AKAI DPS24: "Quick Start" Guide

Introduction
OK so you did your research, spent your money and brought home a brand new DPS24.
You’re really excited about getting going and when the shock wears off you realize you
need to start somewhere. But where? Hopefully, this little tutorial will get you where you
want to be with as little fuss as possible. Fortunately for all of us, the good folks at Akai
have put together a system that is both incredibly powerful as well as (relatively)
simple to use. However, such power and flexibility means a certain level of complexity.

For those of you with multitrack recording experience, you should start to feel right at
home as soon as you get the hang of certain system conventions within the DPS24.
For those of you with none, you’ll have to do some homework and experimentation but,
surprisingly, even a total novice can learn how to use the DPS24 and start recording
within a reasonably short period of time. After that, learning the deeper complexities
of the machine such as system automation, syncing to external devices, project tools,
use within a midi environment etc. can be learned as you go.

This guide assumes that you have updated the OS on your machine (as of this writing,
V1.3 is the most current), and you are encouraged to do this ASAP since a lot of neat
stuff has been incorporated into the operating system since the units were released,
as well as some relatively minor fixes. For recording, the only other hookup you need
(besides your instrument) is a way to hear what you’re doing. This can be a set of
headphones plugged right into the front of the DPS24, or a set of speakers running off
the main monitor outs or even the stereo master outs (though these are also audio outs,
they would be used to connect to another stereo mastering recorder if you wanted to).
With me so far? Let’s continue.

About Recording
Multitrack recording is essentially recording source material (vocals, instruments etc.)
to what amounts to many single recorders operating in unison. In this way, you can
record parts of a piece in single “instrument” or “multi-instrument” chunks at a time,
until you have reached the maximum number of tracks your system will allow
(in the case of the DPS24...24 tracks).

When a multitrack recorder is used with the appropriate mixer, you can record single
instruments to single tracks or multiple tracks (why you would want to do that is beyond
the scope of this tutorial), as well as recording multiple instruments to single tracks or
multiple tracks. When all your instruments have been recorded, they can all be “mixed”
down to either a single(mono) track or two (stereo) tracks on a separate recorder with
effects like reverb, delay, flanging, chorusing etc. to produce a finished product “ master”.

The DPS24 allows you to do all of this without leaving the machine, as it combines
a full-functioned 8-bus mixer (more on this later), a very high quality 24 track HD
recorder, a two track HD recorder and what would be racks and racks of processing
equipment, all in one fully integrated unit. The engineers and development people at
Akai have provided you with all the equipment you need to produce master recordings
fully on a level with commercially produced Cds as well as the ability to integrate
outboard equipment easily to further expand the DPS24 if you wish.

Down to Basics

*Open New Project and name it (if you wish)
*Connect Instrument or Mic Cable to Appropriate Input
*Select Mic/Line for input
*Adjust trim
*Select Input source for mixer channel (inputs 1-12, digital in etc.)
*Raise Master fader
*Select Fader Bank>Inputs 1-12, raise channel fader

The first thing you need to do in preparation for recording on the DPS24 is to open
up a new “project”. A project is simply a system convention within the DPS24 used
to denote a song. When starting a new project, you are creating a place for your song
to reside on the hard drive. Just press the “project” button on the front panel. This will
call-up a screen with some information relating to creating a project. You’ll see that you
can name the project (using the cursor OR a connected keyboard). If you don’t name the

project, the DPS24 will automatically call it “New Song”. If you continue to open new
projects without naming them, the DPS24 will simply add a numerical suffix (New Song 1,
New Song 2 etc.).

At any time after the fact, you can go back and rename a project or give it a name
if you haven’t already done so. The next step is to just press “OK” and you’ll then be
taken to a new screen that gives you pretty much all you need to start recording into
your “New Song”. When recording, you need to keep in mind a “signal chain”. This
is basically a fancy name for the trip your sounds take from when they leave the
instrument and enter the DPS24, to when they come out the other end as a finished
recording. The first step in the signal chain is, of course the instrument or microphone.
If your source is a line level instrument such as a keyboard, run a (high quality)
instrument cable from your instrument to any of the ¼” inputs on the rear panel of the
DPS24 (but let‘s use input #1).

