Tascam Digital Audio Workstation Controller US-428 Owners Manual

							TASCAM  US-42811
3. Installation
3.3 Tuning Your Computer
A few words about computers and audio.  Much has
been written about the best ways to optimize your PC
or Mac for handling audio applications, and generally
speaking, it’s a much deeper topic than we’ve got space
for in this manual. But here are a few basic points to
help you get the best out of your audio programs:
≠Don’t run extraneous applications.  While it’s likely
you’ll sometimes use your computer for applications
other than audio, it’s strongly recommended that
you avoid running other applications at the same
time you’re running audio programs.  Processing
digital audio requires considerable overhead from
your computer, so don’t overtax the system by
running other applications (especially graphics or
internet tools) that can steal those resources.
≠Certain devices, such as network cards and
WinModems, can cause conflicts with the native
handling of USB.  Should you experience such
conflicts, the offending device can usually be
temporarily disabled in the Device Manager.  Refer
to your Windows 98 manual for detailed instructions
on how to resolve conflicts.
≠Assuming your computer has an IDE hard disk
(most do), enabling Direct Memory Addressing
(DMA) on will improve performance.  Some
programs (such as Cubase VST) allow you to
conf igure the DMA as enabled on install.  If you’ve
not already done this, here’s how to conf igure the
DMA transfer mode:  On the Windows 98 desktop,
go to the Start menu, Settings, Control Panel, System.
In the System Properties window, select the Device
Manager tab.  Click on the plus sign next to Disk
Drives, and highlight the IDE disk listing, then click
on the Properties button.  Check the DMA box under
options. (see illustration 3.03)In addition, a number of simple hardware modif ications
and enhancements can substantially improve your
computer’s handling of audio, as well as your track
count and DSP capability.  
≠Increase the amount of RAM in your system.  While
most digital audio software will function with a
minimum of 32 MB, increasing your computer’s
RAM to 96, 128 or even 256 MB will markedly
improve performance.
≠Consider the addition of a dedicated hard disk for
audio; preferably one with a high spindle rate (over
7200 RPM is recommended for most audio
applications).  Using different drives for program
and audio data speeds up the seek time for the audio
track data.  (Note that simply partitioning a large
drive will not have the same effect, as the computer
will still be accessing the same physical drive.)  For
best results, add a SCSI or Wide-SCSI drive and
SCSI controller card.  SCSI (and particularly Wide
and UW-SCSI protocol) are capable of considerably
higher data transfer speeds; you’ll notice a dramatic
increase in track count and in the amount of signal
processing plug-ins your computer can handle.  Note
that some of the recent UDMA-66 drives have proven
to be almost as fast (and certainly cheaper); however,
they are still limited in the amount of physical drives
allowed and the bus length.
≠If you’re presently using a PCI-based graphics card,
and your motherboard has an AGP slot, consider
getting an AGP-based graphics card.  This will
decrease traff ic on the PCI bus and allow for faster
screen redraws.
3.4 Notes on USB interfacing
The USB protocol is an extremely versatile one, and
much has been made of the possibility of using
multiple (over 100) devices on a single bus.  While
this is certainly a possiblity, we are recommending
using as few other USB devices as possible in a
system equipped with the US-428.  The demands
placed on the USB bus by passing multiple tracks of
audio through it are considerable, and adding
additional devices will risk reducing that bandwidth.  
Another well-documented advantage of USB is the
ability to “hot-plug” devices (that is, plug them in and
out without powering the computer down).  While this
applies to the US-428 as well, we recommend against
plugging or unplugging, or powering the unit on or
off, while running your audio application.  Doing so
can result in audible pops, or even hanging or
crashing the program.
You’ll f ind a listing of web links and resources on hard
disk recording on our website at www.tascam.com.
Illustration 3.03  -  Enabling DMA on your IDE drives 
						

							12TASCAM  US-428
4. Hooking up Audio and MIDI to the US-428
4.1 Hooking up audio
To monitor output from your computer, connect the
analog outputs of the US-428 to your mixer, amplif ier
or powered monitors.  Output volume is controlled by
the LINE OUT level pot. If you’ve got a digital mixer,
external D/A converter, or other device with S/PDIF
input, you may prefer to monitor via the US-428’s
S/PDIF output. 
