Spirit Digital 328, Руководство пользователя

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samples into your sampler, or selecting the right
keyboard sounds.
E. Electric Guitars
You should’nt plug electric guitars or bass guitars
straight into a mixer. If you want to record a clean
guitar sound, then use a DI box to get a good level
into the desk. Some DI boxes require phantom
power, and should be connected to the channel’s
XLR inputs (make sure the 328’s +48V phantom
power is switched on). If it’s a distorted guitar
sound you’re after, you can either mic up the gui-
tar cabinet, pointing a mic right at the speaker
cone, or use a multi-effects processor. If you have
enough tracks to take advantage of it, you can
record the multi-effects in stereo – the processors
almost invariably have stereo outputs, and flang-
ing, chorus and delay efects sound better in
stereo. See below for tips on using stereo chan-
nels.
Try applying compression while recording gui-
tar tracks to keep levels under control. Using the
compressor/gate algorithm on the 328 will allow
you to gate out the unwanted buzz and hum that
tends to come with distorted guitar settings, and
which you’ll only have to remove before mixing
anyway.
F. Recording Vocals
The Spirit Digital 328 has high-quality mic pre-
amps on channels 1-16, which are vital to record-
ing good vocals. A good condensor mic will gener-
ally give the best results, as they are more sensi-
tive and revealing than dynamic mics. Condensors
r48V phantom power, which the 328 can
provide via the XLR channel input sockets. If you
have the luxury of a choice of mics, be open
minded about what to use – try them all before
deciding what to use.
Set your mic up around 9 inches from your
singer, with a pop shield (nothing really works
better than the old stocking-and-coathanger trick)
between singer and mic to avoid problems with
C. Using Tape & Group Outputs
There are two approaches to using outputs to
tape. The first is to use your mixer’s group facili-
ties to combine several channels together for
recording – the outputs for the eight groups
appear at the 8 TRK A outputs on TDIF and ADAT
optical outputs. The second is to route channels
directly to tape. (In an analogue mixer, this has
the advantage of a cleaner signal path, though in a
digital mixer like the 328, you can route through
groups without adding any noise or distortion.)
The first approach is suitable for recording sev-
eral instruments together onto one or two tracks
– a multi-miked drum kit, for example. This
makes sense when you don’t have enough tracks
to record every instrument to its own track. The
second approach is suitable where you need to
record more than eight tracks at once, perhaps in
a live situation, and is simpler. Channel 1 always
feeds track 1, channel 2 feeds track 2, and so on
up to 16.
When you play back your recorded tracks, they
come in on channels 17-32. Although they’re
called Tape Return channels, they have exactly the
same facilities as channels 1-16.
D. Recording Instruments
Let’s assume that you want to put together a track
that uses live vocals and guitar with programmed
keyboards and drums. You’ve programmed the
basic song structure on your sequencer, and
you’re using two DA88s as above for your record-
ing medium.
The first thing you’ll need is a guide for every-
one to play along to. As you already have drums
and keyboards programmed, you could run your
sequencer in sync with the tape transports as you
record vocals, guitar and percussion. Alternatively,
you could record a rough stereo mix of keyboards
and drums to two tape tracks, which means that
in future sessions you can get your guide tracks
up without having to worry about loading the right
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