You’ll notice that there are two rows of (analog) inputs available to you for a total of 24.
The top row are combination ¼” or XLR inputs. These can accept either standard ¼”
plugs (“guitar type”) or three pin mic cables and they are BOTH balanced so if you
have the ability on your instrument source to run TRS balanced lines instead of TS
lines you should use them since the balanced lines may afford you a “cleaner signal
(especially if long cable runs are used). The second row are ¼” TRS jacks that will
accept either balanced or unbalanced ¼” instrument cables. The top row are listed
as “Bank A” on the front panel, and the bottom row are listed as “ Bank B” and you
can switch between them and have up to 24 sources plugged into the DPS24
simultaneously, using any 12 and switching appropriately from the front panel
without re-patching.

There are other ways to input source material into the machine as well so you can
have loads of stuff going in at the same time from both digital AND analog sources
but we won’t be covering that here. If your source is a microphone, plug into any of
the XLR jacks (turning on “phantom power" for a condenser mic if necessary) again,
for this example though, let‘s use #1. Also, select either the mic or line position of
the input attenuation switch. OK, now your signal can get from it’s source and into
the DPS24, but it’s still only just stepped through the front door and is waiting to
be asked in for dinner. However, at this point your original signal has been
converted into digital data (up to and including 24 bit / 96 kHz) by the A/Ds
(analog to digital converters) at the inputs of the machine.

From this point on, all the processes that occur will be in the “digital domain” and
(assuming reasonably good recording techniques) will not suffer from the
degradation associated with handling analog audio and sending through various
circuits. The next step is to get your AUDIO DATA (remember it is now data) a
little further into the system in preparation for actually recording it. Keeping you
source level at a reasonable volume (your instrument’s volume set at around ¾ ),
start playing. Even though you won’t be hearing anything yet, you want to turn up
the trim pot for input #1 until you start seeing the clip led start to light up red, then
back off some until it stays green. You now have enough signal strength to get a
little further. Next, raise the master L/R fader to about ¾ where you’ll see a group
of closely spaced lines. This is generally a good working level.

Next, you need to understand that the main 12 faders of the DPS24 can control
various different functions. Which function they are currently controlling is set by the
“Fader Bank” buttons to the right of the faders. Press the fader bank button that
says “inputs” and the faders are now routed internally to control the input channels.
A word of caution, the faders on the DPS24 are motorized, when you change their
function (as well as when you first turn on the machine), they’ll start flying around by
themselves. Always keep the control surface of the DPS24 clear and your hands off
the faders when changing their function so they’re able to move freely on their own.

Since you’re ready to start hearing your sound, start raising the fader that
corresponds to your input channel (for this example #1) and you should start
hearing your sound as well as start seeing a level on the meters…both the LED
row adjacent to the LCD screen as well as the meters on the LCD screen itself.
By default, the inputs are automatically sent to the L/R buss out so you can hear
what you’re doing regardless of whether you’re ready to record. This arrangement
can be freely changed and even stored as a “patch”. But that’s for another discussion.
We now have a good signal and it’s showing up on the meters and we can hear it.
We’ve gotten closer to recording but we’re still not there yet.

Taking the Buss (group)

*Select appropriate group (buss) assign button
*Press “select” button for input channel to send that input to that group (bus)
*Select “Group/FX” fader bank
*Raise appropriate group fader to set group out level
*Press “record/select” button for appropriate track to arm the track
*Start recorder (start & record buttons of transport control section)
*Stop transport, rewind to start location
*Press “Play” button of transport for playback

For your sound to get to the recorder section of the DPS24, it must travel from
the inputs, through the mixer and out one of the “bus-outs” to get there.
The mixer section of the DPS24 is an 8-bus design. We need to go over briefly
what this means. On a stand alone mixer, your audio can usually leave in two
general directions (aside from the auxiliaries and FX sends). It can go to either
a L/R output to a stereo recorder for mastering or it can go to any of the buss
outs for multitrack recording (laying tracks). We have in the case of the DPS24
a 24 track recorder and an 8-buss mixer. If we had a 24 bus mixer…the buss
outs would simply be dedicated to the corresponding track, ie: buss 1 to track 1,
buss 13 to track 13. Since we have an 8 buss mixer, buss 1 will send audio to
potentially tracks 1, 9 and 17. Buss 4 would send audio potentially to tracks 4,
12 and 20 and so on.

