Absolutely lovely explanation for someone like me, who has just begun (at age 42) to dive into music-related physics (i. e. acoustics and electronics). Great you keep referring to the diagramm. Absolutely adore it.
@tillober1240 thank you Till, glad the diagram approach works for you. It's strange the different reactions to it from the comments here and on social media :)
+Diego the Bandit no problem Diego - thanks for the feedback. They're all on a single DVD if you want one for offline/reference purposes, or check out the written step-by-step guide - full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
I use my dp24's to record all instrument tracks (live) at 44.1/ 24bit. No FX's...Never have latency or any other problems. I then export tthe wav files to studio one artist and add vocals, mix and master. It's perfect for my home studio and the results are superb thanks to your tutorials. Your expertise has been invaluable and you have contributed to some REALLY great recordings. THANKS, X 1000!
@Donnie Smith thanks for the kind words Donnie; my workflow is very similar. I already had a recording setup but needed a portable machine for location recordings, so it's good the machine can be used in so many different ways. Good luck with your projects.
thank you for this video. with your help i am able to record tracks on to my dp-32. after that i play the song using my left hand for some extra (hammond like) cords. with the right hand i make the solo part. it realy makes fun using the dp-30 and my music ( jazz - fusion- gospel-funk) sounds not bad. i can follow your videos any time i want to and my dp32 knowledge is increasing. wish you all the best phil. you are a great teacher. thumbs up. 5 stars.😊.
Very clear videos. The VU meter pulsing when you go beyond the bandwidth limit for the sampling frequency looks like it's monitoring aliasing, implying that there is no switchable filtering on the input. If that is case, I'd be extremely surprised, but it certainly looks like it.
Hi Phil - dum question: since old pharts like me haven't heard a tone at 20kHz since the dawn of recorded music...could you elaborate on whether the different bit-rate and sampling settings have a similar improvement in recorded reproduction on lower (more audible) frequency ranges? PS THANKS for what you do!!!🤩
@Caught Staring Good question :) Just to clarify... in the video I changed both the sampling frequency and bit depth for the frequency response comparison, but would have got the same result by just changing the sampling frequency. Only the upper frequencies are affected by the sampling frequency. There's some debate over which is best. Most consumer music (CDs) use 44.1KHz so there's a good argument for using this value if that's your target to avoid any side-effects when converting from 48KHz. Music for video uses 48KHz. The bit depth affects the dynamic range regardless of frequency. CDs only use 16 bits so you could argue this should be good enough, but if you intend to do any processing, using a higher bit depth gives you a better signal-to-noise ratio so less worry about running your signal levels too hot and risking clipping. The internet has a lot more info/advice on both these settings.
Great video series, thanks. At the risk of sounding like a smartass, I do not intend this as a criticism, just an addition for the comments. The drop off in signal level is not to do with the Bitrate, although this setting will affect the quality. The sample rate just needs to be at least double that of the frequency you are attempting to capture (preferably slightly more to avoid offset filtering). 44.1Khz was originally selected because 20Khz was the theoretical maximum requirement for humans, whose hearing drops off under that. you can drop the Bitrate to a few bytes and still get the same signal level because the amplitude swing around zero is still the same. 48K recordings create technically smoother voltage swings, but you would not appreciate the extra samples as a human even if you did several hundred AD/DA conversions with minor offsets(
@Turncoat You're right, the frequency response is determined by the sampling rate and not the bit depth, so thank you for clarifying. I should probably have only changed the sampling rate when I created the 2nd song for comparison to avoid confusion - the result would have been the same. Having said that, the video was trying to point out that *both* quality settings affect signals passing through the machine, even if you are not recording anything. Some people just use these machines as mixers, but they would still sound better by creating a song with the higher quality settings. My signal level measurement was only capable of showing the sampling rate impact, but it was meant to imply that if this could be shown to affect the signal, the bit depth would also be affecting it, albeit in a different way. As to whether you can hear a difference with 48KHz vs 44.1KHz, there are many different views on this. I seem to remember being advised to use the higher setting if you intend processing the signal further, but I've never had the equipment to verify this. I always err on the safe side and use the highest setting regardless. I think it would have been an issue years ago when storage and processing power were struggling with the larger file sizes, but this isn't a problem nowadays. Of course the debate has since moved to 96KHz or even higher, but that's way out of my league :) Thanks for stopping by.
