Wow! I learned more in this 20 minute video than I have using the machine and the manual for a year. And showing the schematic, perfect. I know there are folks who don't need or like those, but they make sense to me more than just talking. Thank you, thank you, thank you!
At first I was too annoyed with the fuzzy video, but after perusing a lot of "instructive videos" on the DP32SD, thank goodness you shared this body of work, truly excellent. I deeply appreciate the clarity of your explanations. Had I listened and followed your tutorial from the beginning I would have saved myself a great deal of stress, so much so, I had already posted the machine for sale. Fortunately, beginning at the start with you by tutorial 5 you resolved a couple of game changers that reversed my intention to sell this machine. I still have my 2488 neo. Now, I am definitely sticking with developing my understanding of this machine. Thank you very much.
@collinstanton Thanks Collin. Yes, I'm afraid I'm not set up for high quality video/audio presentations so had to scrounge together what I had: an old SD camcorder (which can't handle black objects very well... and you know what colour the Tascam is!), my wife's compact camera, a separate mic feeding an audio recorder as the audio quality from the camera mics wasn't too good, an audio feed from the Tascam, and an assortment of tripods and mic stands to hold everything... which of course then got in the way of me operating the gear and trying to read a script. Had to keep it SD as my computer is also very old - Windows XP, so would have struggled editing HD video with all the data streams and overlaid captions. Anyway, glad they were useful in the end :) Good luck with your recordings... some great songs on your channel - very thought-provoking :)
@@philtipping Thank you so much, again for the truly brilliant tutorial. Getting rid of that error message regarding guitar effects and clearing the way for using other effects was an epiphany, but then so was having it explained that deeply troubling signal registering on the meter with the "trim" turned all the way down. I was deeply stressed I had somehow damaged the unit. These two factors alone were game changers, and though I am only up to tutorial #6, I honestly don't notice any visual imperfections, none whatsoever, your patient sharing of the functionality of this machine are now being miraculously viewed and heard with overwhelming clarity. 🌹 🕯🎸Thank you so much for these brilliant instructions, and also for taking the time to peruse my YT Channel. You really are a marvelous teacher, and I thank both you and your wife for making a truly stellar body of work together.😎I am very grateful.
So many concepts, that have been elusive in my world for so long, you have successfully made clear and understandable. Thank you so much for taking the time to share your knowledge. You have provided many "aha" moments for me!!
@Tim Catching thank you Tim; glad they helped. Good luck and thanks for stopping by. Update: thank you so much for your generous donation - it's much appreciated. Have messaged you via Paypal.
Phil Tipping I think tascam should be sponsoring you, you have probably single-handedly helped so many people with this mixer and probably sold even more for them. I bought mine from a friend and was dreading the instruction manual but your videos are so professional but also (fairly) easy to understand 😄. I'll give you a nod in my first album 😉 SUBSCRIBED.... OF COURSE
@jonnyhead I've not heard a peep from Tascam :( but thanks again for your support. I guess you're still working your way through the videos - you commented on number 3 four months ago, and number 4 three months ago. Hope it's all making sense, although if you want a quicker way in, I'll mention/plug my step-by-step guide again :) Full details are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html along with a link to the full index so you can see if the topics it covers would be useful to you. Look forward to the 'nod' on the album, and hope you're pleased with it when it comes to fruition. Would be a great start to 2020 :)
Phil, your videos are remarkably clear and thorough. I keep coming back to them anytime I find myself forgetting some rarely-used detail on this studio. It's been phenomenally helpful, and if you ever setup a Patreon or somesuch, count me in.
I just bought a DP24SD and I've been staring fairly blankly at the manual trying to get my head around the mixer and how effects work with it. Your timing with posting these videos is uncanny. I look forward to seeing you route some of the inputs through the tracks and to see how effects work then. I have many questions but given how thorough you're being, I will probably get the answers from your forthcoming videos. Thank you so much!
Cheers +Neil Barrett. Yes it's taking longer than I first thought, but I'll keep chipping away :) Part 6 (track section) is in progress so thanks for your patience.
I bought mine aug 2017. Used as a mixer and step by step i tried an option. And then these vids got my attention and its perfect! English is not my native language so its so hard to find every option of this machine. Everybody needs a Phil Tipping! 😎🎶
+Rick Lelienhof thank you Rick, glad they are useful. Not sure if my step-by-step guide will also help as it's written in English, but if you're interested, send me an email - the details are in tutorial video no. 12
Just got my DP24SD Last Night and Like Neil Barrett, I was staring off into Oblivion the pages of the manual. I am glad your tutorials are here.. cause I was scatter brain blown. This is nothing operational wise like the 2488MK2. I am now back to square one. After I watch all these tutorials and dive in..if anything comes up you didn't cover in the videos I discover, I will hit you up again in the comments section..
@thomas matthews thanks for the feedback Thomas, glad the videos are helping. They're also available on a single DVD if you prefer the convenience of watching offline. The Step-by-Step guide may also help. Full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html Season's greetings to you :)
Thanks, Phil. Your videos, especially this one, helps demystify what I believe to be this machine's most poorly designed system. As much as I hate looking at schematics, your use of them really does help with understanding how this machine thinks.
Thank you so much Sir,for all this priceless contribution. You could have been a successful historical documentaries narrator,as well.Your voice is so atmospheric,imposing,affirmative,and well paced...thank you! Definitely subscribed!
You, my friend, are the bomb.com. I started with a four track years ago, graduated to 8, 16, 24 and now 32, all Tascam except the 16. Your tutorials are better than the manual. I appreciate you!! I subscribed and can't wait to hear more.
@Mark H thanks for the kind words Mark - glad the videos helped. The step-by-step guide may also be useful, although it's not free - sorry :) Details and a full contents list are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html along with an option to buy the first 20 videos on a single DVD for convenience. All the best.
Thank you so much! I have been struggling with pre and post fader concepts since I got my DP-32 over 2 years ago. This explains a lot, and I appreciated the brief comparison of mixers and external input requirements!
than you! I have been wondering...what kind of external mixing unit works well with the SD32? I have been researching a Behringer 8 channel mixer, but don't know if it is necessary.
Well the machine is a mixer in its own right, so the only use for an external mixer would be at the input stage if you want to record/mix more than 8 signals simultaneously. There's nothing a mixer can offer at the output stage as there are no individual outputs from the dp32 tracks. You *can* transfer individual track recordings to a computer for mixing there, but this can't be done live - you can only transfer the files after recording.
"...well, the Send 1 signal *also* goes to a single internal send effect, and you can adjust some of its settings from the Effects screen." That. Right. There. just concluded 5 hours of frustration. You, Sir, are a digital Portastudio god. I worship at your feet.
Awesome tutorials...you really have helped me understand the this board a whole lot better. Thank you very much for putting in the time. I also subscribed.
You're awesome for doing this. Can I make a suggestion though? The schematics is just too complicated for most of us. It would be easier if you just said, "if you want your reverb attach to effect 1, press ........". I feel like I'm just about to get it and then it goes to the drawings and I completely get lost again. You're smarter than most of idiots lol. We just want to know "how to do something", not "why it works"
@Chad Heroman thanks for the feedback Chad. You're right it would be easier in some cases, and this is exactly what the Step-by-Step guide does :) Full details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html The point of the videos was to explain *why* you need to press certain buttons so that you then have the knowledge to route your own signals however you want, or to recover from problems if you pressed something you shouldn't. The machine is so flexible it's impossible to list all the possibilities that you may want to do. The link above has a link to a small PDF extract from the guide which shows the index and a few random pages so you can see if it covers the sort of topics you're interested in. It should help you get off the ground quickly without getting bogged down with the details, and then you can always come back to the videos when/if you want to fully exploit the machine. Hope that helps, and thanks for stopping by :)
@James Lodge thank you James; glad they work for you. It's a tricky call as I know people tend to 'glaze over' as soon as you mention block diagrams :) but as I tried to explain in the first video ua-cam.com/video/ev_w-qP7IWk/v-deo.html the diagram allows your brain to really picture what's going on, even if you don't understand every section. Some users have ignored all this and have built up their own self-taught concept of how the machine works, which although it's got them off the ground, is the completely wrong concept, so it's now very difficult to answer their questions on more advanced topics as they have to undo their thinking first. Good luck with your recordings, and season's greetings to you :)
Thanks. You solved a puzzle for me because of the difference between "send 1" and "send 2". Only send 1 edits effects. With the description of Tascam I could not recognize it. I received my new/first Tascam until last Saturday. It is important to me to know everything the device can do. My motto as an artist is, I still have to be able to operate all my devices with 2;5 per mille, ha ha ..... cheers.
@oktofred glad it helped. Yes, being comfortable with the gear is crucial otherwise it's just a distraction from your creativity :) :) Good luck with your recordings - you deserve more views with your interesting channel. Keep at it.
@@philtipping Thank you so much. I use the Yahama QY 100 und mixed and masters my songs with BOSS BR und BOSS BR-80. I think with Tascam I can it make a little better. Greetings, Fred.
@@fredoe I've heard the Boss machines have more FX options than the Tascam, but would be interested in your results. The QY-100 is a nice little machine - its only issue was no backlight but I'm still hanging on to mine :) ua-cam.com/video/kRz9aGGzqJw/v-deo.html
Thanks Phil. I just ordered the DP24 and wanted to see how to record on it before I got it. I never thought of starting with the diagram first. Wow, there's so much to this unit besides record and play. I might be using this unit as my mixer too. (subscribed) I have been watching since tutorial 1, and I'll watch the rest.
+Gary Parkin, thanks for the support Gary. Yes I think a few people miss out on its full potential so it's worth exploring. Have fun with yours when it arrives - make sure to check the firmware version and update if necessary.
I had no idea how complex this was. This will be really fun to learn to play with. Got it yesterday but Wifey says I have to put it under the Christmas tree. I can watch all of your videos in the meantime so I can hit the ground running. :)
Hi Mr. Tipping, I don't quite understand the 'pre' and 'post' part of the SEND effects. Would you mind explaining them in a different way, please? Thank you!
+Elise Boulanger the easiest way is to try both settings and listen to the difference! Try using the internal send effect as a test, e.g. assuming you have a track pre-recorded, play it back through the monitor/headphones. Turn the track fader up for that one track (turn all the others down), and set the stereo fader and monitor knobs so you get a good level coming out. Now route that track to the send effect.... make sure the following things are set: the track's SendEFF-1 is set to PRE, the track's SendEFF-1 level is turned up, the master-1's Send level is turned up, the Send effect (use a reverb) is ON, the Send effect's RETURN level is turned up. You should now hear the reverb effect in the headphones. Now try turning the track fader down to silence. You will still hear the reverb effect because its input signal is being fed from 'before'(PRE) the track fader, i.e. you are listening to just the 'wet' signal. Gradually turn up the track fader - you're now mixing in the unaffected signal (the dry signal). Listen to how if affects the overall sound. Imagine you were mixing several tracks for a mixdown or a live mix, and were fading that track out at the end of the mix, or out & in at other times during the mix... the reverb sound (the wet signal) would always be present; the mix would never go silent. This may be the result you want, but it's not a very natural sounding reverb. Now turn the track fader up full, and try moving the stereo fader down and up. You'll hear the reverb fade away as the track signal fades away because you are now adjusting both the wet and dry signals, and this will sound more natural (for a reverb). It's not very practical using the stereo fader like this as this affects *all* tracks, so a better way of doing this is to change the individual track's Send routing to POST. Leave all other settings as they are, and now try moving the track's fader up & down. You should get a similar result, i.e. the amount of reverb will change in step with the track level, so moving the track fader down to zero will also reduce the reverb to zero. So the bottom line is you would normally use POST when sending signals to FX so that the FX amount keeps in step with the track fader. If you were using the Send signals for sending to a performer's monitor/headphones, you would normally use PRE so that their signal level is *unaffected* by the track fader. In other words, you (as the mix engineer) can adjust the track faders as you like to balance the mix, but the performer's signal level will not change. The level in their headphones will only be affected by the track's send level and the master send level. Sorry about the long post, but hope that helps.
Very helpful...I'm sure I will come back to these videos time and again... On a lighter note your narration voice reminds me of bagpuss...lol...this is a good thing ...very calming and pleasant to listen to.
great videos, I own the 2488 Neo so I was pretty well understanding of this machine, calling Tascam teac support never hurts but these videos are great keep them up bro! Thanks from all the digital Studio users out there.
+J Bird Thanks for stopping by and leaving feedback. I was about to say hang on to that neo, but sounds like it's too late! It's a pity there's no sign of MIDI re-appearing in the range... even the new Model 24 has gone off in a different direction.
I wish more people would take the time that you have to explain the use of some of the products that they wish to sell. You have explaining this product leaving nothing lest to questioned. That's what makes this tutorial GREAT!!! Thank you so very much. Do you do any other products, such as the Akia MPC Studio drum machine looper?
Excellent tutorial easy to understand and follow. The diagrams are nice, to be honest a little boring, BUT certainly helps understand what is happening "behind" the button push. Have you done a video on editing separate channels or the entire song in regards to cutting, pasting, removing or what have you? Thanks again for being so gracious as putting these together....I know it's a LOT of work and time.
Many thanks for the positive feedback +Mike Sager. Apologies for delay in replying but UA-cam messages don't seem to flag up in my email so I only see them if I look! I've not done any more videos, sorry - you're right, they do take up a lot of time... and these took a lot longer than I anticipated so am now catching up on all the other pending projects first :) There's a paypal donation address in the description if you want to buy me a 'virtual pint' but there's no obligation :) I've described some of the Track Edit functions in various replies to comments but you may have to trawl through them on each video to find them. Seems to be a common request so maybe I'll get round to doing a video eventually. Meanwhile, the only 'gotcha' with these functions is how to specify the 'TO' time, which is required for some of the functions like copy/paste and move/paste. It isn't intuitive, but it's just the current time position as shown at the top of the home screen... so basically you set the IN and OUT points first (to define the start & end of the section you want to copy or move), then set the TO time (which defines the destination start time), then you can invoke the particular track edit function. They all take place instantly (I guess it just manipulates pointers to the data as opposed to physically moving data around), and they can be undone instantly by just pressing Undo, so it's very easy to experiment. All the best, Phil
Hey Phil, Thanks again for the how-to guide; I still haven't started to mess around on this unit, yet, but I will soon. I had a question about using the internal send effect in the meantime. As you probably know, it's quite common to add a hi-pass filter (and sometimes a low-pass) to a reverb return so that the low end doesn't get cluttered up. I was trying to see if there was a way to do that with the internal reverb effect. It would be very easy to do with an external effect, obviously (you could either go through an external EQ after the external reverb unit or simply use the EQ on the DP-24's input channel), but it seems a bit tricky to make it happen with the internal reverb effect. Since there doesn't seem to be a direct way to do it in real time (correct me if I'm wrong there), I'm thinking you'd have to print it. For example, let's say I want to add some reverb to a guitar that's on track 1 with the internal send effect, but I want to EQ the reverb return. I could send track 1 to the reverb effect using pre-fader send 1 and then record that reverb onto another track via the bounce process, keeping the Track 1 fader all the way down. Then I would have nothing but the guitar's verb on a track, which I could EQ/process how I wanted. And this idea, of course, could be extended to a full mix (assuming you have two tracks to spare), as you could do the same with all the instruments you wanted to use that verb on, printing only the reverb to tracks 23 and 24, let's say. You could use the virtual tracks if you wanted to make some different passes with the send levels adjusted differently (since you'd be stuck with the printed reverb tracks if you did it this way). Granted, it would make much more sense to just use an external reverb effect as the main verb for mixdown, since you would have full control over it on the return channels. But, in case someone didn't have any external effects but wanted to EQ the reverb return, this should be a workaround, shouldn't it be?