The determining factors will be the buss assignments and the track “arming”.
If a signal is sent out buss 1 and only track 9 is armed, tracks 1 and 17 will not
receive any recorded data. In this way, using an 8 buss mixer, any track from
1-24 can be recorded. Here’s how we’ll set up a buss assignment for our
demonstration. Let’s say that we want to record the signal we now have at input
one of the mixer to track 3. Keeping our fader bank set to “ inputs” we’ll set up
input 1 to go out buss (group) 3. Above the faders you’ll see the assign buttons.
Press the ¾ button and you’ll see the “select” buttons above the inputs start to
blink. This indicates they are active for the purpose of assignment. Next press
the “select” button above input 1 and it will glow steadily indicating that input 1
has been “selected” to the buss/group 3-4 out. The next step is to raise the level
of that output. In the fader bank select switches row, press the group/fx button.
Now the faders 1-8 will control the corresponding group outs (I’m using the
words “group” and “buss” interchangeably here).

By default, the group outs are set to snap to the a pre-set value that should
work well. If for some reason they don’t come up, simply raise the group 3
(fader #3 under the group/fx fader bank) fader to it’s ¾ position as indicated
by the closely spaced lines on the control surface. Now, when you play your
instrument, you should see a level on the LCD screen under the group outs
for group 3. Our signal chain has gotten all the way to the recorder
(internally…and with no patching) and is banging on the front door.
The only thing left to do is to tell the recorder you want to record on track 3.
To do this, you have to “arm” that track. While it sounds like you’re launching
missiles, “arming” simply means getting that track ready to record. Also
above the faders are 24 buttons labeled “Record/Edit Select”. By pressing
the #3 button you have armed track 3 for recording. You’re now ready to
record! If any of this is unclear, go back and repeat all of
the steps up until now to make sure everything is set correctly.

Alternately, you can set up an assignment scheme whereby the inputs are sent
directly to the corresponding disc tracks. Press “shift+Mixer” to take you into
patch mode. Then press F5/F6 to take you into patch presets.
Select “Track Laying-Direct” and the inputs will be routed to the corresponding
disc tracks. Whether this is desirable or not, is the subject of a whole different
discussion. You should note that the patch presets can be deleted AND added to.
Also, basically any signal anywhere within the DPS24 can pretty much be
sent anywhere else. All patching can(unless external gear is being used) be
therefore done internally without the cables, confusion and signal degradation
that can result.

Straight line method:

While in your project, if you want to by-pass taking the buss the easiest way
is to go into the patch mode/screen (shift+mixer button)... select 'patch presets'
(F5/F6)... arrow down and select 'Inputs > Tracks Direct'. when you exit back to
your project every line-in/adc*/input channel/track will now be straight lined.

Also, even if you are patched in 'buss' setup, you can always jump into the
straight line method at any time, by using the Q1/Q-link knob. you just have to
remember to set it in the input screen and the track screen.

Transport

Even though there is no tape to move for recording, the DPS24 has been set up
with a familiar “tape transport” type interface modeled after tape recorders.
On the lower right section of the control surface you’ll see these controls.
If you press the “play” button, indicated by a right facing arrowhead “>“, you’ll
see the time indicator (the numerical display directly under the LCD) start to
change as well as the cursor location start to move on the screen itself.
All this indicates the “ tape” is rolling. Since you haven’t recorded anything yet
though, you won’t hear anything. In order to record, just press the play and
record (the important looking red button) at the same time and the machine
will now record anything you play through the instrument you set up coming
into input #1. If you want to start the “tape” rolling but start recording after it has
started (“punch-in”)…press play, and then press the record button at the
appropriate time after the “tape” has started rolling.

