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DM-24
Digital Mixing Console
9101439701
OWNER’S MANUAL
Ü
ÿ
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Ÿ
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
This appliance has a serial number located on the rear panel. Please record the model number and serial number and retain them for your records.
Model number
Serial number
WARNING: TO PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.
Important Safety Precautions
IMPORTANT (for U.K. Customers)
DO NOT cut off the mains plug from this equipment.
If the plug fitted is not suitable for the power points in your home or the cable is too short to reach a power point, then obtain an appropriate safety approved extension lead or consult your dealer.
If nonetheless the mains plug is cut off, remove the fuse and dispose of the plug immediately, to avoid a possible shock hazard by inadvertent connection to the mains supply.
If this product is not provided with a mains plug, or one has to be fitted, then follow the instructions given below:
IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW
BLUE
BROWN
: EARTH
: NEUTRAL
: LIVE
WARNING: This apparatus must be earthen.
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter
E or by the safety earth symbol ç or coloured GREEN or GREENand-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
When replacing the fuse only a correctly rated approved type should be used and be sure to re-fit the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT ELECTRICIAN.
For U.S.A
TO THE USER
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency e n e r g y a n d , i f n o t i n s t a l l e d a n d u s e d i n accordance with the instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.
CAUTION
Changes or modifications to this equipment not expressly approved by TEAC CORPORATION for compliance could void the user’s authority to operate this equipment.
For the consumers in Europe
WARNING
This is a Class A product. In a domestic environment, this product may cause radio interference in which case the user may be required to take adequate measures.
Pour les utilisateurs en Europe
AVERTISSEMENT
Il s’agit d’un produit de Classe A. Dans un environnement domestique, cet appareil peut provoquer des interférences radio, dans ce cas l’utilisateur peut être amené à prendre des mesures appropriées.
Für Kunden in Europa
Warnung
Dies is eine Einrichtung, welche die Funk-Entstörung nach
Klasse A besitzt. Diese Einrichtung kann im Wohnbereich
Funkstörungen versursachen ; in diesem Fall kann vom
Betrieber verlang werden, angemessene Maßnahmen durchzuführen und dafür aufzukommen.
2
TASCAM DM-24
IMPORTANT SAFETY INSTRUCTIONS
CAUTION:
… Read all of these Instructions.
… Save these Instructions for later use.
… Follow all Warnings and Instructions marked on the audio equipment.
1) Read Instructions — All the safety and operating instructions should be read before the product is operated.
2) Retain Instructions — The safety and operating instructions should be retained for future reference.
3) Heed Warnings — All warnings on the product and in the operating instructions should be adhered to.
4) Follow Instructions — All operating and use instructions should be followed.
5) Cleaning — Unplug this product from the wall outlet before cleaning.
Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for cleaning.
6) Attachments — Do not use attachments not recommended by the product manufacturer as they may cause hazards.
7) Water and Moisture — Do not use this product near water — for example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet basement; or near a swimming pool; and the like.
8) Accessories — Do not place this product on an unstable cart, stand, tripod, bracket, or table. The product may fall, causing serious injury to a child or adult, and serious damage to the product. Use only with a cart, stand, tripod, bracket, or table recommended by the manufacturer, or sold with the product. Any mounting of the product should follow the manufacturer’s instructions, and should use a mounting accessory recommended by the manufacturer.
9) A product and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the product and cart combination to overturn.
10) Ventilation — Slots and openings in the cabinet are provided for ventilation and to ensure reliable operation of the product and to protect it from overheating, and these openings must not be blocked or covered. The openings should never be blocked by placing the product on a bed, sofa, rug, or other similar surface. This product should not be placed in a built-in installation such as a bookcase or rack unless proper ventilation is provided or the manufacturer’s instructions have been adhered to.
11) Power Sources — This product should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your home, consult your product dealer or local power company. For products intended to operate from battery power, or other sources, refer to the operating instructions.
12) Grounding or Polarization — This product may be equipped with a polarized alternating-current line plug (a plug having one blade wider than the other). This plug will fit into the power outlet only one way. This is a safety feature. If you are unable to insert the plug fully into the outlet, try reversing the plug. If the plug should still fail to fit, contact your electrician to replace your obsolete outlet. Do not defeat the safety purpose of the polarized plug.
13) Power-Cord Protection — Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the product.
14) Outdoor Antenna Grounding — If an outside antenna or cable system is connected to the product, be sure the antenna or cable system is grounded so as to provide some protection against voltage surges and builtup static charges. Article 810 of the National Electrical Code, ANSI/NFPA
70, provides information with regard to proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna discharge unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode.
“Note to CATV system installer:
This reminder is provided to call the CATV system installer’s attention to
Section 820-40 of the NEC which provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical.
Example of Antenna Grounding as per
National Electrical Code, ANSI/NFPA 70
ANTENNA
LEAD IN
WIRE
GROUND
CLAMP
ANTENNA
DISCHARGE UNIT
(NEC SECTION 810-20)
ELECTRIC
SERVICE
EQUIPMENT
G ROUNDING CONDUCTORS
(NEC SECTION 810-21)
GROUND CLAMPS
POWER SERVICE GROUNDING
ELECTRODE SYSTEM
(NEC ART 250. PART H)
NEC - NATIONAL ELECTRICAL CODE
15) Lightning — For added protection for this product during a lightning storm, or when it is left unattended and unused for long periods of time, unplug it from the wall outlet and disconnect the antenna or cable system.
This will prevent damage to the product due to lightning and power-line surges.
16) Power Lines — An outside antenna system should not be located in the vicinity of overhead power lines or other electric light or power circuits, or where it can fall into such power lines or circuits. When installing an outside antenna system, extreme care should be taken to keep from touching such power lines or circuits as contact with them might be fatal.
17) Overloading — Do not overload wall outlets, extension cords, or integral convenience receptacles as this can result in risk of fire or electric shock.
18) Object and Liquid Entry — Never push objects of any kind into this product through openings as they may touch dangerous voltage points or short-out parts that could result in a fire or electric shock. Never spill liquid of any kind on the product.
19) Servicing — Do not attempt to service this product yourself as opening or removing covers may expose you to dangerous voltage or other hazards. Refer all servicing to qualified service personnel.
20) Damage Requiring Service — Unplug this product from the wall outlet and refer servicing to qualified service personnel under the following conditions:
a) when the power-supply cord or plug is damaged.
b) if liquid has been spilled, or objects have fallen into the product.
c) if the product has been exposed to rain or water.
d) if the product does not operate normally by following the operating instructions. Adjust only those controls that are covered by the operating instructions as an improper adjustment of other controls may result in damage and will often require extensive work by a qualified technician to restore the product to its normal operation.
e) if the product has been dropped or damaged in any way.
f) when the product exhibits a distinct change in performance – this indicates a need for service.
21) Replacement Parts — When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part.
Unauthorized substitutions may result in fire, electric shock, or other hazards.
22) Safety Check — Upon completion of any service or repairs to this product, ask the service technician to perform safety checks to determine that the product is in proper operating condition.
23) Wall or Ceiling Mounting — The product should be mounted to a wall or ceiling only as recommended by the manufacturer.
24) Heat — The product should be situated away from heat sources such as radiators, heat registers, stoves, or other products (including amplifiers) that produce heat.
TASCAM DM-24
3
Table of Contents
1 – Introduction
Features ........................................................ 8
Supplied accessories .................................... 9
About this manual ....................................... 9
How this manual is arranged ................................. 9
Word clock issues ...................................... 11
2 – User interface
Scope of controls ....................................... 12
Global screens ....................................................... 12
Module screens ..................................................... 12
PODs .................................................................... 13
Fine value settings using the PODs ..................... 13
Other ways of changing values ........................... 14
Using the faders to change values ...................... 14
Soft keys ................................................................ 15
Soft key pull-up menus ......................................... 15
Rotary encoders (ring LEDs) ...................... 15
Encoders used as EQ gain controls ...................... 16
Encoders used as EQ frequency controls ............. 16
Encoders used as Q controls ................................. 16
Encoders used as pan controls ............................. 17
Encoders used as aux send controls .................... 17
Fader layers ................................................ 18
Machine control keys ................................ 18
Automation keys ....................................... 18
Automation status ................................................ 19
3 – System-wide options
OPTION screen ........................................... 20
SETUP .................................................................... 20
UPPER BAR DISPLAY ................................................20
LOCATE DISPLAY MODE .........................................20
ENCODER OPERATION MODE .................................20
LIBRARY DIRECT KEY OPERATION ..........................20
OL/STATUS LED TYPE ..............................................20
FADER SENSITIVITY .................................................21
METER CALIBRATION ..............................................21
PREFERENCES ......................................................... 21
Fader Auto MODULE Select ....................................21
Select MODULE Return ...........................................21
ST Link by SEL key ...................................................21
Balance Level CENTER: 0dB .....................................21
SEL Key Follows Fader Layer Status ......................21
Meter Follows SEL key ............................................22
Automation fader OFF ............................................22
Cursor follows EQ Band Key ..................................22
FLASH Info. ..............................................................22
Version Info. ............................................................22
Battery Check ..........................................................22
SOLO .................................................................... 22
MODE SELECT ..........................................................22
SOLO LINK ................................................................22
SOLO TYPE ...............................................................23
INPLACE SOLO DEFEAT ...........................................23
SYNC/TC ................................................................. 23
DTRS Remote Timecode ..........................................23
RS-422 IN Timecode .................................................23
TRA Target link ........................................................23
Automation synchronization source .....................23
TC IN .........................................................................23
MIDI IN MTC .............................................................24
INT. ...........................................................................24
INT. START TIME ......................................................24
4
TASCAM DM-24
FLY WHEEL (frames) ............................................... 24
DIGITAL screens ..........................................24
CLOCK settings ......................................................24
High sampling frequency ....................................... 25
Fs Status .................................................................. 25
D-IN MANUAL SETUP .............................................. 25
WORD SYNC IN ....................................................... 25
TDIF interfaces ........................................................ 25
ADAT ........................................................................ 25
AES3 ......................................................................... 25
CASCADE MASTER .................................................. 25
Word phase ............................................................. 25
Checking the clock sources ...................................25
Out of range clock signals ....................................26
The FORMAT screen ..............................................26
Type of DIGITAL IN connection .............................. 26
Other digital input parameters .............................. 26
Digital output .......................................................... 26
Multi I/O settings .................................................... 26
Stereo out setup ..................................................... 26
SLOT screen ............................................................27
4 – Parts of the DM-24
Top surface .................................................28
Analog module inputs ...........................................29
Other analog I/O ....................................................29
Module control section .........................................30
Library section .......................................................30
Parameter control section .....................................31
Monitoring section ................................................32
Module faders and selection, etc. ........................33
Transport and automation control .......................33
Rear panel ...................................................34
5 – Setting up the I/O
Signal sources .............................................36
Sixteen mic/line analog inputs .............................. 36
Three TDIF connectors ............................................ 36
ADAT connector ...................................................... 36
DIGITAL IN 1 & 2 ...................................................... 36
Card slots ................................................................. 36
Assignable returns .................................................. 36
Internal effectors .................................................... 36
Output signals ............................................37
Eight output busses ................................................ 37
Six aux busses ......................................................... 37
Stereo master outputs ............................................ 37
Direct outputs ......................................................... 37
Physical outputs .....................................................37
TDIF-1 connectors ................................................... 37
ADAT OUT connector ............................................. 37
Slot cards ................................................................. 37
Assignable sends .................................................... 37
Digital outputs (x 2) ................................................ 37
STEREO OUTPUTS (L, R) .......................................... 37
Patching between input and return .........37
Assigning inputs to channels ....................38
Input sources ..........................................................38
Return modules .....................................................39
Digital inputs .........................................................39
Channel-to-buss assignments (global) .....40
Master settings ....................................................... 40
AUX 1-2 .................................................................... 40
Channel-to-buss assignments by channel ...........41
Other module parameters ....................................41
Output assignments ...................................42
Digital outputs .......................................................42
Assignable sends and returns ...................43
Master compressors ...................................43
6 – Hookup
Analog connections ....................................44
MIC/LINE connections ...........................................44
External dynamics processors and effectors .......45
Analog monitoring and mastering ......................45
Digital connections .....................................46
DTRS recorder connections ...................................46
ADAT connections .................................................47
Digital inputs and outputs ....................................47
Synchronization and control connections 47
Word sync clock connections ................................48
MIDI connections ...................................................48
SMPTE/EBU timecode connections .......................48
Meter unit ..............................................................48
P2 connections .......................................................48
7 – Module operations
Selecting modules ......................................49
Common area indicators and controls ......50
Dynamics controls .................................................50
Gate/Expander ........................................................ 50
Compressor ............................................................. 50
Compressor insert point ......................................... 50
Dynamics meter ...................................................... 50
Other common controls and displays ..................51
Digital trim and pan ............................................... 51
Phase switch ........................................................... 51
Assignable inserts ................................................... 51
Input/return assignments ...................................... 51
Meter ....................................................................... 51
EQ and buss assignments ...................................... 51
Fader section ........................................................... 51
Mute and fader groups .......................................... 51
Digital trim control ................................................51
Pan control .............................................................51
Balance controls for stereo linked pair ................52
Global pan ..............................................................52
Ganging ................................................................... 52
Setup ....................................................................... 52
Dynamics screen .........................................53
Noise gate (GATE) .................................................53
Compressor ............................................................53
Expander ................................................................53
EQ ............................................................54
On/off (all bands) ................................................... 54
Gain (all bands) ....................................................... 54
Frequency range (all bands) .................................. 54
Q (all bands) ............................................................ 54
EQ band type .......................................................... 54
High band ................................................................ 54
High-mid band ........................................................ 54
Low-mid band ......................................................... 55
Low band ................................................................ 55
EQ library ...............................................................55
Aux sends ....................................................55
Aux sends (global) .................................................55
Fader control ........................................................... 56
Setup ....................................................................... 56
Copy ......................................................................... 56
Table of Contents
Source (pre/post and SOURCE) settings ................56
Setup ........................................................................56
Linked aux sends .....................................................56
Setup screen ............................................... 57
Channel source (CH SOURCE) .................................58
Gate switch (GATE SW) ...........................................58
Aux 1 and 2 source (AUX 1-2 SOURCE) ..................58
Compression insert (COMP INSERT) .......................58
Compressor switch (COMP SW) .............................58
Assignable insert position (ASSIGN INSERT) .........58
Assignable insert switch (ASSIGN INS SW) ...........58
) .....................................................58
Digital delay time (DELAY) .....................................58
Digital delay units (UNIT) .......................................59
Digital trim and delay (global) .................. 59
Global digital trim ................................................ 59
Fader control ...........................................................59
Setup ........................................................................59
Global digital delay .............................................. 59
Unit ...........................................................................60
Fader control ...........................................................60
Setup ........................................................................60
PRE/POST .................................................................60
Linked modules .......................................... 60
Channels ..................................................................60
Master modules .......................................................60
Linking and unlinking modules ........................... 60
Stereo linking (global) .......................................... 61
Screens for linked modules .................................. 61
Phase ........................................................................61
Pan ............................................................................61
Mono switch (MONO SW) ......................................61
UTILITY copying ......................................... 62
8 – Dynamics processors
Turning the processors on and off ...................... 63
DYNAMICS (input channels 1–16) ............. 63
Selecting a gate or an expander ......................... 63
“Master” settings .................................................. 64
GATE/EXPAND .........................................................64
LINK L->R ..................................................................64
Trigger source ..........................................................64
Compressor ..............................................................64
Insert point ..............................................................64
LINK L->R ..................................................................64
Trigger source ..........................................................64
Soft keys (library) ................................................. 64
DYNAMICS (channels 17–32) ..................... 64
DYNAMICS (master channels) ................... 65
No expander or gate ...............................................65
Insert point ..............................................................65
Linking .....................................................................65
Assigning processors to master channels ........... 65
Dynamics diagram ..................................... 66
Gates/expanders ........................................ 66
Gate .................................................................... 66
Threshold .................................................................66
Range .......................................................................66
Hysteresis .................................................................66
Gate attack time ......................................................66
Gate hold time .........................................................66
Gate decay time ......................................................66
Expander ............................................................... 66
Threshold .................................................................66
Ratio .........................................................................66
TASCAM DM-24
5
Table of Contents
Attack .......................................................................66
Release .....................................................................66
Compressors ............................................... 67
Threshold .................................................................67
Compression ratio ...................................................67
Attack time ..............................................................67
Release time ............................................................67
Auto make-up ..........................................................67
Output gain .............................................................67
Preset library entries ................................. 67
Compressors .......................................................... 67
Gates/Expanders ................................................... 68
9 – Grouping
Mute groups .............................................. 69
Turning groups on and off ................................... 70
Copying mute settings to the faders ................... 70
Fader groups .............................................. 70
Fader groups to mute groups .............................. 71
Turning groups on and off ................................... 71
Grouping layers ......................................... 71
10 – Monitoring
Control room monitoring .......................... 73
Control room outputs ........................................... 73
Control room signal selection .............................. 73
2-track input .......................................................... 74
Studio monitoring ..................................... 74
Studio monitoring volume ................................... 75
Soloing ....................................................... 75
MODE SELECT ........................................................ 75
SOLO LINK .............................................................. 75
SOLO TYPE ............................................................. 75
PFL ............................................................................75
AFL ............................................................................75
INPLACE SOLO .........................................................75
Inplace solo defeat ................................................ 76
SOLO level ............................................................. 76
Turning soloing on and off .................................. 76
Dimming and talkback .............................. 76
Slate settings ............................................. 77
Lineup oscillator .................................................... 77
Meters and faders ..................................... 77
Master meters ....................................................... 78
Channel faders ...................................................... 79
Meter and fader setup .......................................... 79
Fader level ...............................................................79
Meter ballistics (METER SETUP) ..............................79
11 – Machine Control/Location
Selecting devices for control .................... 80
Deleting devices from the list .............................. 81
Auto-detection of devices .................................... 81
Selecting the control type for the devices .......... 81
STATE .......................................................................81
DEVICE ......................................................................81
ID ..............................................................................81
CHASE ......................................................................81
TRA ...........................................................................82
REC ...........................................................................82
Machine Control mapping memories .................. 82
To use a machine control mapping ...................... 83
Viewing the transport mappings ......................... 83
Editing a mapping ................................................. 83
6
TASCAM DM-24
General parameters ...................................83
Program Change channels ....................................83
Program Change values ........................................84
General MIDI parameters ......................................84
MIDI OUT Active Sensing ....................................... 84
OUTPUT MTC when slaved .................................... 84
RESET (ffh) ............................................................... 84
MIDI filtering ..........................................................84
Serial output ..........................................................84
Edit Frames .............................................................84
Play Mode ..............................................................85
AUTO ....................................................................... 85
DEFERRED ................................................................ 85
IMMEDIATE ............................................................. 85
Cueing Mode ..........................................................85
Locate Preroll .........................................................85
Location memories .....................................85
Selecting the location point display .....................85
Storing a location memory “on the fly” ..............86
Location to a location memory .............................86
Viewing a list of location memories ....................87
Manual location .....................................................87
Repeat play ............................................................87
Auto punch operations .........................................87
ALL INPUT and AUTO MON ...................................87
External control ..........................................87
Moving between screens ......................................88
DTRS devices ...............................................88
DA-98HR .................................................................89
DIGITAL INPUT ......................................................... 89
INPUT PATCH ........................................................... 89
OUTPUT PATCH ....................................................... 89
INPUT MONITOR ..................................................... 89
TRACK DELAY .......................................................... 89
TIME MODE ............................................................. 89
TC REC ...................................................................... 89
TC Generator ........................................................... 89
Machine Offset ....................................................... 89
PUNCH IN/OUT ........................................................ 89
DITHER ..................................................................... 89
VARI SPEED .............................................................. 89
CLOCK ...................................................................... 89
DTRS mixer .............................................................90
DA-78HR .................................................................91
DA-98 .....................................................................91
DA-38 .....................................................................92
DA-88 .....................................................................92
MIDI controllers ..........................................93
MIDI faders .................................................93
12 – MIDI
Bulk dumps .................................................95
Bulk transfer of data from the DM-24 .................95
Bulk transfer of data to the DM-24 ......................96
Updating the system software .................96
Control Change messages to and from the DM-24 ................................................96
MIDI Implementation Chart .......................98
13 – Library functions
Library concepts .....................................................99
Managing library entries ...........................99
Storing active library entries ................................99
Storing entries in a non-active library ...............100
Loading entries from an active library ..............100
Loading entries from a non-active library .........100
Library undo/redo ...............................................101
Setting and editing titles ....................................101
Libraries—snapshots ................................102
Protecting snapshot settings ..............................102
I/O SEL / BUSS ASSIGN ......................................... 102
GROUPING ............................................................. 102
OTHER .................................................................... 102
Snapshot “neutral” setting .................................102
Libraries—effects ......................................103
Libraries—dynamics processors ..............104
Preset dynamics entries—compressors ..............104
Preset dynamics entries—gates .........................105
Libraries—EQ ............................................105
Preset EQ entries .................................................106
14 – Surround operations
Selecting a surround mode ......................107
Monitoring surround patterns ...........................107
Selecting a buss pattern .....................................108
Assigning modules ...................................108
“Pan” controls ...........................................109
Global boom levels (5.1 only) .............................110
15 – High sampling frequency
To select high sampling frequency ....................112
Constraints on other devices ..............................112
Channels, etc. ............................................113
High sampling frequency I/O .............................114
Monitoring ................................................115
Table of Contents
Aux sends ................................................. 115
Channel stereo linking ............................. 115
Grouping ................................................... 116
Trim and delay ......................................... 116
Libraries .................................................... 116
Other screens ........................................... 117
16 – Options
Clock sources ....................................................... 118
Cascade card ............................................. 119
Setting up the cascade ....................................... 119
Use of the cascade .............................................. 119
Cascaded facilities .............................................. 120
Soloing and muting ..............................................120
Snapshots ..............................................................120
Automation ...........................................................120
MIDI Control Change ............................................120
Cascading and effects ........................................ 120
High sampling frequency considerations ......... 121
TDIF-1 card ................................................ 121
ADAT card ................................................. 121
AES3 card .................................................. 122
Input options ...................................................... 122
Output options ................................................... 122
AD/DA card ............................................... 123
Timecode display ................................................ 123
17 – Specifications
Analog audio I/O ...................................... 124
Digital audio I/O ....................................... 125
Miscellaneous I/O connections ............... 125
Equalization ............................................. 126
System performance ............................... 126
Physical characteristics ............................ 126
Dimensional drawing .............................. 127
Messages and troubleshooting .............. 127
Block diagram (normal sampling
TASCAM DM-24
7
1 – Introduction
The DM-24 digital mixing console is designed to provide you with superlative audio quality in today’s digital audio recording environment, as well as ease of use and flexibility to meet changing needs.