@chadjohnson-authormusician8072 Hi Chad, yes bouncing gets you round quite a few of the internal limitations; you just need patience and a way of organising your tracks as you mentioned... and a way of keeping notes as to which tracks are which, but that's just good working practices :) You could also consider applying EQ *before* sending it to the reverb, which might give you a cleaner result as you avoid adding reverb to the clutter in the first place. You could also simply clone the original (guitar) track, which is an instantaneous Track Edit operation, and use this with track EQ for the send signal (as you say, set to PRE and track fader down). You could still use your bounce method to apply individual track reverb in multiple passes, although this would need yet more tracks, but you may be able to avoid individual bouncing altogether and just go straight to mixdown (or a full-mix bounce) with all EQ'd dry tracks going to the same reverb (but in different amounts), and the non-EQ'd dry tracks going straight to the mix. This is another reason why you can never have 'too many' tracks :)
Hi Phil, I have been purchasing video tutorials for equipment which you can find samples on UA-cam. However these videos do not come close to your work which is a testimony of the degree of content, work-flow and production skills you present. You literally give these videos for free to the public. I am impressed with your: generosity, skill as an instructor and the level of production quality of these tutorials. When you first started production, did you knowingly produce these to sell? Someone mentioned that this particular video is boring (sounded like comment of humor). Boring can be substituted with the phrase: detail configuration of routing, which is generally challenging to undertake and is painstakingly detailed. During the video, I asked myself, do I want to even go there with this machine? The answer is clearly - Yes.
@Bobcatt22 Thank you very much for your kind words, and no, there was no intention of making money at the start. I also didn't realise how many videos it would need to do it justice, but felt it was important to include general background info as lots of problems aren't really to do with the machine as such, so the project just grew & grew. While I was releasing them over a period of weeks, several people asked how they could make donations, so I added a paypal link to the descriptions. The Step-By-Step guide came along later, again after requests for breaking down practical tasks into steps without referring to the 'dreaded' block diagram, but this also took a lot of man-hours to produce so decided it wouldn't be free this time. The videos are also available on a single DVD for off-line convenience, so both products complement each other - buy the DVD if you want in-depth info as to how it works, buy the guide if you want a written list of 'How to...' steps along with an extensive Terminology section for filling in the details later if reqd.
Apologies if this is covered and I missed it. It’s regarding sending to an external effects unit and returning to a spare track. Let’s say I’ve input a vocal track on track 1 and send to an external effects unit, returning to track 8. During record do I arm both tracks? If so do I mix down both tracks?
@Eric When you press record, all armed tracks will be recorded, and all unarmed tracks will playback. You've already recorded the vocal on track 1 so you must not arm it again otherwise it will be overwritten. If you want to record the effect onto track 8, this is the one you should arm. When you finish this recording pass, you'll have the original vocal on track 1, and the output from the effect unit on track 8. What you do with these 2 tracks during the mixdown is completely up to you, and depends on how your external effect has been configured. If it has its own wet/dry control, you can set this to blend the original dry signal with the effect so the signal going to track 8 will be the combined dry+wet sound you want... in which case you would only need to use track 8 during the mixdown. The disadvantage with this method is that if you change your mind later re. the amount of effect, you have to repeat the process with a different wet/dry setting. Another option is to set the wet/dry control to 100% wet so you end up with track 8 containing just the effect with no dry signal. This way, you can mix both track 1 (dry) and track 8 (wet) and alter the balance with their respective track faders during mixdown. This can be a better way as you can judge how much effect to add in the context of the whole mix. There's no right & wrong; both methods work so it depends on your workflow preferences. Hope that helps.
@@philtipping thanks Phil for taking the time to reply. I haven’t done the vocal record to track one yet. I’m using the effects send during recording. So it sounds like I’ll arm both tracks and record a dry and wet track then mix those down. Thanks for your help.
@Ted Aguilar the step-by-step guide has full details about connecting external effect units. Details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping thanks Phil, I'm three days into it now and getting to find my way around, very impressed with the mastered sound quality, starting to understand the inserts as well. I think the manual over complicates things,. I found the Zoom manuals are amazing for their simplicity and clarity, I wish Korg and Tascam could do the same !
@alex redesocial Absolutely :) Even though it's labelled 'effect send', it's just an independent sub-mix of any tracks/inputs you choose, so you can use the output however you like. You'll probably need a headphone amp if the musician is wearing headphones. There are two effect send outputs, so you could even provide a 2nd submix for another musician, completely independent of the 1st submix and the main stereo mix.
Great global.overview. All I wanted to learn was how to assign internal reverb to a channel. Is the off / on controlled by the jog wheel; you never mention that in the video? Can they be assigned in track mode selection or must it be in input select? ( I think I heard inputs are for dynamic effects and tracks are just for effects?
@charlesdufrene6244 Thank you Charles. Yes the jog wheel changes the setting to 1 of 3 positions: OFF, PRE or POST. It's shown at approx 5:06. The reasons for using PRE vs POST are explained just before that. There are individual send controls for every track and every input, but you must select the required item *before* adjusting any send controls, otherwise you may change the wrong item and get all sorts of unexpected results. This is one reason for making 'clean slate' songs by using the 'reset' template idea shown in video 2; it guarantees all sends are turned off. If the mixer screen is open, you can see which track or input you have selected as it is shown at the top-right of the screen. You can also tell by looking at the item select buttons on the front panel; it lights up green when the item is selected. You don't need to open the mixer screen in order to change the send levels though, as long as you select the correct item first. This applies to all the physical knobs to the right of the screen, including EQ and pan. The send effect can be applied to any tracks and/or any inputs at the same time. It is a completely different effect to the dynamic insert effects and the guitar insert effects, which means you can use all 3 types of effect at the same time if you want. Dynamic effects can only be inserted into source input paths. You can work round this limitation and apply dynamic effects to pre-recorded tracks by looping the track back to a spare input using a cable, as shown in videos 14A & 14B. Guitar effects can only be inserted into a track path, either in the record path, in which case the effect is recorded onto that track, or in the playback/monitor path, in which case the effect can be heard but not recorded. The latter applies to multi-track mode... if you are in bounce mode, the effect will be recorded into the bounce target track, whereas in mixdown down, the effect will be recorded into the master file. This summary may help: www.philizound.co.uk/freebies/dp24-32/FX-Summary.pdf
Is it possible to take a DI guitar performance with this and then reamp it through my pedalboard and amp and record the output from the speaker cabinet? Would I still need a separate reamp box to achieve this?
@Someone Else it should be possible. You may have to be careful you don't overload the pedal as it's expecting a low-level signal direct from your guitar. So keep the signal low from the dp machine - presume you're going to use the Effect Send outputs - there are 2 level controls involved; the individual send level which affects just the track, and the master send which affects the overall level coming from the individual ones, so you could turn one of them up full and slowly increase the other. If the pedal has an input level control then you could use this instead. Let us know how it works out.
Thank you for the info!! And if I want to apply the delay to only one track, i engage the track and then save the setting for that track in the library right? If I record using that delay on will it save automatically? Thanks
@David Ireland Creekside Rock Band Your terminology is unclear so I'm not sure if you aren't understanding it, or you do understand it but are just using the wrong terms :) When you say "engage" the track, what do you mean? When you use the internal send effect, there are several settings to be adjusted to get the track signal routed *into* the effect. Then you need to decide where the send effect output is going. When you say "if I record using that delay", do you mean recording in multi-track mode? If so, the effect won't be recorded; it will only be heard. If you mean recording during mixdown, the effect will be recorded into the master file, so maybe that's what you mean? The track settings such as send levels and routing are saved with the song, but the effect library only holds settings for the effect, not the tracks which are using it. If you're not sure about the different signal paths and routing, you may need to start these tutorial videos from the beginning.
Are there any ideas or suggestions if in fact you have a pre-existing multi-channel mixer and then wish to also route those same inputs for each device to the Tascam utilizing a splitter for the 1/4" inputs? The objective is to reduce the disruption of pre-exiting connections while adding the Tascam. In my particular case, the multi-channel mixer allows each channel to exist within a DAW environment through USB. Having the Tascam would allow for DAW or DAWless operations. Would there be any worries about line loss (impedance issues) while using either a Y connector or splitter as they may or may not be isolated while being connected to both the dedicated USB mixer and the Tascam - assuming the dedicated mixer would be powered off while using the Tascam?
@Bobcatt22 You can certainly do this. You could avoid splitter cables if your external mixer has insert points or direct outs for the signals you want. If you take all signals from the mixer this way, they will be at line-level so use the 1/4" jack inputs on the DP machine - the XLR inputs are for mic/low-level signals. If you're using splitter cables, then use the corresponding input socket for each type of signal, and be careful if you're using mics which need phantom power. Obviously, you're limited to 8 signals as this is the max no. of inputs on the DP machine, but if you need more, you could sub-mix them on the external mixer. If your mixer has group outputs, you could combine several groups of signals at the same time. *Update* I think you edited your post after I replied so I'll just add that impedance issues depend on the relative impedances of the source & destination - from memory I think a 1-to-10 ratio or greater is ok, and a 'typical' line output *should* be ok driving two 'typical' line inputs, but you may need to confirm this. I'm not sure about splitting mic signals, but I think you said no mics are involved. You *may* also get hum issues but it's not predictable until you try it. If you do have problems, a DI box should fix this and any impedance problems, but could be expensive if you need to DI all 8 signals.
Phil, For the connection type, all will be balanced 1/4" phone inputs, no mics, for rack mods and keyboards. I have the Soundcraft Signature 22: www.soundcraft.com/products/signature-22-MTK - so 22 USB channels out. Unfortunately this mixer does not have direct out sockets. My selecting the Soundcraft MTK is based upon: build quality, manufacturing quality control, multiple USB channels. The same process of qualifying is for consideration of the Tascam DP32-SD. When considering the amount of time/investment you have spent on learning and producing these top-notch videos, would I need to ask the question if in fact the Tascam DP series of recorders meet the criteria I mentioned above? :) I want to praise you for the contribution you have provided for artist and if I decide to acquire the Tascam DP32 I will purchase your products. The resources literally saves hundreds of hours of work, which many of us will not do the work. I maintain that even if you were a millionaire and did not need the funds, you still give - it is a universal law that demonstrates appreciation.
Hello Phil, hey I was wondering how would you use a click track for a live performance with backing tracks? I am about to purchase this unit but i woukd like to make sure if there is a way to route the backing tracks along with metronome to the live musicians in a bus so that the click is not in the main mix for the house, thank you! Great tutorial videos!
+Mechaman365 yes this is possible. You could record the metronome and/or backing tracks onto separate track(s) first. To record the metronome, you need to connect one of the monitor outputs to a spare input, but be careful you don't get a feedback loop. The guide track(s) can then be sent to the musician's monitors/headphones along with any other tracks by using the Send system, which allows you to send a completely independent mix of any tracks to the Send outputs, without affecting the mix going to the monitors and main stereo outputs. If your monitor outputs/headphones are not being used, and your main house output uses the stereo outputs (as opposed to the monitor outputs), you could use the monitors/headphones directly for your musician's feed instead of Send-1 or Send-2.... just press the Monitor Select button and select Send-1 or Send-2 as reqd.
@John Smith thanks John. The sends are both mono. If you want a stereo send, you can use one for left, the other for right. External effect outputs should be treated just like any other stereo source, so connect them to 2 inputs and route/assign as reqd. More details are in the Step-by-Step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Hi Phil, I know your probably busy, if you get the time a question on the tascam dp24sd please. No rush to answer, I'm just waiting to take delivery of mine, I have poor vision so using a DAW is not practical for ME. the tutorials are excellent by the way. The insert effects can only be used on inputs, if just connect a jack lead from send 1 to any input and record the send signal to a track the insert effects could then be used, ie I could use the comp on a vocal then deess that vocal using this method. I understand I have left the digital world to do this. Is it practical
@blindkeith no worries re. busy - I may not reply immediately, but I'll get there eventually :) Thanks for the kind words re. the videos. Not sure if the step-by-step guide would be of use to you... haven't tried it with a text-to-speech translator but as it's a pdf file, you could maybe zoom in on the screen. Yes you can do what you suggest - any of the dynamic effects can be applied after recording by connecting outputs back to inputs. This is why this tutorial has concentrated on the signal path - once you get your head round this, many routing arrangements are possible. If you use the PRE signal, you can mix in any amount (or none) of the original dry signal via the track fader. You'll need to be careful to avoid feedback, so make sure the tracks you are recording onto have their send levels turned down or off. Enjoy your machine when it arrives. Any problems, give me a shout. Email is preferred - the address is at the bottom of the page on my www.philizound.co.uk website.
Great video... I am having trouble adding external effects to my recording. I can get the effect working and it sound great, but how do you get the effect recorded... I was thinking I can just bounce to a new track and record the effect on the track that way, but as soon as I hit bounce the effect goes away... What am I doing wrong?
@Tony Cancilla thanks for stopping by. You should be able to record the send effect (presume this is the effect you mean) during bouncing. There's a video later on which discusses bouncing so maybe that will help. Have you set up the send & master send levels for the tracks, as opposed to the inputs - they are separate things. If the tracks are correct and you've nominated them as the source for the bounce, the effect should be recorded. You can use the Monitor Select button to 'probe' various parts of the machine, e.g. set it to Send 1 and see if you can hear the tracks going into the send effect, set it to Bounce and see if you can hear the effect output, etc. Of course, if you are talking about the Guitar effect as opposed to the Send effect, then ignore the above :) I really need more information so if you can give me the exact settings you have, I may be able to pinpoint the problem.
Hello Phil, First of all, thank you for your tutorials. I have already looked at the 8 first videos. I have to admit that the user manual is not so pratical as I expected. I'm a beginner, and I don't have any experience in this matter. But I'm really thrilled and motivated to learn :) I'm living in Belgium and I'm french speaking. My english is OK, and I understand most of your explanations. But I have some questions regarding this tutorial (you're right... this is not always easy to understand how to use those effets). Here are my questions : 1) Thanks to you, now I can put a reverb effect on my voice with the " Send Effetcs 1". But I don't quite understand what is the purpose of the " Send effects 2 ". In what circumstances do we have to use de "Send Effects 2". 2) When I want to use a reverb (for example, to put it on my voice), I have to set the knob of the Send Effect 1 on "Pre" or "Post". Can you explain me what is the difference between the "Pre" and the "Post" option ? That's not clear for me. 3) The reverb effect on the Tascam seems to me a little bit limited in the choices available (maybe it's correct for a guitar but for the voice I'm not convinced about the choice in the rereb). Could it be a good option if I buy an external effect (like an Helicon) to have more choices ? But in this case, how do I have to make the connection with the Tascam, and what is the procedure to use it live or to record ? I hope my English was good enough ? And once again, thank you for your tutorials Phil !!! I do have other questions, but I will ask them in the relevant tutorial. Best regards. Yves
Hi Yves, thanks for your feedback - much appreciated. Both send 1 & 2 are signals which can be tapped off the inputs and/or tracks and sent to the outside world. The label "effect send 1/2" is confusing as they are not necessarily for effects. That's why I tried to point out that the 'send system' is a separate concept to the 'send effect'. The internal send effect certainly needs a send signal to drive it, but a send signal can be used for all sorts of things... in fact they are more correctly called Aux Sends on other mixers. Either way, both send signals can be used to feed external equipment, such as an external effect or a headphone/monitor amp for a performer. The send 1 signal is special in that it also goes to the machine's internal send effect. So you could use send 1 for this purpose, leaving send 2 free to use for your performer's in-ear monitor (say), or for a different external send effect, like your Helicon. But there's nothing stopping you using send 1 for an external effect. Just because send 1 also goes to the internal effect, you don't have to use it... you can just turn down the effect return control. Pre & Post depends on how you want to use the send signal(s). I've tried to explain this in the video, but basically if you want the send signal level to be controlled by the input or track level control, you use Post. If you want the send level to be independent of the level controls, use Pre. Typical uses are: 'Pre' if you are using the send signal for a performer's monitor - you don't want their levels changing as you are adjusting the input or track levels for the PA mix. 'Post' if you are using the send signal to drive an effect unit like a reverb. This way, the amount of reverb signal will reduce as you turn down the main signal. If you used Pre for this, the reverb signal will stay constant as you fade out the main signal, which may give a nice ethereal effect but won't sound right it you expected the whole sound to fade out. The connections for an external effect are shown in the videos - it may be covered in more detail in the later ones. You connect one or both of the sends to the effect input, and connect the effect output(s) to spare inputs on the machine. What you do with these inputs depends on whether you want to record the reverb or just listen to it while you're recording or mixing. Hope this helped. If you need any more info, please use my email address on the bottom of the page on my website www.philizound.co.uk it's a lot easier for me to use email than the UA-cam messaging system... and your English is a lot better than my French :)
+Bobby Lopes both the send paths are internally connected to the EFF SEND sockets on the back of the machine, so if you know how to turn on the sends, it's just a case of connecting a cable from one or both sockets to your external effect. The Step-by-Step guide explains every step in detail; details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
I too really appreciate your videos. I’m brand new to mixing and to the DP-32SD, so your explanations are much appreciated. I would like to begin by using the drum sounds on the demo song as a template. Possible??