44.1k is good enough depending on the source you are recording. I own a Neumann u87i and several akg c414 and those microphones top off at 20khz. So unless you have some external preamp or compressor that adds harmonic content above 20khz, recording above 44.1k is useless. Now if you are recording synths or external guitar effects you might benefit from it.
+descargamusicalny good point, although when you say 'top off at 20KHz', it doesn't mean the response drops to zero at this point - some higher frequencies will get through. Some systems record at 96KHz (or higher) so must be a reason - too much for me though :)
Hi Phil. Talking about tests, beyond this one on audio quality and the other interesting one on multiple bouncing, did you do any on Latency? Would be interesting to measure latency going through various paths in the machine. For example if I use the out/in trick to record the reverb send (routing the send out to a physical input via cable) how big would be the offset between the original signal and the recorded one (knowing it went through D/A and then A/D conversion plus any potential input effect etc). Of course for a reverb it won't matter so much as per the nature of the effect but I am more thinking of using send 2 for other effects more " offset sensitive". Any thoughts? Thank you
@mic Ruelle Video 14A shows a loop-back trick for re-using dynamic effects on pre-recorded tracks, and shows (at approx 14 mins) some measurements on the delay going from & to the digital domain. Hope that helps.
These videos have been great, and they are a huge help. I just have one question which might be a stupid question, but I'm very new to this unit. Does the REC button HAVE to be armed in order to get sound to your headphones or monitors? When I have a microphone plugged in, I get nothing unless I arm the REC button. Is that correct? Thanks!
@Home Bar Productions thanks for the kind words. Don't worry about whether questions are stupid or not - we all have to start somewhere... and it's better to ask if you're not sure, instead of jumping to the wrong conclusions and digging a bigger hole for yourself :) The REC button only has to be pressed if you want the input signal to flow through the track path, regardless of the recording state. If you assign your input to the Stereo Bus, it will flow along the top path of the diagram and you'll hear it in your headphones *without* having to press the REC button. If you follow the videos in order, the first ones concentrate on this 'straight-through' signal path - I call it a 'basic mixer' configuration. When you get to video 6A, this shows the path when you assign an input to a track - I call this an 'advanced mixer' configuration.
@@philtipping Thank you so much for your response because this has been driving me crazy. When I get home tonight, I'm going to follow right along with video 6A and see if I can't remedy the issue. Before this, I had a Tascam Neo2488, and that was really just a plug and go machine. This extra step kind of baffled me a little bit, so again, I'm looking forward to seeing if I can't remedy the situation. Thank you very much again for your help!
I must be missing something here, I am 62, and im pretty sure i cant hear ANYTHING above 15, to 16khtz...if i do, its just annoying artifacts and certainly nothing musical...so why would i be concerned about 20 khtz being on the recordings? I guess its a personal preference but the music i love lives in the lower to mid frequencies- So can i skip the 20k stuff? Thank you so much for doing these, ive got the older DP 24 sd with the CD burner, and im looking forward to getting some use out of it finally.
@Ed White Hi Ed, well you're right if you're definitely sure none of your music contains any useful high frequencies, but it can be difficult to judge when your own hearing is compromised... and what do you do when you *do* need to record a different type of music? Some say that audiences nowadays listen on-the-move with low-quality earbuds, so why bother with good quality monitors? Similarly, one of my ears is severely damaged so I could argue what's the point of stereo :) When I first started recording in the 90's, one of the books which stuck in my mind (Project Studios by Philip Newell) had some interesting thoughts on all this. There is a good case for always striving for the best quality you can, whether it be for a sense of pride and achievement in your work, or to resist the trend of eroding standards in the industry where music was being 'churned out' for a quick profit. Obviously, we can't all afford really expensive 'pro' gear, but that's not the point... we owe it to music to strive for the best we can within our limitations. A lot of improvements can be done by spending more time on it, rather than more money, such as setting up a good recording environment, trying different mic placements, using eq to eliminate rumble, editing out clicks etc. If you know for sure that no-one else needs to hear those high frequencies, that's fine, but it's easier to record and process with as high a quality as you can justify, and then remove it, if you really want to, at the final stage. That way, if you change your mind, you've still got the high-quality originals. Personally I try and imagine how someone would hear my music listening on top-quality gear (with 2 good ears!). I would be disappointed if they heard a sound which was muffled, or full of background rumbles, hiss & hum etc. Good luck with your recordings, and thanks for stopping by.