To stop the process, simply press the stop button and the machine will both
stop and drop out of record mode. The fast forward and reverse buttons
are self-explanatory. Since we are not really moving tape to record, there are
some neat tricks the transport buttons can perform to speed up the process of
getting around your song. Although this in itself would be another large discussion
here are two good ones. If you press the button labeled “goto” and then press the
rewind button, the machine will instantly snap to the beginning of the song without
having to press rewind and wait. If you press the “goto” button and then press
the fast forward button, the machine will instantly snap to the end of the song.

You may have noticed

After recording a section, you may notice that the screen becomes highlighted
for that section of the song as it plays back. This is a helpful screen convention
that allows you to rewind or fast forward to the section you last recorded for the
purposes of doing multiple takes (“I wish I could get that darn solo right”) simply
by visually locating to that point.

Playback

This is getting so cool you can hardly contain yourself. You’ve actually started a
24 track digital recording on state-of-the-art equipment THAT YOU OWN.
Now, you need to hear back what you’ve just done. Using the transport controls,
relocate back to the beginning of the song (or the beginning of the part of the
song you wish to hear). Next, press the fader bank button that says “tracks 1-12”.
Now, the faders will be assigned the job or working the volume of tracks 1-12.
Press play and start raising track 3 (fader3) and you should hear the playback of
what you just recorded. Now there are a couple of other things we need to go over.
By default, all inputs are routed to the L/R master outs (remember?).

The disc tracks are also routed there so we can hear both. This will create an
uneven balance in the volume of the tracks already recorded and those we are
laying down. In order to set up a separate mix so that the previously recorded
tracks are blended with what you’re recording in a pleasing manner, you have to
set up a monitor mix which will only serve that purpose and will not be
committed as a final “master” mix. That is also another discussion. For the way
things are set up “out of the box” the DPS24 is ready to record tracks and keep
recording them using the above mentioned procedure and just routing your
audio to the desired track.

Effects (FX) - A brief discussion

Remember I said that the DPS24 is self-contained and that it had all the
tools you need to make a professional recording? Well, we’ll need to add some
effects won’t we? The DPS24 has what amounts to four effects processors at
your disposal. These can be used for adding fx to tracks as you’re recording
them, adding to tracks for recording but only listening purposes (you want to sing
while hearing some reverb, but actually add it to the vocal track later during
mixdown), or simply add some fx to tracks for sweetening only at mixdown.

The DPS24 doesn’t really have “insert” fx in the usual sense. There are four
CHANNEL fx that can be patched and used for whatever purpose you may need.
If you wish to record with fx, you “send” (from the fx send control for that channel)
to the desired effect. The fx-return (the output of the effect processor) is then routed
to the same (or different) track(s) and mixed along with it as desired; the same as
any other channels would be, and recorded. If you wish to add effects to
previously-recorded tracks for mixdown, the process is the same except the
destination will be the entire mix, recorded to the “virtual” on board mixdown deck.

Shutting Down

*Power down unit…yes, it can be as simple as that
*Alternate: Press mix/scene “store” button, save to scene “00”,
wait for icon to dissappear, power down

When powering down the DPS24, you have two basic options.
First, and most appropriate for just starting out, you can just simply power
the unit down. However, there are also many options for saving settings
so that you can start off next time with adjustments you’ve made being
recalled when you re-open the project.

To do this press the mix/scene store button. When prompted,
save to scene “00”. When done saving, you’ll see a small “triangle-with-
an-exclamation-point” icon appear at the upper right portion of the screen.
Wait for this icon to dissappear before powering down.
Then power down the DPS24. The next time you open the
project, all your previous settings will have been saved and you’ll be
startingoff where you left off so things like pan positions, assignments etc.
will be there along with any audio you recorded. If you simply power down,
you will not lose any audio though.

If you do a session where you don’t like settings changes, you can use this
function to your advantage by NOT saving to scene “00” and the next time
you open the project you will be at the previous settings. Also, if you do a
session where you’ve made changes to the settings you wish to be there
when you re-open the project, do the save process again and the new
settings will overwrite the old ones.