Illustration 4.01 - Connecting audio to the US-428
To record audio from the US-428 into your computer,
simply connect a device to the appropriate input.
Microphones should be plugged into the INPUT A or
B XLR inputs.  Note that the US-428 does not supply
phantom power, so if you’re using condenser mics,
you’ll need an external preamp or power supply.  You
can connect line-level sources (e.g., keyboards and
sound modules) into one of the four LINE INPUTS
(A through D).  If you wish to plug in a guitar, bass,
or other high-impedence source, simply use input C
or D, and move the sliding switch next to the inputconnector to the “Guitar” position.  Finally, digital
sources (e.g., CD players, DAT’s etc) may be
connected to the S/PDIF INPUT.
The inputs of channels A and B are available as either
balanced XLR mic-level inputs or balanced TRS
(1/4”) line-level inputs. While both sets of inputs are
capable of functioning simultaneously, in actual
practice this is not recommended, as the signal level
of the inputs will be summed and very likely interfere
with each other. 
Inputs C and D are switchable between the
unbalanced 1/4” analog inputs C and D and the
S/PDIF digital input.  The input source is selected by
pressing the INPUT C+D switch.
Input level for analog sources is regulated by the
TRIM level pots (diagram), located directly above the
faders.  To use digital audio input, switch the INPUT
C+D  selector to Digital.  The INPUT C and D TRIM
controls do not affect digital input.  Sampled audio
from the S/PDIF digital input is passed directly to the
application without modif ication.  To reduce the level
of the digital audio signal at inputs C and D, you will
need to reduce the output level of your digital source.
Note about levels and gain structure here.  The TRIM
controls directly affect the input level at the A/D
converters on the US-428, so it’s advisable to use the
SIGNAL and OVER LEDs to help set your levels.
Unlike analog tape, when recording digital audio, it’s
important to keep your input level close to 0dB, but
never to exceed it.  If the input level is too high, the
audio signal will clip - not a desirable sound.  If the
input level is too low, then the dynamic range that the
US-428’s A/D’s are capable of is not being used, and
the signal will be closer to the noise floor than it
needs to be.  In either case, this can not be f ixed after
the tracks have been recorded, so it’s important to
make this adjustment carefully.
Illustration 4.02 - Input trims and level indicator LED’s 
						

							TASCAM  US-42813
4. Hooking up Audio and MIDI to the US-428
4.2 Hooking up MIDI
The two MIDI in and out jacks are independent,
giving you a total of 32 channels of MIDI I/O. Simply
connect the MIDI out of your keyboard or other
device to a MIDI in jack on the US-428, and vice
versa. If you’ve got a MIDI sync box, you can dedicate
one of the two MIDI I/O’s to sending and receiving
MTC (MIDI Time Code). This allows you to sync
tracks from your MTC-capable Portastudio, DTRS
multitrack, or any other machine that accepts time
code with your digital audio software, for transferring
tracks back and forth for editing and processing.
4.3 Using the Input Monitoring
In digital audio, the amount of time it takes for the
input signal to pass through the circuitry of the unit
and the software processing and arrive at the outputs
will sometimes result in an audible delay. This added
delay can be confusing when, for example, you’re
trying to overdub to previously recorded tracks. 
The INPUT MONITOR mixer built into the US-428
eliminates this problem by providing a way to listen to
the signals you’re recording directly, without any
computer processing delay.  When the INPUT
MONITOR button is depressed, the f irst four channel
faders control the input levels of inputs A, B, C or D
to the US-428’s internal mixer.  Changes in these
levels affect the monitor and headphones outputs, but
have no effect on the audio levels seen by the audio
software application. The f irst four MUTE buttons
also affect the four inputs, and PAN is also available
in this mode; the four inputs come up panned to
center, but can be SELected and PANned anywhere
within the stereo f ield.
