User manual AKAI DPS24 ADDENDUM

[. . . ] INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 NEW USB HOST DRIVES FEATURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 WAV/AIFF IMPORT/EXPORT VIA USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 DATE RANGE IN WAV/AIFF IMPORT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] So, if, after deleting a cue, you were immediately to load a different project (or create a new one), you could not use UNDO to get the cue you deleted back and the audio it referred to would exist on disk but `orphaned' from its pointers. This is a highly unusual scenario and unlikely to happen under normal circumstances. However, it could happen and so the new AUDIO RECOVERY function allows you to overcome this. This tool could also be used in a situation where, for instance, you would have deleted a Project by mistake. Of course, in such circumstances, the Project has to be rebuilt take-by-take, and it could become a lengthy process if the project contained a lot of recordings. However, this would be an extreme situation, but at least, the DPS24 would let you recover valuable takes that would have been lost otherwise. This does not replace the necessity to backup your Projects on a regular basis. The AUDIO RECOVERY function is found in SYSTEM / DISK under DISK TOOLS: Pressing AUDIO RECOVERY [F5/F6] will show this screen: Page 9 DPS24 VERSION 1. 60 ADDENDUM As in WAV Import, the new DATE RANGE parameter allows you to narrow down the number of files you will view when you press the BROWSE key [F6]. However, if your problem occurred a few days ago, you can specify PAST WEEK or if it only just happened a few minutes ago, you could specify TODAY. Pressing BROWSE will show something like the following. You can see that the filenames are - shall we say - somewhat obscure!However, you should be able to decide which files you want / need to recover from the date / time shown to the right of the display. Page 10 DPS24 VERSION 1. 60 ADDENDUM PERFORMING AN AUDIO RECOVERY We are going to assume the following scenario. . . . . You have just recorded a guitar part on Track 6 of the project NEW SONG 3 but you don't think it's very good so you delete it. You want to listen to a guitar part you recorded in another project for a guideline or for some inspiration or whatever so you load that project. You listen to that guitar part and think that maybe the one you just recorded in NEW SONG 3 wasn't so bad after all. However, because loading the other project wiped the UNDO history, you can't undo the deletion either. all is not lost if you follow these ten simple steps: 1 With NEW SONG 3 loaded, press EDIT and select Track 6 for edit. 2 Press SYSTEM 3 Press DISK 4 Press DISK TOOLS 5 Press AUDIO RECOVERY 6 Select TODAY as the DATE RANGE 7 Press BROWSE 8 You will see the `orphaned' audio file 9 Select that file by pressing SELECT [F5] 10Press IMPORT You're done!you will see the guitar part you thought you had lost has been re-instated safely on Track 6!Please note that when using audio recovery, the files are not actually copied (unless they are sample rate converted), so you do not lose any disk space. VERY IMPORTANT NOTE *** AUDIO RECOVERY is not possible after performing DISK CLEANUP *** Page 11 DPS24 VERSION 1. 60 ADDENDUM NEW EDIT FUNCTIONS Three new edit functions are introduced in V1. 60: Two new functions are introduced in the MOVE edit function: The MORE key on F2 gives access to these new functions: ORIGINAL Pressing ORIGINAL [F5] will move a recording to the timecode position at which it was originally recorded. NOTE 1: Any subsequent cues within the region on that track are moved such that they stay in the same place with respect to the first cue. This means you can edit or drop-in over a cue and then move the whole lot back to the *cue's* original position whilst keeping the edits intact. NOTE 2: Each track is processed separately, so different tracks may end up in different places, the first cue within the region being the significant one. Page 12 DPS24 VERSION 1. 60 ADDENDUM TO TRACK Although easily achieved using CUT and PASTE, this new function allows you to move audio from one track to another quickly and easily. Pressing TO TRACK [F6] will pop up this prompt: The source tracks are those selected for editing using the EDIT SELECT keys; the destination tracks are those where you want the source tracks to be moved to. To select the destination tracks, simply press the EDIT SELECT keys until the number of destination tracks corresponds to the source tracks at which point the tracks will be moved. The same function is possible using COPY (or CUT / ERASE) and PASTE but the new MOVE TO TRACKS function achieves the same result with fewer key presses. The third new edit function has been added to the INSERT page: INSERT SILENCE Pressing SILENCE [F5] allows you to insert a section of silence that is equal to the IN/OUT region. [. . . ] So, for example, if Tracks 7 and 8 were recorded as stereo, if a V. Track is assigned to either one, both will be swapped out. The status of these options is shown in the main V-Tracks page: Pressing UTILS shows this extra functionality: The functions are: EXIT RENAME Returns you to the main V. Tracks page. If the V. Track is empty (no audio), the default name will be "<unused>". Otherwise, the default name will be "V. Track nn-xxx" where 'nn' is the number of the physical track it is assigned to ('nn' will be '??' if the V. track is not assigned to any physical track), and 'xxx' is an auto-incremented number. [. . . ]