DP-24/32(SD) Production Tips

[-mjk-]

Get The Most Out Of Your DP Machine: Custom Songs

Think of Songs as "projects" that allow you to record specific things on your DP machine for whatever purpose you need. Many think that you make a Song, and record all your tracks, then Mix, Master and that's all you can get. But a Song is just a collection of tracks and you can use as many of those projects you need to get your final results.

As a solo artist, I live in a world of overdubs and submixes. Typically, I have very high track counts, and storage tracks can be an issue (see my previous post about Virtual Tracks). I typically record at least 4 rhythm guitar tracks (2 left/2 right) and 4 to 8 tracks of other guitar parts. Using virtual tracks helps a lot. But, on the DP machines there is a limited number of mono tracks available for storage tracks (This production tip was written with a view toward recording mono sources such as guitars, bass and vocals. It also applies to stereo tracks).

Definition: Storage Track: A track used to record a performance that will become part of a submix (stem) and typically not used as a standalone track. The storage track may, or may not be erased once the submix is finished.

I recorded all my drum tracks (I'll outline how I did this in a follow-up post later), keyboards, and all guitars on the main Song project. Using the first 8 mono tracks on the DP-32, I have many virtual tracks used and documented on my Track Sheet. The next and final phase of recording is the vocal tracks. In addition to the Lead Vocal, I need about 12 storage tracks for background vocals and perhaps a few more to add separate lines to embellish certain harmony spellings. There aren't enough storage tracks available on the main Song project for such a large session.

The Solution:

I made a Mix of the song just how I would like to hear it in my headphones. After creating a new Song [Edit: I loaded my Default Template first!] (named [Song OVERDUB]), I imported it to Track 31/32 using Audio Depot. Then, I changed all other tracks to Mono. Now, I have 19 Mono storage tracks to use for the vocals! And, I have a full Mix to monitor while I sing. The great part of this setup is that I can control the backing track volume with a single fader. This makes life so easy, especially since with every track you record, you add another fader to manage for the headphone mix.

Utilizing The OVERDUB Project Tracks

At this point, you do whatever overdubs you like (remembering that you also have 8 Virtual Tracks per track). You may then do a Mixdown or Bounce of those tracks in the DP machine to create your submix. In my case, I exported them individually and imported them to Reaper and mixed them with a console - but you get the idea. You can Mix/Master in the DP machine, or export and process externally. However you accomplish the submixing, simply import those tracks back into the DP machine on the original Song project.

There is virtually no limit to how many tracks you can add to your Song! So, you need 16 tracks of guitars? Do it! You need 24 tracks of background vocals? No problem!

I'm available to assist you if you need help sub/mixing your tracks. Feel free to DM me.

 

[David Porter]

Fantastic, MJK! Thank you.

 

[-mjk-]

Thank you @David Porter. I meant what I said, which is, I'm available to help if anyone needs it.

 

[Mark Richards]

USING THE DYNAMIC EXCITER TO PROCESS YOUR MASTER
The protocol most often used in the DP-24/32/SD process is Track, Mix, Master, Done. But there are many creative ways to use the tools available in the DP-24/32/SD beyond that basic process.

Here’s one scenario you might want to consider:
You’ve created your master stereo recording (either directly after mixdown, or after applying the basic mastering tools - Compression, EQ - in the Master module). But it’s still missing that almost intangible “something” wow-factor that will make it stand out.

Perhaps if the entire stereo master could be run through an Exciter tool, the Exciter could enhance the overall stereo image/sound stage; or maybe bring out a bit more clarity to the vocals. With the DP-24/32/SD, finding out is easy, because Inputs A ~ H have Dynamic Effects available, and one of those is an Exciter.

Preliminary Steps
1. Copy your stereo master songname.wav file from the Song folder to the Audio Depot folder.

2. Load your reset template (you've watched Phil Tipping's videos, right?) then create a new song called “Exciter_Master” and Load it.

3. Open the Mixer Screen and verify that for all Inputs and Tracks the settings are neutral/off.

4. Open the Effects Screen and verify all Guitar and Send Effects are off and that no tracks are assigned to the Guitar Effects.

5. Open the Dynamics Screen and verify all Input Dynamic Effects are off.

6. Open the Assign Screen and verify all Input/Track Assigns are off; and for DP-32, that all Stereo Track Pairs are set to Stereo.

7. Set all Faders except the Master Stereo Fader off (i.e. lowered to infinity).

8. Open Audio Depot and Import your stereo .wav file to Tracks 1 & 2.

9. Set the In/Out points for the song imported to Tracks 1 & 2.

Setting Up the Board
1. Open the Assign Screen and assign Input A to Track 13 and Input B to Track 14.