That in INPUT MONITOR mode faders 5-8 are
inactive.
That all the controls mentioned here are also
accessible via the ASIO control panel, which
displays the current status of the INPUT MONITOR
section.
NOTE
NOTE
4.4 Monitor vs. Master Level
It’s important to make a distinction between
MONITOR LEVEL control and level of the stereo
bus output, as controlled by the MASTER FADER.  
When using the US-428’s analog inputs, only the
TRIM controls actually affect the input level to the
audio software application.  When using the US-428’s
Digital inputs, the digital audio data received at the
US-428’s digital input is passed directly to the audio
application without any gain or other modif iciations.
When monitoring audio playback from the
application via the US-428, the level is controlled by
that track’s software gain control (which, in turn, is
controlled by the US-428’s channel FADERs), the
MASTER FADER, and the LINE OUT or PHONES
OUT level controls.
The LINE OUT and PHONES level controls directly
affect the audio levels that appear on the LINE
OUTPUT and PHONES jacks, respectively. The
audio level produced at the DIGITAL OUTPUT is not
affected by either control.  
The MASTER FADER is the f inal level control
affecting the digital stereo output to the application,
consequently changes made to the MASTER FADER
level will also affect the output level to the speakers.
Thus, if you want to simply reduce the volume of your
listening environment, you’ll want to use the
MONITOR LEVEL control to do this without
affecting the level of your stereo mix. 
						

							14TASCAM  US-428
5. Interfacing with your Audio Software
This section is intended to present the basic concepts
needed to interface the US-428 with an audio
software application.  We should point out that
different programs will implement some of the
features described here differently.  As it would be
beyond the scope of this manual to detail the
operation of each individual program, we’ll discuss
the concepts presented here as they relate to the
operation of the US-428 with the Cubasis VST audio
software included in the US-428 package.  This
discussion, however, is not intended to replace your
software’s users’ manual.  If you’ve got questions
specif ic to Cubasis (or your digital audio software of
choice), please refer to the User Manual for the
program for further detail.
5.1 Selecting the US-428 as your
Audio Device
5.1.1  Audio Control Panel
In Cubasis, open the Audio Control Panel (see
illustration 5.01).  It’s located in the A
udiopulldown
menu, under System
.  Select the ASIO Devicepull-
down menu, and select ASIO US-428 Driver.If your
software only supports 16 bit recording, a 16 bit
driver has also been included.
Illustration 5.01 - Cubasis Audio Control Panel.
In the Audio Control Panel, you can select the
number of audio channels you wish to use, as well as
the sampling rate, Disk Cache settings, and MIDI to
Audio offset.  See Chapter 6.1, Setting Up, for more
information on these settings.  
5.1.2.  ASIO Control Panel 
In the Audio Control Panel, click on the button
marked ASIO Control Panel.  The US-428 Control
Panel will appear.  (If you’re running the US-428
under Windows, you can also open the US-428
Control Panel using Start | Settings | Control Panel.)
In the Control Panel, you can specify a number of
options in the US-428’s ASIO handling.  
Illustration 5.02 - ASIO Control Panel
The Control Surface Protocol setting governs the type
of MIDI messages used to send fader and button
information from the US-428 to applications.  The
corresponding drop-down box allows you to select
“US-428 Native” or “JL Cooper CS-10” emulation.
For use with Cubasis, it’s recommended that you leave
the default “US-428 Native” selection.
The Master Fader alwayssends changes in position
via MIDI. It can also be used to make the US-428
itself change the output level coming from an
application. (This is useful for programs that do not
have their own master volume control, such as Sound
Forge.) In Cubasis, select the MIDI only option.
The Statusarea provides a view of the US-428’s current
settings:
≠Clock source: Internal or Digital In
≠Sample rate: 44100 or 48000
≠Resolution: 24 Bit or 16 Bit 
≠Digital input:  
Signal: Red - no digital input, 
Green - digital input active
Fmt: Red - improper format, 
Green - proper S/PDIF format
Lock: Red - digital in not ready to record, 
Green - digital in ready to record 
						

							TASCAM  US-42815
5. Interfacing with your Audio Software
The Input Monitorarea is a viewable and controllable
version of the US-428 INPUT MONITOR mixer.
