Another comprehensively detailed and informative video, if only Tascam had employed you to write the manual ! Thanks so much for these tutorials Phil, you can be assured that they are greatly appreciated 👍
Mr. Tipping, your visual diagrams are so helpful for a right brain visual learner like myself. I don’t know your motivation for making this information available. But thank goodness whatever the providence.. thank you Sir.
@Brad Hart no worries Brad, glad they are helpful. The motivation was to help answer questions on the various forums, but these machines have so many features, it escalated into a full-blown series :) The 'block diagram' approach can be a bit daunting for some, so there's also a written PDF guide which uses a different 'step-by-step' approach with topics arranged in a series of 'how to ...' etc. Some examples are here www.philizound.co.uk/freebies/dp24-32/TascamDp24-32-HowToGuide-166-Sample.pdf Full details on my website www.philizound.co.uk/freebies/dp24-32/dp24-32.html Good luck with your recordings, and thanks for stopping by.
Years ago I purchased the tascam fx01cd... easy and a breeze. This particular dp needed someone very experienced to showcase the technical sides of this device. Excellent video, well made & understandable, I almost gave up on this machine Sir so thanks for your time. I have my mackie 12v3 also tied in to the dp.
Very intuitive information Phil, you never skip a beat, and i always watch your videos. Iam always learning more on my Tascam dp32sd because of you . Thank you always. # 🙏
Hi Phil-I'm on the verge of finishing an entire new album(that'll be 10 songs total) on the DP-32SD unit and I have to say I am so pleased I bought this unit 2 plus years ago to replace the Roland VS-880 Unit that I had been using since 1998.I dare say I have the unit mastered at this point and certainly your videos solved a few problems for me.This unit when combined with the proper outboard hardware-Compressor and Effects(I use the PRO VLA 2 Compressor unit and can recommend it 10 times over)is all anyone needs to produce crystal clear recordings-the DP-32SD mastering capabilities are impressive but I still like the idea of using an outside source for mastering as a qualified mastering engineer has alot of specialty equipment at their disposal and of course they have the 'ears' to get all those frequencies to where they should be more or less.This is the unit for those of us who prefer Hardware to Software. Robert
@ROBERT NIX Alternative Rock/Pop Artist Thanks for the update Robert. The VLA compressor looks very interesting so thanks for sharing. Outsourcing the mastering makes a lot of sense - I still get questions from people who are disappointed with their DIY efforts. Good luck with the album and hope it's successful... then on to the next :)
@@philtipping Phil,I'm very pleased with that particular compressor-great piece of hardware but I'm also very pleased with the effects built into the DP as well and in the end it really comes down to your engineering skills-knowing how to properly apply the effects and I know you've a done great job explaining this to your viewers. Hope you have a great weekend.
Thank You Phil. I just bought this DP24sd today and saw immediately that I could not pan the effects. Your shortcut will allow me to quickly create a wet copy track and pan it to the opposite side of the dry track. Schweeet!
@Jimmy Mundane Yes, it's a shame some people don't have the patience for all this, but understanding the signal flow opens up a world of possibilities with these machines :) Thanks for stopping by Jimmy, and season's greetings to you.
Your videos are very well explained .If I want to record a vocal using my boss VE2 pedal is it possible to use the send as you showed but during the recording of the vocal please ?
@guitarmuso1 sorry about the delay; have been on holiday. There are several ways of connecting external devices, e.g. you could just place it series with the source signal so the mic/guitar goes to the pedal and its output goes to a Tascam input, or you could place it in the send/return loop so the eff-send goes into the pedal and its output goes to a Tascam input. It depends on what inputs & outputs are available on the device, and how much control you want over the signal, such as whether you want to record the unprocessed signal as well as the processed one, or whether you want to apply the effect to an existing 'dry' recording, etc. I would recommend drawing a diagram showing what you want the signal flow to be. Start at the source and go right through to the end result (recorded track), and then configuring the Tascam as needed. Get back to me if you need to, although it's easier for me to use email than RUclips messages, so drop me a line on: patipping (at) gmail (dot) com
Monitoring was not mentioned. I’m referring to the button above the monitor knob which can be used to monitor the sends... Great video tho, just bought a DP32 so it’s all new to me. Had a 246 before. I need to start from video 1.
@churchguitarist Yes the tutorials are designed to be watched in order. Video #6B talks about the Monitor Select button. Thanks for stopping by, and good luck with your new machine.
Hi Phil, love your tutorials. I just purchased a dp24 and familiarizing myself before it arrives in the mail. I am wondering if there is a way to use this method but recording the effected signal to a virtual track on the same track that the prerecorded signal is coming from? In your example say recording the drums from track 1 with this method of adding an input compressor via patching but instead of recording to track2, record to track 1. I think it would Be useful in keeping tracks open and also if you know for a fact you will not need the dry signal in the mix. What do you think?
@Sam Bianculli thank you Sam. That's a great idea, but unfortunately not possible. The tracks are called virtual for a reason - they don't all exist at the same time, otherwise the dp24 would be a 192-track recorder and the dp32 a 256-track! If you watch video #8E, you'll see that only one of the set of 8 virtual tracks can be 'active' at any one time. This applies for *all* operations, including import/export, playback, recording, editing etc. Sorry to disappoint but thanks for stopping by :)
Phil, I have a question, superb video instruction by the way, what is the link on and off button for in the dynamic compressor section? Does that create Sidechain capabilities?
@Chris Henry thanks for the feedback. As far as I know, the link couples both left & right compressors so the stereo image doesn't wander about. There is no option to get at the sidechain signal unfortunately.
@@philtipping after thinking on your reply, does that mean, for example, when mono channels 5 & 6 are coupled(linked), there theoretically could be a kick drum in 5, and a bass guitar in 6. Which channel would affect the compressor and which channel is the compressor effecting?
@Chris Henry when you turn on the link for a compressor, it automatically inserts the compressor into the adjacent input path. You can see this happening if you look at the top-right of the dynamics screen. e.g. if you insert a compressor into either input A or input B, the screen confirms that routing. If you then enable the link in either, the display changes to A-B, so you now have a linked compressor on both inputs.
I think I am getting the hang of it slowly after a few wrong turns. I also tried using reverb/delay at the same time, but just got a wash of it over the top of everything, even when the faders were turned down! I'm guessing if you want to add reverb or delay at the same time as compression, do you use another lead into the send effects with one input going to the source track? The thing is, I want to try dry recording and adding effects after the recording, which is what a lot of people recommend, but many of these machines seem to be built so that you record wet. So to add another effect like delay at the same time as compression, would you have to use a cable that plugs into sends 1 & 2 and a mono to the source track?