@@philtipping thank you so much, Phil, for such a well considered response...and quick too...im gonna make a donation once im up and running on this thing. I did listen for the second time to #8? In your series, and it did explain a little more about my question here, but im glad i asked because your answer gave me more to ponder. One question was how do i know if there are things at 20 k that i cant hear? The answer being the visual graph? And i can eq it out...of course i want the highest quality i can muster, but nothing that will irritate me, or damage the hearing of a listener who is un aware of the consequences of high end hearing loss... I was listening to Pink Floyds Dark Side of the Moon just now, and at the beginning of 'Time', when the alarm clocks go off, it hurt like hell, and i had to run for the volume knob. So i would never allow frequencies like those to pass...but its really just an effect, not particularly musical, and i think those frequencies are un neccessary, over all. Im sure my cymbals on my drum kit will have some of those overtones , and ill miss some 'sparkle', but most other instruments will be fine. Im primarily a guitarist, and vocalist, but i will add drums and keyboards,piano, synths and Hammond & Leslie sounds, im crazy about those...ive got a couple around... ...and Harmonica...lower pitched keys, just to 'warm' things up and give it that 'campfire' feel. I play mostly country/blues rock, and im not going to start a business with this, i DO have an actual audience im building, mostly older people , so its not being totally selfish, and i am pretty eclectic in my tastes, but i still think i can avoid these harsh frequencies...unless i learn different in practice. I guess i will have to recruit listeners to tell at this point...i dont want to sound 'muffled'. This is all something ive only recently considered, Phil. Im saddened to hear that you suffer from hearing loss in one ear...my best friend since HS had the same issue, and i always felt empathy for him because he was also a complete fanatic about music, and a musician as well, and he was only hearing half of it. Im sorry to hear that. i guess where that leaves me, is a good place, because staying at 16khz will make the machine run smoother and not work as hard, with less latency and glitches and hose type issues? im planning on using some Behringer outboard processors, instead of the internal ones from the DP 24., and ive got some great large diaphram condensor mics w tube pres im going to use on my guitars, and drums, Rode K2s- So i can skip the very confusing DSP 'guitar' section for now, is that correct? So im looking at using this thing as an 'old school' 24 track RtR machine basically, and im pretty sure the Behringer gear is 16 bit?, so it will all be compatible? And i cant be the only old stubborn fool who insists on doing things this way, but it sure is hard to find anyone who understands me and my motivations these days. One last question- If I ordered ALL your tutorials on DVD, and the manual(s), everything 'solid' as opposed to digital downloads...so i can have it in my hands while i learn this, what is the price in US dollars? Is there a discount package? Im on #10 and sure ive napped a little here and there, lol, but ive learned SO much in a few days, you can tell by my questions, right? And ive owned THIS machine for 5 or 6 years...this is tough on an old man. I will be watching this series many times as i strive to master this machine...ive been 'dabbling' in recording for 45 years, and its the best thing ive found in my price range. I never get bored.
