Akai DPS24 User manual

DIGITAL PERSONAL STUDIO
Version 1.20 Addendum

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Version 1.20 Addendum
V1.20 FEATURES ....................................................................................................................................1
MULTI-BAND COMPRESSOR/EXPANDER ............................................................................................2
LOADING/SAVING MBCX PRESETS ............................................................................................6
MASTERING ON THE DPS24 .......................................................................................................7
DOWN SAMPLING PROJECTS FOR CD MASTERING ...............................................................9
AUTOMATED SCENE RECALL ............................................................................................................10
USING AUTOMATED SCENE RECALL .......................................................................................12
NOTES REGARDING AUTOMATED SCENE RECALL ...............................................................13
IN PRACTICE..... ..........................................................................................................................14
AUTOMATION EVENT EDITOR...................................................................................................15
EDITING EVENTS........................................................................................................................15
DISK-AT-ONCE CD WRITING ...............................................................................................................16
HOW TO PREPARE MATERIAL FOR DISK-AT-ONCE................................................................16
MIDI CONTROLLERS / SCENES ..........................................................................................................18
RESET MIXER........................................................................................................................................19
NEW CHANNEL DYNAMICS RATIOS...................................................................................................19

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Version 1.20 Addendum
This documentation describes new features introduced in V1.20 of the DPS24’s Operating System. These
new features are:
• A multi-band compressor (MBCX) is introduced which can be used for professional mastering.
• Sample Rate Conversion to 44.1kHz/16 bit with Dither function supported.
• Automated Scene Recall function is now supported.
• EVENT EDITOR for ‘cue-list’ editing of certain mixer automation events.
• “Disc-At-Once” CD write function is now supported.
• MIDI Controllers assigned to User Bank channels can now be stored in Scene Memory.
• Reset Mixer function for all channels is now available.
• Channel dynamics processor compression ratio for compressor is now shown as “xx : yy”, not as in “xx
%”.

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Version 1.20 Addendum
MULTI-BAND COMPRESSOR/EXPANDER
IncludedinV1.20isamulti-bandcompressor/expander (MBCX) that can beused to improve stereo mixes.
The algorithm used is identical to that released in our QuadComp VST plug-in.
Whilst it is possible to use an ordinary compressor for tightening up and adding punch to a stereo mix, it is
very common that low frequencies can cause ‘pumping’ effects on the overall signal. Alternatively, high
frequency sounds such as cymbal smashes can have an adverse affect on the overall sound. However, by
splitting the signal into four different frequency bands, each frequency can be separately processed.
This is achieved on the QUADCOMP using a series of crossover filters. These filters are constructed as
linear phase FIR filters in order to produce a signal path that is perfectly free of phase errors.
The Multi-Band Compressor/Expander (MBCX) window looks like this:
The first page allows you to set the crossover frequencies for each of the bands. These are set in the
various“XOVER”’fields.Thefrequencies available are 50Hz,80Hz, 125Hz, 200Hz, 320Hz,500Hz, 800Hz,
1.25kHz, 2kHz, 3.2kHz, 5.0kHz, 8kHz and 12kHz.
NOTE: One frequency cannot be set higher or lower than the adjacent band. For example if the MF
XOVER is set to 800Hz as shown above, LF cannot be set higher than that and you will be able to set
50Hz, 80Hz, 125Hz, 200Hz, 320Hz, 500Hz for the LF. Similarly, in this example, the MF XOVER
cannot be set lower than 200Hz.
The four frequency bands also have a variable slope and these can be set to 6dB, 12dB, 18dB and 24dB
per octave.
The MBCX has a series of presets that can be selected using F5. In the preset page, you can store your
own presets if you want.
It is possible to bypass the MBCX using F6.

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Pressing the COMP button on F2 will show this screen:
Each band (LF, LM, HM, HF) is selected using Q1.As you select each band, it is highlighted in the window
to the left:
In this way, it is clear to see which band of the compressor you are editing.