@fanfanackapan your observation about the machine being built to record wet only applies to the dynamics effects. The Insert(Dynamics) effects (Compressor, Noise Suppressor, De-Esser or Exciter) are usually added while recording unless you use the loop-back trick. The Insert(Guitar) effects (Noise Suppressor, Amp, Compressor, Chorus, Flanger, Phaser, Tremolo, Auto-wah or Delay) can be added either while recording or afterwards, although only on one track at any one time. The Send effect (Reverb, Chorus or Delay) can be applied to any/all tracks/inputs and is usually added during bouncing or mixdown. If you're using reverb or delay from the send effects, it applies to all tracks or inputs which have their send-1 signals enabled. If they are set to PRE, you'll still get the effect with the track faders turned down - that's what PRE means. If you're getting a "wash on top of everything", it sounds like you have some sends enabled unintentionally, so did you start with a clean slate? Videos #1 & #2 explain how it's easy to get confused with settings being carried over from previous songs so recommend using a blank/reset template. There's a delay in the both the guitar and send effect so if you want to use reverb and delay at the same time, you could use reverb from the send effect and delay from the guitar effect. Similarly, there's a compressor in both the dynamics effects and the guitar effect. If you sketch out the signal flow for your particular setup, you can see which effects you can use at any one time. A common workflow with these machines is to record dry and add effects using bouncing. If you only need a few effects, you can do this at mixdown instead, but it can be easier to use bouncing and build up the effects in sections. This is why having lots of tracks is an advantage. It may take several bounces, but there's no degradation like you used to get with old-school tape machines. Re. loop-back cables, the cable is only for getting a track playback signal back into the input path in order to pass it through the dynamics effects. You don't need a cable to apply delay or reverb (or the compressor from the guitar effect) as those effects are not in the input path.
@@philtipping thanks for the detailed reply. I will probably look at these again as I progress through the learning stages. No, the wash of reverb I meant just over the vocal I was experimenting with gave the effect with the sound turned down. So much to take in. I was using a Zoom R8 before I bought this. I thought that was complicated, but this is even more so.
Stick with it and it will gradually 'click' :) It seems complicated because it's a complete recording studio in a box... but it doesn't come with a recording engineer so you have to take on that role. All the techniques & terminology like inserts, send/return, bouncing etc. are generic recording concepts which apply to *any* multi-track system, but when you couple those with the particular way Tascam have designed these DP machines (with the odd quirk or two!), it can be very daunting at first. Visualising the signal flow through the machine is crucial (imho), otherwise you end up just pressing buttons without really understanding what's going on. This is why these tutorials take an unorthodox approach and explain things from the signal flow perspective. It may seem hard/boring at first, but if you watch them slowly, in order, and try things out for yourself after each video, you'll get a better understanding of what's going on and will be able to 'see' how to configure it to do whatever you want to do, even if your particular requirement is not shown in the video. There's a step-by-step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html which concentrates more on what buttons to press to do various tasks without getting bogged down with the explanations, so that can be a quick way of getting off the ground, but it's impossible to list every possible task so you still need the videos eventually if you want to get the most out of the machine and justify what you paid for it. Good luck :)
@@philtipping yes, I have some knowledge of recording and multitracks, but this is the one I just bought recently. I don't think I even scratched the surface with the Zoom, but the videos really do help every time. I would have been lost last time if I had just stuck to the manual. Much better to watch somebody do it and explain it. The last time before that, I had an old Tascam porta 1 20 odd years ago and the damned belt kept coming off. It was a nightmare! So pleased I am back into it again. I am slowly getting the hang of it. Thanks for these informative videos and detailed replies. They really help.
Thanks Phil for all you help over the years. My Tascam DP32SD has a loud "tape hiss" sound, even when all the levels are down. All the effects are off. I've reset to a known state. Still there. Please help. (or is there a problem with my unit). Thanks
@sane1963 the only hiss I'm aware of is from the headphone socket. If this is what you're hearing, it's a well-known problem caused by the headphone amplifier. Tascam really should have used a higher quality amp for this, but I guess they were cutting too many corners on price! The amount of hiss depends on the type and sensitivity of your headphones/earphones. It does *not* affect recordings or playback through the output sockets on the back of the machine, so it's nothing to worry about unless you are using headphones for critical monitoring. One solution is to use a good quality external headphone amp plugged in to the stereo or monitor outputs at the back. If the hiss is from somewhere else, get back to me.
HI Phil. Thanks for the reply. Even when I use the output jacks into my computer via the front plug (of the PC ) the hiss is the same as the headphones. I'm using audacity. And can take out the hiss, but lose half of my tones.
@@sane1963 using the audio input on a computer may introduce more problems, depending on the quality of the PC's built-in sound system... usually it's fairly poor. If you want to record directly into a computer, you'd get much better results using a digital interface such as an audio-to-usb unit (older desktop PCs could use specialist plug-in sound cards with digital interfaces). Unfortunately there is no direct digital link from the Tascam DP machines for transferring live audio, but you *can* transfer recordings after they're made by using the machine's Export function. This allows you to transfer the digitised track wave files to the computer, and then you can import these into Audacity. These transfers are a perfect copy of the recording with no losses or degradation.
Thanks Phil, that was great info. I'm learning as I go along. I'm up to making sure my recordings are satisfactory before the finale. Thanks for your help and great videos. 😎
wish you had designed the dp 32 sd , problably would have better quality , more extensive channel eq, and the BIG ONE , dynamics available at the mixdown stage instead of having to do a patch work around ! Your tutorials are very helpful, it's just sad that tascam seems to get on the right track but ends up falling short of having something really good and complete.
@Tom Sheehan haha well thank you Tom for the vote of confidence - it would be an amazing opportunity... even if I had the skill :) Being devil's advocate though, it must be difficult getting the right balance between features and price... plus all the other factors that companies have to juggle. Other gear also have an assortment of criticisms so I don't think there's such a thing as the perfect machine that suits everybody. I agree it's a shame the shortfalls are frustrating - the classic one is that they had MIDI working with the older DP-24/32 machines and then chucked it away! I can't see how doing that saved anything cost-wise - the work was all done so it can only be saving them the cost of a couple of MIDI sockets and maybe a chip or two. What would be really useful would be to make the firmware open-source, but that's pretty unlikely. I'm sure there are hackers out there who would jump at the chance of improving the machines if Tascam are too busy/unable to put much effort into it. They are still doing updates but there's nothing really groundbreaking. Anyway, all whingeing aside, we just have to make the most of what we've got I suppose... and at the end of the day, it's still a great free-standing machine if you want to get away from computers :) Thanks for stopping by.
Hi cool video. I have a question: what's the best way to chain the DP02fx to the dp24 if I want to use the fx's internal effects. Any suggestions or warnings?