2. Open the Mixer Screen.

• Set Track 1 Send 1 to “Pre” and Level to 127; set Send 1 Master Send Level to 127.
• Set Track 2 Send 2 to “Pre” and Level to 127; set Send 2 Master Send Level to 127.
• Set Track 1 Pan to full left and Track 2 Pan to full right (this permits the strongest output signal for each track going to the respective Send bus).

3. Set the Trim Knobs for Inputs A & B full left (“Line”)

4. Open the Dynamics Screen and turn on the Exciter for Input A and Input B. As a starting point set the “Frequency” to 1.07 kHz, and the “Depth” to 50 for both Inputs (you will adjust these later in tandem or individually as needed to achieve the sound you want).

Patch the Send Out Bus to Inputs A & B
Turn off the DP-24/32/SD. Use patch cables (Mono Phone plug to Mono Phone plug) to connect the Send 1 and Send 2 Bus jacks on the back of the DP-24/32/SD to Inputs A and B respectively. Turn the DP-24/32/SD back on.

In Multitrack Mode, Test and Evaluate Your Setup
1. Raise the Track 13/14 Fader to Unity Gain (i.e. “0”)

2. Be sure the Stereo Master Fader is at Unity Gain (i.e. “0”/full up)

3. Press the Track 13/14 “REC” Button to enable monitoring of Tracks 13/14.

4. Assure the Track 1 & 2 Faders remain full off. The signal to be recorded on Track 13/14 will be controlled primarily by the Track 1 Send 1 Level Knob and Track 2 Send 2 Level Knob. The Input A and Input B Trim Knobs can also be used (judiciously) to raise a weak signal coming into Inputs A & B from the Send 1 & 2 jacks.

5. Press the PLAY button to start playback of the stereo master you imported to Tracks 1 & 2.

6. The processed audio signal level will be heard, metered, and monitored on Tracks 13/14; and on the Stereo Master Bus and meter.

7. Open the Dynamics Screen to make adjustments to the Exciter settings.

8. Once you have satisfactory audio levels and Exciter settings, press the AUTOPUNCH button, set pre-roll and post-roll to 1.0 sec, and then press the RECORD button to record the processed signal to Tracks 13/14. Autopunch will automatically start and stop the recording using the In/Out points set previously.

Create Your Stereo Master Processed with the Exciter
Enter Mixdown/Mastering mode; press the RECORD button; and the DP-24/32/SD will use the signal on Tracks 13/14 to create a new, processed stereo master .wav file in the “Exciter_Master” song folder. The name of the file will be “Exciter_Master.wav”. You can use the DP-24/32/SD’s USB function to copy this file to another location, or just leave it where it is.

If you decide to rename and copy the processed stereo master to another location, place an “E-” at the front of the processed filename to distinguish it from your original (e.g. “E-songname.wav”).

Listen to a Comparative Audio Clip (about 1 minute long)
I’ve created a comparative audio clip of one of my own recordings made entirely on my DP-24. This clip starts with the unprocessed example, followed by the processed example. I’ve exaggerated the Exciter effect somewhat to identify it clearly. Most often you would likely want a more subdued/subtle effect. How much of the Exciter effect to apply is a matter of creative/artistic judgment.

The clip is here (and can be downloaded):
https://www.dropbox.com/sh/lehc60ut43qwfe4/AACJFIViwgEUzPcXC9vBOM4ra?dl=0

Other Applications
The same procedures, starting with Preliminary Steps #3~7 & 9, and with a few modifications (e.g using only Send #1 or Send #2; adding a Copy/Paste step) can be used in Multitrack mode to process an entire recorded track or a segment of the track. Phil Tipping's Video Tutorial 14 demonstrates this.

You can also further process a recorded Track by entering Bounce mode and combining this Dynamic tool procedure with the procedure for recording wet Effects (Reverb/Chorus/Delay) to a separate track (described in Production Tip #23).

 

[David Porter]

Great job with Africa, Mark. Sounds excellent!

 

[Mark Richards]

Thanks for the kind words, David.

 

[Mark Richards]

MORE ON THE TRIM KNOB
Production Tips Post #27 describes basic information about the Trim Knob.
( https://www.tascamforums.com/threads/share-dp-24-32-sd-production-tips.5747/page-2#post-29541 )

Below is a more technical description of the Trim Knob design/function.

The XLR and TRS jacks are on different circuits.
The impedance is hard wired into each circuit:
XLR connector is LowZ
TRS phone jack is HiZ.

The Trim knob behaves differently depending on which circuit is being used.

For the XLR LowZ circuit, the Trim Knob acts like a continuously variable attenuation pad. It attenuates an incoming hot mic signal from full strength (at full clockwise) to about -60 dB or more (at full counterclockwise) so that the incoming mic signal won't overload the DP-24/32/SD circuit and cause distortion.