This Reference Manual is not intended to be read from cover to cover, but we do suggest that you make
Features
The DM-24 includes many advanced features, including:
• the sixteen long-throw motorized “channel” faders are “layered”, allowing control of up to 32 mono inputs (which may be “ganged” in stereo pairs), eight buss sends and six aux sends in a compact package
• in addition to the sixteen faders mentioned above, one other dedicated motorized long-throw fader is used for the stereo out buss
• the TASCAM TDIF-1 digital audio format and other general digital audio formats such as ADAT,
AES/EBU, SPDIF, as well as high-quality A/D and
D/A conversion, are supported,
• Modular expansion slot facilities provide further flexibility
• sixteen integral high-quality microphone amplifiers, with switchable phantom powering and 24-bit
A/D conversion
• the DM-24 is capable of accepting and transmitting digital audio data in 24-bit format, allowing it to be used with the HR series of TASCAM DTRS recorders as well as the MX2424 recorder
• internal processing is carried out at floating 32-bit resolution
• eight output busses and six auxiliary sends
• eight fader groups and eight mute groups
• grouping layers provide further flexibility in grouping arrangements
• all popular surround formats (2+2, 3+2, 5.1) as well as stereo, are supported for final mixdown
• expansion with another DM-24 console using an optional cascade slot card
• both 44.1 kHz and 48 kHz base sampling frequencies are supported, together with dual-frequency support (88.2kHz and 96 kHz), with flexible clock configuration
• each of the 32 analog input channels is equipped with 4-band fully-parametric equalization and a dynamics processor yourself familiar with the contents of this section as well as the structure of this manual, so that you can find answers to questions when you need them.
If you learn a little about the key features and principles of operation now, before you start to use the
DM-24 it will save you time and trouble later on.
• the capability of acting as a remote controller for a wide variety of devices using the DTRS remote, P2 or MMC protocol
• synchronization to SMPTE/EBU timecode and
MIDI timecode, and MIDI timecode generation facilities, allowing location of connected recorders, etc. and integration with the DTRS tape system
• full control room and studio monitoring facilities are provided, along with an integral talkback microphone and master bargraph meters
• graphical user interface, based on the successful
TASCAM series of digital mixing consoles, and featuring a backlit LCD with a flexible POD-based user interface
• “ring encoders” give instant visual feedback of key
EQ, pan and aux send settings
• integral Antares© Microphone Modeler technology, allowing the DM-24 to emulate the distinctive characteristics of any of a wide variety of classic or modern microphones, using any standard microphone
• integral t.c.electronics reverberation technology, providing full standard reverberation facilities within the DM-24
• flexible digital multi-effector providing many standard effects without the need for outboard equipment or connections
• library facilities for snapshot mix settings, frequently-used EQ settings, effect settings, dynamics processor settings, etc.
• MIDI control allows dynamic control of parameters through MIDI messages, so mix events can be recorded on MIDI for replay, as well as snapshot recall being linked to Program Change messages
• the DM-24 contains its own automation system, allowing full real-time control of almost all mix parameters with no need for connection to other units
• an optional meter bridge unit provides channel and master metering facilities through LED bargraph displays which are switchable in “layers”
8
TASCAM DM-24 Reference Manual
1 – Introduction—Supplied accessories
Supplied accessories
As well as the documentation supplied with the DM-
24, you should also have packed with the unit:
• A power cord
• A warranty card
• A list of authorized TASCAM service stations
About this manual
Please note the following typographical and other conventions used in this manual:
• Physical “push” controls of the DM-24 are referred to as “keys”.
• “Push” controls which are shown and used on the screen are referred to as “buttons”.
• The names of keys and other connectors and controls of the DM-24 are given in the following typeface:
DYNAMICS
.
• The names of on-screen buttons and other onscreen features, titles and prompts, etc. are given in the following typeface: LIBRARY DATA .
How this manual is arranged
In addition to this manual, we also provide a Quick
Reference Guide, which you can use to remind you of the quick ways in which common operations are carried out.
Even if you are familiar with the operation of mixers and digital mixers, and even if you never usually read instruction manuals, we suggest that you read the first few sections of this manual. They will provide useful background information for you as you use the
DM-24.
The other sections of this manual are more in the nature of background reference, and contain information that you may not need for everyday working.
1 – “Introduction” on page 8 :
This section.
It provides an overview of the DM-24, its operational features, and the manual.
2 – “User interface” on page 12 :
This section explains how to use the DM-24 controls in order how to access the different screens, change values of parameters and so on.
3 – “System-wide options” on page 20 :
There are a number of options available on the DM-
24 which affect the whole operation of the unit. See
If any of these items is missing, contact your TAS-
CAM distributor.
Retain the box and other packing material that came with the DM-24 in case you need to transport it in the future.
• The names of any physical keys, connectors and controls of other devices are given in the following typeface: REMOTE IN.
WARNING
“Warnings” give advice regarding a possible hazard to equipment or personnel.
NOTE
“Notes” provide additional information which requires special attention.
this section in order to understand the way in which these global settings will affect the way in which you use the unit,
4 – “Parts of the DM-24” on page 28 :
This section introduces the different keys and controls of the DM-24. Since many of the keys have more than one function, which is determined by the software, it is impossible to give a full description of the use of each control in this section. A description of the top and rear panel connectors is also provided,
5 – “Setting up the I/O” on page 36 :
Because the DM-24 is essentially a “soft” product, many of the hardware features are not mapped to logical functions on a one-to-one basis. This section explains the different mapping and routing options available to you, and how to configure the DM-24 for your individual requirements.
6 – “Hookup” on page 44 :
Explains how to connect the DM-24 to other equipment (analog and digital audio, control and timing connections, etc.).
7 – “Module operations” on page 49 :
In many ways, this can be regarded as the most essential part of the manual. It explains how to carry out the
TASCAM DM-24 Reference Manual
9
1 – Introduction—About this manual
operations that you would typically carry out with an analog console (EQ settings, assigning channels, making Aux sends, etc.).
8 – “Dynamics processors” on page 63 :
The DM-24 contains flexible digital dynamics processors which can be used in a wide variety of ways, and these are treated in their own section here.
9 – “Grouping” on page 69 :
The DM-24 allows channels to be grouped into fader and mute groups. This section explains how to set up and use these groups.
10 – “Monitoring” on page 73 :
Using the
DM-24 in a studio situation demands an understanding of the relationship between the different outputs and what is heard in the control room as well as the studio. This section covers these topics, as well as the flexible solo facilities provided with the DM-24.
11 – “Machine Control/Location” on page 80 :
The DM-24 can act as a remote control unit for a wide variety of external devices, and provides MIDI timecode synchronization facilities. This section provides a guide to these facilities, as well as the way that the DM-24 can act as a location memory and recall unit for these external devices.
12 – “MIDI” on page 95 :
MIDI devices can be used with Program Change and Control Change messages for remote control of the DM-24. In addition, settings can be stored for later recall over a MIDI connection using System Exclusive messages. This section gives details of these facilities.
It also explains the procedures to be carried out if the internal system software is to be upgraded.
13 – “Library functions” on page 99 :
Various settings (effects, EQ settings, snapshots and dynamics processors) can be stored for later use in internal libraries. Read this section in order to understand how to make the best of these facilities.
14 – “Surround operations” on page 107 :
The DM-24 is capable of performing mixdown operations in various surround modes as well as stereo. This section explains how to connect and use the DM-24 for surround operations together with the way in which it can be used for successful surround mixing.
15 – “High sampling frequency” on page 112 :
The DM-24 can be used in high sampling frequency modes (88.2k and 96k). This section describes the differences when the high sampling frequency is selected.
16 – “Options” on page 118 :
This section provides you with a quick reference to the extra facilities available to enhance your DM-24. It also contains a list of the messages displayed by the DM-24.
Even though the DM-24 is relatively simple to operate, and should prove almost error-free in everyday operation, you may need to refer to this section in order to correct an abnormal situation.
17 – “Specifications” on page 124 :
The raw facts and figures concerning the DM-24. You may need to refer to this section to discover the compatibility of the DM-24 with other equipment.
There is also a list of messages which may be displayed by the DM-24. You may use this to help you understand what is going on when you see a message displayed on the screen.
Index :
We try to make the index a useful place to look if you need help on a particular topic. Use the index first when searching for an answer.
10
TASCAM DM-24 Reference Manual
1 – Introduction—Word clock issues
Word clock issues
The “word clock” in a digital audio system is the timing information that enables the digital audio samples in a system to be synchronized between the different devices. It is completely unconnected with timecode clocks, etc.
There must be one, and only one, word clock master device in a digital audio system. The DM-24 is capable of acting as a word clock master or as a slave.
WARNING
There should be one, and only one, word clock master in a setup. Multiple word clocks in a setup may result in noise. which can damage monitoring equipment
(speakers and amplifiers).
Check with the other equipment that you are using to see whether it can be a master or slave, and work out which device will be your word clock master. If the
DM-24 is to be a word clock slave in your system, it can accept word clocks from the following sources:
• An external clock connected through the dedicated connector
• The TDIF-1 interfaces
• The integral ADAT interface
• Either of the two
DIGITAL IN
interfaces
• Either of the slots occupied by an optional digital interface card. In the case of an AES/EBU interface card, any of the four stereo signal pairs may be individually selectable as the word clock source.
• If two DM-24 units are being cascaded, the clock source on a cascaded DM-24 will always be the cascade master DM-24 unit. The master of the cascade chain can select its clock from any available source.
The clock can be at 44.1 kHz or 48 kHz or 88.1kHz or 96kHz with some variation possible for varispeed, etc. at ±6%.
NOTE
When the DM-24 is linked to an external word clock, it can only use a base frequency clock. Even when many external devices are operating at high sampling frequencies, they output such a base frequency clock. If the external device does not do so, and only outputs a high sampling frequency clock, the DM-24 must be used as the word clock master for the system.
TASCAM DM-24 Reference Manual
11
2 – User interface
Scope of controls
The DM-24 has three main types of control screen: system screens, which control parameters for the whole of the system, “global” control screens which
Global screens
As the name suggests, the “global” screens allow you to see all the parameters for many channels (the prepost settings for Aux 3 in this example), and to edit them using the POD system as explained here
affect a certain parameter for a number of channels or modules at once, and the “module” control screens controlling all the parameters for one module.
Sometimes a key will have two labels. The function described by the lower label (white on blue) is accessed by pressing the
SHIFT
key so that the
SHIFT
indicator is lit, and then pressing the appropriate key.
These global display screens are selected using the
SCREEN MODE
keys to the right of the display screen.
In this example, the
EXT. CTRL
key becomes the
MIDI/MC
key when the
SHIFT
indicator is lit.
The
SHIFT
key is a “smart” key. Pressing and releasing it within a short time (somewhat less than half a second) latches it on and off as shown by the indicator being lit.
Pressing and holding the key for more than about half a second and then releasing it will cause the indicator to go out when the key is released (non-latching).
While the
SHIFT
indicator is lit, the shifted function
(the white on blue) is always active.
Module screens
Alternatively, the screen can be used to show and set the parameters of one module (similar to a channel strip on a conventional console).
However, since the number of parameters and features available on the DM-24 is more than a single screen can display, four screens are available for each
module, accessed through the soft keys (“Soft keys” on page 15).
To use a module:
1 Press the
MODULE
key situated to the left of the display.
2
Use the soft keys (“Soft keys” on page 15) to
select a sub-screen (
DYNAMICS
,
EQ
,
AUX
or
SETUP
).
3
Press the FADER LAYER key containing the module whose parameters you want to edit.
4 Press the
SEL
key of the module you want to edit. The screen changes to show the settings for the selected module:
12
TASCAM DM-24 Reference Manual
2 – User interface—Scope of controls
5
Use the cursor keys, the soft keys and the
PODs to make changes to the module’s parameters. See below for details.
PODs
The DM-24 features four rotary controls immediately below the screen, called PODs.
These are used as “soft” controls to adjust parameters; that is, they have no fixed assignment to control any single parameter in the console, but are used to control a parameter which is currently highlighted on screen.
The POD controls have no end-stop, but are continuously moveable. The value of the parameter controlled by the POD is shown by the graphical onscreen representation of the control.
As part of the POD system, cursor keys are included, which move the cursor to the appropriate part of the screen.
In addition, the dial can usually be used to move the cursor around the screen. Usually when we mention that the cursor keys can be used for navigation, the dial can also be used, even when this is not explicitly stated.
Use the § and ¶ keys or the dial to move the cursor row (shown by a blinking box surrounding the row) up and down. Sometimes in some global screens (as shown here) the box does not cover the full width of
Fine value settings using the PODs
By pressing and holding the
2ND F.
key while turning a POD, the value set using the POD can be changed more precisely.
This feature is useful when the parameter being changed has many possible values (for example, the digital delay setting) which are first set using the default “coarse” setting, and then fine-tuned using the fine mode with the
2ND F.
key.
This feature can also be used with the rotary encod-
ers (“Rotary encoders (ring LEDs)” on page 15) to
a screen row, and the Ó and Á keys or dial must be used to move the box within the row.
When a number of on-screen controls are highlighted by a box surrounding the row containing up to four on-screen knobs, the appropriate PODs are used to control the on-screen controls.
If the row also contains on-screen buttons, these are
“pushed” by using the Ó and Á keys or dial to navigate to the button in the row (if necessary), and then pressing the
ENTER
key.
set values entered using these controls with more precision.
There is also an option setting which allows PODs and encoders to be used for fine setting of values without the use of the
2ND F.
OPERATION MODE” on page 20). If this is
enabled, pressing the
2ND F.
key and turning the
POD or encoder changes values in “coarse” or accelerated mode.
TASCAM DM-24 Reference Manual
13
2 – User interface—Scope of controls
Other ways of changing values
The
JOG/DATA
dial can also be used to change parameter values.
Checkboxes
On/off button
Radio buttons
Parameter values edited without the
ENTER key
1 Use the cursor keys to move the cursor
(sometimes shown by a blinking thick box surrounding the parameter to be changed, and sometimes by a
ƒ
symbol beside the parameter to be changed.
2 When the parameter to be changed is highlighted as described above, use the entry dial to set the value (it starts to flash), and the
Using the faders to change values
In the global screens, there is often a special onscreen button, allowing the setting of the values in the screen directly using the faders.
To enable this feature, turn the on-screen
CONTROL button to ON .
FADER
The name of this button is prefixed by the title of the screen (here it is an AUX LEVEL screen which is being edited).
When the button is turned on:
• The faders move to reflect the values set for the current parameter
• The fader layer key starts to flash (if it is a channel
module layer and not the master layer—see “Fader layers” on page 18). This flashing key shows that
the faders are not currently acting as channel faders
ENTER
key to confirm the value set with the dial.
Alternatively, if the parameter is an on-off switching button or a checkbox (a number of checkboxes can be checked individually), press the
ENTER
key when the cursor is next to the button or checkbox.
If the parameter is a “radio button” (one of a number of alternative options), simply highlight another radio button in the same group, and press the
ENTER
key to change the state of the buttons in the group.
NOTE
In some screens, (for example the module screens), the active area is marked by a flashing box. The dial is then used for navigation, rather than for setting values.
There are other screens, where the dial is chiefly, but
not exclusively, used for navigation (e.g. the OPTION
SETUP
screen (“SETUP” on page 20). If the dial is used
for numerical data entry in such cases, it is necessary to
press ENTER (the value flashes) before starting to edit
the value with the dial, and ENTER once again after
editing to confirm the value.
and that moving the faders will change the currently selected parameter, not the module’s signal level.
• Moving the fader of a channel changes the value of the current parameter.