@@jamodrummer what do you want to do with them? "using them as a template" doesn't give me much to go on :) It's easier for me to use emails as opposed to youtube comments, so drop me a line at the address shown at the bottom of the page on my philizound.co.uk website.
First off, thank you for the tutorials sir! They have really helped. I do have a question tho. So I used a delay on Send 1 and it sounds great, but I'm trying to figure out how to add reverb using Send 2. I turned the levels for Send 2 all the way up, but there's nothing. I even tried using just Send 2, and I'm still not getting anything. I don't know if there is another screen I need to get to or if I'm overthinking it. Is it even possible to use both Send 1 and 2 on one input? Thanks in advance!
@Bronson Castillo thanks for the feedback Bronson. Yes it's possible to use both send-1 and send-2 on one input, *but* the internal send effect is only fed by signals on send-1, so turning up send-2 will make no difference. Both send-1 and send-2 signals go to the sockets on the back of the machine, so you can use them to drive external effects if you like (as well as the internal effect), but it's only send-1 which goes to the internal send effect... and that can only be one of the 3 types (reverb, chorus, delay) at any one time. There is a delay effect in the guitar effect block, so you could use that at the same time as using the send effect reverb. If you really want to apply the send effect using two effect types on the same signal, you'll have to pass the signal through the send effect in two separate passes, either in multi-track mode or in bounce mode. The step-by-step guide shows how to do both of these. Hope that clarifies it.
so do you run the send while mixing down as you would with a live mix or re mix it to another track with changes to have back up if its not a good effect mix?
+Victor James - you can do either. For me, it depends on the complexity of the mix. With simple ones where not much is going on, you might as well add the send effect during mixdown, and just undo and remix the whole thing if it's not right. With complex mixes, it may be less frantic to pre-process the send (and other effects if necessary) by bouncing to spare tracks first, then using those for the mixdown. Doing it this way gives you yet another option of just bouncing the effect itself without any of the dry signal. This lets you defer the balance of the wet & dry tracks until the mixdown stage, and also means you can use their track faders to do this, which may be more convenient than altering the send levels... so there are lots of ways of doing the same thing.
Hello Phil I’m just wondering how to connect my Behringer Virtualizer fx 200 effect processor to the dp24sd , I can’t seem to get a wet signal back into the dp24sd
@Derek Sumner Hi Derek, you just connect the fx200 output(s) to spare inputs on the dp24 and assign these as you would do normally. You can use either one or two inputs depending on whether you want a mono or stereo effect from the fx200. More details about using external effect units (in mono or stereo) are described in the Step-by-Step guide - details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Hello phill thank you very much for your reply , I’m still having trouble , I hope I don’t sound to thick , I have done what you said , place the output in to the inputs , how do I get a signal into the processor , do I plug into the unit on the back , the input section like a guitar for exsample , I really appreciate , your help kind regards Derek
@@dereksumner7913 Hi Derek - ahh it was a misleading question :) When you asked how to get a wet signal back into the dp24, I thought you meant you'd already sorted out getting a signal *into* the fx200 :) What you really meant was how do you connect the whole device. To get a signal into the fx200, use the Send system and connect the Effect-Send-1 and/or Send-2 output sockets at the back of the machine to the fx200 input(s). The Send system is a bit fiddly to set up. The video tries to explain this, or if you want a step by step description, it's all in the guide. If you're still stuck, email me at patipping (at) gmail (dot) com and we'll go through it in detail.
Hello hope all is well, so on a recorded track I can use my send 1 to add echo, but when I try and got to another track and try and add a reverb by using send 2 it just keeps the echo from send 1. Is this even possible to do?
@Stacey Johnson Hi Stacey, it's only the send 1 signal which goes to the internal send effect. That signal also goes to the Effect Send 1 socket at the back of the machine. The send 2 signal only goes to the Effect Send 2 socket at the back; it does not go to the internal effect. You can use either of the send sockets on the back of the machine to drive external effects, or performer's headphones via headphone amps, or anything else you like.
Is it normal that if I put for example a reverb on track 3 I can't put another effect on another track? For example if I have reverb on track 1 and I want to put delay on track 3, the reverb is null on track 1 and I would have instead the delay.
@Defma Blues there are 3 effect processes (dynamic, guitar and send). Each process contains a range of effect types. Some effect types are available in more than one process. The processes are 'hard-wired' in different signal paths so the limitations depend on which processes you are using. The videos try and explain all this, but you need to watch the whole series in order for it to make sense. There's a short FX summary here which may help www.philizound.co.uk/freebies/dp24-32/dp24-32.html#fx
Hi phil , from phil . A beginers question....do you need to use the built in effects ,if you want to run a guitar through an effects peddal board and into the dp 32sd.thanks.
@tesoro tesoro effects are a personal thing so it depends what effects you want to create 'your sound' :) If the effects within the effects pedal meet your requirements, there's no need to add more with the dp32 just because it has them - there's no harm (or disgrace!) in just using your dp32 as a simple recorder. Obviously, if the dp32 has an effect which is not present on the pedal, you would have to use the dp32. It may also be instructive to compare similar effects between the pedal and the dp32 to see which sounds best. Good luck.
Excellent .i hav a line 6 helix floor effects machine . .only got my dp 32sd yesterday ,now running through your vids to suss it all out ..many thanks for your time phil,from phil.
I have the DP24 and can't for the life of me hear any effects on an imported track. Just using a .wav stereo song that I imported. I'm ready to give up!
+Bob Snelgrove Don't give up Bob - just a bit of patience needed :) The send and return levels need to be set quite high so assuming you've routed things correctly, maybe this is why you can't hear anything. Turn both the send level and master send up full to start with, then gradually turn up the effect return level till you hear it. You can always back the levels off once you have a feel for it. If you're not sure of the routing settings, the Step-By-Step guide may get you off the ground more quickly... full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Phil, thanks for these great videos. I also purchased your manual which is well laid out. Question…Am I correct in thinking of the Return on the Reverb Send similar to using a separate FX track on an analog mixer for reverb and then the individual track sends similar to a send on an analog mixer to the reverb FX track? In that situation you would normally have the track with the reverb at 100% (127 on the Tascam) and then adjust the sends on each track as desired? I’m trying to sort the best way to set the reverb levels and picturing how it is done on an analog mixer. Thanks!
@jammin4good yes the send/return system is exactly the same - the examples shown in the videos were all mixers without built-in FX, but the principle is the same. The only difference with the DP machines is that they don't have dedicated inputs for the 'returns' from *external* effects so you have to use the standard inputs. Conventional mixer returns are usually 'cut-down' inputs with fewer options (like EQ or routing) so sometimes you end up using standard inputs anyway. Balancing all the level controls for the *internal* send effect can be tricky as there are 3 to choose... the individual track/input send levels, the master send level and the effect return level. The send controls are attenuators as opposed to amplifiers, so if they are up full (127) you have unity gain. I'm not sure if this also applies to the return control but it should be easy to check. The effect return only goes to the stereo or bounce bus, so you would typically be mixing signals together in mixdown or bounce mode. In both cases, the effect return level governs how much of the effect output will be added to the mix. I'm not sure if turning this up full is a good or bad thing. You wouldn't do it with an analogue FX as it may introduce noise, but this is digital so I don't know - you may have to use your ears. The individual send levels control the amount of signal going from each track/input *into* the FX, subject to the master send level. You would use the latter to control the overall send signal level without disturbing the relative levels from the individual tracks/inputs. The effect return level also acts as a sort of master control, so you could have the send high and return low, or vice versa. There *may* be an issue with high send levels overloading the effect section and causing distorting, but I've not confirmed this. It might be useful to do some experiments to see how the FX sounds with different combinations of send and return levels. It's probably also a good idea to sketch out the signal path showing all the controls and then assessing the best way to set them for your requirements. Thanks for your support.
@@philtipping Thanks for your reply. I’ve typically been setting the master send all the way up and then adjusting each track’s send to desired level. This seems to work well. It’s been more of a mystery in figuring the best level for the effect return. My comparison of the return being similar to a dedicated reverb track on an analog mixer then must not be correct. In that scenario I’ve always had the dedicated reverb track set at 100% and then adjusted the instrument track’s sends to the reverb track as desired. The fact that there are 3 parameters is what I’m still trying to wrap my head around… to find the best combination of settings.
@@jammer777 I know what you mean :) I normally set the master send slightly below 127 to give me some leeway. It's then easier to adjust the whole effect up or down without having to fiddle with loads of individual send levels, but now you mention it, you could probably achieve the same result using the return level so I'm not sure what to advise. I mainly use the DP machine for tracking so have not spent a lot of time investigating all the DP's effect settings. When I'm next on it, I'll try the return at max and see how it sounds. Meanwhile, you could try asking on the Tascam forum... always best to get other opinions, and then draw your own conclusions :)
Excellent videos, Phil! Question: Is there a way to create more than one monitoring mix during tracking? Like one for the drummer and one for the bassist and guitarist?
+wolffmannnn thanks for the feedback. Yes you can have 2 independent sub-mixes using Send-1 and Send-2. You'll need headphone amps (or a PA) for each one as the Send outputs are line-level.
Thanks! I wondered. I'm not near my unit, but want to experiment with it when I get home. Our drummer wanted the drums much louder than the string sectioned needed or could tolerate...:) I have one of those Berringer units you show in another video, but I thought about getting the Presonus with talkback. I thought talkback was for prima-donnas, but it's actually really needed!
Are the external effects sends both mono (ts jacks not trs) ? So how hard is it to have several tracks with various pannings being sent to an external stereo reverb and then return that so I can record it ?
@jcisme Yes the outputs are both mono (unbalanced) using TS jacks (the spec section in the manual lists all the socket types), but they are taken from the signal path before the pan control, so any panning will be ignored. Even if you send a stereo track, the left & right signals are mixed to mono when they are routed to either of the sends, so am not sure if there is an easy way to apply both panning and reverb to individual tracks all in one pass. A long-winded way is to bounce each mono track to a stereo track, panned as required, and using one of the sends to route the mono track through the reverb unit (assuming it can handle mono-in, stereo-out), and back into the target track. You can then mix these stereo tracks together during mixdown. Not sure if all these reverbs would sound too cluttered. If may be better to use mono reverb on each track, and apply a stereo reverb later during the mix. Maybe someone else can chime in with some better ideas... or you try asking on the Tascam forum.
@@philtipping Thanks Phil.. The way I would envisage using this unit is basically having the 1st 8 tracks as a work area that I would then create up to a dozen stereo submixes on the remaining tracks. Lets use the example of 8 mono drums tracks on track 1-8. I have a tom panned at 9 oclock. If I set the send level of send 1 (left) to 75 and send 2 (right) to 25 do you think this would give me an aproximation going into a stereo external effects unit that I would then return in stereo ?
So my 2nd input has a ton of feedback. It redlines almost immediately after plugging it in but the feedback is not auditory through my stereo out put or headphone outputs. Is this a simple fix? What should I do? Looking to repair as cheaply and quickly as possible of course, so sending my unit off to Tascam is out of the picture. I have the DP32SD.
+Andrew Sandberg does the trim knob affect it? When you say 'redlines' what do you see on the meters? You could try a factory initialise (Menu, Preference) to make sure the machine has not got itself into a weird state, but if this doesn't fix it, and the other inputs are definitely ok with exactly the same signal connection, then sounds like a real hardware fault. I guess it's out of warranty if you're worried about Tascam charging you for repairs, but you're going to have to pay someone unless you can fix electronics yourself.
@@philtipping meter peaks out. When trim is set to the middle it has feedback that reads about 40% up the meter. I'm not sure how to fix this. I will reset though.
Ok, but you still haven't said if the trim knob affects the level when you turn it. Also not sure why you keep calling it 'feedback' when the symptoms are just a high signal reading. Feedback implies a 'loop' in the signal path where an output is getting back into the input, so unless you know this is the case, it's too early to conclude it's feedback. A broken earth connection could cause an abnormally high level as the pre-amp would be amplifying an unscreened signal. If the trim knob reduces this when you turn it down, then maybe the pre-amp is working ok and the fault is the jack socket itself or a soldered joint on the PCB, either of which should be easy to fix... although I've never had the lid off mine so don't know how easy/hard it is to access. If it is something in the front end though, a reset is unlikely to fix it, but it's worth doing anyway just to eliminate any doubt. You could also try testing the other type of socket on the same combo input (i.e. 3-pin XLR if it's the 1/4" jack which seems faulty, or vice versa). The XLR's are more sensitive than the 1/4" jacks, but it might help pinpoint the cause. Keep us posted.
Thanks for support Isaac. Don't have anything worth uploading as its main use is for location recording - all processing & mixing is done back at base on gear which is too heavy/inconvenient to lug around nowadays. Have a look on the Tascam forum - think there are quite a few people who use it for everything.
Dear Phil. After recording I wanded to erase the song. and my tascam means " cannot erase current. it should be possible to erase songs.....i was reading the instructions without finding a solution.
Hi, it's correct, you can't erase the song currently loaded. Just load another song (any song) and then try again. If you've only got one song, then you'll have to create another. There always must be at least one song on the sd-card.
Incredible job with these tutorials, quick question are the fx sends stereo or mono? I don't understand why so many sends on mixers are mono with stereo returns. Doesn't this ruin a stereo mix?
@Zach Prochnik thanks Zach. Both effect sends are mono - the sends from the stereo channels are summed to mono first. Having mono sends makes sense (to me anyway!) if you think about a real instrument or singer. The source is effectively a point source, i.e. a mono signal, but the reflections will be from walls etc. surrounding the source, so will be spread out and more realistic if captured in stereo. An artificial reverb unit would mimic this by taking a mono input and creating a stereo output with the effect spread across the stereo field. Another reason may be how reverb units handle stereo inputs - I don't know how they work, but maybe it would sound more cluttered than adding the effect to the mono components of a mix? Other reasons for just having mono sends may be logistics & cost, but as long as they are in pairs (as in this machine), you can have the best of both worlds - you can use them singly if that's all you want, but if you really need a stereo send, just use send-1 for the left and send-2 for the right.