@@edwhite7475 No worries Ed, glad it helped. There's a lot to consider when you want to wear all the hats - song-writer, performer, recording engineer etc. :) But kudos to you for embarking on all this. I'm close to 70 now but got into music very late in life and regret not acquiring playing skills back when my brain was able to take it all in... ironically it was the sudden hearing loss in my mid 40s which gave me the kick to get more serious with music... now there was no spare ear! The worse thing (apart from missing that true stereo musical experience) is the difficulty in locating sounds in the real world. I used to hate it when a phone rang in our open-plan office if I was the only one there - couldn't tell which one it was. Also the not often talked about social problems with small-talk when someone is sat next to you on the 'wrong side'. But enough of that... yes the EQ graph can help to see things you can't hear, as does getting a feel for the meter displays and control positions. They may not be as clear as outboard gear or a DAW but lots of people make excellent quality songs just on the machine, so it's more a case of how to use the tools you have effectively. There are other tools which may help, such as spectrum analysers. You could maybe route your playback signal to a computer and analyse it there. Might be a bit cumbersome but you'd only need to do it now and again just to keep things on the right track. It's only like playing a commercial recording every now and again as a guide to how your song is progressing. I know what you mean re. Dark Side; that part certainly jumps out of the speakers, and I do appreciate that some people are very sensitive to certain frequencies. Getting a 3rd party to help assess the eq is a good idea. You seem to have a vast array of gear there, so there's plenty of fun times ahead. I also have the K2 and it does a wonderful job on some vocals. Re. the reference to "16khz", I think that's a typo. The 16 vs 24 value refers to the bit depth; this defines the resolution of the digital samples - a bit like video with standard definition vs high definition. It's the sampling frequency (44.1KHz or 48KHz) which defines the highest frequencies. But as far as I know, the machine is designed to handle the highest combination so I wouldn't worry about stressing it. As long as you are running the latest firmware and are using an approved sd-card, and run the 'delete unused' process every now & again, it should be 100% glitch free. A few decades ago, the extra storage required by higher quality recordings was a financial issue, but sd-cards (and computer disc space for your backups) are so cheap nowadays that it shouldn't be a factor in your decision. As mentioned, I would always use the highest quality on the grounds that you can always remove it later, but you can't add it! I don't think there can be a digital compatibility issue with outboard gear. Had there been a digital interface on the Tascam, you would be correct, but the only connection from/to the Tascam is analogue, so even if the outboard gear uses digital processing internally, it will still have to re-convert the analogue back into digital, and vice-versa when it comes out. So it doesn't matter what bit depth or sampling frequency it uses. There is a special offer for both the PDF step-by-step guide and the DVD. They are 45 GBP, which is 61 USD currently, according to Google. There are PayPal links on my website www.philizound.co.uk/freebies/dp24-32/dp24-32.html#payments When you click the link, you'll see a PayPal screen. Click Send (not Request) and it will prompt you to login to PayPal. Then fill in the amount as 45 (assuming you want both) and change the currency field to GBP. There's no need to do any currency conversions yourself as PayPal will sort it all out. You can also choose the downloadable version of the MP4 video instead of the DVD. If you are not too bothered about having a physical DVD, the download will get to you a lot quicker. The MP4 file is exactly the same in both cases. If you have any problems, give me shout on my email address shown on the bottom of my website page. Many thanks, Phil.
@@philtipping im practically in tears reading this, you are SO wonderful and gracious with your time, and understanding of MY situation... Ive met a lot of great people on the web, but you are the top of them all, Phil. My paypal hasnt worked in a long time, idk why, but ill figure it out and order the set...i like dvds, and im getting as much as i can handle here. I cannot thank you enough for the confidence youve given me here, through these responses, and man do i need encouragement on this stuff. And i no longer think im crazy,lol, because i must have asked legitimate questions, except for the 16 bit/hertz confusion. This really made my day, I am so happy, you have no idea. Im glad to hear the K2 is 'Phil Approved' as well. Thanks again and have a GREAT DAY SIR!!!!
@@edwhite7475 No worries Ed, glad it helps. Would be great if you can rekindle that old 'magic' and capture some great performances again. It might be better to use email instead of RUclips so we can chat further in private, and I can also send you a couple of screenshots showing how to use the PayPal link. My email is at the bottom of the page on my philizound.co.uk website. Best wishes.
+Kenneth Gibson, agreed, or even defaulting to the current song setting instead of going back to 16bit/44.1KHz... although once you're used to its quirks it's not so bad :)
you'd think the default would be the one that showed the machine in the best light but it's no big deal as you say - it has lots of faders, buttons and lights - that MORE than compensates..
Mr Tipping... You Never Cease To Amaze... Your Tutorials are Absolute Goldmines.. Thank You Brotha ☺☺😎👊💯💖
@John Fernandes - jfmax2000 thank you John, much appreciated :)
Absolutely lovely explanation for someone like me, who has just begun (at age 42) to dive into music-related physics (i. e. acoustics and electronics). Great you keep referring to the diagramm. Absolutely adore it.
@tillober1240 thank you Till, glad the diagram approach works for you. It's strange the different reactions to it from the comments here and on social media :)
I've been binging every video so far and these are amazing ! thank you so much for making these !