• Using the POD to change the value of a channel’s parameter moves the corresponding fader if the layer is active. If the layer is not active, the fader will be moved to the new position when the layer is made active.
The status of the fader control setting is memorized between screens (and even when the DM-24 is turned off and on again). It is therefore possible for the faders to move when the screen is changed.
The layer continues flashing as long as the faders are not controlling the channel levels.
14
TASCAM DM-24 Reference Manual
2 – User interface—Rotary encoders (ring LEDs)
Soft keys
At the bottom of a display screen, there may be some
“tabs” displayed, which lead to further related screens or pre-defined action.
The four keys at the bottom of the screen, beside the
PODs, are used as “soft keys” to jump to the screens shown on the “tabs”. In this example, the
MONITOR and OSC/COM tabs are controlled by soft keys 2 and 3.
NOTE
It is also possible to jump to the different screens by repeated presses of the key which brings up the screen
(in this case, the MONITOR key).
These keys are sometimes used to perform a unique
“one-off” action, as shown in this screen, where the oscillator can be turned on and off using soft key 1.
Soft key pull-up menus
In a few screens, for example, the library screens, where many soft keys are used for the “one-off” actions, a soft key (usually soft key 1) is used to bring up a small menu at the bottom of the screen:
When such a menu pops up, either the dial or the
POD corresponding to the soft key (usually POD 1) is used to select the desired option (which is highlighted in inverse video).
Use either the
ENTER
key or the soft key which was used to pull up the menu to make the selection from the menu.
Rotary encoders (ring LEDs)
These controls allow you to set commonly-used parameters such as EQ parameters, pan and balance, and Aux send levels.
These are not dedicated controls, as the parameters which may be controlled using them are changed using selection keys, but their action is confined to fewer parameters than the POD controls.
Like the PODs, these controls are continuously moveable, and have no end-stop. Unlike the PODs, though, the parameters that they control may not necessarily be shown on screen. In order to gain an indication of the current value, the eleven LED indicators arranged in a ring around the knob light to show the current value, as explained in the sections below.
These encoders have three different functions:
• EQ controls and pan controls to control the EQ settings (gain, frequency and Q) as well as the current channel pan/balance of the currently active module. In this mode none of the encoder indicators (to the left of the encoders) is lit, and the band controlled is determined by the appropriate
EQUALIZER
key.
TASCAM DM-24 Reference Manual
15
2 – User interface—Rotary encoders (ring LEDs)
• EQ gain controls, where the gain of the four EQ bands is adjusted using these encoders. The encoder
EQ GAIN
indicator is lit in this case.
• AUX send level controls, where either the encoder
AUX 1
through
4
indicators or the
AUX 5
and
6
indicators are lit (in the latter case, only the two leftmost encoders have any function).
See the appropriate section on module operations
(“Module operations” on page 49) for full details of
the parameters controlled here.
NOTE
The option described in “Fine value settings using the
PODs” on page 13 also affects the operation of these
encoders when used in conjunction with the 2ND F.
key.
Encoders used as EQ gain controls
When the encoders are used as EQ gain controls, a unity gain (neither cut nor boost) is represented by the sixth (center) LED being lit, and the two LEDs at the extreme clockwise and counterclockwise positions “half-lit” (dimmed).
= on
= dimmed
= off
When the encoder is near the center position, but not quite there, the LED next to the center is lit, as well as the “end” LED on the appropriate side:
= on
= dimmed
= off
If the EQ band is set as a high-pass for low-pass filter or is used as a notch filter (depending on the band), all LEDs around the rotary encoder are off:
= on
= dimmed
= off
When the encoder is turned either clockwise or counterclockwise, to boost or cut the gain respectively, the end LEDs go out, and the LEDs on the appropriate side of the center light (the more the cut or boost, the more LEDs will light). “Half steps” are shown by dimmed LEDs at the end of the chain. The illustrations below show a relatively small amount of gain applied, and then a little more gain:
= on
= dimmed
= off
= on
= dimmed
= off
Encoders used as EQ frequency controls
When the encoders are used to set the frequency controlled by an EQ band, only one or at most two LEDs are lit at any one time.
As the knob is turned clockwise, the ring LEDs light in turn, representing the position of the knob
“pointer”. For greater accuracy, intermediate values
Encoders used as Q controls
The Q of an EQ band refers to the width of the filter when it is in notch or peak mode (but not in shelf or are shown by two LEDs being lit simultaneously, as in the illustration below:
= on
= dimmed
= off
16
TASCAM DM-24 Reference Manual
2 – User interface—Rotary encoders (ring LEDs)
filter mode). Low Q values affect a wide portion of the spectrum, as shown below:
= on
= dimmed
= off and high values affect a narrow frequency band:
= on
= dimmed
= off
Note that “intermediate values” are shown on the encoders by dimmed LEDs, as above. The LED pattern in Q mode is always symmetrical about the upper center indicator.
Encoders used as pan controls
When the encoders are used to make pan settings, the center pan position is represented in the same way as unity gain on the EQ gain controls:
= on
= dimmed
= off
“Almost center” positions are shown in a similar way to the “almost unity” gain position (that is, the center
LED is lit, along with the LED immediately next to it, with the end LED on that side being dimmed).
= on
= dimmed
= off
When the pan position is moved to either the left or the right of center, one (or two, to represent intermediate settings) LEDs light to show the current pan position.
The illustrations below show the pan position at the hard left position, and then at a position just right of hard left.
= on
= dimmed
= off
= on
= dimmed
= off
Encoders used as aux send controls
When the encoders are used as aux send controls and the control is turned clockwise, the LEDs light up, following the “pointer” of the knob.
The number of LEDs lit depends on the aux send level relative to unity position (0.0 dB).
Below this position, the LEDs light clockwise, with intermediate positions shown by dimmed LEDs:
= on
= dimmed
= off
= on
= dimmed
= off
At the 0.0dB point, the LEDs representing values below this point are dimmed, and the “0” LED lights.
= on
= dimmed
= off
When aux sends are set above the 0.0dB level, the
LEDs above the unity point light in sequence (intermediate positions shown by dimmed LEDs), with the
LEDs below the unity point being dimmed. The diagram here shows a setting just below maximum
(9.6 dB):
= on
= dimmed
= off
TASCAM DM-24 Reference Manual
17
2 – User interface—Fader layers
When two aux channels are linked together, the encoders work in a slightly different way for the selected channel. The first encoder (
GAIN
) controls the pan for the first two aux sends (
1-2
or
5-6
) and the second (
FREQ
) controls the level for these sends.
The third (
Q
) and fourth (
PAN
) control the pan and level respectively for aux sends
3-4
in the first
AUX
Machine control keys
As well as the keys controlling the DM-24 functions, there are also dedicated keys to control external devices connected to the DM-24.
Among these keys there are dedicated transport keys which allow basic transport control, as well as controls for auto punch and repeat control of external devices.
There are also
REC
keys at the top of each channel strip, which are used to arm tracks on a connected device.
encoder setting (they have no effect in the second
AUX
encoder setting).
The operation of the pan settings is as described for
channel operations (“Encoders used as pan controls” on page 17).
Fader layers
The DM-24 has sixteen physical “channel” faders and one master fader. However, it is capable of accepting more inputs than faders (up to 32 channels), and also has eight output busses and six aux sends, which are often controlled on conventional mixers using their own faders.
To allow the sixteen faders to control the different parts of the console, the faders are arranged in “layers”. The layers are arranged as follows (as shown above each fader on the console itself):
LAYER
1–16
17–32
MASTER
1
a. Master fader
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 M a
1
17
2
18
3
19
4
20
5
21
6
22
7
23
8
24
9
25
10
26
11
27
12
28
13
29
15
30
15
31
16
32
B1 B2 B3 B4 B5 B6 B7 B8 A1 A2 A3 A4 A5 A6 — —
M
M
M
Use the
LAYER STATUS
keys located to the right of the master fader, to switch between the three fader layers. The selected key lights and the keys are of different colors, as shown in the table above, so that it is easy to see which layer is currently active, even from a distance.
These fader layers also affect the use of the module
REC
keys (used for arming the tracks of external control devices), the
SEL
keys, and the
MUTE
keys.
When the fader layer is selected, the faders move to show the current status of the layer.
See “Machine Control/Location” on page 80 for full
details.
A strip of location keys to the right of the display mode keys controls the location facilities on the connected machine. When these keys are used for location, the
DISPLAY MODE
keys take on their
NUMERIC ENTRY
functions. The digits entered with these keys are labelled at the left of the keys.
These keys are also used to enter digits when naming
or renaming library entries (“Setting and editing titles” on page 101).
Automation keys
The DM-24 has self-contained automation facilities.
The dedicated keys to control these functions are all colored purple for easy identification.
These keys are the
AUTOMATION
block by the transport controls, and the purple key near the rotary encoders.
There is a separate “shift” key to control the second function of some of the automation keys (and the
18
TASCAM DM-24 Reference Manual
undo/redo function of the library. This key is the
2ND
F.
key (above and to the left of the rotary encoders).
These second functions are labeled below the key in inverse lettering:
To use these second functions, press and hold the
2ND F.
key and press the key whose second function is to be used.
2 – User interface—Automation keys
The
AUTOMATION UNDO
key is used in automation operations in order to undo any unwanted changes to automated mixes.
The operation of the automation facilities is explained in a separate manual.
Press and hold this key and press this key to access this function
(KEEP)
Automation status
As explained in the automation manual, the automation engine can be turned on or off in the main automation screen.
When the automation engine is enabled, the word
AUTO
appears at the top of the screen, together with any automation mode currently enabled.
TASCAM DM-24 Reference Manual
19
3 – System-wide options
The DM-24 provides a number of options which control the overall functionality of the console.
These are accessed through the OPTION and DIGITAL screens.
Within these screens, you can (in the OPTION screen):
• Set up various interface preferences
• Set up the way in which soloing works
OPTION screen
To access the OPTION screen:
1 Press the
SHIFT
key so that the indicator is lit.
2
Press the AUX 1-2/OPTION key.
SETUP
The following options are available from this screen:
• Set up timecode preferences for synchronization with other units and in the DIGITAL screen
• Set up the word sync clock
• Choose the digital input and output formats
• Define and make settings for the optional slot cards
These options are described in detail below:
The screen changes to show the
OPTION
screen. There are four screens available using the soft keys immediately below the display:
SETUP
,
PREFERENCES
,
SOLO
and
SYNC/TC
.
Use the § and ¶ cursor keys (or dial) to move the cursor to the appropriate fields, and then press the
ENTER
key to change the value.
UPPER BAR DISPLAY
This parameter has two options: TIMECODE and SYSTEM . When set to
TIMECODE , the top right field of the display shows incoming timecode, and when set to
SYSTEM
, certain system parameters (clock source, solo mode, etc.) are displayed.
LOCATE DISPLAY MODE
This parameter determines how a location entry will be shown on the display: in the timecode position ( TIMECODE DISPLAY ) or as a separate popup display in the center of the screen
( LCD Screen Popup ).
ENCODER OPERATION MODE
When using
the encoders (“Rotary encoders (ring LEDs)” on page 15), or the PODs, the parameter being edited
may sometimes have too many values to allow easy setting using the encoder (for example, there are 127 different pan positions). Using the
1Step
setting, one
“click” of the encoders corresponds to one step in the parameter values. Using the Coarse option allows the changing of the parameter values to be accelerated, with fewer clicks of the encoder.
Holding down the
2ND F.
key while turning the POD or encoder reverses the usual acceleration mode (if
1Step
is chosen,
2ND F.
+ POD/encoder = accelerated, and if Coarse is chosen,
2ND F
. + POD/encoder
= accelerated.
LIBRARY DIRECT KEY OPERATION
This parameter controls the type of library accessed by the
RECALL
and
STORE
, and the
+
and
–
keys in the
LIBRARY
section to the left of the screen. There are six choices: Snapshot refers to the overall mixer settings,
Gate/Expand
to the dynamics processor settings for gate and expander effects, Comp to the dynamics processor settings for compression effects, EQ to the equalization setting library, and Effect1 and Effect2 to the first and second internal effector settings, respectively.
If the +/- Key Direct box is checked, this allows instant recall of a library entry selected using the
+
and
–
keys.
OL/STATUS LED TYPE
The
OL/STATUS
LED indicators above each fader can serve one of two purposes: firstly, if either of the two “overload” options
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TASCAM DM-24 Reference Manual
( MIC/LINE or INPUT ) is selected, they act as overload indicators when the input level exceeds the level set in the LEVEL field ( OVER , 0 , –2 , –4 , –6 , –8 , –10 , –12 ,
–18 , –30 or –42 (dB).
This status can be set for either the MIC/LINE inputs 1 through 16 or for the INPUT associated with the module, using the appropriate radio buttons.
Set the level for the overload lighting by moving to the value, pressing the
ENTER
key, turning the dial to set the value and pressing
ENTER
to confirm the value.
Otherwise, if the AUTOMATION option is selected, these indicators show the current automation status of the channels, as explained in the automation manual.
FADER SENSITIVITY
This parameter allows you to specify the sensitivity of the faders, as used in the automation process.
The DM-24 touch sensing capabilities are dependent on the ambient humidity and environment. Depending on these factors, it may sometimes happen that faders which have been touched are not recognized as having been touched, or the faders are recognized as having been touched when they have not actually been touched.
PREFERENCES
The following general working preference settings are available from this screen:
3 – System-wide options—OPTION screen
The value of the sensitivity is set by default to 4.0k, but you may wish to set it to any of the following values: 1.0k
, 1.5k
, 2.0k
, 2.5k
, 3.0k
, 3.5k
, 4.0k
(Hz). High values mean higher touch sensitivity.
While the FADER SENSITIVITY on-screen button is switched ON and this screen is visible, touching any of the faders with your fingers will illuminate the
STATUS/OL
indicator for as long as the fader is touched. This provides a very useful check for the sensitivity of the faders.
METER CALIBRATION
Move the cursor to the
START button and press
ENTER
to start the process of calibrating the DM-24 meters.
WARNING
You must turn down the headphone and control room monitor levels before starting this check, to avoid any possible damage to your ears and to the control room monitoring system.
Press the
ENTER
key (or cancel the process using a cursor key). After the meter calibration process has finished (about 3 seconds), the message METER calibration finished
appears as a popup message. You can then restore the control room and headphone levels.
Fader Auto MODULE Select
When enabled and a MODULE or DYNAMICS screen is shown, this option allows a module to be selected whenever its fader is touched, in addition to the usual method of pressing the
SEL
key. In other screens, when this option is enabled, the module shown at the top left of the screen changes when its fader is touched.
Select MODULE Return
When checked, this option allows the
MODULE
screen of the appropriate module to appear if the
SEL
key of the module is pressed and held for about two seconds.
ST Link by SEL key
When checked, this option allows the stereo linking of two adjacent modules
(provided the left module of the pair is odd-numbered) by pressing and holding the
SEL
key of one module and pressing the
SEL
key of the other.
Balance Level CENTER: 0dB
When two channels are linked together as a stereo pair, the pan controls change to a balance control, as mentioned earlier. In the center position, the level may either be set to 0dB (checked) or a 3dB cut (unchecked).
SEL Key Follows Fader Layer Status
allows the setup of the automatic linking of the selected channel to the selected meter layer.
When this option is selected, if a channel is selected, the fader layer is changed, and then the fader layer is changed back again, the originally-selected channel is automatically selected.
TASCAM DM-24 Reference Manual
21
3 – System-wide options—OPTION screen
For example, if this option is active, and
SEL
2 key is lit with fader layer 1-16 active, fader layer 17-32 is then selected,
SEL
key 3 (channel 19) is selected, and then fader layer 1-16 is then re-selected,
SEL
key 2 will be active.
If the option is not active, any
SEL
key which is lit remains lit when the fader layer is changed. For example, if this option is not selected, and
SEL
key 2 is lit with fader layer 1-16 active, and fader layer
17-24 is then selected,
SEL
key 2 will still be lit (that is, channel 18).
Meter Follows SEL key
When this option is checked, the meter layer automatically changes when the appropriate
SEL
key is pressed (see “Meters and faders” on page 77). The modes are as follows:
Fader layer SEL keys
CH 1–16
CH 17–32
MASTER
Meter layer
CH 1–16
CH 17–24
CH 25–32
CH 1–24
CH 1–24
MASTER/CH 25–32
Buss 1–8/Aux1–6/Stereo MASTER/CH 25–32
Automation fader OFF
When this option is active (checked), in automation mode, when the automated mix is being read (played back), the faders do not move.
Cursor follows EQ Band Key
When the option is enabled and modules are being edited, and any of the EQ band keys (
HI
,
HI MID
,
LOW MID
or
LOW
) is pressed, the box cursor surrounding the active on-screen controls will move to highlight the active band.
SOLO
The solo modes on the DM-24 can be set up in a number of different ways using this screen:
FLASH Info.
This on-screen button allows you to see how many times the flash memory used for storing library entries, etc. has been used (written to).
Moving the cursor to this on-screen button and pressing
ENTER
brings up a pop-up panel showing the number of times that the flash memory locations have been used. Pressing
ENTER
again allows you to view the automation memory area usage. Dismiss this pop-up by pressing
ENTER
once more.
If any flash memory location has been written to too many times in the life of the unit, a popup message will automatically appear to alert you of this fact.
You should then contact your TASCAM dealer for service.
Version Info.
For service, etc. it is useful to know the software version numbers of the different components. Moving the cursor to this on-screen button and pressing
ENTER
brings up a pop-up panel with the software version numbers of the different components (including the internal effector units). Press
ENTER
to dismiss this panel.
Battery Check
This is a “read-only” display. It shows the current voltage and the status of the
DM-24’s internal battery.
If the battery voltage falls below a certain level, or is reported as being above a certain level, this display blinks, and the screen shows Can’t Save System Data , together with the out-of-range voltage.
Consult your TASCAM distributor if you see this message.
MODE SELECT
Either Mix Solo or Exclusive Solo can be selected here. The
Mix Solo
mode allows a number of channels (that is, all whose
MUTE
keys are lit in solo mode) to have their outputs added together to the solo mix. The Exclusive Solo mode only allows one channel (the one whose
MUTE
key was pressed last) to be soloed at one time.
SOLO LINK
This option allows the fader and mute groups to be used with the solo function. This is explained more fully in the solo part of the section
describing monitoring (see “SOLO LINK” on page 75). Briefly, if one of the group options (
MUTE
GROUP or FADER GROUP ) is enabled, selecting a group master module solos or unsolos the whole of the group. If a group slave module is selected, the solo status of only that slave module is affected.
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TASCAM DM-24 Reference Manual
3 – System-wide options—OPTION screen
SOLO TYPE
There are three options that may be selected here: PFL (pre-fader listen), AFL (after- or post-fader listen) and INPLACE SOLO . Again, these are explained in more detail in the solo section, but briefly; the PFL option provides a way of listening to the signal before it is sent through the panpot and fader. The stereo outputs are unaffected (soloing is only done through the
CR
and
STUDIO
monitor outputs) An AFL selection will output the post-fader signal from the selected channels through the monitoring system. By contrast, soloing a channel in
Inplace Solo mode monitors the soloed signal(s) via the stereo outputs while all the other signals are cut from the stereo outputs.