@Reardon Dearborn thanks for the feedback. There are several ways of connecting external devices, depending on how much control you want over the process. The simplest way is to connect the device in series with your input signal, so you'd plug your mic or other signal source into the device, then connect its output to a DP input (or 2 inputs if the device has a stereo output). This method is very simple, but it gives you a recording which contains the effect with the settings you used at recording time, so if you change your mind later, you'll have to re-record it. The other method is to put the device in the send/return loop. You would connect one or both send outputs to the device's line inputs (the send outputs are unbalanced so TS cables are preferred); again whether you use one or both sends depends on whether the device needs a mono or stereo source signal. Note that each send output is mono, so if you want a stereo output, you need to route the left signals to send-1 (say), and the right signals to send-2. The output(s) from the device go to other DP inputs as before, again using 1 or 2 cables. This send/return configuration can be used in 2 ways. One is to use the device live (similar to the first method), so you'd connect your source mic/line signals to another DP input, then tap off this signal so it goes to the send output. If you assign all these inputs to tracks, you can then record the dry signal onto one track and the wet (affected) signal onto another track, both at the same time. These can be blended later when mixing or bouncing. This blending allows you to change the amount of effect later if you change your mind, but it doesn't let you change the type of effect. The other option is to leave the sends turned off while you record your dry signal as normal, and then add the device's effect afterwards by turning the send(s) on during a bounce or mixdown process. This way gives you the most freedom, as you can run the bounce or mixdown as often as you like with completely different settings on the device; there's no need to re-record the original performance. Hope that helps; there are various scenarios in the step-by-step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html which show how to connect external devices using the send/return system. The DP machine is very flexible so the options can be a bit daunting at first, but if you sketch out the signal flow it will help show you how everything fits together.
@Phil Tipping thanks for the quick reply Phil. It is much appreciated! I would choose option A. But when you say connect the output to the dp24 line input, I wonder what you mean by the output? Do you mean the send on the DP02fx?
@Reardon Dearborn I meant the normal main output, but if it has sends and they are more convenient for your workflow, there's no problem using them, as long as the effects are present on them... it might be an unnecessary complication though. My reply was applicable to any device which adds effects to its input signal, so typically this would be a free-standing effect box. Your situation is slightly different as the dp-02 is another portastudio. I don't know the exact details of these but if it's similar to the other DP series, it's capable of adding effects to a live signal as it passes through the machine to the main stereo output (no recording is required, although you may have to arm tracks to let the signals through)... in which case you can treat it exactly like a dedicated effects box.
Phil, you said the send effect outputs are general purpose and would be ideal for sending a signal out of the machine independent of the main mix. Could I use the send effect outputs to send a track signal into my audio interface and do some processing in my DAW and then send it back into the Tascam?
@Mr. LD yes you can do this... although you may get some latency issues due to the time taken by the route. Try it and see; you may find it's not a problem. If you don't want to do this live, you can always use the Track Edit functions to re-align the new track from the DAW.
I get the reverb working but it isn't audible during playback after it is recorded, even though during recording I can hear the effect. Never this issue before? Do you know a fix?
@Arran Fox yes this is a common 'problem' and there are a few ways to do it depending on what exactly you want to do. For example, you can use the bounce process to add reverb to existing track(s) and record the result onto another track. Or you can use mixdown to apply reverb to existing track(s) and record the result onto the master file. The videos show these methods, but if you want a simpler step-by-step process without all the explanations, the Step-By-Step Guide may help; full details are at www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@charles colbert the XLR inputs are specifically for balanced mics. They are more sensitive than the 1/4" jacks for this reason. The 1/4" jacks are for higher line-level signals. Thanks for stopping by.
I think my 32sd needs an update. But having spoken to a friend who updated his, he’s lost all ability to record, so had to reset it to factory settings. I want to avoid this before diving in. In layman’s terms, what’s the process of doing this successfully. Oh. And card in or out whilst performing update? Thanks.
@dukeofpearl updating firmware shouldn't cause the machine not to record, so it could have been an underlying problem with the sd-card. There are quite a few pitfalls... they may have used the zipped firmware or the folder by mistake, or maybe the handling precautions were not followed properly and it got corrupted, or maybe it was a non-compatible card in the first place. Either way, it's recommended to keep up-to-date with the latest firmware as you get both functional improvements and better reliability. Almost all reports of glitches are due to using old firmware and/or incompatible/faulty sd-cards. Full step-by-step details for updating firmware and preventing card corruption are in my guide - details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html The card can be in or out; makes no difference from a functional point of view, although the actual steps re. powering off & on are different. Resetting to factory settings isn't a big deal... you don't lose any recordings.
Hey Phil I have an original DP24 with midi and CD so it’s nine or ten years old. Some of the buttons I have to press really hard to activate now. What do you suggest to help or stop this, some kind of contact cleaner?
@Leo Go Live! Yes a few drops of cleaner in the gap surrounding the buttons followed by repeated press/release to work the cleaner through has been reported to work on the forums, although I've not tried this myself. There should be no need to take the machine apart. The usual recommended cleaner is Deoxit but it's very expensive. There are cheaper alternatives but I don't know any names. Whatever you do, do NOT use WD40. Thanks for stopping by.
Phil, so my understanding is, this machine does not allow to add compression to the recorded track?! This is absurd. I am not a tech nerd but I have worked with ProTools and Roland Boss. When I record drums, I like to add compression where needed. So, in order to do this I would have to patch each track in order to add compression? We are talking kick drum, snare, overhead, toms etc. Plus vocals, harmonies… Impossible to patch all of them. I will be returning this if my understanding is correct. Please correct me if I'm wrong. Thanks
@lasTTrump33 you're right, it has quite a few restrictions. If you need to compress multiple tracks *after* recording, this is the wrong machine, unless you have the patience to do multiple bounce passes. There's a compressor on the guitar effect, so this can be applied to a track without using this 'loop back' trick, but as mentioned, the guitar effect can only be used on one track at any one time. Even with this loop-back trick using the 8 dynamic compressors, you are still limited to processing 2 tracks at a time as there are only 2 sends. I'm not sure if the Model series will help as I don't have one to confirm. It has a compressor on every channel so this is fine for recording (but then so does the DP-24/32), but I'm not sure if you can apply these compressors during mixdown. There are very few (if any) free-standing units made which do what you're after; all the vendors have 'defected' to computer-based setups. The only one I can think of is Zoom so may be worth checking. Good luck, and let us know if you find a computer-less solution.
hi phil i hope you can help me please ? ive got a tascam dp 24 ,and a yamaha r 100 reverb processer ,on the back of the yamaha it has out put r and l channel ,and a input ,,,but on my tascam i have a effects 1 and 2 ,how do i connect them up so i can add it on my songs ,as when i turn up my send effects 2 on my tascam screan i cant get it to work ,,the yamaha does work playing my guitar through it with my amp ,so hope you can help thanks
@stewart champion Hi Stewart, have just downloaded the R100 manual, and page 4 'System 3' shows how to do it. You only need one send from the DP machine as the R100 only has one input (you only need both send outputs if your external device has 2 inputs, or if you want to drive 2 different external units at the same time). You can use either send 1 or send 2. Send 1 can also be used for the DP's internal send effect so which one you use for the Yamaha depends on what else you want to do. The 'returns' shown in the picture are just 2 normal inputs on the DP machine. The tutorial video on send effects should help to get it going, or get the step-by-step guide which describes all this in detail. In fact, there is a specific scenario in section 72 for this, titled "Recording external effect in multitrack mode". Details for the guide are here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html It's not free I'm afraid, but is a way of supporting the existing advert-free videos and free support. Hope this helps.