+Diego the Bandit no problem Diego - thanks for the feedback. They're all on a single DVD if you want one for offline/reference purposes, or check out the written step-by-step guide - full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
I use my dp24's to record all instrument tracks (live) at 44.1/ 24bit. No FX's...Never have latency or any other problems. I then export tthe wav files to studio one artist and add vocals, mix and master. It's perfect for my home studio and the results are superb thanks to your tutorials. Your expertise has been invaluable and you have contributed to some REALLY great recordings. THANKS, X 1000!
@Donnie Smith thanks for the kind words Donnie; my workflow is very similar. I already had a recording setup but needed a portable machine for location recordings, so it's good the machine can be used in so many different ways. Good luck with your projects.
thank you for this video. with your help i am able to record tracks on to my dp-32. after that i play the song using my left hand for some extra (hammond like) cords. with the right hand i make the solo part. it realy makes fun using the dp-30 and my music ( jazz - fusion- gospel-funk) sounds not bad.
i can follow your videos any time i want to and my dp32 knowledge is increasing. wish you all the best phil. you are a great teacher. thumbs up. 5 stars.😊.
Thanks mountainchatter, that's kind of you to say. Good luck with the music - maybe we'll be hearing some of your compositions one day :)
Very clear videos. The VU meter pulsing when you go beyond the bandwidth limit for the sampling frequency looks like it's monitoring aliasing, implying that there is no switchable filtering on the input. If that is case, I'd be extremely surprised, but it certainly looks like it.
@B M good point, I'd not realised this. Thanks for stopping by.
Hi Phil - dum question: since old pharts like me haven't heard a tone at 20kHz since the dawn of recorded music...could you elaborate on whether the different bit-rate and sampling settings have a similar improvement in recorded reproduction on lower (more audible) frequency ranges?
PS THANKS for what you do!!!🤩
@Caught Staring Good question :) Just to clarify... in the video I changed both the sampling frequency and bit depth for the frequency response comparison, but would have got the same result by just changing the sampling frequency. Only the upper frequencies are affected by the sampling frequency.
There's some debate over which is best. Most consumer music (CDs) use 44.1KHz so there's a good argument for using this value if that's your target to avoid any side-effects when converting from 48KHz. Music for video uses 48KHz.
The bit depth affects the dynamic range regardless of frequency. CDs only use 16 bits so you could argue this should be good enough, but if you intend to do any processing, using a higher bit depth gives you a better signal-to-noise ratio so less worry about running your signal levels too hot and risking clipping.
The internet has a lot more info/advice on both these settings.
Great video series, thanks. At the risk of sounding like a smartass, I do not intend this as a criticism, just an addition for the comments.
The drop off in signal level is not to do with the Bitrate, although this setting will affect the quality.
The sample rate just needs to be at least double that of the frequency you are attempting to capture (preferably slightly more to avoid offset filtering). 44.1Khz was originally selected because 20Khz was the theoretical maximum requirement for humans, whose hearing drops off under that.
you can drop the Bitrate to a few bytes and still get the same signal level because the amplitude swing around zero is still the same.
48K recordings create technically smoother voltage swings, but you would not appreciate the extra samples as a human even if you did several hundred AD/DA conversions with minor offsets(
@Turncoat You're right, the frequency response is determined by the sampling rate and not the bit depth, so thank you for clarifying. I should probably have only changed the sampling rate when I created the 2nd song for comparison to avoid confusion - the result would have been the same.
Having said that, the video was trying to point out that *both* quality settings affect signals passing through the machine, even if you are not recording anything. Some people just use these machines as mixers, but they would still sound better by creating a song with the higher quality settings.
My signal level measurement was only capable of showing the sampling rate impact, but it was meant to imply that if this could be shown to affect the signal, the bit depth would also be affecting it, albeit in a different way.
As to whether you can hear a difference with 48KHz vs 44.1KHz, there are many different views on this. I seem to remember being advised to use the higher setting if you intend processing the signal further, but I've never had the equipment to verify this. I always err on the safe side and use the highest setting regardless. I think it would have been an issue years ago when storage and processing power were struggling with the larger file sizes, but this isn't a problem nowadays. Of course the debate has since moved to 96KHz or even higher, but that's way out of my league :)
Thanks for stopping by.