@@philtipping ok great thanks. I watched your other video where you addressed this after asking. You mentioned how you could make an insert effect by sending the whole signal pre fader and bring it back into the unit but if done in stereo only one side will be monitored. If I were to use an ouboard stereo eq or compressor to mix, would mixing while listening to only half the signal be an issue? I imagine it would. Any suggestions? Thanks again 😊
@@Zpro20 you're right if you are only monitoring the send-1 or send-2 signal, but you would probably just do this to check the signal was present and adjust the send levels - you'll see them on the L/R meter bars. Once the send signals are setup, you'd normally then monitor the stereo bus to hear the returns from the external units in context along with all the other input & track signals, so these would all be panned as reqd. and the monitoring would be in stereo - you can also use the mute & solo buttons to isolate specific signals for examination. The Step-By-Step guide may help to clarify this as it explains topics in a different way to the videos, including how to wire up an external effect unit in either mono or stereo. A full contents list and details of how to order the guide are here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@Morten yes, there's a separate send-1 and send-2 for every input and every track. Make sure you select the required item first *before* turning the send level knobs, i.e. for tracks, press their Select buttons, for inputs, press their Source buttons. You can confirm the selected item if you have the Mixer screen open as the name appears at the top right of the screen... but you do *not* need to have the mixer screen open in order to use the send knobs (or any of the others in fact), just be sure to select the reqd item first - its button will light up to show it's the current selected item.
@@philtipping Thank you for answering all our questions and taking your time :) Could you say if each send is mono or stereo? I assume it's mono. But then the send on a stereo track is summed to mono also?
@@morten1 yes, both sends are mono. If you need a stereo send, you can use both, e.g. send-1 for left and send-2 for right. If you find all these answers useful, there's a donation link on my website if you feel so inclined - no obligation but would be much appreciated.... or maybe just buy the guide and/or DVD :) www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping Thank you. So far I have just watched a few bits of your DP24/32 videos. If/when I buy the machine I certainly will watch them, and donate you a pint ;)
@Tyler Lafferty use any of the 8 inputs as FX Returns. Connect either or both the effect-send output sockets to your external effect boxes, then connect their outputs back to inputs on the dp machine.
@@bettermetalsnake95 all outputs are line level, although the Sends are slightly lower than the monitor outputs. The specs at the back of the manual give the exact details. The problem with FX pedals is that they normally fit between an instrument, such as a guitar, and its amp, so pedal inputs & outputs would be high-impedance and operate at low instrument levels. So if you connect a pedal's output to the DP machine's normal 1/4" jack input, you may find the sound too low or lacking in treble, in which case the 'guitar' setting on input H may work better. Conversely if you drive a pedal with the outputs from the dp machine, you may get overload distortion. Some pedals are more tolerant than others so the best bet is to try it. If all else fails, try a DI box.
@Bobcatt22 There's no 'automation' on these 24/32SD models. When you adjust controls such as levels or FX etc. the changes affect the audio directly. It's not like a DAW where control changes are stored separate to the audio. So to fade a track/song after it's been recorded, you would adjust the levels during the mixdown or bounce processes. It's easier if you play the end of the song first and make a note of the time or bar display where you want to start & end the fade, then use these to prompt you to move the fader(s) when you do the actual mix/bounce. It's a bit of a knack and needs patience (you can always Undo and retry if it's not right), but this is how it was done before automation came along :) I believe the older DP24/32 models could be controlled by MIDI so you *may* be able to 'automate' changes from an external MIDI source, but I've never used one so may be wrong.
Ok couple questions: If I’m using the send effects for mixdown/mastering, the sends should be set to pre, or post? It sounds like pre to me, so changing fader position during mixdown doesn’t affect the level of send signal. Second, if an external effect is connected to FX send 1, does it automatically disengage the internal send FX, or do they need to be turned off manually? Thanks.
@gravl123 it depends what type of sound you want. If you use PRE and lower the track fader, the main dry signal will reduce but the wet signal will stay the same. This can sound unrealistic with some types of effect, such as reverb, where in real life the levels remain in step with each other, so you would normally use POST for this. The setting may not matter if you're not planning on adjusting the fader during the mix... and there's nothing to stop you using PRE if you want that sort of ethereal effect. Using the send-1 sockets does not automatically disconnect the internal link. It's up to you to either turn off the internal send effect or reduce its input level or return level. I don't know for sure which one of these is better - I would probably turn off the effect to reduce the load on the processor, but I have no evidence for this. Thanks for stopping by.
Hopefully you are still accessible. How do you turn all reverb, chorus off and keep the delay on?? It seems like if I turn on or off one of the effects, they all go on and off. Anyone please help! Thanks!!
@David Ireland Creekside Rock Band The on/off button controls the whole send effect unit. The unit can only be in one of the 3 states (reverb, chorus or delay) at any one time, so just use the Select button to cycle to the Delay. The on/off button now turns the delay on and off. This summary may help www.tascamforums.com/threads/dp24-32-fx-definitive-summary-of-effects.4162/
@@philtipping so even though i want only delay and chorus and reverb is on also, if I have delay visible the other tracks are basically off even though they show on? I cant turn the reverb and chorus off and only have delay on? I tried, if I turn reverb and chorus off, delay also goes off.
Yes, whatever effect type is showing on the screen is the 'active' effect. Think of the send effect as a 'box' with a switch which converts it into *either* a reverb *or* a chorus *or* a delay. The switch can only be in one position at any one time, and the effect screen effectively shows this position. This means you cannot configure the send effect to be more than one effect type at any one time. The on/off button on the effect screen turns the 'box' on and off. You can send any combination of inputs and/or tracks into the send effect, so for example if the effect type is set to reverb, you can apply reverb in different amounts to any combination of inputs and tracks. The step-by-step guide may help www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping engage means turn on delay on a specific track. The send I always have on, to 127. When I press the green track button say on track 2 and the delay is up I sing with the effect. If I I listen back and then simply turn off the delay. The track has no delay unless I turn it back on. How do I permanently save the delay on that track. So if I turn the delay off after recording on track 2, the delay effect is still attached to the vocal on track 2? Thank you so much for your help!!!
@@creeksiderockmusic Yes, this is due to the way the send effect is 'wired' inside the machine. When you add it during a recording or playback in multitrack mode, you hear it because it is applied to the track *outputs*. It is not recorded so as soon as you turn the effect off, it won't be there. To get the effect recorded, you can either bounce or mixdown. There are quite a lot of things to explain here, so all I can do is refer you to the step-by-step guide which shows how to do both of these www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@Atomcatz69 cc this video shows the principles. If you need exact instructions as well as info on setting levels, different types of plugs, etc. everything is explained in the Step-by-Step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html There are specific sections called "How to connect inputs and outputs", "How to send signals to an External Send Effect", "Scenario: Recording external effect in multitrack mode", "Scenario: Recording internal send effect in bounce mode", "Recording levels and overloads", etc.
+living here not measured it so don't know the answer... but see my reply to your other comment on video 4. The step-by-step guide shows how to connect external gear to the sends as mono or stereo.
Help me out folks. I followed all the instructions but I can’t figure out how to get my send master to light up on the screen and be accessible can somebody please help me with what exactly do I push or a poke to make send master all light up right now only pan and send light up.
@Rick Potyok Hi Rick, using the send system can be a bit tricky as there are lots of things to consider. If the videos aren't enough, the step-by-step guide has full step-by-step instructions for this plus lots of other tasks. Full details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html There's a contents list and a few random pages so you can see what it covers.
@Rick Potyok Just re-read your question and the master box is not meant to light up in the mixer screen. You adjust the master send levels using the knobs on the front panel. They are masters so it doesn't matter which input or track is selected (as it does with the individual send levels).
Thank you for responding. So I get that they don’t need to be lit up for the general mix but when trying to assign an affect unit like reverb if it’s not lit up I get no signal from the reverb. Is this an anomaly or am I missing something.
@Flooty McDooty Manooty yes I can't think of another way as the machine only has 8 inputs. May be worth considering a patchbay or switch unit for switching the common inputs between the two functions.
@@flootymcdootymanooty9145 not off hand, but try looking for a basic passive switch box like a splitter/selector used for audio/video routing. The ones I've seen only had RCA/Phono sockets so you'd need adapters for the 1/4" input sockets on the dp machine and possibly your effect outputs... but there may well be 1/4" models out there.
A massive thank you Phil for all your videos. I've used the DP24 for a couple of months now and are busy revisiting your videos to brush up on send effects. The send effects make a improvement to the overall sound of compositions. Like my recent song "Be the light" ua-cam.com/video/yFYi63mvtnY/v-deo.html Keep up the great work Phil!
+Jon Binnie many thanks for the kind words. Some great tracks on your channel ua-cam.com/users/jonbinnie - very impressive. Nice video techniques as well :) I wish you every success for 2018.
Thanks for sharing Phil, greatly appreciated :-) You must have put a huge amount of effort into the Tascam videos, without which we wouldn't be able to realise a fraction of it's potential. I've watched all your Tascam videos, and will keep re-watching until I learn them all off by heart :-) Have a great new year when it comes and keep up the great work for musicians across the planet!
@New Music Review yes they could certainly have made the user interface less confusing; it looks like different people designed the different effect sections. But on the good side, apart from the quirk re. switching dynamic effects on/off from within the mixer screen, it does actually work - just stick with it :)
Good grief! All I want to do is record my track with the reverb effect. Respectfully, is there a simpler, less long-winded explanation? I don’t care about schematics and diagrams.
@Broyale26 well it may be hard to accept, but you've bought a complete recording studio in a box. The snag is that it doesn't come with a recording engineer. So you have to accept there's some learning to do if you want to do it yourself, or you pay a recording engineer to do it for you like musicians used to do. Recording a track with reverb *can* be simple if you buy an effects box such as a guitar pedal and a basic recorder (or use your computer to record). The problem is that although this sounds simple, if you want to use a studio multi-track solution (which is what this box is), you have to learn all about send & return effects and signal routing etc. It may seem hard at first, but once you get the hang of it, you'll realise you can do a ton of other things with it, and develop your songs far beyond what you could do with the simple solution above. I have a step-by-step guide which just shows which buttons to press for various scenarios - full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html so this might help to get you off the ground quickly without getting too bogged down with the details, and you can come back to the videos as and when you become more proficient with the machine.
@@philtipping Anyways, I found the help I was searching for without all the fluff. If I wanted to be a recording engineer, I wouldn't have spent all my time learning to be a musician. All I needed to do was put an effect onto a track while it is recording and then hear it played back with that same effect printed to the track. If I wanted to "do a ton of other things..." I would've invested in a DAW or something. There is nothing wrong with a simple "do this to do this" explanation to get going.
Wasting to much video time explaining routing diagrams instead of just teaching how to apply an fx to a track either during recording or after recording. For God's sake just get to the point man!.
@Ismael Rodriguez The Step-by-Step guide (video 12) answers specific questions like this without going into details, but if you watched the tutorials from the beginning, you'll know that I'm explaining the routing so that viewers can fend for themselves when (and there *will* be a when) they come across a situation which isn't covered. If I just showed which buttons to press to add a specific effect to track 7 during recording, say, then yes you would get instant gratification, but you'd be stuck when you decide later you want that effect recorded, or if you want that effect added to a headphone feed for one specific band member, or you want to add an input *dynamic* effect to a pre-recorded track, etc. etc. As the old saying goes "give a man a fish and he'll eat for a day, but teach him *how* to fish....". Hope you stick with it - read the other comments to see what others think. Thanks for stopping by :)
@@philtipping Thanks for your cordial reply, I will look into Tutorial 12!. I understand you going very deep into the internal routings and all, is just that I just wanted to apply some fx to a already recorded track but did not know how to do it. Does Master 2 stands for the output of an external fx unit routed thru and applied by send 2?.
@@ipaporod no problem Ismael, I sometimes get frustrated with long-winded explanations :) Both send-1 and send-2 can be used for an external effect unit. The difference is that send-1 *also* goes to the internal effect, but you can choose to turn this on/off as reqd. Both sends have an individual level for each track (or input), but the final mix of all the sends goes through a master send level control. Master-send-1 is the overall send level for all the send-1's, and master-send-2 is the overall send level for all the send-2's. If you want to apply an *internal* send effect such as reverb to a pre-recorded track, you have to use send-1, but you can do it without any external connections either when bouncing (which will create a separate track with the affected signal) or when doing a mixdown. If you want to apply an *external* effect, you can use send-1 or send-2, but you'll need a connection from the send(s) *to* the effect unit, and also a connection *from* the effect unit back to the input(s). You can then record it just like any other signal. Full details are in the step-by-step guide - just steps, no waffle ;) and if you still have questions after buying the guide, feel free to contact me on my email address. Either way, good luck :) Details of the guide are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping :Thanks a lot, I have used external fx units before in Cubase Daw thru a summit audio 2BA pre. Send and return routing (2 in/out mono + 1 stereo cable ) , I guess it could be done the same way in the Tascam dp24 sd using the send (stereo) on the back of the unit + 2 line inputs in the front as the mono signals. I will check your link to see if its done in a similar manner. Thanks again and I will check your products online as well.
Wow! I learned more in this 20 minute video than I have using the machine and the manual for a year. And showing the schematic, perfect. I know there are folks who don't need or like those, but they make sense to me more than just talking. Thank you, thank you, thank you!
@tyhendrix7921 Thank you Ty, much appreciated. Please spread the word :)
At first I was too annoyed with the fuzzy video, but after perusing a lot of "instructive videos" on the DP32SD, thank goodness you shared this body of work, truly excellent. I deeply appreciate the clarity of your explanations. Had I listened and followed your tutorial from the beginning I would have saved myself a great deal of stress, so much so, I had already posted the machine for sale.
Fortunately, beginning at the start with you by tutorial 5 you resolved a couple of game changers that reversed my intention to sell this machine. I still have my 2488 neo. Now, I am definitely sticking with developing my understanding of this machine. Thank you very much.
@collinstanton Thanks Collin. Yes, I'm afraid I'm not set up for high quality video/audio presentations so had to scrounge together what I had: an old SD camcorder (which can't handle black objects very well... and you know what colour the Tascam is!), my wife's compact camera, a separate mic feeding an audio recorder as the audio quality from the camera mics wasn't too good, an audio feed from the Tascam, and an assortment of tripods and mic stands to hold everything... which of course then got in the way of me operating the gear and trying to read a script. Had to keep it SD as my computer is also very old - Windows XP, so would have struggled editing HD video with all the data streams and overlaid captions.
Anyway, glad they were useful in the end :)
Good luck with your recordings... some great songs on your channel - very thought-provoking :)
@@philtipping Thank you so much, again for the truly brilliant tutorial. Getting rid of that error message regarding guitar effects and clearing the way for using other effects was an epiphany, but then so was having it explained that deeply troubling signal registering on the meter with the "trim" turned all the way down. I was deeply stressed I had somehow damaged the unit. These two factors alone were game changers, and though I am only up to tutorial #6, I honestly don't notice any visual imperfections, none whatsoever, your patient sharing of the functionality of this machine are now being miraculously viewed and heard with overwhelming clarity. 🌹
🕯🎸Thank you so much for these brilliant instructions, and also for taking the time to peruse my YT Channel. You really are a marvelous teacher, and I thank both you and your wife for making a truly stellar body of work together.😎I am very grateful.
Thank you Collin, much appreciated :)
So many concepts, that have been elusive in my world for so long, you have successfully made clear and understandable. Thank you so much for taking the time to share your knowledge. You have provided many "aha" moments for me!!
@Tim Catching thank you Tim; glad they helped. Good luck and thanks for stopping by.
Update: thank you so much for your generous donation - it's much appreciated. Have messaged you via Paypal.
Phil Tipping I think tascam should be sponsoring you, you have probably single-handedly helped so many people with this mixer and probably sold even more for them. I bought mine from a friend and was dreading the instruction manual but your videos are so professional but also (fairly) easy to understand 😄. I'll give you a nod in my first album 😉
SUBSCRIBED.... OF COURSE
@jonnyhead I've not heard a peep from Tascam :( but thanks again for your support. I guess you're still working your way through the videos - you commented on number 3 four months ago, and number 4 three months ago. Hope it's all making sense, although if you want a quicker way in, I'll mention/plug my step-by-step guide again :) Full details are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html along with a link to the full index so you can see if the topics it covers would be useful to you.