Here you can control the level and position of each
US-428 input as it will appear on the LINE OUTPUT,
DIGITAL OUT, and PHONES connectors.  Three
controls (level, pan and mute) are available for each
input A, B, C and D.  Note that these controls can also
be changed from the US-428 by pressing the INPUT
MONITOR switch on the unit, and using channel
strips 1-4.  If you make the changes this way, the
controls displayed in the US-428 Control Panel will
be updated to reflect the new values. 
Any settings shown in the input monitor section of
this control panel can be saved as one of four
Snapshots. To save your settings as snapshot number
1, for example. click on “Save” and then click on “1”.
Any snapshot can then be recalled by just clicking on
its corresponding button.
You can also control the input monitor settings that
will be used when the US-428 f irst starts up. You can
choose either the last settings in effect at the previous
system shutdown, or any one of the four snapshots. 
5.1.3  VST Remote
In Cubasis, the program will automatically recognize
the US-428 as a remote controller unit.  In Cubase
(full versions), you will also need to select the US-
428 as the program’s remote control.  To do this,
select the VST Remote option from the Audio menu,
and choose the US-428 option (See illustration 5.03).
You will also need to set the Input and Output devices
to “US-428 Control Port” and the “Remote” setting
should match the setting chosen in the US-428
Control Panel (see illustration 5.02).
Illustration 5.03 - VST Remote Panel
5.2 Setting the Sample Rate and
Bit Depth
The US-428 supports sample rates of 44.1kHz and
48kHz.  In the Audio Control Panel, select the pull-
down menu for Sample Rate and select either 44.1
kHz or 48 kHz.  
The US-428 control protocol includes two separate
drivers for 16-bit or 24-bit operation. This selection is
made in the Audio Control Panel (see illustration 5.04).
Illustration 5.04 - VST/24 Audio Control Panel
5.3 Input Enabling
You will need to enable the inputs on Cubasis.  Open
the Audio Input window (see Illustration 5.05) and
select any one mono track or stereo pair.  
Illustration 5.05 - Input selection window
That Cubasis supports only one input for recording
(though this can be a mono or stereo track). To fully
utilize the US-428’s four input capabilities, you’ll
need to run it with a full version of Cubase VST,
Emagic Logic, Cakewalk, or another application that
supports multiple inputs on record.
NOTE 
						

							16TASCAM  US-428
5. Interfacing with your Audio Software
Then select the inputs on Cubasis’ internal mixer.
Hold Contol and left click on the input selector above
the channel strip, and select the desired input.Verify
that the designated channels inputs (IN) are
selected, and the associated channels are receiving
signal. (see illustration 5.06)
Highlight a track in the arrange window, and that
track will automatically be Record-Enabled. (see
illustration 5.07) Verify that the drop-in and drop-out features in
Cubasis (on the transport bar) are not enabled (or if
so, that they are enabled at the desired locate points).
Press the RECORD button on the US-428.  Cubasis
will issue a one or two bar countoff (depending on
what’s set in Cubasis’ Metronome preferences menu),
then commence recording.
Illustration 5.06 - Input selection window
Illustration 5.07 - Record Enable 
						

							TASCAM  US-42817
5. Interfacing with your Audio Software
5.4 Transport Controls and Locate
Points
The transport controls on the US-428 are set up to
directly correspond to the on-screen transport controls
in Cubasis. So, for example, pressing PLAY on the
US-428 will activate the PLAYmode in Cubasis.
Pressing STOP will halt playback on Cubasis. Pressing
REW or FFWD will activate Cubasis’ transports to
Rewind or Fast Forward, respectively. The DATA
WHEEL, when AUX is not selected, will also act as a
shuttle wheel for the transport.  Rotating the wheel
clockwise will advance the song position forward, and
rotating it counter-clockwise will move the transport
backward.
Cubasis will record audio or MIDI into the track that
is highlighted on the Arrange screen (see above).