As soon as the Trim Knob is moved off full clockwise, there's an observable drop in the incoming strength of the mic signal. Significant changes in the Trim Knob position make significant changes in the sensitivity of the LowZ circuit, and thus the strength of the incoming mic signal.

Example:
A 500 Hz -33 dBv analog sine wave test signal fed into the XLR circuit reads -12 dBFS with the Trim Knob full clockwise.
At the 12 o'clock position, the test signal level drops to about -40 dBFS.
At the 11 o'clock position, the test signal level drops to about -48 dBFS.
At the full counter clockwise position the test signal level is below -60 dBFS.

The Trim Knob isn't a volume control. At the starting position for line level devices (the full left "Line" setting), the incoming signal is not "Off". As Phil Tipping explains in his Video Tutorial 3a, the Trim Knob both attenuates and amplifies, with the unity gain position being at the 1 o'clock position.

The sensitivity of the HiZ circuit at the full left (“Line”) position enables a reasonably strong incoming signal without overloading the DP-24/32/SD circuitry. Turning the Trim Knob clockwise enables a line level input signal to be raised to a usable level if the source's volume output is maxed out and the incoming signal is still weak.

With line level sources, it's often best to start with the Trim Knob full left. This provides the most headroom when bringing in a line level source, and at the same time gives you the ability to adjust the Trim Knob sensitivity to improve a weak signal or to optimize the S/N ratio if needed.

For HiZ sources, another way to view use of the Trim Knobs is to consider the method recommended in Phil Tipping's Step-By-Step Guide for the DP-24/32/SD:

"Start with the trim control at approximately the 1 o’clock position. This is the ‘unity gain’ setting where the machine’s pre-amp neither amplifies nor attenuates the signal. Then adjust your source output level until you get the required nominal reading on the meter bars. If the meter reading is too high even with the source output set to minimum, turn down the trim as required. If this isn’t sufficient, you need an external attenuator. If the meter reading is too low even with the source output set to maximum, turn up the trim. If this isn’t sufficient, you need an external amplifier."

 

[David Porter]

And to be clear - if you have a particularly hot output coming into the DP input where the trim is set full CCW but it's still too hot (and you don't have an external attenuation device of some kind) - try using TRS 1/4" input as opposed to XLR. It helps.

 

[Mark Richards]

REMOVING LOCATION MARKS

1. Routine Location Marks (Multi-track and Mix-down Screens)

(thanks to Phil Tipping for explaining this process)

In the Timeline and Meter Screens:

• You can locate any Mark with a quick press/release of the REW or FWD button at any time to locate/jump to the next Mark point, whatever the type (see below).
• If this action finds a user created numbered Mark, "Mark nn" displays just below the Mark/Transport position line at the top of the screen.
• Press the "Mark Set" button once to remove the user created Mark.

In the Timeline screen, you can zoom in/out using the Cursor > and Cursor < to better locate/view Marks.

You won't see that the Mark is gone until you move away from the Mark location. It's important to use the REW or FFWD buttons to line up precisely on the Mark.
​

2. Mark-In/Mark-Out Points.
The Mark-In and Mark-Out points can only be moved to different locations. They cannot be deleted.

3. Marks Created by Punch-In/Punch-Out/Auto-Punch

(these Marks cannot be deleted)​

Recording a punch (whether a running punch or an auto-punch) creates a 'special' mark at the punch-in and punch-out location; and removes the previous 'special' punch-in/punch-out location marks, if any. This 'special' punch location mark cannot be deleted by the user and has nothing to do with routine location Marks.

This 'special' punch mark is part of the firmware process related to the "TO LAST REC" function. It is not the same as the visible Marks that can be set and removed manually by the user.

If you use a routine Mark to show the point where you want to start/end a punch, and then remove those Marks, it does not remove the 'special', firmware set, start/stop points of the punch.

Retaining this 'special' firmware memorized point is necessary to facilitate the "TO LAST REC" function, so the firmware does not remove the location after the punch is completed.

Using the REW and FFWD buttons to move through the song's manually set Marks also will stop on the most recent firmware memorized punch-in and punch-out location.

Pressing the STOP/TO LAST REC button combination will move directly to the start of the most recent punch-in location; after which pressing the FFWD button will then move to the most recent punch-out location.

 

[Mark Richards]

USING THE AUTO-PUNCH FEATURE

Using Auto-Punch to Create Takes on Virtual Tracks
Auto-Punch is a great way to create the perfect take. Use Auto-Punch/Repeat to start and stop recording automatically between previously set punch points to capture multiple takes on several virtual tracks.