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Version 1.20 Addendum
The compressor and expander have almost identical controls. These are:
BAND Selects the frequency band.
THRESHOLD Sets the level at which the processors have an effect. The results are different for
the compressor and the expander. For the compressor, the threshold sets the level
at which compression takes place. Signals above the threshold will be compressed
but signals below this level pass through the compressor unaffected. For the
expander, the logic is the other way round - signals above the threshold are not
affected but signals below the threshold are brought up in level according to the
settings of the controls below. By using the two together, it is possible to create a
‘compander’ - i.e. signals above the threshold are reduced in level (compressor)
and signals below the threshold are brought up in level (expander) as this simple
example demonstrates:
The incoming signal level has a huge dynamic range going from very loud to very
quiet. By setting the compressor and expander thresholds to the same value, the
output of the processor will be the signal shown with the dashed line - as you can
see, its dynamic range is now much more even. However, because the loud signal
is now reduced in level quite dramatically, the overall signal level can be pushed up
(shown with the dotted line). This gives the effect of the whole thing sounding a lot
‘louder’or ‘bigger’and the fact that you can controleach frequency band separately
gives you a great deal of control.
However, because you have completely separate control of the compressor and
the expander’s threshold, it is possible to set the processor so that loud signals are
compressed and quiet signals are expanded as above but it is possible to leave a
portion of the signal unaffected by either compression or expansion:
In this example, the portion of signal between the compressor’s threshold and the
expander’s is unaffected.

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Version 1.20 Addendum
Another way to look at the relationship between the two is thus:
NOTE: The compressor’s threshold cannot be set below the expander’s. Likewise, the expander’s
threshold cannot be set above the compressor’s.
RATIO Sets the ratio for the compressor or the expander.
NOTE: For the expander, a ratio of -INF means that the expander is effectively disabled.
ATTACK Sets the time it takes before the audio is processed.
RELEASE Sets the time it takes for the audio processing to finish.
OUTPUT Makes up for any gain reduction that may occur in the process.
Other controls that affect the MBCX ‘globally’ are found in the left hand window and are accessed using
the CURSOR < / > keys. These are:
DELAY This parameter allows the MBCX to ‘predict’ the signal that is coming (in other
words,the effectis delayed). What this meansin practice is that ifa signal is coming
that has a very large transient, the MBCX will be ready for it so that when it arrives
at the MBCX’s input, the transient won’t ‘overshoot’and cause potential distortion.
To set this up, listen to the track you are mastering - if you detect any ‘overshoot’,
adjust the delay time until the problem is eliminated.
EDIT : ONE/ALL Normally, you edit each frequency band individually but, withALL selected, you can
control all four bands simultaneously.

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Version 1.20 Addendum
LOADING/SAVING MBCX PRESETS
Several preset MBCX configurations are provided that cover a wide range of applications. These can be
selected by pressing PRESETS (F5) in the MBCX page. This will take you to a page where you can select
the presets. Move to the preset you want to use and press RECALL (F3).
In this page, you can also store your own presets simply by pressing STORE (F4). You will see a naming
prompt - enter an appropriate name and press OK.
NOTES REGARDING THE MBCX
• When the MBCX is being used, it utilises all the effects DSP’s processing. In short, you cannot use
the four channels of effects when the MBCX is enabled.To return to the normal effects, you should
press CD-R, MIXDOWN and switch MBCX off using F2/3.
• When the MBCX is enabled, it is inserted into the L/R mix bus. It can be inserted pre-fade or post-
fade.
When using the MBCX as a ‘compander’to regulate overall dynamics, it is best to insert it pre-fade.
This is because, when being used in this way, the MBCX’s processing relies on levels to operate
properly. If the MBCX were to be inserted post-fade and you were to perform a fade out on the
master fader, as the level drops, so does the action of the MBCX on the signal.As such, in this case
it is best to insert it per-fade so that the MBCX is always receiving the full level of the stereo mix
bus.
However, when using the MBCX as a limiter (compressor ratio set to maximum), it is best to insert
it post-fade.
• When adjusting parameters on the MBCX, as with other static controls, be sure to either save your
work as a preset (see above) or store Scene 00 before re-commencing playback. Alternatively,
switch the automation off.
Scene 00 holds the initial state of the mixer for the project and is recalled whenever a project is
loaded or an automation pass is started. This means that when the dynamic automation is ON,
scene 00 will be automatically recalled whenever PLAY is pressed to ensure that all the controls,
including those which are not dynamically automated, are set to the correct value in relation to the
current playback time. It is therefore important to ensure that you store the required mixer state to
scene00 before startingto use the dynamicautomation and update itwhenever you wantto change
the initial state of a control during automation playback.
So, a possible scenario is: you are playing your mix and adjusting the MBCX and the track finishes.
You locate to the start of the track, press PLAY and.....
Your MBCX settings are all lost and Scene 00 re-initialises the static controls to their previously
stored state.
Of course, this is also true for all static controls.