@@philtipping hi ya phil ,i sorted it mate ,was a bit fiddly on the leads etc but all is good ,im sending delays all over the show ,haha your a star mate ,ive learnt alot from your videos so thank you and hope you are keeping well in these strange times
Phil , I noticed the very last thing you said in this video was that you bounced track 1 to track 2 and had substantially less latency. Does this mean you were able to use that dynamic effect in bounce mode onto track two, to accomplish a second pass out of the machine with only 40 microseconds of latency? Or is the 1.3 milliseconds the only option for that ?
@John Martin Bouncing uses internal routing, so the signals remain digital and experience no delay. Any time you use external cables (such as in this video), the signals have to be converted from digital to analogue and back again. These conversions are relatively slow so they cause the 1.3ms latency. I believe it's the A-to-D converter which is the real culprit, but not 100% sure. My comment at the end of the video was just to compare the latency between staying digital (using bouncing) and going to analogue and back via the converters (using the loop-back cable). It wasn't meant to imply you can use the dynamic effect during a bounce, so you're right, if you want to use the dynamic effects like this, you have to use an external cable... and put up with the (tiny) delay. Thanks for stopping by.
@John Martin Update: if the latency is an issue, you can either time-shift it using Track Edit as mentioned in the video, or do the loop-back trick for the other tracks (without inserting the dynamic effect) so that all tracks are delayed by the same amount. I've not actually tried this, but would be an interesting experiment. As with a lot of recording operations, you just need patience :)
@@philtipping thank you for the detailed response! I found the time warp section you mentioned. Thank you so much for doing the latency test with the oscilloscope. It’s weird that you can do a 3ms correction. Yet the machine will cause a need for 1.3 or 2.6 correction. If only it had a 1.3ms and 2.6ms option that would be amazing. I don’t really notice the second pass phasing on bass guitar but it’s really a deal breaker with a drum kit or a snare drum. My next experiment is to second pass a snare drum mic threw a 1176 compressor and then see if I can use it in conjunction with the original overhead drum mic recording. Greetings from Buffalo NY my friend ✌️
@@philtipping just want to add quick - I’ve done the second pass experiment on non processed tracks just to give them the same latency as the processed ones. It all works out as planned. They all line up again after the second pass 👍🏻 I noticed you said you haven’t had a chance to try that yet.
@[Tech Head] Live Electronic-Techno Artist No it's not possible. Once you've created the master file in mixdown mode, you can only play or process it in mastering mode, and in this mode only the controls shown in the mastering screen are available. None of the physical faders have any effect either. Thanks for stopping by.
@@philtipping ok, thanx! Great videos, just bought the dp24sd, its bad, when you mastering you must press stop and rew after the track is end to come to the start again, it should repeat the track when you mastering
@@deepworldlive You should *not* have to press stop and rewind manually in mastering mode. The machine will automatically stop at the end of the song and will rewind automatically if you press Record again... but note that the master file is overwritten each time you press Record so if you're not happy with the mastering, you must press Undo, otherwise you will be processing an already processed file. Also note that if you press Stop manually before the song has ended, the master file will be truncated. You can see this if you watch the song length display near the top of the screen. If the master file is truncated and you try to master again by pressing record, it will only process the truncated version. Pressing Undo will revert the master file to its previous size. The song size is defined when you first create the master file during mixdown. This is defined by the IN and OUT points. Again, you must not press Stop manually during mixdown otherwise the master file will be shorter than this. If you find the machine is not automatically rewinding or stopping automatically, you have a problem, so I would suggest checking/updating the firmware, and confirming you are using an approved sd-card.
Hi, my guitar effects work but reverb doesn't even though the send and master levels are up full, i turn up the sends but when i press effects the select button turns off, i did initialize it, can anyone please help? Thank you
@Spacebox TD3 the effects can be a bit tricky as there are lots of combinations. Are you sure you are looking at the Send effect screen and not the Guitar effects screen. Both are accessed with the Effects button. Another thing to check is the Return level on the send effect. If this is too low, you won't hear anything regardless of the send levels. Also, are you using PRE or POST? If POST, you need to also turn up the track fader otherwise you won't hear anything. You can check the levels going into the Send effect by pressing Monitor Select and choosing send-1. If you're still confused by this, I can recommend the step-by-step guide which shows exactly which buttons to press and what levels to set etc. Details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@JimPerdue14 Well the design does make it harder to do some things, but then everyone's requirements (and budget) are different. There's no such thing as a 'perfect' system, so the skill is in working around the limitations of whatever gear you have, e.g. look at what was produced on old-school systems with noisy analogue tape and a handful of tracks. There are users making money from recordings they've done on this machine, so not sure what the definition of "serious music production" is. Would a "serious" user be looking at a 400 dollar system in the first place?
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Another comprehensively detailed and informative video, if only Tascam had employed you to write the manual ! Thanks so much for these tutorials Phil, you can be assured that they are greatly appreciated 👍
@Pat Collard thank you Pat :)
Mr. Tipping, your visual diagrams are so helpful for a right brain visual learner like myself. I don’t know your motivation for making this information available. But thank goodness whatever the providence.. thank you Sir.
@Brad Hart no worries Brad, glad they are helpful. The motivation was to help answer questions on the various forums, but these machines have so many features, it escalated into a full-blown series :) The 'block diagram' approach can be a bit daunting for some, so there's also a written PDF guide which uses a different 'step-by-step' approach with topics arranged in a series of 'how to ...' etc. Some examples are here www.philizound.co.uk/freebies/dp24-32/TascamDp24-32-HowToGuide-166-Sample.pdf
Full details on my website www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Good luck with your recordings, and thanks for stopping by.
Years ago I purchased the tascam fx01cd... easy and a breeze. This particular dp needed someone very experienced to showcase the technical sides of this device.