To capture a 20k signal you must use at least twice the bit rate .
44.1k is good enough depending on the source you are recording. I own a Neumann u87i and several akg c414 and those microphones top off at 20khz. So unless you have some external preamp or compressor that adds harmonic content above 20khz, recording above 44.1k is useless. Now if you are recording synths or external guitar effects you might benefit from it.
+descargamusicalny good point, although when you say 'top off at 20KHz', it doesn't mean the response drops to zero at this point - some higher frequencies will get through. Some systems record at 96KHz (or higher) so must be a reason - too much for me though :)
Hi Phil. Talking about tests, beyond this one on audio quality and the other interesting one on multiple bouncing, did you do any on Latency? Would be interesting to measure latency going through various paths in the machine. For example if I use the out/in trick to record the reverb send (routing the send out to a physical input via cable) how big would be the offset between the original signal and the recorded one (knowing it went through D/A and then A/D conversion plus any potential input effect etc). Of course for a reverb it won't matter so much as per the nature of the effect but I am more thinking of using send 2 for other effects more " offset sensitive". Any thoughts? Thank you
@mic Ruelle Video 14A shows a loop-back trick for re-using dynamic effects on pre-recorded tracks, and shows (at approx 14 mins) some measurements on the delay going from & to the digital domain.
Hope that helps.
@@philtipping Great, I missed that part, thank you!
Interesting. Not just this video. Pretty much all of then on the Tascam 24 SD thingy are. Cheers.
@dereksmallsuk thanks Derek, glad you like them.
These videos have been great, and they are a huge help. I just have one question which might be a stupid question, but I'm very new to this unit. Does the REC button HAVE to be armed in order to get sound to your headphones or monitors? When I have a microphone plugged in, I get nothing unless I arm the REC button. Is that correct? Thanks!
@Home Bar Productions thanks for the kind words. Don't worry about whether questions are stupid or not - we all have to start somewhere... and it's better to ask if you're not sure, instead of jumping to the wrong conclusions and digging a bigger hole for yourself :) The REC button only has to be pressed if you want the input signal to flow through the track path, regardless of the recording state. If you assign your input to the Stereo Bus, it will flow along the top path of the diagram and you'll hear it in your headphones *without* having to press the REC button. If you follow the videos in order, the first ones concentrate on this 'straight-through' signal path - I call it a 'basic mixer' configuration. When you get to video 6A, this shows the path when you assign an input to a track - I call this an 'advanced mixer' configuration.
@@philtipping Thank you so much for your response because this has been driving me crazy. When I get home tonight, I'm going to follow right along with video 6A and see if I can't remedy the issue. Before this, I had a Tascam Neo2488, and that was really just a plug and go machine. This extra step kind of baffled me a little bit, so again, I'm looking forward to seeing if I can't remedy the situation. Thank you very much again for your help!
I must be missing something here,
I am 62, and im pretty sure i cant hear ANYTHING above 15, to 16khtz...if i do, its just annoying artifacts and certainly nothing musical...so why would i be concerned about 20 khtz being on the recordings?
I guess its a personal preference but the music i love lives in the lower to mid frequencies-
So can i skip the 20k stuff?
Thank you so much for doing these, ive got the older DP 24 sd with the CD burner, and im looking forward to getting some use out of it finally.
@Ed White Hi Ed, well you're right if you're definitely sure none of your music contains any useful high frequencies, but it can be difficult to judge when your own hearing is compromised... and what do you do when you *do* need to record a different type of music?
Some say that audiences nowadays listen on-the-move with low-quality earbuds, so why bother with good quality monitors?
Similarly, one of my ears is severely damaged so I could argue what's the point of stereo :)
When I first started recording in the 90's, one of the books which stuck in my mind (Project Studios by Philip Newell) had some interesting thoughts on all this. There is a good case for always striving for the best quality you can, whether it be for a sense of pride and achievement in your work, or to resist the trend of eroding standards in the industry where music was being 'churned out' for a quick profit.
Obviously, we can't all afford really expensive 'pro' gear, but that's not the point... we owe it to music to strive for the best we can within our limitations. A lot of improvements can be done by spending more time on it, rather than more money, such as setting up a good recording environment, trying different mic placements, using eq to eliminate rumble, editing out clicks etc.
