Akai dps24 用户手册

ADDING EFFECTS TO A CONTROL ROOM MONITOR MIX 

Very often, vocalists like to hear reverb on their vocals during the track laying process in 
order to have their performance 'flattered'. However, it's not a good idea to commit the re­
verb to disk at that stage. 

To record a vocal coming in on Input 1 to Track 4 dry but with reverb 'monitoring'... 

1. Route Input 1 to Group 4, select Track 4 for record. 

2. Monitor the vocal line via Disk Channel 4.

3. Add a hint of reverb to Disk Channel 4. Route that reverb's FX RETURN to the L/R bus.... 

The vocal will be recorded 'dry' but the vocal reverb will be heard on the control room moni­
tors and headphone output. 

Similarly, vocalists working in a vocal booth like to hear their voice with reverb in their 

headphones during the track laying process. 

Using the same example as above and assuming AUX 3 and/or 4 are being used as pre-fade 
foldback mix outputs to the STUDIO outputs connected to a suitable headphone monitoring 
system.... 

1. Route Input 1 to Group 4, select Track 4 for record. 

2. Monitor the vocal line via Disk Channel 4.

3. Use pre-fade AUX3/4 Send of Disk Channel 4 to send the vocal to the STUDIO outputs. 

4. Add a hint of reverb to Disk Channel 4 but send the reverb return to the STUDIO outputs 

through pre-fade AUX 3/4 of the FX1 RETURN channel... 

The dry signal will be recorded to disk, the vocalist will hear the backing track and his vocal 
via AUX 3/4 through the STUDIO outputs - he will also hear reverb on his vocal.