Look forward to the 'nod' on the album, and hope you're pleased with it when it comes to fruition. Would be a great start to 2020 :)
Phil, your videos are remarkably clear and thorough. I keep coming back to them anytime I find myself forgetting some rarely-used detail on this studio.
It's been phenomenally helpful, and if you ever setup a Patreon or somesuch, count me in.
@jakykong thanks for the kind words. Good luck with your recordings.
I just bought a DP24SD and I've been staring fairly blankly at the manual trying to get my head around the mixer and how effects work with it. Your timing with posting these videos is uncanny. I look forward to seeing you route some of the inputs through the tracks and to see how effects work then. I have many questions but given how thorough you're being, I will probably get the answers from your forthcoming videos. Thank you so much!
Cheers +Neil Barrett. Yes it's taking longer than I first thought, but I'll keep chipping away :) Part 6 (track section) is in progress so thanks for your patience.
I bought mine aug 2017. Used as a mixer and step by step i tried an option. And then these vids got my attention and its perfect!
English is not my native language so its so hard to find every option of this machine.
Everybody needs a Phil Tipping! 😎🎶
+Rick Lelienhof thank you Rick, glad they are useful. Not sure if my step-by-step guide will also help as it's written in English, but if you're interested, send me an email - the details are in tutorial video no. 12
Finally I've understood how to use the Send Eff in my Tascam DP24SD. Great videos, well explained. Thank you.
That's great news Marco. Thanks for the feedback - makes all the effort worthwhile :)
Just got my DP24SD Last Night and Like Neil Barrett, I was staring off into Oblivion the pages of the manual. I am glad your tutorials are here.. cause I was scatter brain blown. This is nothing operational wise like the 2488MK2. I am now back to square one. After I watch all these tutorials and dive in..if anything comes up you didn't cover in the videos I discover, I will hit you up again in the comments section..
@thomas matthews thanks for the feedback Thomas, glad the videos are helping. They're also available on a single DVD if you prefer the convenience of watching offline. The Step-by-Step guide may also help. Full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html Season's greetings to you :)
Thanks, Phil. Your videos, especially this one, helps demystify what I believe to be this machine's most poorly designed system. As much as I hate looking at schematics, your use of them really does help with understanding how this machine thinks.
@Jo Baecker thanks Jo, glad it helped. Good luck with your recordings.
Thank you so much Sir,for all this priceless contribution. You could have been a successful historical documentaries narrator,as well.Your voice is so atmospheric,imposing,affirmative,and well paced...thank you! Definitely subscribed!
+SPIROS CRUST many thanks for your feedback and kind words - makes all the effort worthwhile :) All the best to you.
You, my friend, are the bomb.com. I started with a four track years ago, graduated to 8, 16, 24 and now 32, all Tascam except the 16. Your tutorials are better than the manual. I appreciate you!! I subscribed and can't wait to hear more.
@Mark H thanks for the kind words Mark - glad the videos helped. The step-by-step guide may also be useful, although it's not free - sorry :) Details and a full contents list are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html along with an option to buy the first 20 videos on a single DVD for convenience. All the best.
Thank you so much! I have been struggling with pre and post fader concepts since I got my DP-32 over 2 years ago.
This explains a lot, and I appreciated the brief comparison of mixers and external input requirements!
Thanks for the feedback +rock scott productions
than you! I have been wondering...what kind of external mixing unit works well with the SD32?
I have been researching a Behringer 8 channel mixer, but don't know if it is necessary.
Well the machine is a mixer in its own right, so the only use for an external mixer would be at the input stage if you want to record/mix more than 8 signals simultaneously. There's nothing a mixer can offer at the output stage as there are no individual outputs from the dp32 tracks. You *can* transfer individual track recordings to a computer for mixing there, but this can't be done live - you can only transfer the files after recording.
Great, really love your style of explanation along with the block diagram. It has helped me so much.
Many thanks Gus.
+angus Ridley thanks for the feedback Gus, glad they hit the mark.
"...well, the Send 1 signal *also* goes to a single internal send effect, and you can adjust some of its settings from the Effects screen." That. Right. There. just concluded 5 hours of frustration. You, Sir, are a digital Portastudio god. I worship at your feet.
@TheBircat well I'm blushing now :) but thank you for stopping by and leaving feedback; it's much appreciated. Good luck with your recordings.
Awesome tutorials...you really have helped me understand the this board a whole lot better. Thank you very much for putting in the time. I also subscribed.
Thanks +Isael Garcia, glad they're helping. Next one is in final editing stage.
Phil, these tutorials are fantastic. Thank-you for making them.
+Pete Greenfield thanks for the feedback Pete.
You're awesome for doing this. Can I make a suggestion though? The schematics is just too complicated for most of us. It would be easier if you just said, "if you want your reverb attach to effect 1, press ........". I feel like I'm just about to get it and then it goes to the drawings and I completely get lost again. You're smarter than most of idiots lol. We just want to know "how to do something", not "why it works"
@Chad Heroman thanks for the feedback Chad. You're right it would be easier in some cases, and this is exactly what the Step-by-Step guide does :) Full details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
The point of the videos was to explain *why* you need to press certain buttons so that you then have the knowledge to route your own signals however you want, or to recover from problems if you pressed something you shouldn't. The machine is so flexible it's impossible to list all the possibilities that you may want to do. The link above has a link to a small PDF extract from the guide which shows the index and a few random pages so you can see if it covers the sort of topics you're interested in.
It should help you get off the ground quickly without getting bogged down with the details, and then you can always come back to the videos when/if you want to fully exploit the machine.
Hope that helps, and thanks for stopping by :)
@@philtipping I loved the schematic Phil. Made it sink in much quicker for me.
@James Lodge thank you James; glad they work for you. It's a tricky call as I know people tend to 'glaze over' as soon as you mention block diagrams :) but as I tried to explain in the first video ua-cam.com/video/ev_w-qP7IWk/v-deo.html the diagram allows your brain to really picture what's going on, even if you don't understand every section. Some users have ignored all this and have built up their own self-taught concept of how the machine works, which although it's got them off the ground, is the completely wrong concept, so it's now very difficult to answer their questions on more advanced topics as they have to undo their thinking first.
Good luck with your recordings, and season's greetings to you :)
Loving these Phil! Had my dp24 (not sd) for a few years, just getting into it now! Great videos! Thanks.
@Alfie McQuade thanks Alfie. Good to hear you're revisiting the machine. Good luck with your recordings.
Really good info on this video. I had to watch it three times to get all of it. Thank you so much.
+Pep's Channel thanks for the kind words. Good luck with your recording projects.
Thanks for the tutorial Tascam videos, they help me so much. Saluti dall'Italia
Thanks for your support +Simone Piva Guitar
great tutorial! you explains all in detail - that is the way to let no question open and/or interpretation. thank you very much!!
@Frank Liebe thanks for stopping by Frank.
Thanks. You solved a puzzle for me because of the difference between "send 1" and "send 2". Only send 1 edits effects. With the description of Tascam I could not recognize it.
I received my new/first Tascam until last Saturday. It is important to me to know everything the device can do. My motto as an artist is, I still have to be able to operate all my devices with 2;5 per mille, ha ha .....
cheers.
@oktofred glad it helped. Yes, being comfortable with the gear is crucial otherwise it's just a distraction from your creativity :) :) Good luck with your recordings - you deserve more views with your interesting channel. Keep at it.
@@philtipping Thank you so much. I use the Yahama QY 100 und mixed and masters my songs with BOSS BR und BOSS BR-80. I think with Tascam I can it make a little better. Greetings, Fred.
@@fredoe I've heard the Boss machines have more FX options than the Tascam, but would be interested in your results. The QY-100 is a nice little machine - its only issue was no backlight but I'm still hanging on to mine :) ua-cam.com/video/kRz9aGGzqJw/v-deo.html
Thanks Phil. I just ordered the DP24 and wanted to see how to record on it before I got it. I never thought of starting with the diagram first. Wow, there's so much to this unit besides record and play. I might be using this unit as my mixer too. (subscribed)
I have been watching since tutorial 1, and I'll watch the rest.
+Gary Parkin, thanks for the support Gary. Yes I think a few people miss out on its full potential so it's worth exploring. Have fun with yours when it arrives - make sure to check the firmware version and update if necessary.
I had no idea how complex this was. This will be really fun to learn to play with. Got it yesterday but Wifey says I have to put it under the Christmas tree. I can watch all of your videos in the meantime so I can hit the ground running. :)
I'm jealous... I'm only getting socks! :) Have a great Christmas.
Hi Mr. Tipping,
I don't quite understand the 'pre' and 'post' part of the SEND effects.
Would you mind explaining them in a different way, please?
Thank you!
+Elise Boulanger the easiest way is to try both settings and listen to the difference! Try using the internal send effect as a test, e.g. assuming you have a track pre-recorded, play it back through the monitor/headphones. Turn the track fader up for that one track (turn all the others down), and set the stereo fader and monitor knobs so you get a good level coming out. Now route that track to the send effect.... make sure the following things are set: the track's SendEFF-1 is set to PRE, the track's SendEFF-1 level is turned up, the master-1's Send level is turned up, the Send effect (use a reverb) is ON, the Send effect's RETURN level is turned up. You should now hear the reverb effect in the headphones.
Now try turning the track fader down to silence. You will still hear the reverb effect because its input signal is being fed from 'before'(PRE) the track fader, i.e. you are listening to just the 'wet' signal. Gradually turn up the track fader - you're now mixing in the unaffected signal (the dry signal). Listen to how if affects the overall sound. Imagine you were mixing several tracks for a mixdown or a live mix, and were fading that track out at the end of the mix, or out & in at other times during the mix... the reverb sound (the wet signal) would always be present; the mix would never go silent. This may be the result you want, but it's not a very natural sounding reverb.
Now turn the track fader up full, and try moving the stereo fader down and up. You'll hear the reverb fade away as the track signal fades away because you are now adjusting both the wet and dry signals, and this will sound more natural (for a reverb).
It's not very practical using the stereo fader like this as this affects *all* tracks, so a better way of doing this is to change the individual track's Send routing to POST. Leave all other settings as they are, and now try moving the track's fader up & down. You should get a similar result, i.e. the amount of reverb will change in step with the track level, so moving the track fader down to zero will also reduce the reverb to zero.
So the bottom line is you would normally use POST when sending signals to FX so that the FX amount keeps in step with the track fader. If you were using the Send signals for sending to a performer's monitor/headphones, you would normally use PRE so that their signal level is *unaffected* by the track fader. In other words, you (as the mix engineer) can adjust the track faders as you like to balance the mix, but the performer's signal level will not change. The level in their headphones will only be affected by the track's send level and the master send level.
Sorry about the long post, but hope that helps.
Very helpful...I'm sure I will come back to these videos time and again...
On a lighter note your narration voice reminds me of bagpuss...lol...this is a good thing ...very calming and pleasant to listen to.
+zazz63 haha well I've been called many things before but that's a first :) Glad the videos are useful. Thanks for dropping by and leaving feedback.
Bagpuss 😻
great videos, I own the 2488 Neo so I was pretty well understanding of this machine, calling Tascam teac support never hurts but these videos are great keep them up bro! Thanks from all the digital Studio users out there.
correction I owned a 2488neo and now have the machine that you're doing the videos on.
+J Bird Thanks for stopping by and leaving feedback. I was about to say hang on to that neo, but sounds like it's too late! It's a pity there's no sign of MIDI re-appearing in the range... even the new Model 24 has gone off in a different direction.
I wish more people would take the time that you have to explain the use of some of the products that they wish to sell. You have explaining this product leaving nothing lest to questioned. That's what makes this tutorial GREAT!!!
Thank you so very much. Do you do any other products, such as the Akia MPC Studio drum machine looper?
@Phil Spigner thanks for the support Phil. I haven't done any other tutorials apart from my own Sequetron product.
Excellent tutorial easy to understand and follow. The diagrams are nice, to be honest a little boring, BUT certainly helps understand what is happening "behind" the button push. Have you done a video on editing separate channels or the entire song in regards to cutting, pasting, removing or what have you? Thanks again for being so gracious as putting these together....I know it's a LOT of work and time.
Many thanks for the positive feedback +Mike Sager. Apologies for delay in replying but UA-cam messages don't seem to flag up in my email so I only see them if I look! I've not done any more videos, sorry - you're right, they do take up a lot of time... and these took a lot longer than I anticipated so am now catching up on all the other pending projects first :) There's a paypal donation address in the description if you want to buy me a 'virtual pint' but there's no obligation :) I've described some of the Track Edit functions in various replies to comments but you may have to trawl through them on each video to find them. Seems to be a common request so maybe I'll get round to doing a video eventually. Meanwhile, the only 'gotcha' with these functions is how to specify the 'TO' time, which is required for some of the functions like copy/paste and move/paste. It isn't intuitive, but it's just the current time position as shown at the top of the home screen... so basically you set the IN and OUT points first (to define the start & end of the section you want to copy or move), then set the TO time (which defines the destination start time), then you can invoke the particular track edit function. They all take place instantly (I guess it just manipulates pointers to the data as opposed to physically moving data around), and they can be undone instantly by just pressing Undo, so it's very easy to experiment. All the best, Phil
Hey Phil,
Thanks again for the how-to guide; I still haven't started to mess around on this unit, yet, but I will soon. I had a question about using the internal send effect in the meantime.
As you probably know, it's quite common to add a hi-pass filter (and sometimes a low-pass) to a reverb return so that the low end doesn't get cluttered up. I was trying to see if there was a way to do that with the internal reverb effect. It would be very easy to do with an external effect, obviously (you could either go through an external EQ after the external reverb unit or simply use the EQ on the DP-24's input channel), but it seems a bit tricky to make it happen with the internal reverb effect.
Since there doesn't seem to be a direct way to do it in real time (correct me if I'm wrong there), I'm thinking you'd have to print it. For example, let's say I want to add some reverb to a guitar that's on track 1 with the internal send effect, but I want to EQ the reverb return.
I could send track 1 to the reverb effect using pre-fader send 1 and then record that reverb onto another track via the bounce process, keeping the Track 1 fader all the way down. Then I would have nothing but the guitar's verb on a track, which I could EQ/process how I wanted.
And this idea, of course, could be extended to a full mix (assuming you have two tracks to spare), as you could do the same with all the instruments you wanted to use that verb on, printing only the reverb to tracks 23 and 24, let's say. You could use the virtual tracks if you wanted to make some different passes with the send levels adjusted differently (since you'd be stuck with the printed reverb tracks if you did it this way).
Granted, it would make much more sense to just use an external reverb effect as the main verb for mixdown, since you would have full control over it on the return channels. But, in case someone didn't have any external effects but wanted to EQ the reverb return, this should be a workaround, shouldn't it be?
@chadjohnson-authormusician8072 Hi Chad, yes bouncing gets you round quite a few of the internal limitations; you just need patience and a way of organising your tracks as you mentioned... and a way of keeping notes as to which tracks are which, but that's just good working practices :)
You could also consider applying EQ *before* sending it to the reverb, which might give you a cleaner result as you avoid adding reverb to the clutter in the first place.
You could also simply clone the original (guitar) track, which is an instantaneous Track Edit operation, and use this with track EQ for the send signal (as you say, set to PRE and track fader down). You could still use your bounce method to apply individual track reverb in multiple passes, although this would need yet more tracks, but you may be able to avoid individual bouncing altogether and just go straight to mixdown (or a full-mix bounce) with all EQ'd dry tracks going to the same reverb (but in different amounts), and the non-EQ'd dry tracks going straight to the mix.
This is another reason why you can never have 'too many' tracks :)
Great tutorial 🎉🎉🎉 thank you! Very clear and well explained.
@th3madman thanks for stopping by Isaac.