If you know for sure that no-one else needs to hear those high frequencies, that's fine, but it's easier to record and process with as high a quality as you can justify, and then remove it, if you really want to, at the final stage. That way, if you change your mind, you've still got the high-quality originals.
Personally I try and imagine how someone would hear my music listening on top-quality gear (with 2 good ears!). I would be disappointed if they heard a sound which was muffled, or full of background rumbles, hiss & hum etc.
Good luck with your recordings, and thanks for stopping by.
@@philtipping thank you so much, Phil, for such a well considered response...and quick too...im gonna make a donation once im up and running on this thing.
I did listen for the second time to #8? In your series, and it did explain a little more about my question here, but im glad i asked because your answer gave me more to ponder.
One question was how do i know if there are things at 20 k that i cant hear?
The answer being the visual graph?
And i can eq it out...of course i want the highest quality i can muster, but nothing that will irritate me, or damage the hearing of a listener who is un aware of the consequences of high end hearing loss...
I was listening to Pink Floyds Dark Side of the Moon just now, and at the beginning of 'Time', when the alarm clocks go off, it hurt like hell, and i had to run for the volume knob.
So i would never allow frequencies like those to pass...but its really just an effect, not particularly musical, and i think those frequencies are un neccessary, over all.
Im sure my cymbals on my drum kit will have some of those overtones , and ill miss some 'sparkle', but most other instruments will be fine.
Im primarily a guitarist, and vocalist, but i will add drums and keyboards,piano, synths and Hammond & Leslie sounds, im crazy about those...ive got a couple around...
...and Harmonica...lower pitched keys, just to 'warm' things up and give it that 'campfire' feel.
I play mostly country/blues rock, and im not going to start a business with this, i DO have an actual audience im building, mostly older people , so its not being totally selfish, and i am pretty eclectic in my tastes, but i still think i can avoid these harsh frequencies...unless i learn different in practice.
I guess i will have to recruit listeners to tell at this point...i dont want to sound 'muffled'.
This is all something ive only recently considered, Phil.
Im saddened to hear that you suffer from hearing loss in one ear...my best friend since HS had the same issue, and i always felt empathy for him because he was also a complete fanatic about music, and a musician as well, and he was only hearing half of it.
Im sorry to hear that.
i guess where that leaves me, is a good place, because staying at 16khz will make the machine run smoother and not work as hard, with less latency and glitches and hose type issues?
im planning on using some Behringer outboard processors, instead of the internal ones from the DP 24., and ive got some great large diaphram condensor mics w tube pres im going to use on my guitars, and drums, Rode K2s-
So i can skip the very confusing DSP 'guitar' section for now, is that correct?
So im looking at using this thing as an 'old school' 24 track RtR machine basically, and im pretty sure the Behringer gear is 16 bit?, so it will all be compatible?
And i cant be the only old stubborn fool who insists on doing things this way, but it sure is hard to find anyone who understands me and my motivations these days.
One last question-
If I ordered ALL your tutorials on DVD, and the manual(s), everything 'solid' as opposed to digital downloads...so i can have it in my hands while i learn this, what is the price in US dollars?
Is there a discount package?
Im on #10 and sure ive napped a little here and there, lol, but ive learned SO much in a few days, you can tell by my questions, right?
And ive owned THIS machine for 5 or 6 years...this is tough on an old man.
I will be watching this series many times as i strive to master this machine...ive been 'dabbling' in recording for 45 years, and its the best thing ive found in my price range.
I never get bored.
@@edwhite7475 No worries Ed, glad it helped. There's a lot to consider when you want to wear all the hats - song-writer, performer, recording engineer etc. :)
But kudos to you for embarking on all this. I'm close to 70 now but got into music very late in life and regret not acquiring playing skills back when my brain was able to take it all in... ironically it was the sudden hearing loss in my mid 40s which gave me the kick to get more serious with music... now there was no spare ear!
The worse thing (apart from missing that true stereo musical experience) is the difficulty in locating sounds in the real world. I used to hate it when a phone rang in our open-plan office if I was the only one there - couldn't tell which one it was. Also the not often talked about social problems with small-talk when someone is sat next to you on the 'wrong side'.