Pressing RECORD will start Cubasis into a count-off,
after which it will begin recording audio or MIDI data
into the selected track.
Illustration 5.07  -  Transport Bar
The locate points function much like the left and right
mouse buttons in Cubasis.  To jump to the Left locate
point, press the LOCATE Ôbutton, and to jump to
the right point, press the LOCATE button.
To set locate points, hold the SET button and press
the Ôor button to set the corresponding loate
point.  This will work when the transport is stopped or
when moving, allowing you to set locate points on the
fly. 
5.5 Mute/Solo
The MUTE buttons toggle the Mute function in
Cubasis’ VST Channel Mixer for the selected channel.
When a channel is muted, there are two indications:
the Mute
button in the Cubasis VST Channel Mixer’s
display will be activated, and the MUTE LED on the
US-428 corresponding to the muted track(s) will be
illuminated.
The SOLO switch works by toggling the status of the
MUTE switches to SOLO mode.  When the SOLO
button is pressed and the SOLO LED is lit, the
MUTE buttons act as SOLO buttons, soloing the
selected channel(s).
Illustration 5-07  -  Monitor Mixer with MUTE’s and 
SOLO’s 
						

							18TASCAM  US-428
5. Interfacing with your Audio Software
5.6 EQ controls
The US-428 control surface has dedicated EQ controls
that let you make changes to the setting on up to four
bands of EQ in the internal mixer of your audio
recording program. In the case of Cubasis, the US-
428’s LOW and HIGH EQ buttons address the lower
and upper bands of Cubasis’ two bands of internal EQ,
respectively.
Press one of the EQ band selection buttons (LOW,
LOW-MID, HI-MID or HIGH) to activate the
associated band of internal EQ in the software.  Once
you have activated a particular band, the EQ GAIN
control regulates the amount of equalization, in dB,
which is added or subtracted from the signal.  The EQ
FREQ controls the center frequency around which the
EQ cut or gain is centered. The EQ Q controls the
width of the band of frequencies affected by the EQ
GAIN control. 
To open a selected channel’s EQ panel via the US-428,
press one of the EQ selection buttons and then the
SELECT key on any channel, and the EQ/Aux Send
panel for the selected channel will open.
5.7 Aux Buttons
The AUX buttons 1 through 4 select the corresponding
AUX SENDin the software. When an AUX LED is
illuminated, the selected AUX level is controlled via
the DATAWHEEL.
To open a channel’s Aux Send panel in Cubasis, press
one of the AUX SEND buttons, and then the SELECT
key on any channel; the EQ/Aux Send panel for the
currently selected channel will open.
5.8 Data Wheel
The DATA WHEEL acts as a continuous controller, and
is capable of a variety of functions.  In Cubasis, when
an AUX LED is illuminated, the level of the selected
AUX Send is controlled via the DATAWHEEL.
When no AUX LED’s are selected, the DATAWHEEL
functions as a shuttle wheel, moving the transport in
the direction the wheel is turned.
5.9 BANK Controls and FADER
NULL
The BANK SELECT keys page between successive
banks of eight faders. Selecting any of the eight faders
will control the corresponding channel in the software’s
internal mixer.
The US-428 will support an unlimited number of
channels.  It is only limited to the maximum amount
of channels your audio software will support.
When changing to a different bank of faders, you may
f ind that the fader on the US-428 is now out of position
with the associated channel’s fader in Cubasis. Pressing
the FADER NULL button will disengage the US-428’s
faders from the program, allowing you to move the
US-428’s fader to match the fader in the software’s
internal mixer.  The REC and SEL LED’s function as
up/down indicators, guiding you to the correct fader
position. For best results, it is recommended that
FADER NULL function be utilized with the transport
stopped.
Illustrations 5-08 and 5-09  -  EQ Control Panels in Cubasis (left) and Cubase VST/24 (right) 
						

							TASCAM  US-42819
6. A Sample Recording Session in Cubasis
Okay.  You’ve got your US-428 connected to your
computer, and you’ve loaded the drivers.  Your audio
software is loaded, and you’re ready to cut some
tracks.  Let’s walk through a typical recording session
with the US-428 and Cubasis.