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Version 1.20 Addendum
MASTERING ON THE DPS24
Although it is possible to use the MBCX when mixing down your 24-track project, you lose the possibility
of using the internal effects.
You could, of course, use externaleffectsand the MBCX but if this is notan option, the best way to master
your recordings using the MBCX is to first perform a stereo mixdown as normal and as described in the
V1.00 operator’s manual (i.e. mixdown to the DPS24’s ‘virtual’ 2-track).
Assuming you are happy with the mix and want to ‘master’it through the MBCX, you should then load your
2-track mix project in the usual way from the PROJECT page and proceed as follows:
1 Press CD-R (SHIFT+SETUP)
2 Press MIXDOWN (F1)
3 Enable the MBCX using F2/3. The MBCX can be off, pre-fader or post-fader and this can be selected
by pressing F2/3 repeatedly. When the MBCX is enabled, the graphic changes to show the MBCX:
4 Press PLAY in the transport controls to playback your stereo mix
5 Press FX - the MBCX parameters will be displayed and you can adjust these as the track is playing.
6 Once you are happy with the settings of the MBCX and the sound of your mix, go to the CD-R page
again and press RECORD ENABLE.

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7 Now press SELECT - this will take you to the this page:
Hereyou caneither selecta projectyou wantto overwrite(for example,a stereomix youmade previously
which you are not happy with) or you can press NEW to create a new mixdown project. Either way, you
will automatically be taken to the MAIN screen.
8 Press the PLAY+REC transport controls - your stereo mix will be ‘mastered’ via the MBCX.
IMPORTANT NOTE REGARDING SCENE 00 AND THE MBCX
When you first load your stereo mix project, it is likely that it will have the internal effects selected in
Scene 00. Even though you may enable the MBCX as described in Step #3 on the previous page,
whenyou commence playback, it may switch over to the internal effects(because this is what is stored
in Scene 00).
To overcome this, when you select the MBCX in Step #3, store Scene 00 - this will store the MBCX
selection in the initial scene.
Alternatively, just switch automation off.

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Version 1.20 Addendum
DOWN SAMPLING PROJECTS FOR CD MASTERING
If you have made projects at sample rates other than 44.1kHz and/or you have projects that contain
recordings made at bit-depths other than 16-bit that you want to master onto CD, you will need to convert
them to 44.1kHz/16-bit. Version 1.20 introduces such a feature. Pressing CD-R (SHIFT+SETUP) will
show this screen:
CONVERTTO 44.1 allows you to convert a project recorded at any sample rate and with recordings of any
bit-depth to 44.1kHz/16-bit suitable for CD mastering.
First select the project you want to convert in the usual way from the PROJECT page. In the CD-R SETUP
page, pressing F5/6 will pop-up a prompt asking you to confirm that you want to convert the currently
selected project into 44.1kHz/16-bit. Respond accordingly. If you respond YES, you will see the usual
naming prompt where you may enter a name for your new project. As the project is being converted, you
will see a progress display. You can abort the process at any time.
Afterthe process is complete, you will have a 44.1kHz/16-bit project that will be suitable for mastering onto
audio CD.
When you perform the conversion, the project is re-sampled at 44.1kHz and is dithered down to 16-bit
using TPDF (triangular probability density function), a well-known dithering algorithm that ensures high
quality bit reduction with few audible artefacts.
NOTES REGARDING CONVERTING DOWN TO 44.1KHZ/16-BIT
You don’t have to perform this conversion unless you are mastering projects made at sample rates
other than 44.1kHz and/or which contain recordings made at bit-depths other than 16-bit to CD.
You can create mixdowns in your chosen sample rates and bit-depths to use as stereo masters.
However, in order to produce a master audio CD, you will need to run these mixes through the conver-
sion process.
Of course, if your project is recorded at 44.1kHz and contains only 16-bit recordings, the conversion
process is not necessary.