Excellent video, well made & understandable, I almost gave up on this machine Sir so thanks for your time. I have my mackie 12v3 also tied in to the dp.
@Five~Oh thank you for the kind words; much appreciated :) Good luck with your recordings.
Very intuitive information Phil, you never skip a beat, and i always watch your videos. Iam always learning more on my Tascam dp32sd because of you . Thank you always. # 🙏
@Edwin Hernandez thanks Edwin, nice to know. Good luck with your recordings.
Hi Phil-I'm on the verge of finishing an entire new album(that'll be 10 songs total) on the DP-32SD unit and I have to say I am so pleased I bought this unit 2 plus years ago to replace the Roland VS-880 Unit that I had been using since 1998.I dare say I have the unit mastered at this point and certainly your videos solved a few problems for me.This unit when combined with the proper outboard hardware-Compressor and Effects(I use the PRO VLA 2 Compressor unit and can recommend it 10 times over)is all anyone needs to produce crystal clear recordings-the DP-32SD mastering capabilities are impressive but I still like the idea of using an outside source for mastering as a qualified mastering engineer has alot of specialty equipment at their disposal and of course they have the 'ears' to get all those frequencies to where they should be more or less.This is the unit for those of us who prefer Hardware to Software.
Robert
@ROBERT NIX Alternative Rock/Pop Artist Thanks for the update Robert. The VLA compressor looks very interesting so thanks for sharing. Outsourcing the mastering makes a lot of sense - I still get questions from people who are disappointed with their DIY efforts.
Good luck with the album and hope it's successful... then on to the next :)
@@philtipping Phil,I'm very pleased with that particular compressor-great piece of hardware but I'm also very pleased with the effects built into the DP as well and in the end it really comes down to your engineering skills-knowing how to properly apply the effects and I know you've a done great job explaining this to your viewers.
Hope you have a great weekend.
Thank You Phil. I just bought this DP24sd today and saw immediately that I could not pan the effects. Your shortcut will allow me to quickly create a wet copy track and pan it to the opposite side of the dry track. Schweeet!
@Jimmy Mundane Yes, it's a shame some people don't have the patience for all this, but understanding the signal flow opens up a world of possibilities with these machines :) Thanks for stopping by Jimmy, and season's greetings to you.
This was an awesome video Phil! Thank you!
@Immortality - Rapper thanks for stopping by.
I would love to see videos from you about the tascam Model 24
@SHAFTERmadeTHIS very unlikely as I've no plans to get one of these - sorry :( ....
...now if Tascam would donate one.... ;)
Good to see you again!
@G.B.Daniello thanks George - hope all is well.
@@philtipping All is well! thank you very much!! I hope the same as well!
Your videos are very well explained .If I want to record a vocal using my boss VE2 pedal is it possible to use the send as you showed but during the recording of the vocal please ?
@guitarmuso1 sorry about the delay; have been on holiday. There are several ways of connecting external devices, e.g. you could just place it series with the source signal so the mic/guitar goes to the pedal and its output goes to a Tascam input, or you could place it in the send/return loop so the eff-send goes into the pedal and its output goes to a Tascam input.
It depends on what inputs & outputs are available on the device, and how much control you want over the signal, such as whether you want to record the unprocessed signal as well as the processed one, or whether you want to apply the effect to an existing 'dry' recording, etc.
I would recommend drawing a diagram showing what you want the signal flow to be. Start at the source and go right through to the end result (recorded track), and then configuring the Tascam as needed.
Get back to me if you need to, although it's easier for me to use email than RUclips messages, so drop me a line on: patipping (at) gmail (dot) com
2:34 " ... You need some extra equipment ! " ... ah ah ah ah
Monitoring was not mentioned. I’m referring to the button above the monitor knob which can be used to monitor the sends... Great video tho, just bought a DP32 so it’s all new to me. Had a 246 before. I need to start from video 1.
@churchguitarist Yes the tutorials are designed to be watched in order. Video #6B talks about the Monitor Select button. Thanks for stopping by, and good luck with your new machine.
Thank you, much appreciated information.
@Anthony Brook thanks for stopping by Anthony.
Hi Phil, love your tutorials. I just purchased a dp24 and familiarizing myself before it arrives in the mail. I am wondering if there is a way to use this method but recording the effected signal to a virtual track on the same track that the prerecorded signal is coming from? In your example say recording the drums from track 1 with this method of adding an input compressor via patching but instead of recording to track2, record to track 1. I think it would
Be useful in keeping tracks open and also if you know for a fact you will not need the dry signal in the mix. What do you think?
@Sam Bianculli thank you Sam. That's a great idea, but unfortunately not possible. The tracks are called virtual for a reason - they don't all exist at the same time, otherwise the dp24 would be a 192-track recorder and the dp32 a 256-track! If you watch video #8E, you'll see that only one of the set of 8 virtual tracks can be 'active' at any one time. This applies for *all* operations, including import/export, playback, recording, editing etc. Sorry to disappoint but thanks for stopping by :)
Phil, I have a question, superb video instruction by the way, what is the link on and off button for in the dynamic compressor section? Does that create Sidechain capabilities?
@Chris Henry thanks for the feedback. As far as I know, the link couples both left & right compressors so the stereo image doesn't wander about. There is no option to get at the sidechain signal unfortunately.
@@philtipping I see. Unfortunate, but still extremely useful! Thanks for your reply and expertise!
@@philtipping after thinking on your reply, does that mean, for example, when mono channels 5 & 6 are coupled(linked), there theoretically could be a kick drum in 5, and a bass guitar in 6. Which channel would affect the compressor and which channel is the compressor effecting?
@Chris Henry when you turn on the link for a compressor, it automatically inserts the compressor into the adjacent input path. You can see this happening if you look at the top-right of the dynamics screen. e.g. if you insert a compressor into either input A or input B, the screen confirms that routing. If you then enable the link in either, the display changes to A-B, so you now have a linked compressor on both inputs.
I think I am getting the hang of it slowly after a few wrong turns. I also tried using reverb/delay at the same time, but just got a wash of it over the top of everything, even when the faders were turned down! I'm guessing if you want to add reverb or delay at the same time as compression, do you use another lead into the send effects with one input going to the source track? The thing is, I want to try dry recording and adding effects after the recording, which is what a lot of people recommend, but many of these machines seem to be built so that you record wet. So to add another effect like delay at the same time as compression, would you have to use a cable that plugs into sends 1 & 2 and a mono to the source track?
@fanfanackapan your observation about the machine being built to record wet only applies to the dynamics effects.
The Insert(Dynamics) effects (Compressor, Noise Suppressor, De-Esser or Exciter) are usually added while recording unless you use the loop-back trick.
The Insert(Guitar) effects (Noise Suppressor, Amp, Compressor, Chorus, Flanger, Phaser, Tremolo, Auto-wah or Delay) can be added either while recording or afterwards, although only on one track at any one time.
