Answers:
1) The Solo mode comes in three flavors: PFL (Pre-Fader Listen),
AFL (After Fader Listen) and SIP (Solo In Place). Based on your
description, I'd guess you have yours set for the pre-fader option.
That will make solo levels independent of your fader position and
usually louder. Personally, I like the SIP option, because it's post-fader
and it maintains the stereo L/R position, as opposed to being mono.
To change the solo mode, go to MIXER page, then press F3 or F4.

2) You've got four independent FX processors that receive inputs from
four FX send buses. The FX send buses are shared by all the channels.
So you can't have a different set of FX parameters for different channels,
just different FX send levels.

3) You should be able to set up a loop by setting an IN and OUT point,
then pressing the <shift> IN>OUT button. If you've tried this and it didn't work,
check the "CYCLE" setting on the MAIN SCREEN. That needs to be on.

4) Yes, turning the machine off is just that easy.

SIP is a great feature, and for me is the most useful. PFL is also good for
isolating possible distortion at the input. Also, for freeing up FX...you can
print an FX track from any of the tracks (or even inputs for that matter) by
selecting an FX return as an input source. Later on, you can just mix the
amount of that fx as you would a return while still using all four fx.
In this way, if you have spare tracks you can multiply your fx options.
If you don't have the spare tracks, you can print the fx to a spare v-track and
comp it as a submix before your main mix. Also, you can do the same with
outboard fx using either the s/pdif out to send and the s/pdif in to return and
should have very little, if any latency (if you have an external fx box with digital I/O).
You could also do this with the analog I/O but, with all the D/A, A/D, D/A and A/D
involved would probably see at least some latency and therefore this would
probably be better suited to reverb type stuff...although, in some cases the latency
could actually work for you as a sort of pre-delay.

If no work was done between the last power-up and powering down...
you just shut the machine off as you would a TV set.

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To keep from losing any changes to your board settings between runs,
remember to re-store Scene 00 before you shut down.
Scene 00 gets recalled whenever you reload a project.

Create a new Project for each song.
A good idea is to first create a "template" project with all your custom settings
rather than the factory settings, and always load the template project before
you create a new one, so you don't have to go through all the settings each time.

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Squeaking strings

I've been working with an old guitar tape that is plagued by squeaking strings.
I can ignore some of that, but a couple of these squeaks are way too loud..
Very loud, piercing, horrific screeches.

Using the TRIM FADERS function to rapidly drop the levels during the squeak,
almost worked, but it sounded too much like an analog tape dropout.

The only way to remove the noises, (without taking everything else with it)
was to use a fairly drastic, high Q, EQ setting. But I didn't have a good way to
switch the EQ in and out fast enough. Using scene automation was a possibility,
but it's hard to time that just right, because scene changes take a large fraction
of a second to engage, and most of the squeaks were shorter than that.

Then I had an idea! I marked off a squeak and ERASED it from the track.
(leaving a half-second silent gap) Next, I copied the erased audio into a
different track at the same location. This second track was entirely blank,
except for the half-second squeak. On this second track, I set the EQ for the
drastic setting, so there was no need to automate an EQ change at all.
When played back, the two tracks were rejoined seamlessly in the mix
and I had my rapid EQ change.

It worked. The squeak wasn't gone, but it was acceptable at the new level.
And best of all, I could not hear any artifact of the process.
No glitches, no odd phasing or anything like that.

-----------------------------------------

I think Mix Mag gave me the idea of duping tracks to apply fast changes
that could not be done without automation. I used to split a track
(when I was using 8-track thru mackie board) into two channels, maybe
the second channel would get more reverb or a telephone effect... just that
I would toggle the mute buttons simultaneously. I did this any time I didn't
feel comfortable riding the faders or making changes as a mixing performance.

Of course, with 24 tracks, I can split those sections into separate tracks
instead of fooling with the automation on one track. Maybe that is easier than
doing scene changes of other DPS24 automation. Only Akai knows if this
actually takes extra disk space since it's still working with the same source data.
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Track Bouncing:
The easiest way to bounce tracks is via the Groups.
- Enable Record Select on the destination track
- Assign the tracks that you want to bounce to the Group routed to the wanted
destination tracks (you can do a stereo bounce or a mono bounce by panning).
- RECORD!