I come back often, you're the best, thanks again.
@collinstanton thanks Collin, much appreciated.
This is what exactly what I've been looking for. Thank you.
Glad it helped +Steve Schau, thanks for the feedback
Hi Phil, I have been purchasing video tutorials for equipment which you can find samples on UA-cam. However these videos do not come close to your work which is a testimony of the degree of content, work-flow and production skills you present. You literally give these videos for free to the public. I am impressed with your: generosity, skill as an instructor and the level of production quality of these tutorials. When you first started production, did you knowingly produce these to sell?
Someone mentioned that this particular video is boring (sounded like comment of humor). Boring can be substituted with the phrase: detail configuration of routing, which is generally challenging to undertake and is painstakingly detailed. During the video, I asked myself, do I want to even go there with this machine? The answer is clearly - Yes.
@Bobcatt22 Thank you very much for your kind words, and no, there was no intention of making money at the start. I also didn't realise how many videos it would need to do it justice, but felt it was important to include general background info as lots of problems aren't really to do with the machine as such, so the project just grew & grew. While I was releasing them over a period of weeks, several people asked how they could make donations, so I added a paypal link to the descriptions. The Step-By-Step guide came along later, again after requests for breaking down practical tasks into steps without referring to the 'dreaded' block diagram, but this also took a lot of man-hours to produce so decided it wouldn't be free this time. The videos are also available on a single DVD for off-line convenience, so both products complement each other - buy the DVD if you want in-depth info as to how it works, buy the guide if you want a written list of 'How to...' steps along with an extensive Terminology section for filling in the details later if reqd.
Apologies if this is covered and I missed it. It’s regarding sending to an external effects unit and returning to a spare track. Let’s say I’ve input a vocal track on track 1 and send to an external effects unit, returning to track 8. During record do I arm both tracks? If so do I mix down both tracks?
@Eric When you press record, all armed tracks will be recorded, and all unarmed tracks will playback.
You've already recorded the vocal on track 1 so you must not arm it again otherwise it will be overwritten.
If you want to record the effect onto track 8, this is the one you should arm.
When you finish this recording pass, you'll have the original vocal on track 1, and the output from the effect unit on track 8.
What you do with these 2 tracks during the mixdown is completely up to you, and depends on how your external effect has been configured.
If it has its own wet/dry control, you can set this to blend the original dry signal with the effect so the signal going to track 8 will be the combined dry+wet sound you want... in which case you would only need to use track 8 during the mixdown.
The disadvantage with this method is that if you change your mind later re. the amount of effect, you have to repeat the process with a different wet/dry setting.
Another option is to set the wet/dry control to 100% wet so you end up with track 8 containing just the effect with no dry signal.
This way, you can mix both track 1 (dry) and track 8 (wet) and alter the balance with their respective track faders during mixdown. This can be a better way as you can judge how much effect to add in the context of the whole mix.
There's no right & wrong; both methods work so it depends on your workflow preferences.
Hope that helps.
@@philtipping thanks Phil for taking the time to reply. I haven’t done the vocal record to track one yet. I’m using the effects send during recording. So it sounds like I’ll arm both tracks and record a dry and wet track then mix those down. Thanks for your help.
Can you do a video on re amping a dry guitar signal from one track, to a guitar simulator and back to an empty track on the DP24?
@Ted Aguilar the step-by-step guide has full details about connecting external effect units. Details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Excellent, that's helped me start t o understand the DP24 sends . Thank you !
@dozerblade glad it helped. Just shout if you need anything clarifying - preferably via email patipping (at) gmail (dot) com.
@@philtipping thanks Phil, I'm three days into it now and getting to find my way around, very impressed with the mastered sound quality, starting to understand the inserts as well. I think the manual over complicates things,. I found the Zoom manuals are amazing for their simplicity and clarity, I wish Korg and Tascam could do the same !
Great video! Thanks Can I use the effect send to create a mixer for a musician, different from the stereo output of tascam?
@alex redesocial Absolutely :) Even though it's labelled 'effect send', it's just an independent sub-mix of any tracks/inputs you choose, so you can use the output however you like. You'll probably need a headphone amp if the musician is wearing headphones. There are two effect send outputs, so you could even provide a 2nd submix for another musician, completely independent of the 1st submix and the main stereo mix.
@@philtipping Fantastic! Thanks
Great global.overview. All I wanted to learn was how to assign internal reverb to a channel. Is the off / on controlled by the jog wheel; you never mention that in the video?
Can they be assigned in track mode selection or must it be in input select? ( I think I heard inputs are for dynamic effects and tracks are just for effects?
@charlesdufrene6244 Thank you Charles. Yes the jog wheel changes the setting to 1 of 3 positions: OFF, PRE or POST. It's shown at approx 5:06. The reasons for using PRE vs POST are explained just before that.
There are individual send controls for every track and every input, but you must select the required item *before* adjusting any send controls, otherwise you may change the wrong item and get all sorts of unexpected results. This is one reason for making 'clean slate' songs by using the 'reset' template idea shown in video 2; it guarantees all sends are turned off.
If the mixer screen is open, you can see which track or input you have selected as it is shown at the top-right of the screen. You can also tell by looking at the item select buttons on the front panel; it lights up green when the item is selected. You don't need to open the mixer screen in order to change the send levels though, as long as you select the correct item first. This applies to all the physical knobs to the right of the screen, including EQ and pan.
The send effect can be applied to any tracks and/or any inputs at the same time. It is a completely different effect to the dynamic insert effects and the guitar insert effects, which means you can use all 3 types of effect at the same time if you want.
Dynamic effects can only be inserted into source input paths. You can work round this limitation and apply dynamic effects to pre-recorded tracks by looping the track back to a spare input using a cable, as shown in videos 14A & 14B.
Guitar effects can only be inserted into a track path, either in the record path, in which case the effect is recorded onto that track, or in the playback/monitor path, in which case the effect can be heard but not recorded. The latter applies to multi-track mode... if you are in bounce mode, the effect will be recorded into the bounce target track, whereas in mixdown down, the effect will be recorded into the master file.
This summary may help:
www.philizound.co.uk/freebies/dp24-32/FX-Summary.pdf
Phil, I REALLY appreciate this revelatory series. And yes I believe I will hit that Paypal account. You deserve it!
@Dave Gann thank you Dave, have sent you an email.
Is it possible to take a DI guitar performance with this and then reamp it through my pedalboard and amp and record the output from the speaker cabinet? Would I still need a separate reamp box to achieve this?
@Someone Else it should be possible. You may have to be careful you don't overload the pedal as it's expecting a low-level signal direct from your guitar. So keep the signal low from the dp machine - presume you're going to use the Effect Send outputs - there are 2 level controls involved; the individual send level which affects just the track, and the master send which affects the overall level coming from the individual ones, so you could turn one of them up full and slowly increase the other. If the pedal has an input level control then you could use this instead. Let us know how it works out.
Thank you for the info!! And if I want to apply the delay to only one track, i engage the track and then save the setting for that track in the library right? If I record using that delay on will it save automatically? Thanks
@David Ireland Creekside Rock Band Your terminology is unclear so I'm not sure if you aren't understanding it, or you do understand it but are just using the wrong terms :)
When you say "engage" the track, what do you mean? When you use the internal send effect, there are several settings to be adjusted to get the track signal routed *into* the effect. Then you need to decide where the send effect output is going.
When you say "if I record using that delay", do you mean recording in multi-track mode? If so, the effect won't be recorded; it will only be heard.
If you mean recording during mixdown, the effect will be recorded into the master file, so maybe that's what you mean?
The track settings such as send levels and routing are saved with the song, but the effect library only holds settings for the effect, not the tracks which are using it.
If you're not sure about the different signal paths and routing, you may need to start these tutorial videos from the beginning.
Are there any ideas or suggestions if in fact you have a pre-existing multi-channel mixer and then wish to also route those same inputs for each device to the Tascam utilizing a splitter for the 1/4" inputs? The objective is to reduce the disruption of pre-exiting connections while adding the Tascam. In my particular case, the multi-channel mixer allows each channel to exist within a DAW environment through USB. Having the Tascam would allow for DAW or DAWless operations. Would there be any worries about line loss (impedance issues) while using either a Y connector or splitter as they may or may not be isolated while being connected to both the dedicated USB mixer and the Tascam - assuming the dedicated mixer would be powered off while using the Tascam?
@Bobcatt22 You can certainly do this. You could avoid splitter cables if your external mixer has insert points or direct outs for the signals you want. If you take all signals from the mixer this way, they will be at line-level so use the 1/4" jack inputs on the DP machine - the XLR inputs are for mic/low-level signals. If you're using splitter cables, then use the corresponding input socket for each type of signal, and be careful if you're using mics which need phantom power. Obviously, you're limited to 8 signals as this is the max no. of inputs on the DP machine, but if you need more, you could sub-mix them on the external mixer. If your mixer has group outputs, you could combine several groups of signals at the same time. *Update* I think you edited your post after I replied so I'll just add that impedance issues depend on the relative impedances of the source & destination - from memory I think a 1-to-10 ratio or greater is ok, and a 'typical' line output *should* be ok driving two 'typical' line inputs, but you may need to confirm this. I'm not sure about splitting mic signals, but I think you said no mics are involved. You *may* also get hum issues but it's not predictable until you try it. If you do have problems, a DI box should fix this and any impedance problems, but could be expensive if you need to DI all 8 signals.
Phil, For the connection type, all will be balanced 1/4" phone inputs, no mics, for rack mods and keyboards. I have the Soundcraft Signature 22: www.soundcraft.com/products/signature-22-MTK - so 22 USB channels out. Unfortunately this mixer does not have direct out sockets. My selecting the Soundcraft MTK is based upon: build quality, manufacturing quality control, multiple USB channels. The same process of qualifying is for consideration of the Tascam DP32-SD.
When considering the amount of time/investment you have spent on learning and producing these top-notch videos, would I need to ask the question if in fact the Tascam DP series of recorders meet the criteria I mentioned above? :) I want to praise you for the contribution you have provided for artist and if I decide to acquire the Tascam DP32 I will purchase your products. The resources literally saves hundreds of hours of work, which many of us will not do the work. I maintain that even if you were a millionaire and did not need the funds, you still give - it is a universal law that demonstrates appreciation.
Hello Phil, hey I was wondering how would you use a click track for a live performance with backing tracks? I am about to purchase this unit but i woukd like to make sure if there is a way to route the backing tracks along with metronome to the live musicians in a bus so that the click is not in the main mix for the house, thank you! Great tutorial videos!
+Mechaman365 yes this is possible. You could record the metronome and/or backing tracks onto separate track(s) first. To record the metronome, you need to connect one of the monitor outputs to a spare input, but be careful you don't get a feedback loop. The guide track(s) can then be sent to the musician's monitors/headphones along with any other tracks by using the Send system, which allows you to send a completely independent mix of any tracks to the Send outputs, without affecting the mix going to the monitors and main stereo outputs.
If your monitor outputs/headphones are not being used, and your main house output uses the stereo outputs (as opposed to the monitor outputs), you could use the monitors/headphones directly for your musician's feed instead of Send-1 or Send-2.... just press the Monitor Select button and select Send-1 or Send-2 as reqd.
Phil you are the best! Thank you so much for your reply! And thank you for these great tutorials! ☺️
Great tutorial! Are the sends on the DP-24 stereo? How would i route my sends if i want to use a hardware effects unit with stereo effects?
@John Smith thanks John. The sends are both mono. If you want a stereo send, you can use one for left, the other for right. External effect outputs should be treated just like any other stereo source, so connect them to 2 inputs and route/assign as reqd. More details are in the Step-by-Step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Hi Phil, I know your probably busy, if you get the time a question on the tascam dp24sd please. No rush to answer, I'm just waiting to take delivery of mine, I have poor vision so using a DAW is not practical for ME. the tutorials are excellent by the way.
The insert effects can only be used on inputs, if just connect a jack lead from send 1 to any input and record the send signal to a track the insert effects could then be used, ie I could use the comp on a vocal then deess that vocal using this method. I understand I have left the digital world to do this. Is it practical
@blindkeith no worries re. busy - I may not reply immediately, but I'll get there eventually :) Thanks for the kind words re. the videos. Not sure if the step-by-step guide would be of use to you... haven't tried it with a text-to-speech translator but as it's a pdf file, you could maybe zoom in on the screen.
Yes you can do what you suggest - any of the dynamic effects can be applied after recording by connecting outputs back to inputs. This is why this tutorial has concentrated on the signal path - once you get your head round this, many routing arrangements are possible. If you use the PRE signal, you can mix in any amount (or none) of the original dry signal via the track fader. You'll need to be careful to avoid feedback, so make sure the tracks you are recording onto have their send levels turned down or off. Enjoy your machine when it arrives. Any problems, give me a shout. Email is preferred - the address is at the bottom of the page on my www.philizound.co.uk website.
TANK YOU PLEASE KEEP MAKING MORE!
Thanks for the support +Miles From Nowhere
Great video... I am having trouble adding external effects to my recording. I can get the effect working and it sound great, but how do you get the effect recorded... I was thinking I can just bounce to a new track and record the effect on the track that way, but as soon as I hit bounce the effect goes away... What am I doing wrong?
@Tony Cancilla thanks for stopping by. You should be able to record the send effect (presume this is the effect you mean) during bouncing. There's a video later on which discusses bouncing so maybe that will help. Have you set up the send & master send levels for the tracks, as opposed to the inputs - they are separate things. If the tracks are correct and you've nominated them as the source for the bounce, the effect should be recorded. You can use the Monitor Select button to 'probe' various parts of the machine, e.g. set it to Send 1 and see if you can hear the tracks going into the send effect, set it to Bounce and see if you can hear the effect output, etc.
Of course, if you are talking about the Guitar effect as opposed to the Send effect, then ignore the above :) I really need more information so if you can give me the exact settings you have, I may be able to pinpoint the problem.
Use loop effect for whole track what's was t reverb .ah yea
Hello Phil,
First of all, thank you for your tutorials. I have already looked at the 8 first videos. I have to admit that the user manual is not so pratical as I expected. I'm a beginner, and I don't have any experience in this matter. But I'm really thrilled and motivated to learn :)
I'm living in Belgium and I'm french speaking. My english is OK, and I understand most of your explanations. But I have some questions regarding this tutorial (you're right... this is not always easy to understand how to use those effets). Here are my questions :
1) Thanks to you, now I can put a reverb effect on my voice with the " Send Effetcs 1". But I don't quite understand what is the purpose of the " Send effects 2 ". In what circumstances do we have to use de "Send Effects 2".
2) When I want to use a reverb (for example, to put it on my voice), I have to set the knob of the Send Effect 1 on "Pre" or "Post". Can you explain me what is the difference between the "Pre" and the "Post" option ? That's not clear for me.
3) The reverb effect on the Tascam seems to me a little bit limited in the choices available (maybe it's correct for a guitar but for the voice I'm not convinced about the choice in the rereb). Could it be a good option if I buy an external effect (like an Helicon) to have more choices ? But in this case, how do I have to make the connection with the Tascam, and what is the procedure to use it live or to record ?
I hope my English was good enough ?
And once again, thank you for your tutorials Phil !!!
I do have other questions, but I will ask them in the relevant tutorial.
Best regards.
Yves
Hi Yves, thanks for your feedback - much appreciated.
Both send 1 & 2 are signals which can be tapped off the inputs and/or tracks and sent to the outside world. The label "effect send 1/2" is confusing as they are not necessarily for effects. That's why I tried to point out that the 'send system' is a separate concept to the 'send effect'. The internal send effect certainly needs a send signal to drive it, but a send signal can be used for all sorts of things... in fact they are more correctly called Aux Sends on other mixers.