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Version 1.20 Addendum
AUTOMATED SCENE RECALL
In V1.20 of the DPS24 OS, it is now possible to automate scene recalls - that is, as the dynamic automa-
tion is running, scenes can be recalled at any time as part of the automation. This can be used to change
EQ settings of one or more channels or to change effects, etc..Also, even though they can be dynamically
automated, it is also possible to use scene recall to change pan and FX send settings - you could even use
it for fader settings to jump quickly from one mix to another. There are many possibilities.
Of course, before you have any scenes to recall, you must first store some. To store a scene for subse-
quent recall, press SCENE STORE. You will see this pop-u p.
You will note the extra parameter at the bottom of the prompt window. This allows you to select exactly
what will be stored. You can select the following options:
ALL Everything will be stored in the selected scene - fader position, pan positions, FX/
Aux send settings, channel on/off status, EQ and FX settings.
STATIC ONLY Only static controls such as EQ and FX settings will be stored. The faders, pans
and FX settings (i.e. those that can be dynamically automated) will not. This allows
youto recall differentEQ settings on one or morechannels and also switch different
effects as the track plays.
NO FADERS Everythingexcept thefaders willbe stored.Thisallows youto setthe mixparameters
such as pan, FX/Aux sends, EQ and FX and regard them as ‘static’ controls without
your dynamic fader mix being affected. Perhaps the best way to use this option is to
set RECORD EVENTS to FADER in theAUTOMATION page and mix your project
using the faders using this option to store different pan, FX/Aux settings, EQ, etc.,
as ‘static’ controls.
To select these options, use the adjacent Q5 Q-link control.

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Version 1.20 Addendum
To insert a scene recall into the dynamics automation, ensuring that the automation is switched ON, as the
track is playing, press SCENE RECALL followed by ENTER (or RECALL - F6) at the appropriate moment.
Please note that it is the point that the press ENTER/RECALL that is stored NOT the point at which you
press SCENE RECALL. In this way, you can press SCENE RECALL in advance, select the scene you
want to insert and then, at the appropriate moment, press ENTER/RECALL.
NOTE: A scene recall can take a second or so to be ‘registered’in the dynamic mix automation. That
is, at the point you press ENTER/RECALL, it may take a second or so before the new mix settings
take effect. In other words, try to insert a scene recall a little in advance of where you actually want it
to occur.
If a scene recall is not placed where you want it, you can use the EVENT EDITOR (described later) to
move it to exactly where you want it .
When recalling a scene, you can also decide what will be recalled. For example, you may have stored
Scene 03 asALL(everything stored) but when you come to recall that event, you can decide to only recall
(for example) static controls. When you press SCENE RECALL, you will see this prompt:
As with STORE, use Q5 to select what it is you want to recall (e.g. ALL controls, STATIC controls or NO
FADERS) and press ENTER or RECALL [F6]. The scene will be recalled, but as mentioned above,
depending on the complexity of your mix or the settings being recalled, it can take a second or two for the
recalled setting to take effect.

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USING AUTOMATED SCENE RECALL
Here are just a few things you can use automated scene recall for:
• Static EQ changes - change the settings of a channel’s EQ using scene recall at specific points in your
project. This is particularly useful if you have to have two different instruments on one track. For exam-
ple, on Track 5, you may have electric piano during the verses and strings during the chorus and each
need specific EQ settings. Store the EQ settings for each instrument in two different scenes and recall
them as appropriate.
• FX changes - change the selection of effects using scene recall at specific points in your project. Using
the above example of electric piano and strings sharing one track, the piano may require a chorus
effect and the strings a reverb effect. Store the different effects selection for each instrument in two
different scenes (along with the EQ settings for the channels!) and recall them as appropriate.
• FX settings - change the setting of effects parameters at specific points. For example, during the
chorus, you may want an instrument to have a delay time of 1,200ms but, in the chorus, you may want
this to be half of that. Store one scene with the effect at 1,200ms and another with the effect at 600ms
and recall them as appropriate.
• Static changes of controls such as pan and FX sends.Again, using the above example of electric piano
sharing a single track, you may want the piano panned to the left with a hint of chorus and the strings
panned to the right with a wash of reverb. Set each one as appropriate, store the settings for each in
two different scenes and recall them as appropriate.
• Completelyre-configure your mix by recalling static fader settings.Althoughit is more likely you willuse
gradually evolving, dynamic mixing, it can still be very useful to completely re-configure your fader
settings with a simple scene recall (especially in live applications where it is common to re-configure a
mix).
• Mute grouping - sometimes it might be necessary to mute several channels at once.Although this can
be achieved by recording individual channel mutes in several passes, a simpler way is to mute all the
channels you want to drop out and store that in a scene.At the appropriate moment, recall that scene
and all those channels will be muted.
For example, you want to mute channels 1, 2, 5, 6, 10, 14, 15, 16, 17, 21, 22, 23, 24 at a particular point
in the mix.As mentioned, you can record these mutes separately in several automation passes but this
takes time and, more importantly, it might be difficult to synchronise those mutes. A better method
would be to stop playback, mute those channels and store a scene. Then, at the appropriate moment,
recall that scene as part of the dynamic mix automation - the selected channels will be muted simulta-
neously. Recall another scene with those channels re-enabled.
• Static control changes of the MBCX - change the settings of the MBCX as the dynamic content of your
track changes. For example, the chorus might be quite bass heavy and require a certain combination
of settings whilst the verse is a little lighter in the LF region and so may require different settings. Store
each one in two different scenes and switch between them as appropriate.
These are just a few suggestions. No doubt you will find your own uses for automated scene recall accord-
ing to your circumstances and application.