INPLACE SOLO DEFEAT
This option is a defeat option to prevent channels selected in this way from being muted when other channels are soloed. It can be used with a pair of effect returns, for instance, so that these effect returns will always be added in the inplace mix, together with those other channels selected for inplace soloing. Inplace soloing will output the soloed channel(s) from the stereo outputs, and cut all other channels. Use the cursor keys (or channel
SEL
key) to highlight a channel, and the
ENTER
key to change the status of the INPLACE SOLO DEFEAT setting.
Alternatively, use the
SEL
keys of the modules for direct selection and de-selection of the channels (use
ENTER
to make the setting).
SYNC/TC
The following settings affect the timecode and synchronization settings (as can be selected for display on the top right of the screen, used for automation purposes as well as for location, etc.):
The screen is split into two parts: the top part allows the selection of a timecode source for display. This displayed timecode may be the source used for automation synchronization ( Sync Source ) or another source of timecode ( OTHERS ).
If Sync Source is selected, the source selected in the lower part of the screen to determine the automation synchronization source is displayed.
The following options are available for the display of incoming timecode:
DTRS Remote Timecode
This is the timecode embedded in the REMOTE/SYNC output from a
DTRS unit. The actual format and the relationship of this to the ABS time on the DTRS unit depends on the setup of the DTRS unit. If the ABS time is used as the timing source on the DTRS unit, ABS is shown at the top right of the DM-24 display (above the timecode value). If timecode is selected as the timing source on the DTRS unit,
TC
is shown on the top right of the display.
NOTE
A DTRS unit connected to the DM-24 through a card inserted in slot 1 or 2 cannot be used as a timecode display source in this way.
RS-422 IN Timecode
This refers to any timecode received through the RS-422. If this option is selected, TC is shown on the top right of the DM-24 display.
TRA Target link
This refers to the timecode from the currently selected transport target (as set up in the
MIDI/MC settings
Either TC or DTRS is shown on the top right of the screen if the transport target is a DTRS unit (as explained above),
ABS
if an ADAT is selected,
MTC
if the transport target is a closed MMC loop, and INT if the internal generator is selected as the transport target.
If the transport target is a MMC closed loop device, this ( MMC Closed ) is highlighted on screen.
Automation synchronization source
Choose from the following options to select the automation synchronization timecode source:
TC IN
This refers to the analog linear timecode signal received at the
TC IN
jack. If this option is selected, TC is shown on the top right of the DM-24 display.
TASCAM DM-24 Reference Manual
23
3 – System-wide options—DIGITAL screens
MIDI IN MTC
This refers to any MIDI Timecode received at the
MIDI IN
jack. If this option is selected,
MTC is shown on the top right of the DM-24 display.
INT.
This refers to the DM-24’s own internal (MIDI
Timecode) generator.
NOTE
The internal timecode generator is not functional in this release of the DM-24 software. It will be implemented in a future release, and appropriate documentation concerning its use will be provided at that time.
If the internal generator is chosen, the frame type can be selected from the following list: 30DF (30 fps drop-frame),
30NDF
(30 fps non-drop),
29.97DF
(29.97 fps drop-frame), 29.97NDF
(29.97 fps non-drop), 25
(25 fps) and
24
(24fps). If this option is selected,
INT is shown on the top right of the DM-24 display.
If the internal frame type is changed, then an automatic calculation is performed to convert the old frame type as accurately as possible to the new frame rate. For instance, if the frame type is 24 fps and the
DIGITAL screens
The DIGITAL screens contain a number of different parameters affecting the digital audio operation of the DM-24.
There are three screens: the CLOCK screen, where the digital clock source is selected, the
FORMAT
screen, which provides facilities for controlling the format of digital data transmitted from and received by the
CLOCK settings
This screen allows the viewing and selection of digital audio clocks from devices connected to the
DM-24.
current frame position is set to 12 (that is, halfway through a second), if the frame type is changed to 30 fps the frame position will be set to 15 (again, halfway through a second).
NOTE
When external timecode sources are used, the frame type is automatically recognized.
INT. START TIME
If the internal generator is selected as the timecode source, then the PODs are used to set the generator start time. Move the cursor so that the time is surrounded by an on-screen box, and then use the four PODs to set the hours, minutes, seconds and frames of the generator start time.
FLY WHEEL (frames)
If an external timecode source is selected, then it is possible to compensate for loss of incoming signal, allowing the DM-24 to
“flywheel” for a set number of frames before it reports the loss of incoming timecode. The values available here are 8, 16 and 32 frames (the length of a frame depends on the frame type being received).
DM-24, and the SLOT screen, to control any optional cards fitted in the slots.
NOTE
There should be one, and only one, word clock source in a digital audio setup. Multiple word clocks in a setup may result in noise which can damage monitoring equipment (speakers and amplifiers).
Use the cursor keys or dial to move around the screen, and the
ENTER
key to make selections.
Depending on the current assignments, the screen may change a little from that shown here. For example, if ADAT has not been selected as a return source, then it will not be shown in the appropriate position.
If slot cards are not fitted, they will not appear on this screen, but if they are fitted, the SLOT fields to the left of the screen are filled, and show the slot cards currently fitted.
The condition of a master clock status is shown using symbols.
If the right clock is not available, or if the clock is out of the permissible limits, an appropriate symbol
(cross or question mark) is shown.
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TASCAM DM-24 Reference Manual
3 – System-wide options—DIGITAL screens
A popup appears with an unlocked indication and an error message. If this happens, correct the clock source, and press the
ENTER
key to dismiss the popup.
When a clock source is selected, the clock indicators to the left of the console change to show the current clock frequency and the
EXT CLOCK
indicator lights if an external clock has been selected as the clock source.
High sampling frequency
To select high sampling frequency mode, select Hi-Sampling , and press
ENTER
.
When the DM-24 changes to high sampling frequency, a popup message is shown on screen, telling you to turn off the DM-24 and turn it on again, to enter high sampling frequency mode.
NOTE
Remember to turn down the monitor value, etc. to avoid “thumps” which may damage equipment when turning the DM-24 on and off.
The clock source screen changes in the case of high sampling frequency being selected.
NOTE
Many other display screens will change if high sampling frequency is selected. These differences are described in
a separate chapter (“High sampling frequency” on page 112).
Fs Status
This shows the current sampling frequency status (base frequency, deviation from the nominal value, and the locked/unlocked status).
Select the appropriate clock source. In the case of the internal clocks, the frequency may be chosen as either 44.1kHz or 48kHz. In most other cases, the frequency is pre-determined.
There are one or two other points to be borne in mind when making these settings.
D-IN MANUAL SETUP
A manual selection may be made in the case of one of the digital inputs (
D-IN
) being selected as a clock source with sampling frequency conversion. Select the appropriate destination frequency here.
Whether the RCA or XLR connector is used as the clock source is selected in the I/O
screens (“Digital inputs” on page 39), not here.
WORD SYNC IN
Since the frequency information of any signal received at the
WORD SYNC IN
connector is not used by the DM-24, if this source is to be selected as the word sync source for the DM-24, the sampling frequency must be explicitly selected.
TDIF interfaces
In the case of the TDIF-1 interfaces card), the device attached to the card source is shown as either a DA-88 (DA-88 DTRS recorder) or
OTHER (another type of recorder connected through the TDIF-1 interface). If the indicator shows DA88, then I/O data is truncated to 16 bits, otherwise I/O is carried out at 24 bits.
ADAT
In the case of an ADAT “lightpipe” interface card, the INT setting, allowing the ADAT to act as the clock master, is always selected.
AES3
In the case of an AES/EBU interface card, there are four different sources (the four AES/EBU inputs
1
) which may be selected as the word clock source for the DM-24.
CASCADE MASTER
If the DM-24 has been set up as a cascade slave (using the
DIGITAL SLOT
screen), then this cascade master option is automatically selected, and this setting cannot be changed (the master is free, of course, to accept its clock from anywhere).
Word phase
The phase of the word sync signal can be inverted independently for input and output relative to normal. Use the phase correction facilities to match word clocks from different equipment.
1. This changes to two inputs when high frequency sampling is selected.
Checking the clock sources
To give details of all possible sources, move the cursor to the on-screen CHECK button, and press
ENTER
.
A popup message appears. Use the
ENTER
key to continue with the check (cancel using any of the cursor keys).
The DM-24 mutes, and a panel appears with details of all possible clock sources. Press
ENTER
once again to dismiss this panel.
TASCAM DM-24 Reference Manual
25
3 – System-wide options—DIGITAL screens
Out of range clock signals
When setting the clock, the sampling frequency received can be ±6% of the stated nominal value.
When in use, the frequency can be ±7% of the stated value. This allows a digital device which has a varispeed feature to be used as the word clock source for the DM-24.
If the selected clock source goes out of range, the
DM-24 mutes, the currently-selected clock indicator flashes, and a message appears on the display.
The FORMAT screen
This screen allows you to see and work with the digital audio inputs and outputs connected to the DM-24.
The DM-24 reports the out-of-range clock frequency at a range of ±9.9% relative to the stated frequency, but mutes at 7.0% or over.
Press the
ENTER
key to dismiss the popup message, change to the CLOCK screen, and correct the error condition (by selecting another clock source, or by re-selecting the clock if it has come back into range).
The first part of this screen affects the digital inputs.
Note that the I/O screen is used to determine whether the XLR connector or RCA pin jack is used for each of these inputs.
Type of DIGITAL IN connection
Typically, these connectors will be used for base frequency digital audio (44.1 k or 48 k). This is shown as NORMAL on the display. However, if the DM-24 is in high sampling frequency mode, these inputs may be used for high sampling frequency inputs. There are two ways in which they can be used for high sampling frequency; DUAL-LINE (where one AES/EBU cable is used to transmit one channel of high sampling frequency audio, hence two lines are needed for a stereo pair) and HIGH-SPEED where the audio is transmitted at twice the usual speed, where one AES/EBU cable is used to transmit a pair of high sampling frequency signals at high speed.
Use the cursor, dial and
ENTER
key to set this value.
If the DM-24 is set to an incompatible sampling frequency, a popup message appears.
Other digital input parameters
At normal base sampling frequencies, the DM-24 is capable of performing sampling frequency conversion on the incoming data. This can be turned on or off individually using the on-screen Fs CONVERT buttons.
The MUTE DEFEAT checkbox allows the DM-24 to ignore a status bit in some implementations of digital audio, which are otherwise satisfactory. If this is unchecked, when this audio is received, the input may be muted and the following messages may be displayed on screen: Not Audio data Digital In1 (byte 0, bit 1=1 of the channel status) or Source Fs unlocked
(byte 0, bit5=1).
Details of the digital audio data can be obtained from a popup produced by pressing the DETAIL button.
Such information includes the format, type, emphasis status, etc.
Digital output
The assignments for the two digital outputs are made using the I/O screen. The format can be changed between AES/EBU and SPDIF (the
SPDIF option is meaningful at base sampling frequencies only) and details of the data can be obtained from a popup produced by pressing the DETAIL button. Such information includes the format, contents, emphasis status, word length, etc.
Multi I/O settings
These assignments are made in the I/O screen, and cannot be changed. However, the word length for each of the TDIF groups can be set (either
16bit
,
20bit
or
24bit
) and the details can be viewed ( DETAIL button). These details include TX/RX mode, sampling frequency, word length and emphasis status, etc.
Stereo out setup
This allows the choice of the word length output from the stereo out as being either 24-bit data, 20-bit with noise shaping, or 16-bit with noise shaping.
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TASCAM DM-24 Reference Manual
3 – System-wide options—DIGITAL screens
SLOT screen
On the slot screen, the different optional interface cards that can be fitted to the DM-24 are automatically detected and the options can be set. These are
described separately in “Options” on page 118.
If slot cards have been fitted, they are shown on this screen, as in the example below.
TASCAM DM-24 Reference Manual
27
4 – Parts of the DM-24
This section is divided into what we hope is a functional and logical order to help locate and use the controls.
Top surface
The top surface of the DM-24 may be conveniently divided into the following sections:
This section is not a complete guide to the functions of the DM-24—treat it more as a “road-map” than a guidebook.
Other analog I/O
Library section
Analog module inputs
Parameter control
Module control
Monitoring
Transport and automation control
Module faders and selection, etc.
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TASCAM DM-24 Reference Manual
4 – Parts of the DM-24—Top surface
Analog module inputs
These inputs typically feed the first sixteen input channels, but may be assigned in other ways as
explained in “Setting up the I/O” on page 36.
1 2
5
3 4
1 INSERT
These TRS 1/4” connectors are used to provide a post-
TRIM
insert (send at –2dBu), and the return (–2dBu) occurring just pre-AD convertor.
2 LINE IN (BAL)
These balanced 1/4” jacks accept analog inputs at a nominal +4dBu input level, adjustable with the
TRIM
controls.
3 MIC
These XLR connectors accept analog inputs for balanced microphones. Phantom power is available (switchable in groups of 4 inputs).
The input level is adjustable with the
TRIM
controls.
NOTE
There is no switch to allow a choice between the MIC
and the LINE inputs. Accordingly, connections should
not be made to both inputs of a channel simultaneously.
WARNING
Connection of microphone cables and microphones: to prevent hazard or damage, ensure that only microphone cables and microphones designed to the
IEC 268-15A standard are connected.
Connexions des microphones et de leurs câbles: pour
éviter tout endommagement, s’assurer de brancher uniquement des microphones et des câbles de microphones conçus selon la norme IEC 268-15A.
4 TRIM
These controls allow the input levels from the
MIC
and
LINE
inputs to be adjusted over a range of 56 dB.
Turning these controls clockwise increases the level of the signal fed to the channel AD convertors.
5 PHANTOM (+48V)
These switches allow
+48V phantom power to be provided to the
MIC
channel inputs. These switches are arranged so that one switch controls the phantom power for four input channels (1 through 4, 5 through 8, 9 through 12, and
13 through 16).
Other analog I/O
These inputs and outputs provide analog feeds to monitoring systems, etc.a balanced pair of stereo master outputs and an insert loop for these outputs.
6 7
8
9
0 q e w
There are also four assignable sends and returns, as
explained in “Setting up the I/O” on page 36.
6 MONITOR OUTPUTS [CR (BAL)]
These
1/4” balanced analog outputs are used to provide monitoring signals to the control room as selected using the monitor select switches (+4dBu nominal level).
7 STEREO OUTPUT
This pair of balanced
XLR connectors provides the analog stereo out signal at +4dBu.
8 MONITOR OUTPUTS [STUDIO]
These unbalanced RCA connectors provide unbalanced signals to the studio at a nominal output level of
–10dBV.
9 2-TR IN
These two RCA unbalanced inputs are typically used for monitoring the replay from an analog mastering device at a nominal input level of
–10dBV.
A STEREO OUTPUT [INSERT]
These 1/4”
TRS connectors provide insert facilities for the
STEREO OUTPUT
s. The send (level –2dBu) is post
DA convertor and the return (level –2 dBu) is immediately before outputs.
TASCAM DM-24 Reference Manual
29
4 – Parts of the DM-24—Top surface
B ASSIGNABLE SENDS
These balanced
1/4” jacks (–2dBu) are used either as insert sends for
the input channels or as aux sends (see “Setting up the I/O” on page 36).
C ASSIGNABLE RETURNS (BAL)
These quasi-balanced returns (–2dBu) are either used as
Module control section
This section is chiefly used for the control of the most commonly-used module parameters: r t i y u o aux returns or as insert returns for the input channels
(see “Setting up the I/O” on page 36).
D PHONES
These two stereo 1/4” jacks provide headphone outputs.
p a s
E FS indicators
These indicators show the current sampling frequency used by the system.
F 2ND F. (MOVE) key
This key is mainly used in conjunction with the automation (purple) keys to access the secondary functions of these keys.
G EQUALIZER keys
As explained in “Rotary encoders (ring LEDs)” on page 15, four of these keys
(
HIGH
,
HI MID
,
LOW MID
,
LOW
) are used to select the frequency band of the active module which will be affected by the rotary encoders. The
ON
key turns the EQ on and off for the selected module.
H CH ASSIGN keys
These keys are used to assign the selected module to the pairs of output bus-
Library section
These keys are used for the storage and recall of commonly-used parameters in snapshots, EQ settings, effects and so on.
d fg ses (
BUSS 1-2
,
BUSS 3-4
,
BUSS 5-6
and
BUSS 7-8
) or to the stereo outputs (
STEREO
) or to direct output
(
DIRECT
).
The legends in parentheses on the first three buss keys refer to surround assignments if a surround mode has been selected.
I EXT CLOCK indicator
If this indicator is lit, the DM-24 is referenced to externals word sync.
If unlit, the DM-24 is acting as the master word sync source for the system. If flashing, the clock source is not connected, or is not otherwise available for use by the DM-24.
J MODULE key
Pressing this key brings up the module editing screen, allowing the different parameters of a module to be viewed and edited.
K Encoder function select key and
indicators
Successive presses of this key light, in order: no indicator,
EQ GAIN
,
AUX
(
1
through
4
) and
AUX
(
5
and
6
), as explained in “Rotary encoders
(ring LEDs)” on page 15. The indicators show the
current function of the encoders.
L TOUCH/MOVE [KEEP] key
This key is used in conjunction with the automation software, as explained in the automation guide.
M Rotary encoders
These are used to set
parameters as explained in “Rotary encoders (ring
N LIBRARY + and – [BANK] keys
These are used to change the selected active library entry
(usually shown at the top of the screen).
O RECALL [UNDO/REDO] key
The
RECALL
key is used to recall the settings of stored in the currently-select active library entry. It can also be used for comparison between the new and previous settings.
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TASCAM DM-24 Reference Manual
4 – Parts of the DM-24—Top surface
P STORE key
This key stores the current settings to the currently-selected library entry.
Parameter control section
This section is used to control the different parameters and to navigate through the different options available on the DM-24 h j kl; z x c v b n
Q LCD display
This backlit display shows the parameters and values that can be adjusted, as well as popup status and error messages.
R Soft keys
These four keys are used to select options and sub-screens shown at the bottom of the
display (“Soft keys” on page 15).
S PODs
These encoders are used to set values
highlighted on the screen with the cursor (“PODs” on page 13).
T Display contrast
Use this control to set the most convenient viewing angle for the display.
U Cursor keys
These keys are used to move the on-screen cursor to highlight the parameters to be edited with the PODs or the data dial.
V Number and predefined function
keys
These keys are used to access the setting screens where global parameters may be set up and for changing between sub-screens.
The
SHIFT
key is also used to provide a secondary function for most of these keys, bringing up screens which probably will not be used so frequently.
In some location modes, these keys are used to enter numeric values directly:
Number Unshifted function
CLR AUTOMATION
(automation) control
0
External device control
(
EXT. CTRL
)
—
Shifted function
MIDI and machine control parameters (
MIDI/MC
)
Number Unshifted function
1
2
3
4
5
6
7
8
9
Aux 1 and 2 sends
(
AUX 1-2
)
Aux 3 and 4 sends
(
AUX 3-4
)
Aux 5 and 6 sends
(
AUX 5-6
)
Shifted function
System options (
OPTION
)
Input and output assignment (
I/O
)
System setup options
(
SETUP
)
Pan and balance (surround settings if surround
Digital trim and channel delay (
TRIM/DLY
) selected) (
PAN/BAL
SURROUND
)
Channel-to-buss assignment (
ASSIGN
)
Stereo linking and fader/ mute grouping (
LINK/
GRP
)
On-screen meters and fader Monitoring settings and positioning (
METER/
options (
MONITOR
)
FADER
)
Library settings and selection (
LIBRARY
)
—
Effect settings and editing
(
EFFECT
)
—
Dynamics processor settings (
GATE/DYN
)
Various system utilities
(
UTILITY
)
W SHIFT key and indicator
This is a
“smart” key. Press and release it briefly to light the indicator. Press and release it briefly again to turn off the indicator.