Example:
To bounce Tracks 1-8 to Tracks 23/24
(for instance to reduce discrete drums tracks to a stereo pair):
* Enable Record Select of Tracks 23 and 24
* Select Fader Bank "Tracks 1-12"
* Enable ASSIGN 7/8 (default Groups for Tracks 23/24 as shown on the silkprint)
* Enable SELECT of Tracks 1-8 (SELECT LED Steady)
* Make sure other Tracks are not assigned to Groups 7/8
(SELECT LEDs should be flashing).
You can do this by switching between Fader Banks, or by looking at the
PATCH/GROUPS page showing group assignments for all channels in one page.
* RECORD!

If you want to include the FXs used by Tracks 1-8 in the bounced tracks,
assign the used FX RTN channels to GROUP 7/8 too.
(for instance the Drum Booth Reverb in our example)
If other tracks are being sent to the same FX channels, mute those tracks
first to avoid recording them in the FX Returns.
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Process for best levels:

1) Lay all your tracks. Add EQ and FX.

2) Make a 2-trk mixdown project, then add additional EQ or compression to it.

3) Open a second 2-trk mixdown project, and now enable the MBCX
(in FX Page), and use the mastering algorithm on it.

Now your final project should have some serious level to it. I run the DPS
monitor outs into our mixer and often compare CD volumes to project
volumes - it helps you keep a tab on reality!

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Bass Drum and Bass Guitar:

Use one of the compression presets in the library (around 3.5:1 to start),
then - boost the EQ about 3-4db at either 6k or 10k to add some
"beater attack" edge. Now, EQ the Kick @ 60hz to taste.
Keep reverb OFF the kick too, unless you absolutely need it!

The muddiness is probably coming from a "doubling up" of frequencies in
the bass region, so do all your bass guitar EQ'ing at 120hz instead of 60hz.
If you are tracking keys too, watch to make sure the bass freq's there
aren't boosted as well.

This should get you a nice tight bass sound. One more tip: Try doubling
(track copy), the bass guitar and panning one hard left, the other hard right.
Then pan the Kick straight up the center for a really solid low end!
(track doubling), is an oooold analog trick from way back! Many people still
use it today - works good for guitar solos that sound a bit thin too.
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Volume Levels:

On levels, I would recommend that you give this method a try:

1) Track everything (sounds like you have that down ok!)
2) Go into the "Mixdown" page and do a 2-trk mix w/FX enabled.
3) Open the 2-trk Project and then make a THIRD mixdown project
with the MBCX enabled.
4) Make some fine tuning adjustments to the MBCX levels, and mix that
project down into a final.

With this method, you should have NO problems coming out with strong levels.

The L/R master fader will control the mix level being recorded...
just as it would if you were using an analog desk and mixing incoming tape tracks
to an external recorder. You can check this by looking at the graphic representation
you're given when mixing.
Once again, you must disable fx when taking your 2 track mix project through the
mbcx to create a third "mastered" project (you can add eq at this stage as well)
or the mbcx will be disabled by default. You should never have to push levels
all the way to the top to get a good signal. Except for radical eq, you don't need
to leave yourself too much room for prventing overs. Also, tracks with a wide
dynamic range may be peaking near the top but will actually have a low AVERAGE
level and they can cause your entire mix to peak when all or most of the other tracks
are fine. For example, say you have a snare track that just scoots under 0 once or
twice when the drummer got really excited. It won't show any clipping but when
you mix everything, all of a sudden you're clipping in those spots because of the
cumulative levels of all the tracks...even if it (the mix) sounds "quiet".
Compression and limiting are your friends. Used judiciously, they'll bring
your tracks up to where you want them.

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Comp Tracks:

After you've assigned your V-tracks (let's just say 12 & 13 for now -
and 12 is one of the tracks you're using for comp - #13 will be the "new" complete
comped track), go into the Edit Screen and hit the select buttons for 12 and 13 -
this will place Trk 12 on top, and Trk 13 right below it in the edit screen.
Now you can highlight and COPY (not "Cut"), the parts from Trk 12 and
PASTE them into Trk 13.