Either way, both send signals can be used to feed external equipment, such as an external effect or a headphone/monitor amp for a performer. The send 1 signal is special in that it also goes to the machine's internal send effect. So you could use send 1 for this purpose, leaving send 2 free to use for your performer's in-ear monitor (say), or for a different external send effect, like your Helicon. But there's nothing stopping you using send 1 for an external effect. Just because send 1 also goes to the internal effect, you don't have to use it... you can just turn down the effect return control.
Pre & Post depends on how you want to use the send signal(s). I've tried to explain this in the video, but basically if you want the send signal level to be controlled by the input or track level control, you use Post. If you want the send level to be independent of the level controls, use Pre.
Typical uses are:
'Pre' if you are using the send signal for a performer's monitor - you don't want their levels changing as you are adjusting the input or track levels for the PA mix.
'Post' if you are using the send signal to drive an effect unit like a reverb. This way, the amount of reverb signal will reduce as you turn down the main signal. If you used Pre for this, the reverb signal will stay constant as you fade out the main signal, which may give a nice ethereal effect but won't sound right it you expected the whole sound to fade out.
The connections for an external effect are shown in the videos - it may be covered in more detail in the later ones. You connect one or both of the sends to the effect input, and connect the effect output(s) to spare inputs on the machine. What you do with these inputs depends on whether you want to record the reverb or just listen to it while you're recording or mixing.
Hope this helped. If you need any more info, please use my email address on the bottom of the page on my website www.philizound.co.uk it's a lot easier for me to use email than the UA-cam messaging system... and your English is a lot better than my French :)
Not sure if you mentioned it but how do you route an external effect to send 2 using the buss.Will watch again in case i missed it.TY
+Bobby Lopes both the send paths are internally connected to the EFF SEND sockets on the back of the machine, so if you know how to turn on the sends, it's just a case of connecting a cable from one or both sockets to your external effect. The Step-by-Step guide explains every step in detail; details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Thank you Phil,i will try to route an external effect using the connections on the back to an external effect unit.Thank you for your help.
I too really appreciate your videos. I’m brand new to mixing and to the DP-32SD, so your explanations are much appreciated. I would like to begin by using the drum sounds on the demo song as a template. Possible??
@James Flynn thanks for the feedback James. Good luck with the drum sounds.
Phil Tipping can you tell me how?
@@jamodrummer what do you want to do with them? "using them as a template" doesn't give me much to go on :) It's easier for me to use emails as opposed to youtube comments, so drop me a line at the address shown at the bottom of the page on my philizound.co.uk website.
First off, thank you for the tutorials sir! They have really helped. I do have a question tho.
So I used a delay on Send 1 and it sounds great, but I'm trying to figure out how to add reverb using Send 2. I turned the levels for Send 2 all the way up, but there's nothing. I even tried using just Send 2, and I'm still not getting anything. I don't know if there is another screen I need to get to or if I'm overthinking it. Is it even possible to use both Send 1 and 2 on one input? Thanks in advance!
@Bronson Castillo thanks for the feedback Bronson. Yes it's possible to use both send-1 and send-2 on one input, *but* the internal send effect is only fed by signals on send-1, so turning up send-2 will make no difference. Both send-1 and send-2 signals go to the sockets on the back of the machine, so you can use them to drive external effects if you like (as well as the internal effect), but it's only send-1 which goes to the internal send effect... and that can only be one of the 3 types (reverb, chorus, delay) at any one time.
There is a delay effect in the guitar effect block, so you could use that at the same time as using the send effect reverb.
If you really want to apply the send effect using two effect types on the same signal, you'll have to pass the signal through the send effect in two separate passes, either in multi-track mode or in bounce mode. The step-by-step guide shows how to do both of these.
Hope that clarifies it.
so do you run the send while mixing down as you would with a live mix or re mix it to another track with changes to have back up if its not a good effect mix?
+Victor James - you can do either. For me, it depends on the complexity of the mix. With simple ones where not much is going on, you might as well add the send effect during mixdown, and just undo and remix the whole thing if it's not right. With complex mixes, it may be less frantic to pre-process the send (and other effects if necessary) by bouncing to spare tracks first, then using those for the mixdown. Doing it this way gives you yet another option of just bouncing the effect itself without any of the dry signal. This lets you defer the balance of the wet & dry tracks until the mixdown stage, and also means you can use their track faders to do this, which may be more convenient than altering the send levels... so there are lots of ways of doing the same thing.
Hello Phil I’m just wondering how to connect my Behringer Virtualizer fx 200 effect processor to the dp24sd , I can’t seem to get a wet signal back into the dp24sd
@Derek Sumner Hi Derek, you just connect the fx200 output(s) to spare inputs on the dp24 and assign these as you would do normally. You can use either one or two inputs depending on whether you want a mono or stereo effect from the fx200. More details about using external effect units (in mono or stereo) are described in the Step-by-Step guide - details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Hello phill thank you very much for your reply , I’m still having trouble , I hope I don’t sound to thick , I have done what you said , place the output in to the inputs , how do I get a signal into the processor , do I plug into the unit on the back , the input section like a guitar for exsample , I really appreciate , your help kind regards Derek
@@dereksumner7913 Hi Derek - ahh it was a misleading question :) When you asked how to get a wet signal back into the dp24, I thought you meant you'd already sorted out getting a signal *into* the fx200 :) What you really meant was how do you connect the whole device. To get a signal into the fx200, use the Send system and connect the Effect-Send-1 and/or Send-2 output sockets at the back of the machine to the fx200 input(s). The Send system is a bit fiddly to set up. The video tries to explain this, or if you want a step by step description, it's all in the guide. If you're still stuck, email me at patipping (at) gmail (dot) com and we'll go through it in detail.
Hello hope all is well, so on a recorded track I can use my send 1 to add echo, but when I try and got to another track and try and add a reverb by using send 2 it just keeps the echo from send 1. Is this even possible to do?
@Stacey Johnson Hi Stacey, it's only the send 1 signal which goes to the internal send effect. That signal also goes to the Effect Send 1 socket at the back of the machine.
The send 2 signal only goes to the Effect Send 2 socket at the back; it does not go to the internal effect.
You can use either of the send sockets on the back of the machine to drive external effects, or performer's headphones via headphone amps, or anything else you like.
@@philtipping thank u
Is it normal that if I put for example a reverb on track 3 I can't put another effect on another track? For example if I have reverb on track 1 and I want to put delay on track 3, the reverb is null on track 1 and I would have instead the delay.
@Defma Blues there are 3 effect processes (dynamic, guitar and send). Each process contains a range of effect types. Some effect types are available in more than one process. The processes are 'hard-wired' in different signal paths so the limitations depend on which processes you are using.
The videos try and explain all this, but you need to watch the whole series in order for it to make sense.
There's a short FX summary here which may help www.philizound.co.uk/freebies/dp24-32/dp24-32.html#fx
Hi phil , from phil . A beginers question....do you need to use the built in effects ,if you want to run a guitar through an effects peddal board and into the dp 32sd.thanks.
@tesoro tesoro effects are a personal thing so it depends what effects you want to create 'your sound' :) If the effects within the effects pedal meet your requirements, there's no need to add more with the dp32 just because it has them - there's no harm (or disgrace!) in just using your dp32 as a simple recorder. Obviously, if the dp32 has an effect which is not present on the pedal, you would have to use the dp32. It may also be instructive to compare similar effects between the pedal and the dp32 to see which sounds best. Good luck.
Excellent .i hav a line 6 helix floor effects machine . .only got my dp 32sd yesterday ,now running through your vids to suss it all out ..many thanks for your time phil,from phil.
@@tesorotesoro1654 Cheers phil. Have fun :)
I have the DP24 and can't for the life of me hear any effects on an imported track. Just using a .wav stereo song that I imported. I'm ready to give up!
+Bob Snelgrove Don't give up Bob - just a bit of patience needed :) The send and return levels need to be set quite high so assuming you've routed things correctly, maybe this is why you can't hear anything. Turn both the send level and master send up full to start with, then gradually turn up the effect return level till you hear it. You can always back the levels off once you have a feel for it. If you're not sure of the routing settings, the Step-By-Step guide may get you off the ground more quickly... full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
Thanks a lot for your tutorials. They are really helpful.
+Moray Watson thanks for the feedback.
Phil, thanks for these great videos. I also purchased your manual which is well laid out. Question…Am I correct in thinking of the Return on the Reverb Send similar to using a separate FX track on an analog mixer for reverb and then the individual track sends similar to a send on an analog mixer to the reverb FX track? In that situation you would normally have the track with the reverb at 100% (127 on the Tascam) and then adjust the sends on each track as desired? I’m trying to sort the best way to set the reverb levels and picturing how it is done on an analog mixer. Thanks!
@jammin4good yes the send/return system is exactly the same - the examples shown in the videos were all mixers without built-in FX, but the principle is the same.
The only difference with the DP machines is that they don't have dedicated inputs for the 'returns' from *external* effects so you have to use the standard inputs. Conventional mixer returns are usually 'cut-down' inputs with fewer options (like EQ or routing) so sometimes you end up using standard inputs anyway.
Balancing all the level controls for the *internal* send effect can be tricky as there are 3 to choose... the individual track/input send levels, the master send level and the effect return level.
The send controls are attenuators as opposed to amplifiers, so if they are up full (127) you have unity gain. I'm not sure if this also applies to the return control but it should be easy to check.
The effect return only goes to the stereo or bounce bus, so you would typically be mixing signals together in mixdown or bounce mode. In both cases, the effect return level governs how much of the effect output will be added to the mix. I'm not sure if turning this up full is a good or bad thing. You wouldn't do it with an analogue FX as it may introduce noise, but this is digital so I don't know - you may have to use your ears.
The individual send levels control the amount of signal going from each track/input *into* the FX, subject to the master send level. You would use the latter to control the overall send signal level without disturbing the relative levels from the individual tracks/inputs. The effect return level also acts as a sort of master control, so you could have the send high and return low, or vice versa.
There *may* be an issue with high send levels overloading the effect section and causing distorting, but I've not confirmed this. It might be useful to do some experiments to see how the FX sounds with different combinations of send and return levels. It's probably also a good idea to sketch out the signal path showing all the controls and then assessing the best way to set them for your requirements.
Thanks for your support.
@@philtipping Thanks for your reply. I’ve typically been setting the master send all the way up and then adjusting each track’s send to desired level. This seems to work well. It’s been more of a mystery in figuring the best level for the effect return. My comparison of the return being similar to a dedicated reverb track on an analog mixer then must not be correct. In that scenario I’ve always had the dedicated reverb track set at 100% and then adjusted the instrument track’s sends to the reverb track as desired. The fact that there are 3 parameters is what I’m still trying to wrap my head around… to find the best combination of settings.
@@jammer777 I know what you mean :) I normally set the master send slightly below 127 to give me some leeway. It's then easier to adjust the whole effect up or down without having to fiddle with loads of individual send levels, but now you mention it, you could probably achieve the same result using the return level so I'm not sure what to advise. I mainly use the DP machine for tracking so have not spent a lot of time investigating all the DP's effect settings. When I'm next on it, I'll try the return at max and see how it sounds.
Meanwhile, you could try asking on the Tascam forum... always best to get other opinions, and then draw your own conclusions :)
Excellent videos, Phil! Question: Is there a way to create more than one monitoring mix during tracking? Like one for the drummer and one for the bassist and guitarist?
+wolffmannnn thanks for the feedback. Yes you can have 2 independent sub-mixes using Send-1 and Send-2. You'll need headphone amps (or a PA) for each one as the Send outputs are line-level.
Thanks! I wondered. I'm not near my unit, but want to experiment with it when I get home. Our drummer wanted the drums much louder than the string sectioned needed or could tolerate...:) I have one of those Berringer units you show in another video, but I thought about getting the Presonus with talkback. I thought talkback was for prima-donnas, but it's actually really needed!
hi phil, i hope you can help me..i own the tascam dp 24sd can you explain me how the external recorder works thanks
Do you mean mastering?
Are the external effects sends both mono (ts jacks not trs) ? So how hard is it to have several tracks with various pannings being sent to an external stereo reverb and then return that so I can record it ?
@jcisme Yes the outputs are both mono (unbalanced) using TS jacks (the spec section in the manual lists all the socket types), but they are taken from the signal path before the pan control, so any panning will be ignored.
Even if you send a stereo track, the left & right signals are mixed to mono when they are routed to either of the sends, so am not sure if there is an easy way to apply both panning and reverb to individual tracks all in one pass.
A long-winded way is to bounce each mono track to a stereo track, panned as required, and using one of the sends to route the mono track through the reverb unit (assuming it can handle mono-in, stereo-out), and back into the target track.
You can then mix these stereo tracks together during mixdown.
Not sure if all these reverbs would sound too cluttered. If may be better to use mono reverb on each track, and apply a stereo reverb later during the mix.
Maybe someone else can chime in with some better ideas... or you try asking on the Tascam forum.
@@philtipping Thanks Phil.. The way I would envisage using this unit is basically having the 1st 8 tracks as a work area that I would then create up to a dozen stereo submixes on the remaining tracks. Lets use the example of 8 mono drums tracks on track 1-8. I have a tom panned at 9 oclock. If I set the send level of send 1 (left) to 75 and send 2 (right) to 25 do you think this would give me an aproximation going into a stereo external effects unit that I would then return in stereo ?
@jcisme That's a great idea. Using the 2 sends to create the individual panning sounds much simpler than my suggestion :)
So my 2nd input has a ton of feedback. It redlines almost immediately after plugging it in but the feedback is not auditory through my stereo out put or headphone outputs. Is this a simple fix? What should I do? Looking to repair as cheaply and quickly as possible of course, so sending my unit off to Tascam is out of the picture. I have the DP32SD.
+Andrew Sandberg does the trim knob affect it? When you say 'redlines' what do you see on the meters? You could try a factory initialise (Menu, Preference) to make sure the machine has not got itself into a weird state, but if this doesn't fix it, and the other inputs are definitely ok with exactly the same signal connection, then sounds like a real hardware fault. I guess it's out of warranty if you're worried about Tascam charging you for repairs, but you're going to have to pay someone unless you can fix electronics yourself.
@@philtipping meter peaks out. When trim is set to the middle it has feedback that reads about 40% up the meter. I'm not sure how to fix this. I will reset though.
Ok, but you still haven't said if the trim knob affects the level when you turn it. Also not sure why you keep calling it 'feedback' when the symptoms are just a high signal reading. Feedback implies a 'loop' in the signal path where an output is getting back into the input, so unless you know this is the case, it's too early to conclude it's feedback. A broken earth connection could cause an abnormally high level as the pre-amp would be amplifying an unscreened signal. If the trim knob reduces this when you turn it down, then maybe the pre-amp is working ok and the fault is the jack socket itself or a soldered joint on the PCB, either of which should be easy to fix... although I've never had the lid off mine so don't know how easy/hard it is to access. If it is something in the front end though, a reset is unlikely to fix it, but it's worth doing anyway just to eliminate any doubt. You could also try testing the other type of socket on the same combo input (i.e. 3-pin XLR if it's the 1/4" jack which seems faulty, or vice versa). The XLR's are more sensitive than the 1/4" jacks, but it might help pinpoint the cause. Keep us posted.
Brilliant video - a great series - thanks for sharing 😄
@Gavin Kaufman thanks for stopping by Gavin. Season's greetings to you :)
@@philtipping Thank you Phil - Happy New Year!! 😄
Do you have any songs recorded/mixed on the tascam? Love the tutorials! They've been very educational and easy to follow. - Isaac
Thanks for support Isaac. Don't have anything worth uploading as its main use is for location recording - all processing & mixing is done back at base on gear which is too heavy/inconvenient to lug around nowadays. Have a look on the Tascam forum - think there are quite a few people who use it for everything.
Dear Phil. After recording I wanded to erase the song. and my tascam means " cannot erase current. it should be possible to erase songs.....i was reading the instructions without finding a solution.