6.1 Setting Up
Before starting Cubasis, make sure that the US-428 is
runed ON, that its USB cable is connected to your
computer’s USB port, and that the device has been
initialized. 
When turning the US-428 on or off, or launching or
closing the application (e.g. Cubasis VST), turn
down the LINE OUT and PHONES LEVEL controls.
When Cubasis VST is running, do not turn off the
US-428, or disconnect the power supply. Also, you
should not disconnect or connect the cables of the
US-428 or any other USB equipment while Cubasis
VST is running.
If you launch Cubasis or another audio program
before the US-428 has been initialized, the software
will not “see” the US-428 and you will not be able to
operate the software’s controls, perform MIDI I/O,
or record or play back audio.  Likewise, many
software applications don’t expect that devices will
be removed while the program is running.  So make
sure to exit your audio application programs before
disconnecting or turning off the power to the US-
428.
It is also advisable, as with all audio devices, that you
turn your amplif ier or powered monitors off until the
program is up and running, to avoid audio spikes.
Once you are certain that the US-428 is up and
running, start the Cubasis application by double-
clicking on its icon on the screen.  Open the Audio
Control Panel and select the US-428 as your audio
device (see “Selecting the US-428 as your audio
device” in previous chapter.)  If you don’t see the US-
428 listed in your Audio Control Panel, make sure it’s
been installed correctly by referring to the section on
Troubleshooting.
Select the ASIO Control Panel, and choose a sample
Rate (44.1kHz or 48 kHz). 
Your Audio Clock Source should be set to internal,
unless you’re using S/PDIF digital input (INPUT C
and D set to DIGITAL), or otherwise slaving Cubasis
to an external source.
NOTESelect the Disk Caching Scheme. Option 1 is “Virtual
Tape Recorder”, used primarily when your tracks are
linear and of longer duration. Option 2 corresponds to
“Audio Sequencer”, and is more applicable when
using loops and shorter segments of audio. Option 3,
“Tape Recorder/Sequencer”, is your best choice when
working with a combination of short audio clips and
longer linear tracks.  (For further information on Disk
Caching, please refer to the Cubasis VST manual.)
If you’re using Cubasis, the program automatically
connects to the US-428 control surface and LEDs, but
if you’re using another program, you will probably
need to select the “US-428 Control Port” MIDI In and
Out devices in that program’s MIDI Setup menu.
If you’re using the US-428’s internal MIDI interface,
you’ll need to enable it in the Options/MIDI Setup
menu.  Each of the US-428’s independent MIDI Ins
and Outs can be enabled separately.  For more
information on setting up VST’s very sophisticated
MIDI functions, please refer to the VST manual.
Connect your audio sources to the US-428.  Connect
an analog source via the XLR or 1/4” inputs, or a
digital source via the S/PDIF input.
6.2 Recording Your Tracks
In Cubasis, choose the input(s) you wish to enable on
the US-428.  In the Audio menu, select Input, and
click on the input pair (or pairs, in Cubase VST)
you’ll be using on the US-428.  The green Input icons
will light in VST’s Input window for active inputs.
Select the Audio track(s) to record to by highlighting
that track in the Arrange window. 
That all four will only appear if you’ve enabled their
Inputs, as described above.  If this is the first track
recorded in a given project, Cubasis will probably
respond with a dialog box asking you for a path to
save the audio files.  It is highly recommended that
you create a unique folder for each song or project,
as audio .WAV files can accumulate very quickly on
your hard disk, and keeping them organized can get
pretty complicated.
Once you’ve enabled your tracks, you’ll want to
monitor audio through them to set your levels.  Open
Cubasis’ Monitor Mixer (Audio/Monitor menu), and
make certain you’ve assigned your channel inputs and
enabled them.  You should see audio signal on those
channels’ meters (assuming you’re sending signal
from your source).