The Send effect (Reverb, Chorus or Delay) can be applied to any/all tracks/inputs and is usually added during bouncing or mixdown.
If you're using reverb or delay from the send effects, it applies to all tracks or inputs which have their send-1 signals enabled. If they are set to PRE, you'll still get the effect with the track faders turned down - that's what PRE means.
If you're getting a "wash on top of everything", it sounds like you have some sends enabled unintentionally, so did you start with a clean slate? Videos #1 & #2 explain how it's easy to get confused with settings being carried over from previous songs so recommend using a blank/reset template.
There's a delay in the both the guitar and send effect so if you want to use reverb and delay at the same time, you could use reverb from the send effect and delay from the guitar effect.
Similarly, there's a compressor in both the dynamics effects and the guitar effect.
If you sketch out the signal flow for your particular setup, you can see which effects you can use at any one time.
A common workflow with these machines is to record dry and add effects using bouncing. If you only need a few effects, you can do this at mixdown instead, but it can be easier to use bouncing and build up the effects in sections. This is why having lots of tracks is an advantage. It may take several bounces, but there's no degradation like you used to get with old-school tape machines.
Re. loop-back cables, the cable is only for getting a track playback signal back into the input path in order to pass it through the dynamics effects. You don't need a cable to apply delay or reverb (or the compressor from the guitar effect) as those effects are not in the input path.
@@philtipping thanks for the detailed reply. I will probably look at these again as I progress through the learning stages. No, the wash of reverb I meant just over the vocal I was experimenting with gave the effect with the sound turned down.
So much to take in. I was using a Zoom R8 before I bought this. I thought that was complicated, but this is even more so.
Stick with it and it will gradually 'click' :)
It seems complicated because it's a complete recording studio in a box... but it doesn't come with a recording engineer so you have to take on that role.
All the techniques & terminology like inserts, send/return, bouncing etc. are generic recording concepts which apply to *any* multi-track system, but when you couple those with the particular way Tascam have designed these DP machines (with the odd quirk or two!), it can be very daunting at first.
Visualising the signal flow through the machine is crucial (imho), otherwise you end up just pressing buttons without really understanding what's going on. This is why these tutorials take an unorthodox approach and explain things from the signal flow perspective. It may seem hard/boring at first, but if you watch them slowly, in order, and try things out for yourself after each video, you'll get a better understanding of what's going on and will be able to 'see' how to configure it to do whatever you want to do, even if your particular requirement is not shown in the video.
There's a step-by-step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html which concentrates more on what buttons to press to do various tasks without getting bogged down with the explanations, so that can be a quick way of getting off the ground, but it's impossible to list every possible task so you still need the videos eventually if you want to get the most out of the machine and justify what you paid for it.
Good luck :)
@@philtipping yes, I have some knowledge of recording and multitracks, but this is the one I just bought recently. I don't think I even scratched the surface with the Zoom, but the videos really do help every time. I would have been lost last time if I had just stuck to the manual. Much better to watch somebody do it and explain it. The last time before that, I had an old Tascam porta 1 20 odd years ago and the damned belt kept coming off. It was a nightmare! So pleased I am back into it again. I am slowly getting the hang of it. Thanks for these informative videos and detailed replies. They really help.
I followed this to the letter and the track is coming in so hot. I have the trim at 7 o'clock and it's still overloading. What can I be doing wrong?
Thanks Phil for all you help over the years. My Tascam DP32SD has a loud "tape hiss" sound, even when all the levels are down. All the effects are off. I've reset to a known state. Still there. Please help. (or is there a problem with my unit). Thanks
@sane1963 the only hiss I'm aware of is from the headphone socket. If this is what you're hearing, it's a well-known problem caused by the headphone amplifier. Tascam really should have used a higher quality amp for this, but I guess they were cutting too many corners on price! The amount of hiss depends on the type and sensitivity of your headphones/earphones. It does *not* affect recordings or playback through the output sockets on the back of the machine, so it's nothing to worry about unless you are using headphones for critical monitoring. One solution is to use a good quality external headphone amp plugged in to the stereo or monitor outputs at the back. If the hiss is from somewhere else, get back to me.
HI Phil. Thanks for the reply. Even when I use the output jacks into my computer via the front plug (of the PC ) the hiss is the same as the headphones. I'm using audacity. And can take out the hiss, but lose half of my tones.
Hi Phil, just plugged into my studio speakers and no hiss. Thanks for your help. 😎
@@sane1963 using the audio input on a computer may introduce more problems, depending on the quality of the PC's built-in sound system... usually it's fairly poor. If you want to record directly into a computer, you'd get much better results using a digital interface such as an audio-to-usb unit (older desktop PCs could use specialist plug-in sound cards with digital interfaces). Unfortunately there is no direct digital link from the Tascam DP machines for transferring live audio, but you *can* transfer recordings after they're made by using the machine's Export function. This allows you to transfer the digitised track wave files to the computer, and then you can import these into Audacity. These transfers are a perfect copy of the recording with no losses or degradation.
Thanks Phil, that was great info. I'm learning as I go along. I'm up to making sure my recordings are satisfactory before the finale. Thanks for your help and great videos. 😎
wish you had designed the dp 32 sd , problably would have better quality , more extensive channel eq, and the BIG ONE , dynamics available at the mixdown stage instead of having to do a patch work around ! Your tutorials are very helpful, it's just sad that tascam seems to get on the right track but ends up falling short of having something really good and complete.
@Tom Sheehan haha well thank you Tom for the vote of confidence - it would be an amazing opportunity... even if I had the skill :) Being devil's advocate though, it must be difficult getting the right balance between features and price... plus all the other factors that companies have to juggle. Other gear also have an assortment of criticisms so I don't think there's such a thing as the perfect machine that suits everybody. I agree it's a shame the shortfalls are frustrating - the classic one is that they had MIDI working with the older DP-24/32 machines and then chucked it away! I can't see how doing that saved anything cost-wise - the work was all done so it can only be saving them the cost of a couple of MIDI sockets and maybe a chip or two.
What would be really useful would be to make the firmware open-source, but that's pretty unlikely. I'm sure there are hackers out there who would jump at the chance of improving the machines if Tascam are too busy/unable to put much effort into it. They are still doing updates but there's nothing really groundbreaking.
Anyway, all whingeing aside, we just have to make the most of what we've got I suppose... and at the end of the day, it's still a great free-standing machine if you want to get away from computers :) Thanks for stopping by.
Hi cool video. I have a question: what's the best way to chain the DP02fx to the dp24 if I want to use the fx's internal effects. Any suggestions or warnings?