Hi, it's correct, you can't erase the song currently loaded. Just load another song (any song) and then try again. If you've only got one song, then you'll have to create another. There always must be at least one song on the sd-card.
Phil Tipping . thank you for your help and time. you know; when i play the solopart i often make mistakes and i would like to delete the solotrack.
Incredible job with these tutorials, quick question are the fx sends stereo or mono? I don't understand why so many sends on mixers are mono with stereo returns. Doesn't this ruin a stereo mix?
@Zach Prochnik thanks Zach. Both effect sends are mono - the sends from the stereo channels are summed to mono first. Having mono sends makes sense (to me anyway!) if you think about a real instrument or singer. The source is effectively a point source, i.e. a mono signal, but the reflections will be from walls etc. surrounding the source, so will be spread out and more realistic if captured in stereo. An artificial reverb unit would mimic this by taking a mono input and creating a stereo output with the effect spread across the stereo field. Another reason may be how reverb units handle stereo inputs - I don't know how they work, but maybe it would sound more cluttered than adding the effect to the mono components of a mix? Other reasons for just having mono sends may be logistics & cost, but as long as they are in pairs (as in this machine), you can have the best of both worlds - you can use them singly if that's all you want, but if you really need a stereo send, just use send-1 for the left and send-2 for the right.
@@philtipping ok great thanks. I watched your other video where you addressed this after asking. You mentioned how you could make an insert effect by sending the whole signal pre fader and bring it back into the unit but if done in stereo only one side will be monitored. If I were to use an ouboard stereo eq or compressor to mix, would mixing while listening to only half the signal be an issue? I imagine it would. Any suggestions? Thanks again 😊
@@Zpro20 you're right if you are only monitoring the send-1 or send-2 signal, but you would probably just do this to check the signal was present and adjust the send levels - you'll see them on the L/R meter bars. Once the send signals are setup, you'd normally then monitor the stereo bus to hear the returns from the external units in context along with all the other input & track signals, so these would all be panned as reqd. and the monitoring would be in stereo - you can also use the mute & solo buttons to isolate specific signals for examination. The Step-By-Step guide may help to clarify this as it explains topics in a different way to the videos, including how to wire up an external effect unit in either mono or stereo. A full contents list and details of how to order the guide are here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping thank you!
Can I use the send effect option on both live input signals and on pre-recorded tracks?
@Morten yes, there's a separate send-1 and send-2 for every input and every track. Make sure you select the required item first *before* turning the send level knobs, i.e. for tracks, press their Select buttons, for inputs, press their Source buttons. You can confirm the selected item if you have the Mixer screen open as the name appears at the top right of the screen... but you do *not* need to have the mixer screen open in order to use the send knobs (or any of the others in fact), just be sure to select the reqd item first - its button will light up to show it's the current selected item.
@@philtipping Thank you for answering all our questions and taking your time :)
Could you say if each send is mono or stereo?
I assume it's mono. But then the send on a stereo track is summed to mono also?
@@morten1 yes, both sends are mono. If you need a stereo send, you can use both, e.g. send-1 for left and send-2 for right. If you find all these answers useful, there's a donation link on my website if you feel so inclined - no obligation but would be much appreciated.... or maybe just buy the guide and/or DVD :) www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping Thank you.
So far I have just watched a few bits of your DP24/32 videos. If/when I buy the machine I certainly will watch them, and donate you a pint ;)
I still don't understand how to use a pedal when there is no FX Return, do I need a stereo breakout cable in the FX Send to do so?
@Tyler Lafferty use any of the 8 inputs as FX Returns. Connect either or both the effect-send output sockets to your external effect boxes, then connect their outputs back to inputs on the dp machine.
@@philtipping Are the fx sends instrument level or line level signal?
@@bettermetalsnake95 all outputs are line level, although the Sends are slightly lower than the monitor outputs. The specs at the back of the manual give the exact details. The problem with FX pedals is that they normally fit between an instrument, such as a guitar, and its amp, so pedal inputs & outputs would be high-impedance and operate at low instrument levels. So if you connect a pedal's output to the DP machine's normal 1/4" jack input, you may find the sound too low or lacking in treble, in which case the 'guitar' setting on input H may work better. Conversely if you drive a pedal with the outputs from the dp machine, you may get overload distortion. Some pedals are more tolerant than others so the best bet is to try it. If all else fails, try a DI box.
Using this mixer, how would you produce an automated fade?
@Bobcatt22 There's no 'automation' on these 24/32SD models. When you adjust controls such as levels or FX etc. the changes affect the audio directly. It's not like a DAW where control changes are stored separate to the audio. So to fade a track/song after it's been recorded, you would adjust the levels during the mixdown or bounce processes. It's easier if you play the end of the song first and make a note of the time or bar display where you want to start & end the fade, then use these to prompt you to move the fader(s) when you do the actual mix/bounce. It's a bit of a knack and needs patience (you can always Undo and retry if it's not right), but this is how it was done before automation came along :) I believe the older DP24/32 models could be controlled by MIDI so you *may* be able to 'automate' changes from an external MIDI source, but I've never used one so may be wrong.
Ok couple questions: If I’m using the send effects for mixdown/mastering, the sends should be set to pre, or post? It sounds like pre to me, so changing fader position during mixdown doesn’t affect the level of send signal. Second, if an external effect is connected to FX send 1, does it automatically disengage the internal send FX, or do they need to be turned off manually? Thanks.
@gravl123 it depends what type of sound you want. If you use PRE and lower the track fader, the main dry signal will reduce but the wet signal will stay the same. This can sound unrealistic with some types of effect, such as reverb, where in real life the levels remain in step with each other, so you would normally use POST for this.
The setting may not matter if you're not planning on adjusting the fader during the mix... and there's nothing to stop you using PRE if you want that sort of ethereal effect.
Using the send-1 sockets does not automatically disconnect the internal link. It's up to you to either turn off the internal send effect or reduce its input level or return level. I don't know for sure which one of these is better - I would probably turn off the effect to reduce the load on the processor, but I have no evidence for this.
Thanks for stopping by.
Hopefully you are still accessible. How do you turn all reverb, chorus off and keep the delay on?? It seems like if I turn on or off one of the effects, they all go on and off. Anyone please help! Thanks!!
@David Ireland Creekside Rock Band The on/off button controls the whole send effect unit. The unit can only be in one of the 3 states (reverb, chorus or delay) at any one time, so just use the Select button to cycle to the Delay. The on/off button now turns the delay on and off.
This summary may help www.tascamforums.com/threads/dp24-32-fx-definitive-summary-of-effects.4162/
@@philtipping so even though i want only delay and chorus and reverb is on also, if I have delay visible the other tracks are basically off even though they show on? I cant turn the reverb and chorus off and only have delay on? I tried, if I turn reverb and chorus off, delay also goes off.
Yes, whatever effect type is showing on the screen is the 'active' effect.
Think of the send effect as a 'box' with a switch which converts it into *either* a reverb *or* a chorus *or* a delay. The switch can only be in one position at any one time, and the effect screen effectively shows this position.
This means you cannot configure the send effect to be more than one effect type at any one time.
The on/off button on the effect screen turns the 'box' on and off.
You can send any combination of inputs and/or tracks into the send effect, so for example if the effect type is set to reverb, you can apply reverb in different amounts to any combination of inputs and tracks.
The step-by-step guide may help www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping engage means turn on delay on a specific track. The send I always have on, to 127.
When I press the green track button say on track 2 and the delay is up I sing with the effect. If I I listen back and then simply turn off the delay.
The track has no delay unless I turn it back on. How do I permanently save the delay on that track. So if I turn the delay off after recording on track 2, the delay effect is still attached to the vocal on track 2? Thank you so much for your help!!!
@@creeksiderockmusic Yes, this is due to the way the send effect is 'wired' inside the machine. When you add it during a recording or playback in multitrack mode, you hear it because it is applied to the track *outputs*. It is not recorded so as soon as you turn the effect off, it won't be there.
To get the effect recorded, you can either bounce or mixdown. There are quite a lot of things to explain here, so all I can do is refer you to the step-by-step guide which shows how to do both of these www.philizound.co.uk/freebies/dp24-32/dp24-32.html
which video explains how to plug in an effect into the effects sends of the rear panel?
@Atomcatz69 cc this video shows the principles. If you need exact instructions as well as info on setting levels, different types of plugs, etc. everything is explained in the Step-by-Step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html There are specific sections called "How to connect inputs and outputs", "How to send signals to an External Send Effect", "Scenario: Recording external effect in multitrack mode", "Scenario: Recording internal send effect in bounce mode", "Recording levels and overloads", etc.
I'm definitely subscribing I'm only subscribed to one other UA-cam channel I'm very particular about who I support! :-)
+J Bird That's kind of you to say. Good luck with your recordings.
how much db boost can I get from post, enough to drive a comp needing a good signal?
+living here not measured it so don't know the answer... but see my reply to your other comment on video 4. The step-by-step guide shows how to connect external gear to the sends as mono or stereo.
Help me out folks. I followed all the instructions but I can’t figure out how to get my send master to light up on the screen and be accessible can somebody please help me with what exactly do I push or a poke to make send master all light up right now only pan and send light up.
@Rick Potyok Hi Rick, using the send system can be a bit tricky as there are lots of things to consider. If the videos aren't enough, the step-by-step guide has full step-by-step instructions for this plus lots of other tasks. Full details here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html There's a contents list and a few random pages so you can see what it covers.
@Rick Potyok Just re-read your question and the master box is not meant to light up in the mixer screen. You adjust the master send levels using the knobs on the front panel. They are masters so it doesn't matter which input or track is selected (as it does with the individual send levels).
Thank you for responding. So I get that they don’t need to be lit up for the general mix but when trying to assign an affect unit like reverb if it’s not lit up I get no signal from the reverb. Is this an anomaly or am I missing something.
Thank you so much and thank you for the link toFurther instruction I have learned so much in the last 24 hours.
Thanks Phil :o)
@Rau Cast thanks for stopping by Rau.
c est vraiment bien,,,
merci +Pascal K
It's a shame we have to sacrifice an input for recording external effects :/
@Flooty McDooty Manooty yes I can't think of another way as the machine only has 8 inputs. May be worth considering a patchbay or switch unit for switching the common inputs between the two functions.
@@philtipping do you know of any brands of switch units?
@@flootymcdootymanooty9145 not off hand, but try looking for a basic passive switch box like a splitter/selector used for audio/video routing. The ones I've seen only had RCA/Phono sockets so you'd need adapters for the 1/4" input sockets on the dp machine and possibly your effect outputs... but there may well be 1/4" models out there.
A massive thank you Phil for all your videos. I've used the DP24 for a couple of months now and are busy revisiting your videos to brush up on send effects. The send effects make a improvement to the overall sound of compositions. Like my recent song "Be the light" ua-cam.com/video/yFYi63mvtnY/v-deo.html
Keep up the great work Phil!
+Jon Binnie many thanks for the kind words. Some great tracks on your channel ua-cam.com/users/jonbinnie - very impressive. Nice video techniques as well :) I wish you every success for 2018.
Thanks for sharing Phil, greatly appreciated :-) You must have put a huge amount of effort into the Tascam videos, without which we wouldn't be able to realise a fraction of it's potential. I've watched all your Tascam videos, and will keep re-watching until I learn them all off by heart :-) Have a great new year when it comes and keep up the great work for musicians across the planet!
It strikes me that Tacsam have made a real bodge of this FX interface...its unbelievable flawed .
@New Music Review yes they could certainly have made the user interface less confusing; it looks like different people designed the different effect sections. But on the good side, apart from the quirk re. switching dynamic effects on/off from within the mixer screen, it does actually work - just stick with it :)
Good grief! All I want to do is record my track with the reverb effect. Respectfully, is there a simpler, less long-winded explanation? I don’t care about schematics and diagrams.
@Broyale26 well it may be hard to accept, but you've bought a complete recording studio in a box. The snag is that it doesn't come with a recording engineer. So you have to accept there's some learning to do if you want to do it yourself, or you pay a recording engineer to do it for you like musicians used to do.
Recording a track with reverb *can* be simple if you buy an effects box such as a guitar pedal and a basic recorder (or use your computer to record). The problem is that although this sounds simple, if you want to use a studio multi-track solution (which is what this box is), you have to learn all about send & return effects and signal routing etc.
It may seem hard at first, but once you get the hang of it, you'll realise you can do a ton of other things with it, and develop your songs far beyond what you could do with the simple solution above.
I have a step-by-step guide which just shows which buttons to press for various scenarios - full details here www.philizound.co.uk/freebies/dp24-32/dp24-32.html so this might help to get you off the ground quickly without getting too bogged down with the details, and you can come back to the videos as and when you become more proficient with the machine.
@@philtipping Anyways, I found the help I was searching for without all the fluff. If I wanted to be a recording engineer, I wouldn't have spent all my time learning to be a musician. All I needed to do was put an effect onto a track while it is recording and then hear it played back with that same effect printed to the track. If I wanted to "do a ton of other things..." I would've invested in a DAW or something. There is nothing wrong with a simple "do this to do this" explanation to get going.
@Broyale26 well that's what the Step-by-Step guide was for :) Glad you found your answers.
@@Broyale26 ok Karen
Wasting to much video time explaining routing diagrams instead of just teaching how to apply an fx to a track either during recording or after recording. For God's sake just get to the point man!.
@Ismael Rodriguez The Step-by-Step guide (video 12) answers specific questions like this without going into details, but if you watched the tutorials from the beginning, you'll know that I'm explaining the routing so that viewers can fend for themselves when (and there *will* be a when) they come across a situation which isn't covered. If I just showed which buttons to press to add a specific effect to track 7 during recording, say, then yes you would get instant gratification, but you'd be stuck when you decide later you want that effect recorded, or if you want that effect added to a headphone feed for one specific band member, or you want to add an input *dynamic* effect to a pre-recorded track, etc. etc. As the old saying goes "give a man a fish and he'll eat for a day, but teach him *how* to fish....". Hope you stick with it - read the other comments to see what others think. Thanks for stopping by :)
@@philtipping Thanks for your cordial reply, I will look into Tutorial 12!. I understand you going very deep into the internal routings and all, is just that I just wanted to apply some fx to a already recorded track but did not know how to do it. Does Master 2 stands for the output of an external fx unit routed thru and applied by send 2?.
@@ipaporod no problem Ismael, I sometimes get frustrated with long-winded explanations :)
Both send-1 and send-2 can be used for an external effect unit. The difference is that send-1 *also* goes to the internal effect, but you can choose to turn this on/off as reqd. Both sends have an individual level for each track (or input), but the final mix of all the sends goes through a master send level control. Master-send-1 is the overall send level for all the send-1's, and master-send-2 is the overall send level for all the send-2's.
If you want to apply an *internal* send effect such as reverb to a pre-recorded track, you have to use send-1, but you can do it without any external connections either when bouncing (which will create a separate track with the affected signal) or when doing a mixdown.
If you want to apply an *external* effect, you can use send-1 or send-2, but you'll need a connection from the send(s) *to* the effect unit, and also a connection *from* the effect unit back to the input(s). You can then record it just like any other signal.
Full details are in the step-by-step guide - just steps, no waffle ;) and if you still have questions after buying the guide, feel free to contact me on my email address. Either way, good luck :) Details of the guide are here www.philizound.co.uk/freebies/dp24-32/dp24-32.html
@@philtipping :Thanks a lot, I have used external fx units before in Cubase Daw thru a summit audio 2BA pre. Send and return routing (2 in/out mono + 1 stereo cable ) , I guess it could be done the same way in the Tascam dp24 sd using the send (stereo) on the back of the unit + 2 line inputs in the front as the mono signals. I will check your link to see if its done in a similar manner. Thanks again and I will check your products online as well.
Great will continue when i got som sleep Great thanks
@pundarpirat4760 thanks for stopping by.