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Version 1.20 Addendum
NOTES REGARDING AUTOMATED SCENE RECALL
• Because scene recalls take a certain time to be effective, be sure to insert a scene recall a fraction in
advance of where you want it to occur. Ideally, scene recalls should be inserted during a moment of
silence on the channel(s) selected to be affected. You can use the EVENT EDITOR to move scene
recalls to the optimum point.
• Because it takes the effects processor a certain time to change from one effect to another, be sure to
insert a scene recall that contains an effects change a fraction in advance of where you want them to
change in order to give the effects time to change. Ideally, scene recalls should be inserted during a
moment of silence on the channel(s) selected to be affected.You can use the EVENT EDITOR to move
scene recalls to the optimum point.
• Because it takes a certain time for an effect to change its parameters (for example, delay time), be sure
toinsert a scene recall a fraction in advanceof where you want the change totake place in order to give
the effect time to change. Ideally, scene recalls should be inserted during a moment of silence on the
channel(s) selected to be affected. You can use the EVENT EDITOR to move scene recalls to the
optimum point.
• When setting parameters, it is important to remember to store the settings you make to a scene before
re-commencing playback. Imagine this scenario......
You are adjusting the EQ on a particular channel in real-time as a project is playing. You get so far with
the adjustment but the project finishes. You press stop, locate to the start of the project (or wherever)
and press play and.....
The settings for the scene at the point you re-commence playback are restored and all the adjustments
you have just made have been lost. In other words....
Be sure to save all settings into a scene before re-commencing playback. In Version 1.00, it was
required you store the settings into Scene 00. With the automated scene recall introduced in Version
1.20, these settings can, of course, be saved into any scene as appropriate. This is standard practice
on all automated consoles and not a limitation of the DPS24.
• Scene 00 is still an important factor in the way automation plays back as this sets the initial scene
settings for the start of all automation, regardless of what happens subsequently in the mix.
• Think carefully about what parameters will be stored in a SCENE STORE and, more importantly, what
parameters will be recalled with a SCENE RECALLas a mistake could affect the dynamic mix automa-
tion. As an example.....
As a result of the dynamic mix automation, the faders for channels 1-4 may have gradually faded down
to -40dB. However, you recall a scene where the faders are at +2dB. The result is that, at the point of
theautomated scene recall, the faders forchannels 1-4 will suddenly shoot from-40dB to +2dB. Please
take care when storing scenes (or more importantly, please take care when recalling scenes) that the
correct parameters are recalled so as not to upset a carefully performed dynamic automation pass.
If you do make a mistake, use UNDO and try again. Alternatively, use the event editor to delete the
recall and try again.
NOTE: Whenstoring/recalling scenes, the store/recall function will ‘remember’the last selection made.
This is intentional as it allows you to work a particular way (i.e. set NO FADERS and always store/
recall scenes with this setting). However, if you are likely to store/recall different settings with each
store/recall, please bear this in mind and ensure you make the correct selection.As mentioned, if you
do make a mistake, you can use UNDO.

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Version 1.20 Addendum
IN PRACTICE.....
The chances are that in practice, you will use the dynamic automation for level control and the rest of the
automation will be switching ‘static’ controls such as pan, FX send, EQ, etc. via scene recalls. If this is the
case, in the AUTOMATION page, set RECORD EVENTS to FADER and in the SCENE STORE/RECALL
prompt, select NO FADER.
In this way, you can use the DPS24’s dynamic automation to regulate channel/track level but use SCENE
RECALL to switch between certain ‘static’ control settings of pan, FX/Aux sends, EQ, etc.. In other words,
fader automation will be unaffected as you make ‘static’ scene recalls of other parameters such as pan,
FX/Aux sends, EQ, etc..
Ifyourautomation requirementsare differentand/oraremore demanding(for example,youwant togradually
panone or more channels back and forth betweenleft/right and/or you want to gradually addeffectsto one
or more channels) , you will have to make your own choices as to how to proceed.
AUTOMATION EVENT EDITOR
Version 1.20 introduces a simple automation event editor. This is introduced primarily to edit scene recalls
so that they can be placed accurately but it also allows you to edit channel on/off switching. Press EVENT
[F4] in the AUTOMATION page shows something like this:
In theAUTOMATION EVENTS window, you can see any scene recall events or channel mutes. To select
whatis viewed,use Q1to select SCENERECALL(willshowscene recallevents) or INPUTS1-12,TRACKS
1-24, GROUP 1-8, FX SEND 1-4,AUX SEND 1-4, FX RETURN 1-4, AUX IN and ALL (will show channel
on/off events).
In the case of SCENE RECALL, the TYPE column will show the type of recall as follows:
A All controls
S Static controls only
NF No faders
NOTE: It is not possible to change these and they are shown for information only.

