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PowerMate 1600-3
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Dynacord PowerMate 1600-3 [38/100] Usb record routing

POWERMATE

recording. This, for example, provides the possibility to

enhance solo vocals or a solo instrument at specific

passages so that they stand clearly in front of the mix. For

that, you need to assign respective input channels to the

AUX bus using the AUX controls. Post-fader mode is

useful.

A very recommendable option is to use the two AUX ways

in order to record the signals of a stereo microphone po-

sitioned in front of the stage. Recordings, which are fed

only from the PA mixer, are often disappointing, because

audience reactions are completely missing and the sound

does not reflect the live performance. That is because of

the fact that particularly in small venues the acoustic out-

put or electrical signal of many musical instruments,

which by nature already have sufficient clout (such as

drums, electric guitar, etc.) gets reproduced only to a

slight degree or not at all via the public address system.

Conversely, sound recordings that only employ a room

microphone, very often sound indirect and especially the

vocals suffer from a lack of clearness and intelligibility.

The Live mode of the PowerMate offers the possibility to

simultaneously record both signal sources (mixer output

and room microphone) separate from each other. During

post-production of the recording you can comfortably

match all tracks in proportion to each other.

HINT: Make sure that during recording the signals of

the room microphones are not included in the

PA mix to prevent feedback. Therefore, the fad-

ers of the „room channels“ have to be pulled all

the way down. The AUX ways, nevertheless,

have to be operated in pre-fader mode in order

to feed the signal to the DIGITAL AUDIO INTER-

FACE.

TUDIO: 4-TRACK RECORDING

In studio mode, the four buses MON 1, MON 2, AUX 1

and AUX 2 are available to the PC/Mac in sequence on the

USB channels 1, 2, 3, and 4.

For recording you will need any multi-track recording

software, e.g. the included Cubase LE software. Notes on

how to assign recording channels 1-4 to corresponding

tracks can be found in the documentation that has been

supplied with your software.

The option of multi-assignment does not limit you to the

use of only four tracks within the software application.

Over-dubbing allows the gradual creation of almost any

number of tracks. Establishing the mix-down of the

recorded tracks as well as assigning the desired effects

processing is usually done on the PC. A very convenient

option to accomplish this is to assign the stereo master

of your software application to the playback channels

USB 1 and USB2 of the PowerMate.

In order to gain the full flexibility of a 4-track recording

mixer, the ways should not be used for other purposes, e.

g. for monitoring. The studio mode is mainly meant for

capturing song ideas and the production of demo

recordings in a home studio or rehearsal room. For this

application, AUX 1 and AUX 2 should be operated in pre-

mode and the graphic EQ should not be assigned to the

monitor ways. During recording, use the AUX/MON cont-

rols to assign the musical instruments that are to be

recorded at the same time to the four tracks. You can also

already combine some instruments in a pre-mix. For

example, it might be useful to combine the individual

drums of a drum-set in a single drums track. Since AUX

and MON tap the pre-fader signal, you can use the faders

on the mixer to create the monitor-mix for the musicians.

Using headphones for the monitoring is of course always

recommended, since the acoustic signal of loudspeaker

systems also affects the recording microphones. Use the

USB playback channels in order to feed the signal of al-

ready recorded tracks (overdubbing) or a click-track to

the musicians' monitor-mix during the recording.

Since you use your PowerMate as recording center, true

zero-latency monitoring is guaranteed, i. e. during the

recording of vocals or musical instruments, you create

your monitor-mix (headphones) directly in the mixer, wit-

hout routing the audio signal first to the PC and then back

again to the mixer. Inherent to its functional principle,

such an approach is always associated with a certain run-

time delay (latency), which, if it is too high, basically

renders the rhythmic performance of a musician impos-

sible or, vice versa, makes very high demands on the sys-

tem, if the latency has to be imperceptibly low. The

complete description of the recording procedure goes

beyond the scope of an owner's manual, particularly

since the optimal approach depends to a great extent on

the necessities of the band members, the music style and

the preferences of the musicians.

At this point, we refer to the extensive literature available

on this topic, and would like to encourage you to explore

the comprehensive possibilities and features offered by

the PowerMate for the recording process for yourself.

Illustration 4-9: USB Record Routing dialog (Studio)

USB Record Routing

AUX 1

DIGITAL AUDIO INTERFACE

Live

Studio

MON 1

AUX 2

MON 2

BACK ESC

Dynacord PowerMate 1600-3 [38/100] Usb record routing

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