@Reardon Dearborn thanks for the feedback. There are several ways of connecting external devices, depending on how much control you want over the process.
The simplest way is to connect the device in series with your input signal, so you'd plug your mic or other signal source into the device, then connect its output to a DP input (or 2 inputs if the device has a stereo output).
This method is very simple, but it gives you a recording which contains the effect with the settings you used at recording time, so if you change your mind later, you'll have to re-record it.
The other method is to put the device in the send/return loop. You would connect one or both send outputs to the device's line inputs (the send outputs are unbalanced so TS cables are preferred); again whether you use one or both sends depends on whether the device needs a mono or stereo source signal. Note that each send output is mono, so if you want a stereo output, you need to route the left signals to send-1 (say), and the right signals to send-2.
The output(s) from the device go to other DP inputs as before, again using 1 or 2 cables.
This send/return configuration can be used in 2 ways.
One is to use the device live (similar to the first method), so you'd connect your source mic/line signals to another DP input, then tap off this signal so it goes to the send output.
If you assign all these inputs to tracks, you can then record the dry signal onto one track and the wet (affected) signal onto another track, both at the same time. These can be blended later when mixing or bouncing. This blending allows you to change the amount of effect later if you change your mind, but it doesn't let you change the type of effect.
The other option is to leave the sends turned off while you record your dry signal as normal, and then add the device's effect afterwards by turning the send(s) on during a bounce or mixdown process. This way gives you the most freedom, as you can run the bounce or mixdown as often as you like with completely different settings on the device; there's no need to re-record the original performance.
Hope that helps; there are various scenarios in the step-by-step guide
www.philizound.co.uk/freebies/dp24-32/dp24-32.html
which show how to connect external devices using the send/return system.
The DP machine is very flexible so the options can be a bit daunting at first, but if you sketch out the signal flow it will help show you how everything fits together.
@Phil Tipping thanks for the quick reply Phil. It is much appreciated! I would choose option A. But when you say connect the output to the dp24 line input, I wonder what you mean by the output? Do you mean the send on the DP02fx?
@Reardon Dearborn I meant the normal main output, but if it has sends and they are more convenient for your workflow, there's no problem using them, as long as the effects are present on them... it might be an unnecessary complication though. My reply was applicable to any device which adds effects to its input signal, so typically this would be a free-standing effect box. Your situation is slightly different as the dp-02 is another portastudio. I don't know the exact details of these but if it's similar to the other DP series, it's capable of adding effects to a live signal as it passes through the machine to the main stereo output (no recording is required, although you may have to arm tracks to let the signals through)... in which case you can treat it exactly like a dedicated effects box.
Phil, you said the send effect outputs are general purpose and would be ideal for sending a signal out of the machine independent of the main mix. Could I use the send effect outputs to send a track signal into my audio interface and do some processing in my DAW and then send it back into the Tascam?
@Mr. LD yes you can do this... although you may get some latency issues due to the time taken by the route. Try it and see; you may find it's not a problem. If you don't want to do this live, you can always use the Track Edit functions to re-align the new track from the DAW.
@@philtipping Ok I’ll do some experimentation and see what happens! Thank you Phil!
@@leogolive Hopefully you used the AudioDepot feature.... where analogue conversion would not be encountered...
I get the reverb working but it isn't audible during playback after it is recorded, even though during recording I can hear the effect. Never this issue before? Do you know a fix?
@Arran Fox yes this is a common 'problem' and there are a few ways to do it depending on what exactly you want to do. For example, you can use the bounce process to add reverb to existing track(s) and record the result onto another track. Or you can use mixdown to apply reverb to existing track(s) and record the result onto the master file. The videos show these methods, but if you want a simpler step-by-step process without all the explanations, the Step-By-Step Guide may help; full details are at www.philizound.co.uk/freebies/dp24-32/dp24-32.html
can you plug an XLR balanced low impedance microphone or does it need to 1/4 inch jack?
@charles colbert the XLR inputs are specifically for balanced mics. They are more sensitive than the 1/4" jacks for this reason. The 1/4" jacks are for higher line-level signals. Thanks for stopping by.
You da best. Gracias!
@Matt Godfrey thanks Matt :)
I think my 32sd needs an update. But having spoken to a friend who updated his, he’s lost all ability to record, so had to reset it to factory settings. I want to avoid this before diving in. In layman’s terms, what’s the process of doing this successfully. Oh. And card in or out whilst performing update? Thanks.
@dukeofpearl updating firmware shouldn't cause the machine not to record, so it could have been an underlying problem with the sd-card. There are quite a few pitfalls... they may have used the zipped firmware or the folder by mistake, or maybe the handling precautions were not followed properly and it got corrupted, or maybe it was a non-compatible card in the first place. Either way, it's recommended to keep up-to-date with the latest firmware as you get both functional improvements and better reliability. Almost all reports of glitches are due to using old firmware and/or incompatible/faulty sd-cards. Full step-by-step details for updating firmware and preventing card corruption are in my guide - details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html The card can be in or out; makes no difference from a functional point of view, although the actual steps re. powering off & on are different. Resetting to factory settings isn't a big deal... you don't lose any recordings.
Hey Phil I have an original DP24 with midi and CD so it’s nine or ten years old. Some of the buttons I have to press really hard to activate now. What do you suggest to help or stop this, some kind of contact cleaner?
@Leo Go Live! Yes a few drops of cleaner in the gap surrounding the buttons followed by repeated press/release to work the cleaner through has been reported to work on the forums, although I've not tried this myself. There should be no need to take the machine apart. The usual recommended cleaner is Deoxit but it's very expensive. There are cheaper alternatives but I don't know any names. Whatever you do, do NOT use WD40. Thanks for stopping by.
Thank you Phil!
Phil, so my understanding is, this machine does not allow to add compression to the recorded track?! This is absurd. I am not a tech nerd but I have worked with ProTools and Roland Boss. When I record drums, I like to add compression where needed. So, in order to do this I would have to patch each track in order to add compression? We are talking kick drum, snare, overhead, toms etc. Plus vocals, harmonies… Impossible to patch all of them. I will be returning this if my understanding is correct. Please correct me if I'm wrong. Thanks
@lasTTrump33 you're right, it has quite a few restrictions. If you need to compress multiple tracks *after* recording, this is the wrong machine, unless you have the patience to do multiple bounce passes. There's a compressor on the guitar effect, so this can be applied to a track without using this 'loop back' trick, but as mentioned, the guitar effect can only be used on one track at any one time. Even with this loop-back trick using the 8 dynamic compressors, you are still limited to processing 2 tracks at a time as there are only 2 sends.
I'm not sure if the Model series will help as I don't have one to confirm. It has a compressor on every channel so this is fine for recording (but then so does the DP-24/32), but I'm not sure if you can apply these compressors during mixdown.
