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- Dec 31, 2017
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- Karma
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- DP-24/40-4MTR/M30
(I had posted a short version of this in another thread, but thought it might be helpful to the DP-xx community at large. So I've made a new thread to make it easier to find; and to expand upon the original post and on the information in Phil Tipping's tutorial video.)
When Assigned to the Stereo bus, the "Virtual Fader" in the "Source" (A~H) Mixer screen goes straight to the Stereo bus and to the Bounce bus, bypassing the Track inputs and the Recorder. This has no impact on the Track input signal meter; the Track input signal level; or the Track output signal level (i.e. the Track Faders can be all the way down, and the Source signal still can be heard/adjusted when the Source is also assigned to the Stereo bus in the Assign screen, so no need to arm the track to hear the Source input signal).
This can be useful at times when creating initial tracks, when overdubbing, and when adding new material in real time to a bounce track.
Two examples:
A Custom Cue Mix
Assigning Source inputs to the Stereo bus and using the Mixer screen allows the performer to have a custom mix of the Source signals and Effects/EQ in real time (if the performer needs or wants one) that doesn't depend on or impact the Track signals going to the Recorder or that pass through/depend on the Track Fader levels going to the Stereo bus.
Sound-On-Sound
The Source input signal can be mixed into a Bounce track in real time along with the previously recorded tracks being bounced (what we used to call "sound-on-sound" in the good old days). When used in Bounce mode, to make this work, before entering Bounce mode, the Source Input signal must first be assigned to the Stereo Bus.
Then, for example, after entering Bounce mode:
When Assigned to the Stereo bus, the "Virtual Fader" in the "Source" (A~H) Mixer screen goes straight to the Stereo bus and to the Bounce bus, bypassing the Track inputs and the Recorder. This has no impact on the Track input signal meter; the Track input signal level; or the Track output signal level (i.e. the Track Faders can be all the way down, and the Source signal still can be heard/adjusted when the Source is also assigned to the Stereo bus in the Assign screen, so no need to arm the track to hear the Source input signal).
This can be useful at times when creating initial tracks, when overdubbing, and when adding new material in real time to a bounce track.
Two examples:
A Custom Cue Mix
Assigning Source inputs to the Stereo bus and using the Mixer screen allows the performer to have a custom mix of the Source signals and Effects/EQ in real time (if the performer needs or wants one) that doesn't depend on or impact the Track signals going to the Recorder or that pass through/depend on the Track Fader levels going to the Stereo bus.
Sound-On-Sound
The Source input signal can be mixed into a Bounce track in real time along with the previously recorded tracks being bounced (what we used to call "sound-on-sound" in the good old days). When used in Bounce mode, to make this work, before entering Bounce mode, the Source Input signal must first be assigned to the Stereo Bus.
Then, for example, after entering Bounce mode:
- Tracks 1,2,3,4 are selected for bouncing to Track 24 by turning on Tracks 1~4 Select buttons. Mix level is controlled by the track faders. Track Effects/EQ must be set in advance and can't be adjusted on-the-fly.
- Track 24's REC button is turned on.
- To add the Source Input "A" signal to the Bounce, press the Input "A" button to turn it on. The Mixer Screen controls the Source Input Mix level by using the "Virtual Fader" for the Source Input, as well as Source Input effects and EQ, if desired.
- Monitor the bounce by selecting "Bounce" using the "Monitor Select" button.
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