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The VALUE column shows the scene number.
In the case of channels and tracks, currently only channel on/off status is shown as:
XYZnn on/off
where‘XYZ’indicatesa channelor track and‘nn’isthe channel/tracknumber.The VALUE
column will show ON or OFF accordingly.
NOTE: In the case of stereo paired channels, the event editor will only show the channel on/off status
in the odd numbered channel. For example, if Tracks 11 and 12 are stereo paired and a channel on/off
operation is performed, the event(s) will only show when TRACK II is selected - the event(s) will not be
shown in TRACK 12
EDITING EVENTS
Events can be deleted and/or moved.
To delete an event, simply press DELETE EVENT. If you make a mistake and accidentally delete an
event, you can use UNDO.
To move an event, press MOVE EVENT. You will see this prompt:
You can either type in a new value or you can move the cursor to the appropriate digit and ‘nudge’ the
value using the DATA ENTRY +/- keys. Press MOVE to actually move the event (or CANCEL to abort). If
you make a mistake, you can use UNDO.

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Version 1.20 Addendum
DISK-AT-ONCE CD WRITING
Version 1.20 introduces the ability to write a complete CD in one pass. Previously, it was necessary to
write individual tracks one-by-one. With ‘disk-at-once’, you can master an entire CD in one pass. The new
function is found in the CD-R page:
The new function BURN METHOD allows you to select TRACK-AT-ONCE or DISK-AT-ONCE. Once
selected, the WRITE button is used to write the CD. You will see a prompt that you should respond to, and
during the write process, you will see a progress display.
HOW TO PREPARE MATERIAL FOR DISK-AT-ONCE
Assuming you have mixed down all the stereo masters you want to put on your CD, create a project and,
using copy and insert, create your ‘playlist’ so that all the songs you want to put on the CD are placed end
to end thus:

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Version 1.20 Addendum
You could just make your CD from this. However, you will probably want to put track markers on your CD.
This is done using the autolocator. At the start of each track, mark an autolocate point and give each
locator memory names such as shown below:
Those locate points that are prefixed with # will register as track marker points on the CD.
Even if your CD is made up of one long piece of music, you can place track markers at points throughout
the piece. For example, if you have done a remake of the 25 minute opus ‘Supper’s Ready’ by Genesis,
each ‘section’ can have track markers. Alternatively.....
If you want, you can also mark ‘indexes’. These can be used to locate to positions within a track (for
example, intro, verse 1, chorus 1, verse 2, chorus 2, instrumental, final chorus or whatever). To mark an
index, the locate point should be prefixed with an ampersand (&).
NOTE 1: Marking indexes is optional. Some CD players don’t actually have the ability to locate to
indexes so it’s entirely up to you if you want to use them.
NOTE 2: Autolocate points that are not prefixed with either # or & will be ignored (locate memories 2,
3 and 6 in the example shown on the previous page).

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Version 1.20 Addendum
Once you have set up your track markers, you can proceed to the CD-R page. Set the parameters as
follows:
NOTE: Write speed should be set SLOW or FAST as appropriate for your particular CD writer.
Assuming you have a blank CD-R inserted in the drive, press WRITE. You will be asked if you want to
proceed to which you should respond as appropriately. If you choose to proceed, you will see a progress
display as the audio CD is created.At the end, you will have an audio CD complete with track markers to
play in any audio CD player.
Theadvantages of DISK-AT-ONCEare that you cancreate your own playlist andspecify the gaps between
the various tracks and also where the track markers and indexes will be placed. Plus, of course, you can
just let the thing run and create your final CD in one pass.
MIDI CONTROLLERS / SCENES
Version 1.20 allows you to assignMIDI controllers to the User Bankchannels and store these assignments
as part of a Mix Scene. In this way, each scene can have its own unique combination of assignments
thereby increasing the flexibility of external MIDI control.