I find it much easier this way, as you are not "removing" data from Trk 12 -
and are still able to use it to line everything up quickly. Rotate other tracks into the
Edit Screen above your new comping track - as you move on to "steal" their parts.
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Tempo Maps:

You can enter a Tempo + Time Signature Map (in SETUP / TEMPO),
and the metronome will follow the tempo changes, while playing or recording.
You can change Tempo / Time Sig at the beginning of each bar:
While in the TEMPO MAP page, locate to the bar where you want to make a
change and press F5 or F6 to insert a new Tempo or Time Sig change)

As suggested, you can assign the Metronome to an input channel and use the
Mute automation to switch it on/off.
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Monitoring Guitar Input:

Setup:
I'm running my guitar direct out of a Rocktron Chameleon into inputs 1 and 2.
I'm panning input 1 hard left and input 2 hard right. With everything the way I want,
I have never heard a better guitar ran direct.

Problem:
The second I hit the Record/Edit Select keys for 1 and 2, the sound changes completely.
I get a really bassy muffled sound that wasn't close to my settings. Please help!

I believe your problem is that both the inputs and the tracks are being sent simultaneously
to the L/R buss. By default, the inoputs are routed to the L/R master so you can hear
whatever you plug in. You should not send the inputs to the L/R master when recording
so that you only hear what's being sent to the tracks. Go to the "Inputs 1-12" fader bank
and it the L/R master assign button, you should see the select keys lit steadily for the
inputs you're using. Press them again so that they are flashing...meaning that they are no
longer being sent to the L/R master. Now, you will only hear what's going to the tracks
and it should sound much better. Note: when you start the transport, the audio will be
muted if you're not recording. In order to hear the audio while everything is setup and
ready to record but WITHOUT recording (for practicing the take)...just press
the "input monitor" button above the transport and you will be monitoring the input
through the track(s). You can also listen to the just-recorded track this way, but for
punching in on the fly, you will want to turn off the "input monitor" so that you're hearing
the recorded track right up until you hit the record button and then upon hitting the record
button, the monitoring switches automatically to the "being recorded" take.

Pan the tracks themselves L/R so you're hearing back what you recorded in stereo as well.
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Re: Patch page

Quote:
click "imp 1-12"
click "L/R"
click select button over track 2
click "1/2" button

In all of these machines, Akai as well as Yamaha and Roland, in order to keep
the package as small...yet effective as possible, there are less faders than there
are things that need "fading". So, the faders have different bank functions.
Of course, since you have inputs, there will be one bank that uses the physical faders
for input control. As well, since you have 24 tracks, there will be two banks that use the
faders for track control. Also, there's a bank wherein the faders control FX and the
record busses (groups). There are also many "user" banks where you can decide
what the faders do.

Make sure Q-channel mode is not active and pan function is enabled.
This (above) scenario gets you into a basic understanding of the UI.
The fader bank buttons tell you what the faders are doing, and the select button tells
you what specific fader you're sending.
Want to send input 1 to group 7?...no problem, press the inputs 1-12 button
to work on the input fader bank, then press the group assign button for groups 7/8.
All the select buttons for the inputs NOT assigned to group 7/8 will flash...
if you want to make the assignment for input 1, just press the select button
for for input 1 and it will glow steadily indicating the assignment has been made.
Since you can send input one to either group 7 or 8 (or both)...use the pan to
determine which (or both) it will be sent to. Hard left will go to 7 and hard right will
go to 8. If you're doing a track bounce and are sending several source tracks to a
new stereo pair, you can place them in a stereo field of the new destination tracks
by panning the source tracks anywhere in between hard left and hard right.
The only difference is that you would be using pre-recorded tracks as a source
and not inputs. You would also, not send the source tracks to the stereo L/R
master as is the default assignment since the source and destination tracks would
both be going there and a "loop" would result.

