 61 Multi Purpose Light Pipe 4 Multi-Band Compressor/Expander 194 Mute 18 Project recovery 25 Project Restore 160 PROJECT TOOLS 156 Prompts 31 PS2 Keyboard 5 Q Q-Channel 13, 15 Q-Link 23 Q-Strip / Q-Channel Encoders 17 Q-Strip Function keys 13, 16 QUICK FORMAT 184 Quick Locators 45 N R Naming items 30 NEAR/MAIN keys 22 NEARFIELD 5 NEW project 152 Next/Previous Cue 45 No.
Printed in China