Press and hold the key for more than about half a second to light the indicator for only as long as the key is held down (when the key is released, the indicator goes out).
When the indicator is lit, the predefined function keys will then perform their secondary shifted function (as marked on the lower label above the key).
X LOCATE keys and indicators
These keys are used to set the way in which location of the currently-selected machine transport is controlled.
If any of these indicators is lit, the predefined func-
tion keys act as number keys (as explained in “Location memories” on page 85).
Y AUTOMATION UNDO key
This key is used with the automation system to undo changes made to automated mixes.
Z JOG/DATA dial
This dial is used for setting on-screen parameter values, etc. When the DM-24 is controlling the transport of a remote device, it may be used to perform a jog function.
TASCAM DM-24 Reference Manual
31
4 – Parts of the DM-24—Top surface
a ENTER key
Use this key to confirm entries and to answer “yes” to questions (the cursor keys are usually used to cancel or answer “no”).
Monitoring section
This section is used to control what is heard from the control room and the studio monitoring systems.
Since many of the choices here are “soft” choices
(that is, determined by the software), the full explanation of these keys and indicators is provided in a
separate section (“Monitoring” on page 73).
m , . / ! @
# $%^ & b Meters
These meters show the level of the currently-monitored signal.
c SOLO control and indicator
When the indicator is lit, soloing is enabled and a channel has been selected for soloing. The level of the soloed signal is controlled by this knob.
d PHONES control
This control regulates the level of the signal sent to the phones outputs.
e Monitor selection keys
These keys are used to select the signal sent to the control room monitor outputs (and the phones outputs).
The
STEREO
key routes the stereo output signal to the monitor outputs. The
SEL 1
,
SEL 2
and
SEL 3
keys route the signals selected in the monitor screen to the monitor outputs.
f Talkback microphone
This integral microphone can be used for studio talkback or slate output.
g DIM key and indicator
This “smart” key works in the same way as the
STUDIO
key above.
When on, the control room outputs are attenuated
(the amount is set using the monitor screen).
h MONO
This outputs the selected signal in mono to the control room monitors and phones.
i STUDIO key and indicator
This “smart” key latches on when pushed and released within a second, and is switched off by pushing it again in the same way. If pushed and held down for more than a second it is non-latching, that is, it turns off when released.
When on, the control room outputs are attenuated, and the talkback microphone signal is routed to the studio outputs.
j CR volume control
This control adjusts the level of the signal selected with the selection keys and sent to the control room outputs and
PHONES
outputs.
k TO SLATE key and indicator
This
“smart” key works in the same way as the
STUDIO
key above.
When on, the control room outputs are attenuated and the talkback microphone signal is routed to the eight output busses, the stereo buss and the six aux busses.
l T/B volume control
This control adjusts the level of the signal from the talkback microphone, fed to the selected outputs (slate or studio).
32
TASCAM DM-24 Reference Manual
4 – Parts of the DM-24—Top surface
Module faders and selection, etc.
ers are used to control all 32 inputs, the six aux sends and the output buss sends as shown on the preprinted labels above and below each channel strip.
*
(
)
Q
W
E
R
T
Y
Note that a wipe-off surface is provided (below the
REC
keys) for you to write in soft pencil the functions of the channels (equipment connected to the
DM-24, etc.).
m REC key
These keys, with integral indicator, are used to set and show the recording status of tracks of devices controlled by the DM-24.
n SEL keys
These keys, with integral indicators, are used to select the modules for editing operations, as well as for stereo linking and other editing functions. The indicators light to show which module has been selected.
o MUTE keys
These keys, with integral indicators, show the muting status of the modules. When used with the solo modes, they give instant indication of what module(s) are selected for soloing.
p OL/STATUS indicators
These indicators may be selected using software to show either overload to the input channels or the current status of the channel when automation operations are being car-
ried out. See “OL/STATUS LED TYPE” on page 20
for details of these settings.
q Module faders
These 100mm motorized faders are labeled from
∞ (full cut) to
+10
(dB). The
0
position may be set to be equivalent to the appropriate full-scale value using software.
r ALL SAFE key
This key, with integral indicator, is used to “safe” any tracks of recording devices controlled by the DM-24.
s SOLO key
This key, with integral indicator, is used to enable the soloing function as selected in
t STEREO fader
This fader does not change function as the layers are changed, but controls the level of the stereo outputs.
It is labeled from
∞ (full cut) to
0
(full scale).
u LAYER STATUS keys
These keys (with
vide access to the different fader layers.
Transport and automation control
U I O P
A
S
This controls in this section provide remote control facilities for recording devices, etc. attached to the
DM-24.
v REPEAT key
This key, with integral indicator, is used to control repeat playback.
w ALL INPUT key
Provides input monitoring for all tracks on the selected unit(s).
x AUTO MON key
Provides automated switching between input and off-tape monitoring.
y AUTO PUNCH IN/OUT keys
Typically used with the DTRS family of recorders.
z Transport keys and indicators
The exact function of these keys (
REW
,
F FWD
,
STOP
,
PLAY
and
RECORD
) and indicators depends on the device currently selected for external control.
TASCAM DM-24 Reference Manual
33
4 – Parts of the DM-24—Rear panel
S Automation control keys and
indicators
These keys (
REHEARSE
,
WRITE
,
TRIM
and
REVERT
) are used to control the automation functions. These keys have other functions, as selected by the
2ND F
key (
F
).
NOTE
Although some of these keys have similar names to other keys on the DM-24, note that their functions are restricted to automation operations.
Rear panel
The rear panel of the DM-24 houses the digital audio and control connections.
1
2 3
5 6 7 8
4
9
A B C
NOTE
Only use TASCAM-supplied and TASCAM-approved cables when making digital audio and control connections to the DM-24. Though the cables and connectors may resemble computer cables, they serve different purposes, and meet a different set of specifications. The use of cables other than TASCAM cables will at best cause the equipment to work erratically, and at worst cause damage to the equipment.
If the use of cables other than TASCAM cables causes or results in damage, the warranty is voided.
1 TO METER
This 25-pin ‘D’-sub connector is used to connect the DM-24 and the optional MU-24/
DM meter unit.
2 ADAT [IN, OUT]
Use these “lightpipe” connectors to connect ADAT-compatible units to the
DM-24 with a Toslink-type optical cable. Each of these connectors carries eight digital audio input or outputs channels.
D E
The input may be used as a clock source, and routed to any of the three groups of eight input channels (1 through 8, 9 through 16, 17 through 24).
3 WORD SYNC [OUT/THRU, IN] and
switch
These BNC connectors are used for word sync. The switch controls the behavior of the connectors (75
Ω input impedance and switching between
OUT and THRU functions) as described here:
Position
Left
75
Ω IN
termination?
No
OUT/THRU
Thru
Center
No Out
Right
Yes Out
A
THRU
setting means that the connector echoes the word sync signal received at the
IN
. An
OUT
setting means that the DM-24 originates a word sync signal
(and is therefore to be the word sync master for the system).
34
TASCAM DM-24 Reference Manual
4 – Parts of the DM-24—Rear panel
4 TDIF [1, 2 3]
These 25-pin ‘D’-sub connectors are used for the connection of suitably-equipped digital audio devices.
At the base rates of 44.1k and 48k, each connector carries eight channels of input and eight of output.
These numbers are halved when dual-frequency sampling frequencies (88.2k and 96k) are used.
These may be routed to any of the three groups of eight channels capable of accepting return signals (1 through 8, 9 through 16, 17 through 24).
TDIF 1
only may be selected as the clock source for the system.
5 MIDI IN, OUT and THRU
These three 5pin DIN connectors correspond to the MIDI standard
(
MIDI IN
receives MIDI data,
MIDI OUT
outputs
MIDI data originated by the DM-24, and
MIDI THRU
echoes data received at
MIDI IN
).
The MIDI is used for MIDI Timecode, Program
Change and Control Change messages, as well as for
MIDI System Exclusive bulk data dumps, etc. The details of these are all given in the section on MIDI
6 EXT SW
This 1/4” jack is used to connect a footswitch (for example, the TASCAM RC-30P), which is selectable through software to provide a variety of functions.
7 TIME CODE
This unbalanced RCA connector accepts SMPTE/EBU analog timecode.
8 DTRS REMOTE CONTROL
This 15-pin
‘D’-sub connector connects to the first unit in a chain of DTRS recorders, allowing the DM-24 to remotely control the recorders.
9 SLOT [1 and 2]
These expansion slots allow the fitting of optional cards, such as a cascade card,
AES/EBU interfaces, additional “lightpipe” interfaces, or additional AD-DA conversion interfaces.
Consult your TASCAM dealer for availability of such cards, and the documentation supplied with the cards for details of how to fit and use them.
A POWER SWITCH and IN
Use this pushon/push-off switch to switch the power to the DM-
24. Use only the provided power cord to connect the
DM-24 to the AC supply, ensuring that the voltage of the supply matches the voltage requirements as given on the rear panel of the DM-24. If you are in any doubt, consult a qualified electrician.
NOTE
The equipment draws nominal non-operating power
from the AC outlet with its POWER switch in the OFF
position.
B DIGITAL OUTPUT 1 and 2
Each of these outputs has two connectors: an XLR-type and an
RCA connector. The format of the output is determined by software.
The function of these connectors (master stereo output, stereo aux send, etc.) is also determined by software settings.
C DIGITAL INPUT 1 and 2
Each of these inputs has two connectors: an XLR-type and an RCA connector. Only one connector at a time can be used for the input (selected by software).
The routing of these connectors is also determined by software settings.
D GPI
This 9-pin ‘D’-sub connector is a General
Purpose Interface, used for remote control of devices attached to the DM-24.
E RS-422
This 9-pin ‘D’-sub connector is a remote control interface, to the RS-422 standard, allowing remote control of devices attached to the
DM-24.
TASCAM DM-24 Reference Manual
35
5 – Setting up the I/O
Because the DM-24 is a “soft” digital mixing console, there are few of the hard-wired assignments that you find on an analog console.
In addition, the DM-24 includes an internal patchbay, which allows routing and splitting of signals within the console, providing a high degree of flexibility, and easy re-configuration when the requirements within a project change.
These routing and configuration settings can be stored in snapshot settings, allowing easy switching between the commonly-used routing patterns (for example, tracking, overdubbing and mixdown).
Signal sources
The DM-24 defines channel signal sources as inputs and returns, as explained here.
In the I/O assignment screens, each channel from 1 through 24 has two different sources—input and
return—available (channels 25 to 32 have only one source—input—available):
inputs returns
In this illustration, the mic/line inputs are selected as the inputs (upper box) for channels 17 through 24.
The ADAT connector audio is selected as the return source (lower box) for these channels.
Sixteen mic/line analog inputs
are available on the DM-24. These are referred to on-screen as M/L .
They may be assigned to the console channels numbered 1 through 32. These are inputs.
Three TDIF connectors
(1 through 3) carry eight channels of I/O digital audio each (in base frequency mode—in dual-frequency mode, this situation is different).
These TDIF inputs may also be assigned to console channels numbered 1 through 24.
These are returns.
The library facilities also allow the retention of I/O patches, etc. between snapshots, so that the I/O settings are not always overwritten by the recalled snap-
shot. See “Protecting snapshot settings” on page 102
for full details.
NOTE
This section deals only with the assignments in normal sampling frequency modes (either 44.1k or 48k). If the
DM-24 is to be used in high sampling-frequency mode, the screens and the options are a little different. See
“High sampling frequency” on page 112 for details.
ADAT connector
The single “lightpipe” ADAT input connector carries eight channels of digital audio input.
The eight audio channels received through this connector may be assigned to any of the console channels numbered 1 through 24.
These are returns.
DIGITAL IN 1 & 2
Each of these logical inputs has two physical connectors: an XLR, typically used for
AES/EBU connections, and an RCA jack, typically used for SPDIF connections. One of these can be selected for each logical input, and routed to any of the console channels numbered 1 through 32. These are inputs.
Card slots
Optional cards may be installed in the two card slots for expansion of the digital and analog
I/O. These are treated as returns, and may be routed to the channels 1 through 24.
Assignable returns
These four balanced analog inputs may be assigned as channel inputs (for example, when they are used with external effect processors).
These are inputs and are assignable to channels 1 through 32.
Internal effectors
The DM-24 has two internal digital effectors, with stereo returns.
These returns are inputs and are assignable to channels 1 through 32.
36
TASCAM DM-24 Reference Manual
5 – Setting up the I/O—Output signals
Output signals
The following are the signals output from the DM-24
(excluding the monitoring signals):
Eight output busses
These busses are typically routed to the built-in multi-track outputs (TDIF and
ADAT) or to the optional slot cards.
Six aux busses
These six aux busses may be routed to the assignable sends, as well as to the internal effect units.
Physical outputs
This excludes the monitoring outputs (control room, studio, etc.).
TDIF-1 connectors
These connectors are used as outputs as well as inputs, carrying eight channels each in normal-frequency mode. In dual-frequency mode situation this is different.
ADAT OUT connector
This lightpipe connector can be used as outputs from busses or as direct output. It carries eight channels in normal-frequency mode.
Patching between input and return
The DM-24 allows you to switch between the assigned inputs and returns for channels 1 through 24 without having to connect or disconnect cables. The sources for channels 25 through 32 are not selectable in this way.
These switches are accessed from the I/O screens.
1 With the
SHIFT
indicator lit, press the
I/O key.
2 Press either the first or second soft key to bring up the channel assignment screens.
The on-screen channels have two columns, the sources, and the destinations, with a “patch cable” connecting them.
The source column has two alternative sources for each channel: the input (top) and the return (bottom) sources.
Move the cursor to the “patch cable” and turn the dial.
Stereo master outputs
These stereo outputs are typically used as the sum of the mixed output busses (except in surround mode).
Direct outputs
The signals from the channels can be output directly, not passing through busses, etc. to the connectors (TDIF, ADAT, slot) below.
Slot cards
These may act as outputs, depending on the cards installed.
Assignable sends
These sends may be used as either analog insert sends or as aux sends.
Digital outputs (x 2)
Can be assigned to output the stereo buss, adjacent pairs of busses, adjacent pairs aux busses or the control room source.
STEREO OUTPUTS (L, R)
Used as the analog outputs for the stereo master buss.
3 Press
ENTER
to confirm the change.
Mic/line input 1 is routed to input channel 1
The cursor is moved to highlight the “patch cable”
The dial has been turned to
“repatch” TDIF1 channel 1 to channel 1
The ENTER key has been pressed to confirm the repatching process.
NOTE
This switching can also be done in the fourth MODULE
screen (“Channel source (CH SOURCE)” on page 58).
TASCAM DM-24 Reference Manual
37
5 – Setting up the I/O—Assigning inputs to channels
Assigning inputs to channels
The I/O screens control the input/output assignments, as explained here:
choice between input and return for each channel, as well as the input source for the
DIGITAL IN signals.
Each of the channels from 1 through 24 can be used either as an input or a return, as described above.
In the screen above, the mic/line inputs are assigned to the first sixteen channels, which would be an appropriate setting for the recording phase of a project. In the screen below, however, tape returns from TDIF groups 1 and 2 are assigned to these channels (for mixdown).
1
With the SHIFT indicator lit, press the I/O key.
There are four tabs at the bottom of the screen. The two leftmost tabs, accessed through the first two soft keys, control the inputs to the first sixteen (
CH1-16 IN
) and second sixteen (
CH17-32 IN
) channels, respectively.
2
Press either of the two soft keys described above. These screens control the selection of the return block, the input source, and the
Input sources
Any mic/line input can be assigned to any channel (1 through 32). The same mic/line input can be assigned to more than one channel, if required.
1 In either of the two channel
I/O
screens, move the cursor to the source column of the group of channels.
2 Use the § and ¶ keys to move up and down the column.
NOTE
Note that the returns (as explained below) are premapped and cannot be changed here. The cursor never highlights them.
Channels 25 through 32 can be used for input only.
3 Use the dial to select from the available options as listed here (
x
represents a displayed number in this table):
Screen display
M/L x
D-INx-L (or R)
ASN RTNx
EFF x-L (or R)
Meaning
Mic/line analog input x
Digital input x (1 or 2) – either the left or the right channel
One of the four assignable returns
Internal effector 1 or 2, left or right channel
NOTE
Since input sources can be shared (routed to more than one input at once), simultaneous recordings can be made of the same take. For example, you can try recording the same vocal take with different compression or EQ settings.
38
TASCAM DM-24 Reference Manual
5 – Setting up the I/O—Assigning inputs to channels
Return modules
Return sources are available for channels 1 through
24 (channels 25 through 32 are input only).
The return options for each group of eight channels are selected by moving the cursor to the
RETURN
field at the left of the list of channels, and using the dial to select from the available options.
Press
ENTER
to confirm the setting.
NOTE
If a slot card has not been fitted, an error message
appears. Press ENTER to dismiss the message.
Each group of eight channels is assigned to use the same return source block (though it is possible to mix inputs and returns within the same block).
It is important to note the following:
• The returns from TDIF1-1 cannot be assigned and used at the same time as the returns from a card fitted in slot 1.
• The returns from TDIF1-2 cannot be assigned and used at the same time as the returns from a card fitted in slot 2.
• The returns from TDIF1-3 cannot be assigned and used at the same time as the returns from the internal ADAT connector.
Digital inputs
Each digital input has two connectors; an XLR-type connector and an RCA pin jack. One of these is selected for input as described here.
These connectors can both be used for either AES/
EBU or SPDIF data, and the data format is automatically detected by the DM-24—no settings are necessary to choose the data format.
The first 24 channels may have the following sources assigned to them as returns:
Channel
1,9,17
2,10,18
3,11,19
4,12,20
5,13,21
6,14,22
7,15,23
8,16,24
Return signal
TDIF1-3 Trk1 / Slot1-2 Trk1 / Slot1-2 Trk9 /
Slot1-2 Trk17 / ADAT Trk1
TDIF1-3 Trk2 / Slot1-2 Trk2 / Slot1-2 Trk10 /
Slot1-2 Trk18 / ADAT Trk2
TDIF1-3 Trk3 / Slot1-2 Trk3 / Slot1-2 Trk11 /
Slot1-2 Trk19 / ADAT Trk3
TDIF1-3 Trk4 / Slot1-2 Trk4 / Slot1-2 Trk12 /
Slot1-2 Trk20 / ADAT Trk4
TDIF1-3 Trk5 / Slot1-2 Trk5 / Slot1-2 Trk13 /
Slot1-2 Trk21 / ADAT Trk5
TDIF1-3 Trk6 / Slot1-2 Trk6 / Slot1-2 Trk14 /
Slot1-2 Trk22 / ADAT Trk6
TDIF1-3 Trk7 / Slot1-2 Trk7 / Slot1-2 Trk15 /
Slot1-2 Trk23 / ADAT Trk7
TDIF1-3 Trk8 / Slot1-2 Trk8 / Slot1-2 Trk16 /
Slot1-2 Trk24 / ADAT Trk8
As can be seen, it is possible for the same return to be assigned to more than one channel at the same time
(of course, it is not possible for one channel to accept the signal from more than one return at the same time).