Suppose you've recorded three complete takes of a song track using Auto-Punch/Repeat, resulting in some sections done well and others less so:

Track 1 Virtual track 1 has a perfect intro and first verse.
Track 1 Virtual track 2 has a perfect middle eight (as McCartney was fond of calling it).
Track 1 Virtual track 3 has a perfect third verse and outro.​

The perfect section of each virtual track can be copied and pasted to Track 2 Virtual Track 1 to create a flawless performance once all the takes have been stitched together on Track 2. If you chose each segment's In/Out points correctly, you should have a perfectly aligned perfect performance on Track 2 Virtual Track 1, and all three performances are still preserved on Track 1's Virtual Tracks.

Other ways to make use of Auto-Punch
Auto-punch can also be used any time you need to duplicate a track or portion of a track.
For example:

• When creating sub-mixes of a song using Bounce Mode;
• When Bouncing from one track to another (either in sections or for an entire song); or
• When creating or adding outboard and internal effects to dedicated tracks.

Examples for incorporating Auto-Punch are discussed in these Production Tips:

• Creating Separate Effects Tracks Using Effect/Reverb/Chorus/Delay
• Creating Separate Effects Tracks Using Effect/Guitar
• Using The Stereo Bus (The section discussing Sound-On-Sound)
• Using Input Dynamic Effects When Overdubbing
• Adding Analog Characteristics To A Digital Stereo Master Recording
• Getting the Most Out of Your Machine: Virtual Tracks (and in the Post 55 follow-up)
• Using The Dynamic Exciter To Process Your Master

 

[Mark Richards]

ADDING SPACE, DEPTH, DIMENSION TO A MIX

In general, space, depth, and dimension are referred to as "the sound stage".

• Space (or air) is achieved through judicious application of EQ or an exciter tool (either to individual tracks or the entire stereo mix) in the mix-down to the stereo master. This post in the Production Tips Sticky describes how to use the DP-24/32/SD Dynamic Exciter tool for that purpose. Phil Tipping's Tutorial in the Videos Sticky (post #24) demonstrates another way to make use of any Dynamic Effect during mix-down.

• Depth is achieved through judicious use of reverb in combination with faders to bring sounds to the front, or to send them further back, in the mix-down to the stereo master. Phil Tipping's Tutorial in the Videos Sticky (post #25) demonstrates using reverb during the mix-down process.

• Dimension (or width/separation) is achieved through panning in combination with judicious use of EQ in the mix-down to the stereo master. For example:

You may want to be pay attention to those frequencies where various tracks overlap, (e.g. the vocal and the guitar). Careful adjustment of EQ can delineate the two in the mix-down to the stereo master without having a negative impact on either. The frequency chart in this Equipment Tips Sticky post may help inform such decisions.​

How to combine space, depth and dimension, and to what degree, are artistic decisions and so are highly subjective.

It's best to make these decision during the stereo mix-down process, when you're able to hear the whole production at the same time.

Note that if mixing exclusively using headphones, there may be a tendency to bring tracks too far forward. So when using headphones, it's always a good idea to check your mix using your reference speakers before committing to a final master.

 

[Mark Richards]

USING OUTBOARD GEAR IN MULTI-TRACK MODE TO CREATE AN FX TRACK

Creating a new FX track using outboard gear is a very straight forward process in Multi-Track Mode:

• Set Track x (the previously recorded signal) Send Eff 2 to "Pre" or "Post" (as desired); Set Send Eff 2 Knob to desired level; and set Send Master 2 Knob to 127.
• Connect the Send 2 Out Jack signal to the input jack of the outboard FX .
• The Send Eff 2 Knob controls the signal level into the outboard FX. Be sure to use proper gain staging principles.
• The Outboard FX signal returns to a Portastudio line-in Input of choice.
• Set the portastudio’s Input of choice's Trim Knob full counter clockwise (Line); and set all Send controls for the Input of choice to OFF.
• Control the incoming signal level to the Portastudio using the outboard FX’s output level control.
• Assign the Portastudio Input of choice to any open Track of choice; and set all Send controls for the Track of choice to OFF.
• Set the Track of choice to Record Ready.
• If you want only the full wet signal recorded on the Track of choice, adjust the outboard FX controls accordingly.
• Rewind to the start of the song (or the appropriate location in the song).
• Press REC.

Result

• Dry signal on Track x
• Wet external FX signal on the Track of choice.

Related Tips
In the "Tutorial and Informational Videos" sticky, also see:

Send Effects
(uses an Input signal as the audio source, but also applies to working with a recorded Track signal)​

In the "Equipment Related Tips" sticky, also see:

Connecting Outboard Gear
Using Send 1 for Dual Signal Out
Using External Gear in Bounce Mode​

In the “Production Tips” sticky also see:

Using the Trim Knob (and) Here (and) Here​