But enough of that... yes the EQ graph can help to see things you can't hear, as does getting a feel for the meter displays and control positions. They may not be as clear as outboard gear or a DAW but lots of people make excellent quality songs just on the machine, so it's more a case of how to use the tools you have effectively.
There are other tools which may help, such as spectrum analysers. You could maybe route your playback signal to a computer and analyse it there. Might be a bit cumbersome but you'd only need to do it now and again just to keep things on the right track. It's only like playing a commercial recording every now and again as a guide to how your song is progressing.
I know what you mean re. Dark Side; that part certainly jumps out of the speakers, and I do appreciate that some people are very sensitive to certain frequencies. Getting a 3rd party to help assess the eq is a good idea.
You seem to have a vast array of gear there, so there's plenty of fun times ahead. I also have the K2 and it does a wonderful job on some vocals.
Re. the reference to "16khz", I think that's a typo. The 16 vs 24 value refers to the bit depth; this defines the resolution of the digital samples - a bit like video with standard definition vs high definition. It's the sampling frequency (44.1KHz or 48KHz) which defines the highest frequencies.
But as far as I know, the machine is designed to handle the highest combination so I wouldn't worry about stressing it. As long as you are running the latest firmware and are using an approved sd-card, and run the 'delete unused' process every now & again, it should be 100% glitch free.
A few decades ago, the extra storage required by higher quality recordings was a financial issue, but sd-cards (and computer disc space for your backups) are so cheap nowadays that it shouldn't be a factor in your decision. As mentioned, I would always use the highest quality on the grounds that you can always remove it later, but you can't add it!
I don't think there can be a digital compatibility issue with outboard gear. Had there been a digital interface on the Tascam, you would be correct, but the only connection from/to the Tascam is analogue, so even if the outboard gear uses digital processing internally, it will still have to re-convert the analogue back into digital, and vice-versa when it comes out. So it doesn't matter what bit depth or sampling frequency it uses.
There is a special offer for both the PDF step-by-step guide and the DVD. They are 45 GBP, which is 61 USD currently, according to Google. There are PayPal links on my website www.philizound.co.uk/freebies/dp24-32/dp24-32.html#payments
When you click the link, you'll see a PayPal screen. Click Send (not Request) and it will prompt you to login to PayPal. Then fill in the amount as 45 (assuming you want both) and change the currency field to GBP. There's no need to do any currency conversions yourself as PayPal will sort it all out.
You can also choose the downloadable version of the MP4 video instead of the DVD. If you are not too bothered about having a physical DVD, the download will get to you a lot quicker. The MP4 file is exactly the same in both cases.
If you have any problems, give me shout on my email address shown on the bottom of my website page.
Many thanks,
Phil.
@@philtipping im practically in tears reading this, you are SO wonderful and gracious with your time, and understanding of MY situation...
Ive met a lot of great people on the web, but you are the top of them all, Phil.
My paypal hasnt worked in a long time, idk why, but ill figure it out and order the set...i like dvds, and im getting as much as i can handle here.
I cannot thank you enough for the confidence youve given me here, through these responses, and man do i need encouragement on this stuff.
And i no longer think im crazy,lol, because i must have asked legitimate questions, except for the 16 bit/hertz confusion.
This really made my day, I am so happy, you have no idea.
Im glad to hear the K2 is 'Phil Approved' as well.
Thanks again and have a GREAT DAY SIR!!!!
@@edwhite7475 No worries Ed, glad it helps. Would be great if you can rekindle that old 'magic' and capture some great performances again. It might be better to use email instead of RUclips so we can chat further in private, and I can also send you a couple of screenshots showing how to use the PayPal link. My email is at the bottom of the page on my philizound.co.uk website. Best wishes.
Thanks for these deep dives. My little brain appreciates being pushed.
@solar muse thanks for stopping by; glad you like them :)
one button labelled - '24bit/48khz' - would have been preferable - (if not for you I'd be using 16 bit from here to eternity..)
+Kenneth Gibson, agreed, or even defaulting to the current song setting instead of going back to 16bit/44.1KHz... although once you're used to its quirks it's not so bad :)
you'd think the default would be the one that showed the machine in the best light but it's no big deal as you say - it has lots of faders, buttons and lights - that MORE than compensates..
PTU (Phil Tipping University)🎓🫡❤🎉