Although the return module for each block can be selected, the channels of the module cannot be changed. For example, if an MTR return is assigned to channels 1–8, track 2 of an MTR cannot be assigned to channel 1. Track 3 can only be assigned to TDIF channel 3 (in the TDIF1, TDIF2, TDIF3 return source blocks), or ADAT channel 3, etc.
Note, though that when slot cards are fitted, the number of the channel in the slot card may be offset by 8 or 16, so that channel 9 (or 17) of slot card 2 may be assigned to channel 1, etc.
See “The FORMAT screen” on page 26 for details of
how to set the parameters for sampling frequency conversion, etc. at these inputs.
However, although there are two physical connectors for these inputs, the audio data for an input can only be accepted from one of these connectors at any one time.
TASCAM DM-24 Reference Manual
39
5 – Setting up the I/O—Channel-to-buss assignments (global)
The inputs are chosen in a similar way to the input/ return selection for channels 1 through 24.
The cursor is moved to the “patch cord” linking the inputs to the digital input (either D IN1 or D IN2 ), and the dial and
ENTER
key are used to change the
“patch” setting.
RCA XLR
Channel-to-buss assignments (global)
These may be made either on a central “global” basis, or individually, channel by channel.
NOTE
Surround modes are treated in a similar, but different,
manner. See “Surround operations” on page 107 for
full details of how to make assignments in surround mode.
To use the global screen:
1 With the
SHIFT
indicator off, press the
ASSIGN
key.
2 Continue to press the
ASSIGN
key, or press soft key 3 to display the
BUSS
screen.
3 Use the Ó and Á keys or dial to move the cursor along the row. The § and ¶ keys move between the blocks, and the
SEL
indicator of the currently-highlighted channel lights (if the fader layer containing the channel is selected).
Alternatively, use the
SEL
keys of the channels to move the cursor and highlight the channels on the screen. Channel 1 is highlighted here.
4 Use POD 4 to move the cursor at the right of the screen to select the buss groups (
1-2
,
3-4
,
5-6
and
7-8
), the stereo output (
ST
), direct out
(
DIR
) or
AUX 1-2
(see below).
5 Press
ENTER
to assign/de-assign the highlighted channel to and from the selected group. The appropriate
CH ASSIGN
key indicators light and go out as the selections are made in this way.
Alternatively, if the SEL key of the selected channel is lit (that is, the fader layer of the selected channel is active), use the dedicated
ASSIGN
keys to change the assignments.
NOTE
Direct output is only possible from channels 1 through
16.
Master settings
The on-screen buttons ALL CH
ON
(soft key 1) and
ALL CH OFF
(soft key 2) are used to assign or de-assign all channels from the assignment highlighted using POD 4.
AUX 1-2
The AUX 1-2 setting at the bottom of the
POD 4 list does not have a corresponding hardware key or indicator. It is used to switch a link between the stereo output and aux 1-2, or aux 1-2 may be assigned to the stereo outputs. Obviously, only one of these assignments may be made at one time.
The first of these assignments (stereo to aux 1-2) is only possible when the AUX 1-2 POD 4 button is highlighted, and when the cursor is on the
ST
module
(bottom right of screen).
The second such assignment (aux 1-2 to stereo) is possible only when the AUX 1-2 POD button is not highlighted, and the cursor highlights the AUX module (to the left of the
ST
module—lower right).
In either case, press the
ENTER
key. If the other assignment has been made, a popup message appears
40
TASCAM DM-24 Reference Manual
5 – Setting up the I/O—Channel-to-buss assignments (global)
( STEREO to AUX1-2 is assigned.
or AUX1-2 to STEREO is assigned.
). Press
ENTER
again to dismiss the message, then unlink the existing assignment, and retry the link of the new assignment.
Channel-to-buss assignments by channel
This method allows the setting of channel-to-buss assignments per channel.
1 Select a channel using the
FADER LAYER keys and the
SEL
key of the channel (either
SEL
key if the channel is part of a stereo link pair).
2 Use the
CH ASSIGN
keys to the left of the display to assign and de-assign channels to and from busses.
Other module parameters
Phase, gate on/off, compressor on/off, pre- or post-
EQ compressor location, and EQ on/off can all be set in the PARAMETERS sub-screen of the ASSIGN display.
Press soft key 4, or the
ASSIGN
key until this subscreen is displayed.
When the link is successfully made, the appropriate on-screen indicator is reversed.
If the assignment is not possible (for instance, no direct out is possible for channels 17 through 32), the appropriate key is disabled.
If either the MODULE or the ASSIGN screen is displayed, changes made to the assignments using these keys will be reflected in the display.
Use POD 4 to select the type of parameter to be changed, and the cursor keys to move between the modules, as before.
The parameters selected by POD 4 are:
Φ
GAT
Phase on and off (inverse signifies phase reversal)
Gate switch on/off (inverse signifies on)
CMP Compressor switch on/off Inverse signifies on)
INS
Compressor insert point (changes between PRE (pre-
EQ) and PST (post-EQ)
EQ Turns EQ on and off (inverse signifies on)
Note that channels 17 through 32 cannot have a gate assigned to them.
If a compressor has been assigned to any of the master modules (aux or buss or stereo as described in
“Master compressors” on page 43), this will appear
at the bottom of the screen, otherwise, a gray box will be shown.
TASCAM DM-24 Reference Manual
41
5 – Setting up the I/O—Output assignments
Output assignments
The buss settings and the aux sends 1 through 4 may be routed to the three internal TDIF slots, as well as to the ADAT output and any slot cards fitted.
The output grouping destinations are grouped in out-
put blocks of eight signals. Block sources (busses, direct outputs or aux sends) are mapped to these blocks. The blocks are grouped together, and the block sources are sent in parallel to all blocks in the group
The eight output busses are assigned on a one-to-one basis to the outputs within a block (that is, buss 1 will feed channel 1 of the output block, etc.is
NOTE
The more recent models of TASCAM DTRS recorder have an internal patchbay which allows you to reassign inputs to tracks.
If a direct out has been selected in the assignments
(“Channel-to-buss assignments (global)” on page 40), this will take priority over the buss outputs
(the appropriate buss output will not be selected for the block/channel combination used by the direct outs).
The composition of the output blocks, and the choices for the block sources are:
Block
Output block groups
Block Source options
1
2
3
TDIF 1 (1–8)
Slot 1 (1–8)
Slot 2 (1–8)
TDIF 2 (9–16)
Slot 1 (9–16)
Slot 2 (9–16)
TDIF 3 (17–24)
ADAT (17-24)
Slot 1 (17–24)
Slot 2 (17–24)
Buss 1–8 / Direct out 1–8
Aux 1–4 Parallel (paralleled
1->1&5, 2->2&6, etc.)
Buss 1–8 / Direct out 9–16
Aux 1–4 Parallel (paralleled
1->1&5, 2->2&6, etc.)
Buss 1–8 / Direct out 1–8
Buss 1–8 / Direct out 9–16
Aux 1–4 Parallel (paralleled
1->1&5, 2->2&6, etc.)
In the
I/O OUTPUT
sub-screen, use the dial and
ENTER
key to select the source for each output block.
Digital outputs
The two
DIGITAL OUTPUT
s may output: the stereo outputs ( STEREO ), a pair of busses ( BUSS1–2 , BUSS3–
4 , BUSS5–6 , or BUSS7–8 ), a pair of aux sends ( AUX1-2 ,
AUX3-4
,
AUX5-6
) or the control room signal (
C.ROOM
).
The XLR and RCA connectors for each output are fed in parallel with the selected signal, and the format is determined in the DIGITAL FORMAT
screen (“Digital output” on page 26).
Move the cursor to the appropriate field ( DIGITAL
OUT1 or DIGITAL OUT2 ) on the left of the screen, Use the dial and
ENTER
key to select the desired output signal.
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TASCAM DM-24 Reference Manual
5 – Setting up the I/O—Assignable sends and returns
Assignable sends and returns
The four sets of analog I/O connectors may be used as either analog insert points for selected channels or as the send part of effect loops ( I/O display, ASSIGN
SECT.
sub-screen, accessed with soft key 4).
If the insert mode is selected, move the cursor to the channel ( CH ) column, and use the dial and
ENTER
key to select and confirm the channel (any channel from 1 through 32 can be entered here). There is also an “off” setting (all fields are filled with --).
The location of the insert can be selected (pre/post fader) in the POINT field and the insert loop turned on or off ( ON/OFF button) in the ON/OFF column.
If the send loop is selected (the SEND/RETURN radio button is selected), the send signal source ( AUX 1 to
AUX 6 ) can be selected. To select the send signal source, move the cursor to the SEND SIGNAL field, then use the dial and
ENTER
key to select and confirm the source.
NOTE
The assignable returns can be assigned to the inputs in
the first and second I/O screens (“Assigning inputs to channels” on page 38).
Move the cursor to the INSERT or SEND RETURN radio button and press
ENTER
to make the setting for the appropriate assignable connectors.
Master compressors
To assign up to six compressors (in three stereo pairs) to the STEREO L-R , the aux sends or the output busses, move the cursor to one of the pairs of MASTER fields
(1-2, 3-4 or 5-6) at the right of the screen.
Press
ENTER
, and use the dial to select an adjacent pair of aux sends or output busses. Confirm the selection with the
ENTER
key.
Set the compressor for each of the master pairs on or off using the
ENTER
key when the cursor is on the appropriate on-screen button (or using the ASSIGN
PARAMETERS
screen—“Other module parameters” on page 41).
TASCAM DM-24 Reference Manual
43
6 – Hookup
This section explains how to connect the DM-24 to other equipment, dividing the connections into analog, digital and sync/control type connections.
These are not sample setups, but pointers to the capabilities of the DM-24 when used with other equipment in your setup.
NOTE
Always turn off the power to the DM-24 and other equipment when making and breaking connections.
Analog connections
Dynamics processor
Reapply power in the direction of source to destination
(for example, turn on any external effect units and electronic instruments or other audio source first, followed by the DM-24 and any recording devices, and finish with the monitoring system.
Refer to “Parts of the DM-24” on page 28 for details
of the specific terminals and connectors named in
this section, and to “Setting up the I/O” on page 36
for details of how the internal assignments and patching are performed inside the DM-24.
IN OUT IN
Effector / Dynamics processor
OUT
MIC
CR
Control room monitoring system
LINE IN
STUDIO
INSERT
DM-24
ASSIGNABLE SENDS
ASSIGNABLE
RETURNS
IN
STEREO OUTPUT
INSERT
STEREO OUTPUT
OUT
IN
(REC)
2TR IN
PHONES
OUT
(PLAY)
Dynamics processor
Analog mastering recorder
Studio monitoring system
MIC/LINE connections
The main analog inputs are the mic/line source connections made to the
MIC/LINE
connectors at the top of the unit.
Both sets of connectors are balanced (though when unbalanced plugs are inserted into the
LINE
1/4” jacks, these are used as unbalanced inputs).
NOTE
Only one connector of each channel (XLR or 1/4”) should be in use at any one time. Do not make connections to both the 1/4” jack and the XLR connector of a single channel). There is no way to switch between them.
The
MIC
XLR connectors can be supplied with phantom power (+48V). This is switched in blocks of four, with one switch controlling the phantom power supply to inputs 1–4, 5–8, 9–12, and 13–16.
NOTE
Always take care when switching the phantom power, to ensure that devices which may be damaged if phantom power is supplied are not connected to XLR connectors where phantom power is supplied.
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TASCAM DM-24 Reference Manual
6 – Hookup—Analog connections
The way in which these inputs are used by the chan-
nel modules is described in “Setting up the I/O” on page 36.
Use the
TRIM
controls to adjust the gain of the
MIC
and
LINE
inputs.
External dynamics processors and effectors
Use the
MIC/LINE
channel
INSERT
connectors for the connection of external dynamics processors for channels 1 through 16.
There is no software control to turn these on or off.
Note that the position of these inserts is fixed as posttrim, and immediately before the AD convertor.
As explained in “OL/STATUS LED TYPE” on page 20, the LEDs by the faders can be used as signal
level or overload indicators. Set the level at which they light to match your working conditions.
The assignable sends and returns can be set up as
insert loops or as send/return effect loops “Assignable sends and returns” on page 43).
When used as inserts, these are available for channels
1 through 32.
When used as send/return loops, aux sends 1 through
6 may be assigned to the sends, and the returns are made through any channel.
Analog monitoring and mastering
The main stereo buss signal is output from the
STEREO OUT
terminals, which should therefore be connected to the analog mastering machine.
Return the analog mastering machine into the
2TR IN
terminals. These are assigned by default to the
SEL 3
monitoring selection key for easy monitoring of the two-track master in the control room.
Connect the two independent monitoring output sources (
CR
and
STUDIO
) to the appropriate monitoring systems.
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45
6 – Hookup—Digital connections
Digital connections
REMOTE/SYNC IN
DTRS 1
SYNC
DTRS 2
TDIF
DTRS REMOTE
CONTROL
TDIF-1
TDIF
TDIF-2
SYNC
TDIF-3
DTRS 3
TDIF
DIGITAL OUTPUT 1
IN
(REC)
DIGITAL INPUT 1
OUT
(PLAY)
DIGITAL OUTPUT 2
IN
OUT
DIGITAL INPUT 2
Digital mastering recorder
Digital effector
ADAT OUT ADAT IN
DM-24
IN
ADAT unit
OUT
The digital audio connections mentioned here refer to the standard (non-expanded) model and are all made on the rear panel of the unit.
DTRS recorder connections
WARNING
Only use TASCAM-supplied and TASCAM-approved cables when making digital audio and control connections to the DM-24. Though the cables and connectors may resemble computer cables, they serve different purposes, and meet a different set of specifications. The use of cables other than TAS-
CAM cables will at best cause the equipment to work erratically, and at worst cause damage to the equipment. If the use of cables other than TAS-
CAM cables causes or results in damage, the warranty is voided.
Connect the appropriate TDIF interface of the DM-
24 to the TDIF interface of the DTRS unit using a
TASCAM cable. The interface carries both input and output signals.
If expansion slot cards have been fitted, consult the appropriate documentation for these cards for full details of operations, etc.
Use an appropriate TASCAM remote cable to connect the
DTRS REMOTE CONTROL
connector of the
DM-24 to the REMOTE/SYNC IN of the first
DTRS unit in a chain. Connect the SYNC OUT of this unit to the REMOTE/SYNC IN of the next unit in the chain, and so on. Remember to terminate the last unit in the chain.
Control the remote DTRS units as described in
“External control” on page 87.
The TDIF signal can carry timing signals, but for reliability, it is suggested that a separate word connection is made wherever possible, whether the DM-
24 will be acting as a word clock master or as a slave.
This connection need only be made to the first DTRS unit in the chain (with the lowest ID). Other units in the chain receive their clock through the REMOTE/
SYNC connections.
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TASCAM DM-24 Reference Manual
6 – Hookup—Synchronization and control connections
ADAT connections
Use two TOSLINK-type fiber cables to connect the
ADAT device (
ADAT IN
to OUT on the remote device) and
ADAT OUT
to IN on the remote device).
If the ADAT is to be controlled from the DM-24, a third-party device to convert MMC to ADAT sync
Digital inputs and outputs
The two sets of digital inputs and two sets of digital outputs each comprise an XLR-type connector and an RCA pin jack. Typically, the XLR-type connector will be used for AES/EBU digital audio, while the
RCA is used for SPDIF.
These inputs can be assigned to any of the channel modules (1 through 32). They can therefore be used as returns from digital effects units, etc. as well as source inputs from CD players, DAT decks, etc.
The DM-24 incorporates a sampling frequency converter, allowing input from sources with a sampling frequency different from that of the DM-24.
Synchronization and control connections
To clock slave From clock master commands will be necessary. Examples of such devices are the JL Cooper dataSYNC
2
, or the MOTU
MTP AV. These convert the ABS code from the
ADAT to MTC, allowing synchronization for automation purposes.
The DM-24 can output audio data from both the
XLR and the RCA connectors of each digital output at the same time.
Each of these output pairs can be used as the stereo mastering outputs, as paired buss outputs, as paired aux sends, or as the feed to the control room monitoring system.
The sampling frequency of the digital audio from these outputs is always the system sampling frequency of the DM-24.
P2-compatible equipment (e.g. VTR)
OUT/THRU IN
WORD SYNC
RS-422
TIME CODE IN
External timecode source
DM-24
TO METER
MIDI
THRU/
MTC OUT OUT IN
MIDI equipment MIDI equipment
MU-24
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47
6 – Hookup—Synchronization and control connections
Word sync clock connections
NOTE
In every digital audio setup, there must be one, and only one, word sync source. If there is more than one source in a system, there is a risk of causing damage to the monitoring system (and your hearing).
The DM-24 can act as either a word sync clock master or as a slave.
In the case of the DM-24 acting as a master for the system, make sure that the switch by the BNC word sync connectors is in the center position (75-ohm
IN
termination is
OFF
, and the DM-24 generates the word sync signal from the
OUT
terminal).
In the case of the DM-24 being a word sync clock slave, it is possible for the DM-24 to either retransmit the word sync to other units, or to act as the last unit in the word sync chain.
When retransmitting the sync, set the switch to the left position (75-ohm
IN
termination is
OFF
and the
OFF/THRU
setting is set to
THRU
).
If the DM-24 is the last unit in the word sync chain, the switch should be in the right position (75-ohm
IN
termination is
ON
).
All input and output is at TTL level.
Select the word sync source using the CLOCK screen in the
DIGITAL
section (“CLOCK settings” on page 24).
NOTE
It is not recommended that any ADAT unit is set up to be a word clock slave.
MIDI connections
Make these connections following the usual MIDI standards
See “MIDI” on page 95 for details of how the DM-24
uses MIDI.
SMPTE/EBU timecode connections
SMPTE/EBU analog timecode is received at the
TIME CODE IN
connector on the rear panel
The timecode is needed when using the automated mix functions.
Meter unit
The optional MU-24/DM meter unit may be connected to the
TO METER
connector.
Also see “SYNC/TC” on page 23 for further details
of MTC operation.
Note that the DM-24 does not output analog timecode, but can output MTC for use by other units.
See “SYNC/TC” on page 23 for details of setting up
the DM-24 to use the timecode.
Consult the documentation with the meter unit for full details of installation and using the meters with the DM-24.
P2 connections
Devices which implement the P2 protocol can be controlled by the DM-24.
See “Machine Control/Location” on page 80 for full
details of control of other devices using the DM-24.
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TASCAM DM-24 Reference Manual
7 – Module operations
The DM-24’s modules are controlled by a series of screens which allow the viewing and control of the parameters which can be set for each module.
For the most part, modules have the same parameters available to them. If there are difference between module options, these are explained in the appropriate section.
There are four module screens, accessed using the
“soft keys” by the PODs. These screens control the channel dynamics processing, EQ, the aux sends, and general setup parameters.
There is also a “common area”, which is always visible, regardless of the module screen currently visible.