NOTE 
						

							20TASCAM  US-428
6. A Sample Recording Session in Cubasis
If your input signal is too high, the OL LED will glow
steadily red.  If the signal level is too low, you might
only see a flicker, or nothing at all, on the SIGNAL
LED. 
You can regulate the input level of the input source in
several ways.  First, make sure that the signal you’re
sending to the US-428 is within a reasonable range –
it should illuminate the green SIGNAL LED, but the
red OL LED should only flicker occasionally. You can
then f ine adjust the level with the TRIM knobs for the
selected channel(s).  
That the SIGNAL and OL LED’s do not function with
digital input. 
In the case of digital input, input level is regulated by
the output level of the source, and passed directly to
the software application without modif ication.
On Cubasis’ Transport Bar, you can enable the
recording to drop in or out of Record based on the
locate points you’ve set.  If you do not wish to enable
this function, make certain the buttons for drop in and
drop out are not enabled.
Press the RECORD button on the US-428.  If you’ve
got the metronome’s Count-off function enabled,
you’ll hear a one or two bar countoff, and then the
program will enter Record mode.  It will stop
recording when it reaches the drop out point, or if
none is enabled, when you hit the STOP button.
Cubasis will now create a display of the track(s)
you’ve just recorded. This can take a few seconds to a
few minutes, depending on how long the recorded
tracks are and how many there are. You’ll then see the
tracks appear in your arrange window.
6.3 Overdubbing
To overdub more tracks, simply select and enable
additional tracks as you did the previous ones, and
repeat the procedure.  You can monitor the tracks
you’ve already recorded via the US-428’s outputs,
while recording additional tracks into Cubasis via the
US-428’s inputs.  Be sure to assign each track to its
own channel in the program’s internal mixer.  For
more information on Cubasis’ mixer functions,
including groups and output assigns, please refer to
the Cubasis manual.
When overdubbing, you can also select the INPUT
MONITOR mode by pressing the INPUT MONITOR
button on the US-428.  When the corresponding LED
NOTEis illuminated, channel strips 1,2,3 and 4 can be used
to adjust the level, pan and mute status of inputs A, B,
C and D, respectively.  This will enable the f irst four
faders as Input level monitors, allowing you to hear
the inputs at the source, in sync with the previously
recorded tracks.
6.4 Mixdown
You can control the mix of the channels you’ve
recorded via the US-428. Make certain you’ve got the
correct bank selected - the small on-screen window
that indicates “VST Mixer 1-8”, or “GM Mixer 1-8”
or “GM Mixer 9-16” is your best indication of the
currently selected bank.  The LEDs next to the BANK
buttons on the US-428 also indicate the selected bank:
VST Mixer = “Á” only; GM Mixer 1-8 = “Ó” and
“Á” GM Mixer 9-16 = “Á” only.  You can change
the level of a track by adjusting its corresponding
fader on the US-428 control surface.  To adjust other
parameters on a particular channel, f irst press the
SELECT key for that channel on the US-428. The
selected channel will be highlighted below that
channel’s fader on the screen.
Moving the channel fader on the US-428 will adjust
the relative volume of the selected channel in Cubasis.
The corresponding fader on screen will update as you
move the US-428’s fader.
The PAN control on the US-428 will pan the selected
channel from Left to Right on the stereo buss.
To open the EQ panel, select the desired channel and
then press ASGN and select any of the four bands of
EQ on the US-428’s EQ pod. The EQ’s level, center
frequency and Q can then be controlled via the US-
428’s EQ knobs.
To select a channel’s FX sends, select the desired
channel and then press ASGN and select any of the
four AUX buttons. The level of the Aux send is
controlled via the DATA WHEEL.
Once your tracks are recorded, mixing can be
automated on Cubasis’ internal mixer.  By selecting
Write on the mixer panel in Cubasis, your fader
moves, EQ and FX settings and changes, panning,
etc., can all be recorded into Cubasis’ automated
mixer settings. To play back the automated mix, select
Read on the mixer panel.  (You can play back existing
mix moves while continuing to update your mix by
selecting both Read and Write.)  For more detail on
Cubasis’ mixdown precedure, refer to the Cubasis
manual.