Quote: "pan" track 2 all the way right - but you're actually sending it to group 2
See the routing possibilities for both tracking and track bouncing described above.
Quote: click "1/2" button to leave that mode
So that you're no longer assinging to that group.
Quote: click "channel 2 record" button
Track arming is a standard concept, I'm sure you knew that one anyway.
Quote: click "tracks 1-12 fader bank button" and adjust master
fader and track 2 fader to suit playback volume

Again, getting used to the multiple uses of the faders (via the fader bank buttons)
is something that is a necessity for a mchine that could potentially have dozens of faders
if they were all dedicated to a particular function.
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Recording Vocals on the DPS - Tips

1)Use a good mic

2)Your space is next. If you don't have either a dead vocal booth or a room
with exceptional characteristics (think Lincoln Center or.Westminster Abbey),
do what you can to create an environment (even a temporary one) to record
in that you can manage. Even putting heavy blankets on boom stands in a
corner near the dps to create a "cubicle" will do. Better to have as little
reflections going on as possible if they aren't good ones.

3)More than most sources...vocals (even with a monster behind the mic
that has impeccable technique) need compression. I personally feel that it is
much better to compress the signal before hitting the A/Ds using a good
external comp...but it's not NECESSARY. You CAN compress a track
in stages. Start off when tracking using moderate compression (threshold
around -7, ratio around 5:1 and with fast attack and a little slower release)
experiment mucho and listen to how well the vocal "sits" in the mix against
other competing tracks. Really dynamic sources like vocals will sound
too loud at points and buried at others... you want the track to sound clear,
upfront and strong. If you get a fairly hot vocal track but it still falls behind
the other tracks at points...by all means use the onboard comps to further
compress (with makeup gain) the track when mixing. With all this
compression going on, you also need to be anal about noise. Star off with
the best S/N you can because the noise floor will rise with each process.
However, if you get a great track...you can either gate it or even edit the
noise between each phrase or even word...it's a cinch on the dps!

4)EQ...avoid eq when tracking...as well as de-essing.
Use the best technique you can to just get a strong track and then
only use as little eq as you can when mixing.

5)Mechanics...make a fist and then extend your thumb and pinky
as far as you can in opposite directions...there's the optimal distance to
the mic. This is close for a good condenser but it will allow you to keep
the mic gain (and hence the noise) down.
If you have problems with sibilance or popping ("plosives"), use
technique again and/or a good quality windscreen...an old pair of panty
hose stretched around a wire hanger works wonders but looks like hell,
or you can buy a good pop-filter.
----------------------

The deadening will usually help immensely. It's very hard to imagine
exactly how much "roominess" a good condenser will pick up...usually
translating to a "boxy" type effect that's impossible to get rid of. I can usually
pick up butterfly farts at 50 paces when I'm all set up to do vocals...no really!
As for fx at mixdown, the "studio" preset in the dps is lovely for adding subtle
ambience. As well, if you're looking for a rock&roll type delay effect, try
the "reverse" preset instead of a delay. Start with an 80 second predelay
(adjust to the tempo of the song)...this will give you the "delay" effect,
but since the "reverse" program preset is actually a reverb with backwards
type envelope settings, you wind up with a pretty well-defined (but smoother)
attack and a softer decay... much more pleasing. Keep the duration of the
reverb fairly short... 1 second or so and you'll have a  nice effect to try.

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Using chorus is a big effect, and not just for vocals. Using the
same "light touch" with everything from bass to guitar...even horns,
can add a subtle "motion/thickening" effect to the source. Better yet,
when tracking vocals, try "live-doubling"...either to enhance a certain
section (bridge/chorus?)...or throughout the track. Sing the first track
as you normally would and go back and record another take of
EXACTLY the same vocal part (it sometimes helps to record the
second take with one side of the headphones off).
Even if it means punching-in several times to get the two exactly the
same, it won't matter because the second (doubled) track will be mixed
behind the first. You get wonderful fattening/phasing between the two tracks
due to the imnability of mere mortals to sing anything exactly the same twice.
The effect is usually so nice that many (myself included) prefer it to digital
approximations. The other thing you can do is to create the same effect
with pitch-shift and slight delay (stereo)
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