The different parameters visible on each screen are given here:
Screen
Common area
Parameters
Dynamics switch, compressor insert, phase switch, assignable insert switch, buss assignment, EQ switch, EQ graph a
, dynamics graph a , mute switch, fader,
b
, meter
a , metering point, digital trim, pan
Screen
DYNAMICS
EQ
AUX
SETUP
Parameters
Dynamics processor parameters
EQ parameters
Aux send levels, source select
Channel source, gate switch, aux 1–2 source, compressor insert, compressor switch, assignable insert, assignable insert switch, phase, channel delay a. Visible, but not editable b. Editable on channels 1 through 24 only
On-screen controls are operated as explained in
“User interface” on page 12 (the dial and cursor keys
are used to navigate so that a control is highlighted, and the value changed with the PODs and the
ENTER
key).
Selecting modules
To select a module for editing using these module screens, press the
MODULE
key
in module editing mode, followed by the
SEL
of the module to be edited.
If two modules have been linked as a stereo pair, pressing the
SEL
key of either module of the pair will bring up the screen allowing control of both modules
(see the section on “Linked modules” on page 60 for
further details).
It is possible to reverse this order; that is, press the
SEL
key and then the
MODULE
key.
In addition, even if the
MODULE
key has not been pressed (the DM-24 is not in module editing mode), it is possible to configure the DM-24 so that pressing and holding the
SEL
key of a module for more than two seconds will automatically select that module’s
editing screen (“Select MODULE Return” on page 21).
It is also possible to select the module for editing
(when the MODULE screen (or the DYNAMICS screen) is displayed) by touching the module’s fader, rather
than pressing the SEL key (“Fader Auto MODULE
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49
7 – Module operations—Common area indicators and controls
Common area indicators and controls
EQ graph
Digital trim
Dynamics meter
Gate switch
Compressor switch
Compressor insert point
Pan controls
Grouping indicators
In addition to the parameters visible above, the common area also provides a way of viewing the current
I/O assignment, together with a graphical view of the current EQ settings, as well as the current dynamics processor (with meter) and meter facilities.
Input selector
Stereo meter
Metering point
EQ and buss status
Phase control
Assignable insert control
Fader and level
NOTE
Some of these parameters can be viewed and set glo-
bally for the whole console. See “Setting up the I/O” on page 36.
The on-screen controls available in the common area are:
Dynamics controls
The exact controls and display vary, depending on
of dynamics processors for the different modules of the DM-24):
Gate/Expander
An on-screen button allows the gate/expander to be switched, with a gain reduction meter displayed.
Compressor
An on-screen button allows the compressor to be turned on and off (
ENTER
key), with a dynamics graph. The gain reduction meter also applies to the compressor.
The appearance of this button changes, depending on
what link option has been selected (see “LINK L-
Link setting Shown as
Link off
Left channel acts as trigger
Link setting
Right channel acts as trigger
Both channels act as triggers
Shown as
Compressor insert point
The compressor can be inserted either pre- or post-EQ (channels). The master insert is pre-fader.
Simply press the
ENTER
key when PRE EQ or POST
EQ
is highlighted, to toggle between the two positions
(the dial key acts as a cursor here).
Dynamics meter
This meter shows the post-compressor effect of the dynamics processor assigned to the module.
A graphical display of the settings is also provided
(with attack, knee point, compression ratio, hysteresis, etc. displayed).
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TASCAM DM-24 Reference Manual
7 – Module operations—Common area indicators and controls
Other common controls and displays
Digital trim and pan
There are also two other controls visible at the bottom of the screen—the digital trim and pan—above the soft key labels. These are
dealt with below (“Digital trim control” on page 51 and “Pan control” on page 51.
Phase switch
This on-screen switch reverses the phase of the input signal (use the
ENTER
key to toggle on and off).
In the case of linked pairs, each channel’s phase is independently reversible.
Assignable inserts
If one of the assignable sends and returns has been assigned to this channel (two send/return pairs in the case of a linked pair), the insert can be turned on or off.
The status of the insert (pre- or post) is shown by the small “cutout” on the left of the on-screen button.
On
Pre-fader
Off On
Post-fader
Off
EQ and buss assignments
These buss assignments, together with the status of the EQ (on or off) are shown at the right of the screen.
In addition, the EQ response curve is shown at the top of the screen. If the EQ is disabled, this is
“grayed out”, and is solid if the EQ is enabled.
NOTE
It is not possible to change the buss assignments or the
EQ switching from here. Use the dedicated keys (to the left of the display screen) for this. Full details are in
“Channel-to-buss assignments by channel” on page 41.
Fader section
The current fader position (which will almost always correspond to the physical fader position, except when automation motor control is turned off) as well as the mute status, is provided onscreen, as is the mute status of the module.
The exact numerical value of the level is also displayed here. This allows the fader to be “normalized” easily, as when the fader is at the zero position, the on-screen fader knob is reversed.
Input/return assignments
The current assignments for this module, depending on whether it is being used as an input or return module, are shown.
They cannot be changed from this screen. Use the fourth module ( SETUP
) screen (“Setup screen” on page 57) or the dedicated I/O setup to change these
settings (“Setting up the I/O” on page 36).
Meter
The on-screen meter gives a reading taken from the defined metering point, which is switchable here between the input, pre-fader and post-fader.
Digital trim control
The digital trim control (POD 1 of the bottom row) allows the adjustment of the module level between
–50dB and +10dB in 61 0.5dB steps.
Pan control
The pan control is on the bottom row of the PODs
(that is, move the cursor to the bottom row and use the PODs).
The pan control is controlled by POD 4. Hard left is represented by L , and hard right by R . The center position is represented by C , and there are 201 possible pan positions available.
Mute and fader groups
Any assignments to mute and fader groups are shown to the right of the screen.
These cannot be changed here (see “Grouping” on page 69 for full details).
See also “Global digital trim” on page 59.
To center the pan position easily, move the cursor to the CENTER on-screen button, and press
ENTER
.
If the channel is odd-numbered and is not part of a stereo linked pair, it can be ganged to the module to the right (even-numbered channels can be linked to odd-numbered channels to the left). If this GANG control is enabled (move the cursor to it and press
TASCAM DM-24 Reference Manual
51
7 – Module operations—Common area indicators and controls
ENTER
), the CENTER button described above will be disabled (grayed out).
Balance controls for stereo linked pair
See “Linked modules” on page 60 for details of
linked modules.
The balance controls in for linked modules are all on the bottom row of the
MODULE
screen. Move the cursor to the bottom row and use the PODs to change these parameters.
In the case of a stereo linked pair of modules, the
PAN is replaced by a BAL control. Ganging is not possible, but a
CENTER
button is available, which centers the stereo signal.
POD 2 is used to select the source. Either the left
(odd-numbered) channel—
L MONO
or right (evennumbered) channel— R MONO or both together—
STEREO
can be selected. This allows the previewing of either channel individually, without having to unlink the channels
Global pan
As well as individual pan settings, it is also possible to view and make the pan settings on a global basis.
1
With the SHIFT indicator unlit, press the
PAN/BAL SURROUND
key.
2
Continue to press the PAN/BAL SURROUND key until the following screen appears (or use soft key 2):
POD 3 is used as an image width (
IMAGE
) control.
This controls the width of the stereo spread of the two channels. The center position is labeled as
L+R
MONO and provides a pinpoint mixture of the two channels. Turning the control fully counterclockwise provides a full stereo ( STEREO ) image. Turning the control clockwise from the center reverses the left and right channels in the stereo image. Turning the control fully clockwise shows
REVERSE
on the screen.
NOTE
modified at the center position can be changed between 0dB and a 3dB cut. Make this setting to reflect your preferred way of working.
Ganging
Note that ganged channels are displayed as ganged, but this setting cannot be changed at this position.
Move to the lower right of the screen and use POD 1 to select a pair of channels to be ganged (linked channels cannot be selected here).
Use
ENTER
to make the gang setting (or break it if it has already been made).
Setup
It is possible to apply the same pan/balance setting to groups of channels.
Move the cursor to the lower left of the screen, and use POD 1 to set the master pan/balance setting.
The scope of the setting is determined using POD 2: choose between ALL , EVEN (even-numbered channels), ODD (odd-numbered channels), 1-8 , 9-16 , 17-24 or 25-32 .
Press
ENTER
to apply the POD 1 setting and press
ENTER
again to confirm this when the popup appears (cancel with the cursor keys).
Use the cursor keys (and channel
SEL
keys) to navigate around the screen and set the pan or balance positions.
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TASCAM DM-24 Reference Manual
7 – Module operations—Dynamics screen
Dynamics screen
In this screen, the dynamics processor functions of the modules can be controlled. There are three different types of dynamics processor that can be assigned: noise gates, expanders and compressors.
NOTE
Gate and expander settings may not be made for input modules 17 through 32, as shown here.
Particular settings for these processors are stored in the DM-24 libraries and are recalled as necessary.
See “Library functions” on page 99 for full details of
how settings are stored.
Noise gate (GATE)
The purpose of a noise gate is to keep the input closed while the signal is below a threshold level, and open it when the signal rises above that level. In this
To recall one of these settings stored in the library:
1 Move the cursor to either of the
LIB ->
buttons on the display (either
GATE
(gate/expander) or
COMP
(compressor)).
2
Press the ENTER key.
3 This jumps to the library where the appropriate dynamics processor (either compressor or gate/expander) is stored.
4
Use POD 4 or the dial to scroll through the list of stored settings.
5
Use the fourth soft key (
RECALL
) to recall the highlighted setting.
Only gates or expanders can be recalled to the
GATE
section, and compressors to the
COMP
section. The type of dynamics processor cannot be changed.
NOTE
The same procedure can be used to store the current
settings to a library entry, using the STORE soft key
rather than the RECALL key.
These procedures are explained in more detail in
“Library functions” on page 99.
way, the bad effects of hum, hiss, background noise etc. can be reduced effectively in quiet passages.
Full details of the parameters are given in “Gate” on page 66.
Compressor
The compressors prevent loud transients from putting too much signal through the system.
Expander
The expander expands the dynamic range of the input signal.
Full details of the parameters are given in “Compressors” on page 67.
Full details of the parameters are given in
TASCAM DM-24 Reference Manual
53
7 – Module operations—EQ
EQ
The principles of the EQ interface using the encoders
are also explained in the section on “User interface” on page 12.
Briefly, when the module is selected, and the EQ screen is visible, the rotary encoders and PODs can be used to set up to four parameters of the selected
EQ bands (gain, frequency, Q and type).
The EQ band to be edited in this way is selected using the
EQUALIZER
keys
ing the encoders show the current status of the
parameters, as explained in “Rotary encoders (ring
See “Cursor follows EQ Band Key” on page 22 for
details of setting up the DM-24 so that the on-screen cursor automatically follows the band selected using the
EQUALIZER
keys.
Alternatively, if the encoder function key
pressed so that the
EQ GAIN
setting is selected (the indicator is lit), the gain of the four EQ bands of the selected modules can be changed using the encoders.
Again, the relative gain is shown using the LEDs surrounding the encoders.
The PODs may also be used to make EQ settings, in conjunction with the cursor keys.
When a row is highlighted on screen, the PODs control the parameters in that row (in the screen above, the HI band is highlighted).
In addition, the cursor keys and data dial can also be used to make changes.
The response graph at the top of the screen changes as changes are made to the parameters. If the EQ is turned off for the module, this graph is grayed out
(and of course, any changes made to the EQ cannot be heard!).
The EQ parameters are as following:
On/off (all bands)
Each band can be turned on or off individually using the on-screen button beside the gain control (
ENTER
key).
If a band is turned off in this way, the gain of the band is automatically set to zero.
If the band is turned off, turning the gain encoder or gain POD for the band will automatically turn the band on again.
Gain (all bands)
The maximum cut and boost
(gain) on all bands is ±18 dB.
Gain control is not possible when an EQ band type is set to notch filter, or high- or low-pass filter. In this instance, all LEDs of the appropriate encoder are turned off.
Frequency range (all bands)
The frequency range for all bands is between 31Hz and 19kHz. The adjustment is made in semitone steps, giving a total of 112 different frequency positions across the range.
Q (all bands)
When a band is set as a peak-type band, there are 24 Q settings available
1
: 8.65, 4.32,
2.87, 2.14, 1.71, 1.41, 1.20, 1.04, 0.92, 0.82, 0.74,
0.67, 0.61, 0.56, 0.51, 0.47, 0.44, 0.40, 0.38, 0.35,
0.33, 0.30, 0.28, 0.27.
When a band is set to non-notch filter or shelf mode, the Q cannot be set (the on-screen Q control is grayed-out) and all LEDs of the appropriate encoder are turned off.
EQ band type
The EQ band type is always set using the fourth POD. The setting for the band is displayed on screen using the following symbols:
Peak
Shelf
(low)
Shelf
(high)
HPF LPF Notch
PEAK L.SHELF H.SHELF HPF LPF NOTCH
High band
The high band can be set as either a shelving (high shelf), peaking, or LPF type.
High-mid band
The high-mid band can be set as either a peaking or a notch filter.
1. Q is defined as the width affected by a filter.
The higher the Q value, the narrower the band affected by the filter.
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TASCAM DM-24 Reference Manual
Low-mid band
The low-mid band can be set as either a peaking or a notch filter.
EQ library
Commonly-used EQ settings can be stored into and recalled from the library. Full details of the library
operation are given in “Library functions” on page 99, but briefly, moving the cursor to the on-
screen
EQ LIB
button above the high band and pressing
ENTER
will jump to the EQ library.
1 Move the cursor to highlight the
EQ LIB
shown on the display.
2 Press the
ENTER
key.
7 – Module operations—Aux sends
Low band
The low band can be set as either a shelving (low shelf), peaking, or HPF type.
3 This jumps to the library where the EQ settings are stored.
4 Use POD 4 (or the dial) to scroll through the list of stored settings.
5 Use the fourth soft key (
RECALL
) to recall the highlighted setting.
NOTE
The same procedure can be used to store the current
settings to a library entry, using the STORE soft key
rather than the RECALL key.
Aux sends
The aux sends are set using the screen accessed through the third soft key.
The PODs can be used to adjust the gain of the aux sends (first and third rows), as well as the pre-post settings of the sends (second and fourth rows).
In addition, if two aux sends have been linked together, the odd-numbered POD on the first and third rows of the screen is used to control the pan position of the signal sent to the stereo aux send.
In addition, as explained in the section on the user
the send levels for the first four aux sends, and the last two aux sends for the selected channel. They can also be used to make the pan and balance settings when two aux sends are linked.
Aux sends may be linked as a pair (1&2, 3&4, 5&6).
See “Linked modules” on page 60 for details of how
they are linked.
The level of the aux sends is settable between –
∞dB and +10dB (relative to nominal) in 127 steps.
Pan settings for stereo linked aux sends can be made from hard left ( L ) through center ( C ) to hard right
(
R
)—127 steps.
Pre-post settings are made by turning the POD counterclockwise ( PRE ), and clockwise ( POST ).
Note that for aux sends 1 and 2, as well as pre-fader and post-fader selections, a RETURN setting is also available. This allows aux 1 and 2 to be used as the tape return path if channels 1 though 16 are being used as direct outputs.
Aux sends (global)
In addition to the module screen, it is also possible to display a global aux screen to allow the viewing and setting of aux levels for many channels together.
1 With the
SHIFT
indicator off, press either
AUX 1-2 , AUX 3-4 or AUX 5-6 , for control of the appropriate aux sends.
The screen that appears depends on whether the selected aux sends have been linked together or not.
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7 – Module operations—Aux sends
If they are not linked, a screen similar to the following appears:
Move the cursor to the bottom right of the screen, and use POD 1 to select the CH FADER LVL->AUXx LVL or the other way round ( AUXx LVL->CH FADER LVL ).
Press
ENTER
when the source/destination selection has been made, and press
ENTER
again to confirm the copy (cursor keys cancel).
NOTE
See also “UTILITY copying” on page 62.
Source (pre/post and SOURCE) settings
As the tabs at the bottom of the display show, there are four screens available through the soft keys (or repeated presses of the appropriate
AUX
key. The two
LEVEL
screens are identical. The
SOURCE
screens (aux
1 and 2) and AUXx PRE/PST (other aux sends) appear like this:
Using the cursor keys to move a cursor consisting of a box highlighting four on-screen controls around the screen. Alternatively, press the
SEL
key for a given channel to jump the cursor to the appropriate position on the screen.
The four controls correspond to the four PODs. If two channels are linked (as with channels 9&10 and
11&12 on this screen), only PODs 1 and 3 are active.
NOTE
The rotary encoders, if selected to control aux send levels, are also valid controls for the selected channel or pair of channels.
Fader control
At the top of the screen is a button which allows the faders to be used for setting the aux
levels (as described in “Using the faders to change values” on page 14).
Setup
A master level can be applied to selected channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing
ENTER
.
The scope of the setting is determined using POD 2: either ALL , EVEN (even-numbered channels), ODD
(odd-numbered channels), 1-8 , 9-16 , 17-24 or 25-32 .
When
ENTER
is pressed, a popup message appears
(
Ch parameters setup?
). Press
ENTER
again to confirm, or a cursor key to cancel.
Copy
It is possible to copy the fader settings to the aux levels, or the other way round (aux levels to fader). This can be used as a starting point for mixes, setting up an initial monitor mix to mirror the stereo output, for example, which can then be adjusted as necessary.
Use the cursor to navigate around the screen and the
PODs to select either PRE or POST (pre-fader or postfader aux sends). For aux sends 1 and 2, the
RETURN source is also available for channels 1 through 16.
Setup
A master pre-post setting can be applied to selected channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing
ENTER
.
The scope of the setting is determined using POD 2: either
ALL
,
EVEN
(even-numbered channels),
ODD
(odd-numbered channels), 1-8 , 9-16 , 17-24 or 25-32 .
Linked aux sends
Two aux sends are linked in the same way as for channels—with the MASTER fader layer active press and hold the
SEL
key of one aux channel and press the
SEL
key of an adjacent send. Aux sends 1&2, 3&4, and 5&6 can be linked in this way. No other linking is possible.
When they are linked in this way, naturally they share the same level (the faders are linked) and any input to the linked aux send is panned.
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7 – Module operations—Setup screen
NOTE
The appropriate preference must be set for the SEL
keys to be used in this way (“ST Link by SEL key” on page 21).
Instead of four screens shared between the two separate aux sends, as described above, there are now three screens for the pair, as follows:
Note the AUX 1-2 (LINK) title at the top of the screen, though.
The linked level control screen is the same as for the mono (separate aux screens). Setup and copy facilities are available in this screen for global setups.
The linked aux pan screen allows the positioning of the pan position (or balance in the case of linked input channels) to the pair of aux sends.
There is a master setup at the bottom left, allowing all pan and balance settings (or a selected set) to be made identical, as well as a bidirectional copy facility, allowing channel-to-aux, as well as aux-to-channel, pan setting copying, as described earlier.
The faders can also be used to make the aux level set-
tings, as described in “Using the faders to change values” on page 14.
The pre-post settings ( SOURCE for 1-2 , as this includes
RETURN, and PRE/POST for 3-4, 5-6 ) are made in the same way as for unlinked aux sends.