There are very few (if any) free-standing units made which do what you're after; all the vendors have 'defected' to computer-based setups. The only one I can think of is Zoom so may be worth checking. Good luck, and let us know if you find a computer-less solution.
hi phil i hope you can help me please ? ive got a tascam dp 24 ,and a yamaha r 100 reverb processer ,on the back of the yamaha it has out put r and l channel ,and a input ,,,but on my tascam i have a effects 1 and 2 ,how do i connect them up so i can add it on my songs ,as when i turn up my send effects 2 on my tascam screan i cant get it to work ,,the yamaha does work playing my guitar through it with my amp ,so hope you can help thanks
@stewart champion Hi Stewart, have just downloaded the R100 manual, and page 4 'System 3' shows how to do it. You only need one send from the DP machine as the R100 only has one input (you only need both send outputs if your external device has 2 inputs, or if you want to drive 2 different external units at the same time).
You can use either send 1 or send 2. Send 1 can also be used for the DP's internal send effect so which one you use for the Yamaha depends on what else you want to do. The 'returns' shown in the picture are just 2 normal inputs on the DP machine.
The tutorial video on send effects should help to get it going, or get the step-by-step guide which describes all this in detail. In fact, there is a specific scenario in section 72 for this, titled "Recording external effect in multitrack mode".
Details for the guide are here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html It's not free I'm afraid, but is a way of supporting the existing advert-free videos and free support.
Hope this helps.
@@philtipping hi ya phil ,i sorted it mate ,was a bit fiddly on the leads etc but all is good ,im sending delays all over the show ,haha your a star mate ,ive learnt alot from your videos so thank you and hope you are keeping well in these strange times
@@stewartchampion4260 that's great Stewart, glad you got it sorted. Hope you're keeping well too. All the best.
Phil , I noticed the very last thing you said in this video was that you bounced track 1 to track 2 and had substantially less latency.
Does this mean you were able to use that dynamic effect in bounce mode onto track two, to accomplish a second pass out of the machine with only 40 microseconds of latency? Or is the 1.3 milliseconds the only option for that ?
@John Martin Bouncing uses internal routing, so the signals remain digital and experience no delay. Any time you use external cables (such as in this video), the signals have to be converted from digital to analogue and back again. These conversions are relatively slow so they cause the 1.3ms latency. I believe it's the A-to-D converter which is the real culprit, but not 100% sure.
My comment at the end of the video was just to compare the latency between staying digital (using bouncing) and going to analogue and back via the converters (using the loop-back cable). It wasn't meant to imply you can use the dynamic effect during a bounce, so you're right, if you want to use the dynamic effects like this, you have to use an external cable... and put up with the (tiny) delay.
Thanks for stopping by.
@John Martin Update: if the latency is an issue, you can either time-shift it using Track Edit as mentioned in the video, or do the loop-back trick for the other tracks (without inserting the dynamic effect) so that all tracks are delayed by the same amount. I've not actually tried this, but would be an interesting experiment. As with a lot of recording operations, you just need patience :)
@@philtipping thank you for the detailed response! I found the time warp section you mentioned. Thank you so much for doing the latency test with the oscilloscope. It’s weird that you can do a 3ms correction. Yet the machine will cause a need for 1.3 or 2.6 correction. If only it had a 1.3ms and 2.6ms option that would be amazing.
I don’t really notice the second pass phasing on bass guitar but it’s really a deal breaker with a drum kit or a snare drum.
My next experiment is to second pass a snare drum mic threw a 1176 compressor and then see if I can use it in conjunction with the original overhead drum mic recording. Greetings from Buffalo NY my friend ✌️
@@philtipping just want to add quick - I’ve done the second pass experiment on non processed tracks just to give them the same latency as the processed ones. It all works out as planned. They all line up again after the second pass 👍🏻
I noticed you said you haven’t had a chance to try that yet.
@@johnmartin5153 That's great John, thanks for the update.
i wonder, can you have the repeat mode of the track when you are in mastering mode ? How?
@[Tech Head] Live Electronic-Techno Artist No it's not possible. Once you've created the master file in mixdown mode, you can only play or process it in mastering mode, and in this mode only the controls shown in the mastering screen are available. None of the physical faders have any effect either. Thanks for stopping by.
@@philtipping ok, thanx! Great videos, just bought the dp24sd, its bad, when you mastering you must press stop and rew after the track is end to come to the start again, it should repeat the track when you mastering
@@deepworldlive You should *not* have to press stop and rewind manually in mastering mode. The machine will automatically stop at the end of the song and will rewind automatically if you press Record again... but note that the master file is overwritten each time you press Record so if you're not happy with the mastering, you must press Undo, otherwise you will be processing an already processed file.
Also note that if you press Stop manually before the song has ended, the master file will be truncated. You can see this if you watch the song length display near the top of the screen. If the master file is truncated and you try to master again by pressing record, it will only process the truncated version. Pressing Undo will revert the master file to its previous size.
The song size is defined when you first create the master file during mixdown. This is defined by the IN and OUT points. Again, you must not press Stop manually during mixdown otherwise the master file will be shorter than this.
If you find the machine is not automatically rewinding or stopping automatically, you have a problem, so I would suggest checking/updating the firmware, and confirming you are using an approved sd-card.
Hi, my guitar effects work but reverb doesn't even though the send and master levels are up full, i turn up the sends but when i press effects the select button turns off, i did initialize it, can anyone please help? Thank you
@Spacebox TD3 the effects can be a bit tricky as there are lots of combinations. Are you sure you are looking at the Send effect screen and not the Guitar effects screen. Both are accessed with the Effects button.
Another thing to check is the Return level on the send effect. If this is too low, you won't hear anything regardless of the send levels.
Also, are you using PRE or POST? If POST, you need to also turn up the track fader otherwise you won't hear anything. You can check the levels going into the Send effect by pressing Monitor Select and choosing send-1.
If you're still confused by this, I can recommend the step-by-step guide which shows exactly which buttons to press and what levels to set etc. Details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Thank you ever so much phil, i never turned up return
@@spaceboxtd3720 haha - easily done :) Glad you got it sorted. Thanks for the follow up.
Wow. What a fatal flaw in the design of this machine. It really renders it useless for any type of serious music production.
@JimPerdue14 Well the design does make it harder to do some things, but then everyone's requirements (and budget) are different. There's no such thing as a 'perfect' system, so the skill is in working around the limitations of whatever gear you have, e.g. look at what was produced on old-school systems with noisy analogue tape and a handful of tracks. There are users making money from recordings they've done on this machine, so not sure what the definition of "serious music production" is. Would a "serious" user be looking at a 400 dollar system in the first place?
@@philtipping I suppose you're right on all points. Thanks for the reply!