Setup screen
The setup screen acts almost as a channel “patchbay”, allowing the configuration and readjustment of the components that make up a module.
At the top of the screen, a block diagram of the module’s current configuration is shown. As changes are made, the block diagram is updated to reflect these changes
The above screen is the
SETUP
screen for channels 1 through 16. Channels 17 through 24, and 25 through
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7 – Module operations—Setup screen
32 have slightly different screens, reflecting the different configuration:
Channels 17 through 32 have no gate available.
The aux 1-2 sends are more limited in the choice of their source points (no return available)
Channels 25 through 32 have no channel digital delay available.
The controls available on these screens (through the
PODs or through the cursor keys and data dial) are:
Channel source (CH SOURCE)
This is a 2-way switch. Turning POD 1 (top row) counterclockwise selects the input ( INPUT ) source, and turning it clockwise selects the return ( RETURN ) source (channels 1 through 24 only). Both of the actual sources (input and return) are defined in the I/O screen, not here.
The display at the top left of the screen is updated, as is the block diagram.
Gate switch (GATE SW)
This (POD 2) turns the gate (if available) on (clockwise) or off (counterclockwise). Channels 1 through 16 only.
Aux 1 and 2 source (AUX 1-2 SOURCE)
This (POD 4) selects the source for the Aux 1 and 2 sends to be either pre-fader ( PRE ), post-fader ( POST ) or the return associated with the module ( RETURN ).
This selection is available in this screen because these aux sends may be used effectively as studio monitor sends, and flexibility is therefore a useful feature here.
For channels 17 through 32, only the pre and post options are available here.
NOTE
Note that even if aux sends1 and 2 are unlinked, the settings of both are modified together using this control.
Compression insert (COMP INSERT)
This selects the position for the compressor insert (if assigned) to be either pre-EQ (
PRE EQ
, counterclockwise) or post-EQ ( POST EQ , clockwise).
Compressor switch (COMP SW)
This switch
(POD 2) turns the compressor (if assigned) either off
( OFF , counterclockwise) or on ( ON , clockwise).
Assignable insert position (ASSIGN
INSERT)
This (POD 3) allows the positioning of the assignable insert in the module chain. There are two positions, pre-fader ( PRE FADER ) and post-fader
(
POST FADER
).
Assignable insert switch (ASSIGN INS
SW)
This switch (POD 4) allows the switching of the assignable insert loop (at the position determined by the previous switch) as either on ( ON , clockwise) or off (
OFF
, counterclockwise). These controls are disabled if no assignable loop has been assigned to the channel.
Phase switch (
Φ
)
This (POD 1) reverses the phase of the input when turned clockwise ( REVERSE ), otherwise, the phase of the signal is normal
(
NORMAL
).
For stereo linked channels, PODs 1 and 2 are used for controlling the phase of the left (odd) and right
(even) channels respectively.
Digital delay time (DELAY)
The channel can be delayed by up to 16,383 samples (the maximum in high sampling frequency is 32,767 samples). This is equivalent to 341.2 milliseconds at 48k or 96k sampling frequencies, or 371.5 milliseconds at 44.1k or
88.2k sampling frequencies.
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7 – Module operations—Digital trim and delay (global)
Channel delay is only possible on modules 1 through
24. See also “Global digital delay” on page 59.
Digital delay units (UNIT)
Choose either samples ( SAMPLE ) or milliseconds ( ms ) as the unit in which channel digital delay is measured.
See also “Global digital delay” on page 59.
Digital trim and delay (global)
Two dedicated screens allow the viewing and setting of the digital trim and delay parameters.
Global digital trim
1 With the
SHIFT
indicator lit, press the
DIGI.
TRIM/DELAY
key until the following screen appears:
Use the cursor keys and the
SEL
keys to navigate the cursor round the screen.
Use the PODs to set the amount of digital trim from -
50.0dB
to
+10.0dB
in 0.5dB steps.
Linked channels share the same digital trim setting.
Fader control
At the top of the screen is a button which allows the faders to be used for setting the trim
levels (as described in “Using the faders to change values” on page 14).
Setup
A master trim can be applied to selected channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing
ENTER
.
The scope of the setting is determined using POD 2: either ALL , EVEN (even-numbered channels), ODD
(odd-numbered channels),
1-8
,
9-16
,
17-24
or
25-32
.
When
ENTER
is pressed, a popup message appears
( Ch parameters setup?
). Press
ENTER
again to confirm, or a cursor key to cancel.
Global digital delay
1
With the SHIFT indicator lit, press the DIGI.
TRIM/DELAY
key until the following screen appears:
Use the cursor keys and the
SEL
keys to navigate the cursor round the screen.
Use the PODs to set the amount of digital delay up to
16,383 samples (the maximum in high sampling frequency is 32,767 samples). This is equivalent to
341.2 milliseconds at 48k or 96k sampling frequencies, or 371.5 milliseconds at 44.1k or 88.2k sampling frequencies.
This delay can be used to compensate for signal processing, etc. and can be applied either before or after the fader. It is available for channels 1 through 24 only.
NOTE
This is not a delay or echo effect as provided by the internal effectors.
Linked channels share the same digital delay setting.
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7 – Module operations—Linked modules
Unit
Change the delay units between samples ( SP ) and milliseconds ( ms ) using POD 3 at the bottom left of the screen.
Fader control
At the top of the screen is a button which allows the faders to be used for setting the
delay (as described in “Using the faders to change values” on page 14).
Setup
A master delay setting can be applied to selected channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing
ENTER
.
The scope of the setting is determined using POD 2: either ALL , EVEN (even-numbered channels), ODD
(odd-numbered channels), 1-8 , 9-16 or 17-24 .
When
ENTER
is pressed, a popup message appears
( Ch parameters setup?
). Press
ENTER
again to confirm, or a cursor key to cancel.
PRE/POST
The delay can be applied pre-or postfader. This setting is made globally, for all 24 channels and cannot be made individually.
Move the cursor to the bottom right of the screen, and turn POD 4 to select between PRE and POST fader operation.
Linked modules
Modules which may be linked in stereo pairs must be adjacent to each other, with the odd-numbered module of the pair being the lower-numbered. That is, modules 3 and 4 may be linked, but modules 4 and 5 may not.
When modules have been linked, pressing the
SEL
key of one module of the pair selects the pair.
The parameters and settings which are shared by the pair are:
Linking and unlinking modules
Modules may be linked either by means of the linking screen (see the section on groups for details) or by means of the
SEL
keys if the option has been set
(“ST Link by SEL key” on page 21).
1 Press and hold down the
SEL
key of one of the pair of modules to be linked.
2 Press the
SEL
key of the other module in the pair to be linked.
To unlink modules, repeat the process (press and hold down one
SEL
key of the pair, and press the other
SEL
key).
Channels
Digital Trim, Gate (only Ch1-16), Compressor, EQ, Aux1-6 (Pre/Post, Level), Mute, Fader
Level, Assign, Delay, Solo (On/Off, Defeat setup),
Input select, Aux1-2 select, Compressor insert point,
Assignable send/return, Grouping.
Master modules
Compressor, Mute (except Stereo), Fader Level, Assign.
NOTE
When two faders are linked, you may find that moving both faders together produces a feeling of stiffness in the controls, as each fader is constantly attempting to keep up with the other. We suggest that in the case of two linked faders, you only move one fader. Even if the movement of a fader may seem a little rough or jerky when you are moving the other fader of the pair, it is only the physical control that exhibits this symptom.
The change in the actual signal level of the second channel will be as smooth as the fader movement that you are making.
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7 – Module operations—Linked modules
Stereo linking (global)
There is a global screen which allows the viewing and setting of stereo links:
3 Use the cursor keys or the channels’
SEL keys to navigate round the screen (the cursor is an upward-pointing arrow – in this screen it is highlighting channel 3).
Linked channels and unlinked channels are shown in the following way:
Linked Unlinked
To use this screen:
1 With the
SHIFT
indicator lit, press the
LINK/
GRP
key.
2 Press the
LINK/GRP
key until the
ST LINK
screen appears (or soft key 3).
4
Press ENTER to make a stereo link from unlinked channels, or to break the link of linked channels.
Note that busses as well as aux sends can be stereo linked using this screen. When they are linked, the compressor settings, assignments, muting and fader levels are linked.
NOTE
The grouping patterns (“Grouping” on page 69) may
change when channels are linked or unlinked. Recheck the grouping patterns after making or breaking these stereo links.
Screens for linked modules
The screens controlling stereo linked modules differ from unlinked modules in the following ways:
Phase
Phase can be set individually for both modules of the pair
Pan
Changes to balance, and an image width control is added.
The balance control can be centered, but naturally there is no gang option.
POD 3 is used as an image width ( IMAGE ) control.
This controls the width of the stereo spread of the two channels. The center position is labeled as L+R
MONO and provides a pinpoint mixture of the two channels. Turning the control fully counterclockwise provides a full stereo ( STEREO ) image. Turning the control clockwise from the center reverses the left and right channels in the stereo image. Turning the control fully clockwise shows REVERSE on the screen.
Mono switch (MONO SW)
The mono switch is situated in the bottom row (POD 2). It allows the selection of either channel of the stereo pair ( L MONO or R MONO ), as well as the normal ( STEREO ) position.
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7 – Module operations—UTILITY copying
UTILITY copying
This screen allows the aux send levels and pan settings for a group of channels to be set up to mirror the settings made on the channel faders, and the other way around. This may be useful when setting up a studio monitor mix, for example, and the levels and pans of the aux sends used for the monitor mix should initially be set to the same as the channels.
The screen above allows these copies to be made from one screen.
1
With the SHIFT indicator lit, press the
UTILITY
key.
There is only one screen, as shown here.
2 Check either of the two checkboxes (
PAN/BAL
and/or
LEVEL
) to select the settings to be copied.
3
In either of the two boxes, select either the
AUX -> CH
or the
CH -> AUX
setting radio button.
Naturally, it is not possible to select both in the same box, though it is possible to select
CH -> AUX
in one box and
AUX -> CH
in the other.
4 Select the source and the destination parameters as explained here.
For pan/balance settings, aux sends must be linked to be used as either sources or destinations. It is not possible to select individual aux sends here.
The aux sends are selectable individually or as linked pairs as sources or destinations for level copying.
Channels are divided into blocks of eight: 1-8 , 9-16 ,
17-24 , 25-32 and ALL . Individual channels cannot be selected.
5 Move the cursor to the on-screen
COPY
button and press ENTER . A confirmation popup message appears.
6
Press ENTER again to confirm the copy, or a cursor key to cancel.
If neither of the checkboxes is checked when you press the COPY button, an error message is displayed.
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8 – Dynamics processors
The DM-24 includes dynamics processors, which may be assigned as required throughout the mixing chain.
These high-quality processors are all digital and include compressors, gates and expanders.
The processor list comprises:
• Sixteen gate or expander units available for the first
16 input channels
Turning the processors on and off
When there is more than one processor available for a module (that is, for channels 1 through 16), the module screen is used to select whether the gate or the expander is on or off.
In all module screens, the compressor can be turned on and off (channels 1 through 16 also allow the independent turning on and off of the gate/expander).
DYNAMICS (input channels 1–16)
The screen accessed by the
DYNAMICS
key shows the settings for the currently selected input channel
(as shown by the
SEL
indicator).
• Thirty-two compressor units for channels 1 through
32
• Six assignable output compressors for the aux sends, the buss masters and the stereo outputs
In addition, the placement of the compressors may be controlled so that they affect the signal at different points in the processing chain.
In the DYNAMICS screen (channels 1 through 16), the gate or expander can be turned on and off, and the compressor can also be turned on and off independently.
If the selected channel is linked as part of a stereo pair, the settings affect both channels.
Pressing the
SEL
key of another channel (or channels) will bring up the dynamics settings for that channel.
Selecting a gate or an expander
The processors are selected using the library function. If a template, preset or user library entry which corresponds to a noise gate is selected from the gate/ expander library, the gate parameters appear on screen.
If, on the other hand, an expander library entry is selected, the expander parameters will appear on screen.
When the DYNAMICS screen is shown, to change from a gate to an expander, or vice versa, use the G/E... LIB soft key to bring up the library screen, and recall a library entry of the appropriate type.
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8 – Dynamics processors—DYNAMICS (channels 17–32)
“Master” settings
The “master” settings for channels 1 through 16, affecting the dynamics processors, and accessed (by means of on-screen “on-off switches”) by moving the cursor to the appropriate on-screen control and pressing
ENTER
, are:
GATE/EXPAND
This allows the gate or expander to be turned on or off for the selected channel.
LINK L->R
This allows triggering of two gates or expanders by a common trigger signal.
NOTE
The linking of the gates or expanders cannot be turned off when two channels have been linked. The above
screen display shows L=R when the channels are linked.
Trigger source
( TRIGGER ) is only valid when two gates or expanders are linked. This option (selected using
ENTER
key, the dial and
ENTER
key again) allows the triggering for both processors to be initiated by L-ch (left channel), R-ch (right channel) or
BOTH
(both channels act as triggers—in other words, the first channel to be triggered will automatically activate the second channel’s processor).
Soft keys (library)
There are two soft keys at the bottom of this screen.
The first jumps to the gate/expander library, and the second jumps to the compressor library. In this way, it is easy to store the current settings to a library entry for future use, or to use the library to recall a previ-
DYNAMICS (channels 17–32)
The DYNAMICS screen shown when a channel between 17 and 32 is selected differs from the screen when a channel between 1 and 16 is selected:
Compressor
This allows the compressor to be turned on or off for the selected channel.
Insert point
(
INSERT
) allows the compressor to be inserted either pre-EQ or post-EQ. Move the cursor to this field and use the
ENTER
key to change this setting.
LINK L->R
This allows triggering of two compressors by a common trigger signal.
NOTE
The linking of the compressors cannot be turned off when two channels have been linked. The above screen
display shows L=R when the channels are linked.
Trigger source
( TRIGGER ) is only valid when two compressors are linked. This option (selected using
ENTER
key, the dial and
ENTER
key again) allows the triggering for both processors to be initiated by Lch
(left channel),
R-ch
(right channel) or
BOTH
(both channels act as triggers—in other words, the first channel to be triggered will automatically activate the second channel’s processor).
ously-stored set of settings for the current session, or in the case of channels 1 through 16, to change between gate and expander settings.
See “Library functions” on page 99 for full details.
No expander or gate is available for these master screens. Any on-screen controls associated with these processors are therefore unavailable. This includes the soft keys—only the compressor library is available from these screens.
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8 – Dynamics processors—DYNAMICS (master channels)
DYNAMICS (master channels)
The screen accessed by the
DYNAMICS
key when a master channel (an aux send, a buss or the stereo master) is selected is slightly different from the screen displayed when a channel 1–16 is selected:
The screen above shows two linked aux sends (1 and
2), but the same principle applies to buss masters as well as the stereo master.
Note that the following features are different from the channel 1–16 dynamics screens:
No expander or gate
available for these master screens. Any on-screen controls associated with these processors are therefore unavailable. This includes the soft keys—only the compressor library is available from these screens.
Insert point
The insert point is fixed to pre-fader.
Linking
The way in which the links are labeled is different for master modules. Instead of the channels being referred to as left and right, they are referred to as 1and 2 (“left” and “right” do not have any real meaning in these cases).
Assigning processors to master channels
The assignment of stereo compressors to up to three master channels is done using the
I/O
display
ASSIGN
SECT.
sub-screen
Use the fourth soft key to bring up the master assignment section.
Move the cursor to the second column (
MASTER
COMP INSERT MATRIX ), and use the dial to assign the possible master channels (confirm with
ENTER
).
NOTE
The stereo master counts as two channels, as shown in the sample screen here.
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8 – Dynamics processors—Dynamics diagram
Dynamics diagram
The following display provides a graphical representation of the compressor settings, as shown below. As the signal is fed through the compressor, bargraph meters are shown on the appropriate scale:
Gain reduction
Output levels
Compressor
“knee”
Input levels
Gates/expanders
The following parameters affect the gate and expander, if these have been assigned to the selected channel.
Gate
Threshold
( THRESH ), controlled by the POD 1 knob, allows the setting of the threshold at which the gate will open. Variable from -80dB to 0dB in 1dB steps.
Range
( RANGE ), controlled by the POD 2 knob, sets the gate range, from
60dB
to
0dB
in 1dB steps.
Hysteresis
( HYST ), controlled by the POD 3 knob, from
0dB
to
24dB
in 1dB steps.
Gate attack time
( ATTACK ), controlled by the
POD 1 knob on the last row. Variable from
0ms
to
125ms in 1ms steps.
Expander
Threshold
The threshold of the expander function, from –48dB to 0dB , in 1dB steps.
Ratio
The ratio of the original signal relative to the expanded signal. Values are 1:1, 1:2, 1:4, 1:8, 1:16,
1:32, 1:64.
Attack
The attack time of the expansion effect.
From
0ms
to
125ms
in 1ms steps.
Gate hold time
( HOLD ), controlled by the POD 2 knob on the last row. Variable from 0ms to 990ms in
100 steps.
Gate decay time
( DECAY ), controlled by the POD
3 knob on the last row. Variable from 50ms to 5.0s
.
From 5ms to 200 ms, the steps are 5ms apart; from
200ms to 300ms, the steps are 10ms apart; from
300ms to 500ms, the steps are 20ms apart; from
500ms to 1.00 s, the steps are 50 ms apart; from 1.00s to 3.00s, the steps are 0.1s apart; and from 3.00 s to
5.00s the steps are 0.2s apart.
Release
The release time of the expansion effect.
From 5ms to 5.00 seconds.
From 5ms to 200 ms, the steps are 5ms apart; from
200ms to 300ms, the steps are 10ms apart; from
300ms to 500ms, the steps are 20ms apart; from
500ms to 1.00 s, the steps are 50 ms apart; from 1.00s to 3.00s, the steps are 0.1s apart; and from 3.00 s to
5.00s the steps are 0.2s apart.
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8 – Dynamics processors—Compressors
Compressors
The 32 channel compressors and the six assignable output compressors all have the following parameters which may be set. The controls here refer to the controls on the DYNAMICS screen:
Threshold
(
THRESH
), controlled by the POD 1 knob, and variable from -48dB to 0dB in 1dB steps.
Compression ratio
(
RATIO
), controlled by the
POD 2 knob, and variable from 1:1 to
∞:1
(infinite compression).
The steps are as follows: 1.00:1 , 1.05:1 , 1.11:1 , 1.18:1 ,
1.25:1 , 1.33:1 , 1.43:1 , 1.54:1 , 1.67:1 , 1.82:1 , 2.00:1 ,
2.22:1 , 2.50:1 , 2.86:1 , 3.33:1 , 4.00:1 , 5.00:1 , 6.67:1 ,
10.0:1 , 20.0:1 ,
∞:1
.
Attack time
( ATTACK ), controlled by the POD 3 knob, and variable from 0ms to 125ms in 1ms steps.
Release time
( RELEASE ), controlled by the POD 4 knob, and variable from 5ms to 5.0s
in 100 steps.
From 5 ms to 200 ms, the steps are 5ms apart; from
200ms to 300ms, the steps are 10ms apart; from
300ms to 500ms, the steps are 20ms apart; from
500ms to 1.00s, the steps are 50 ms apart; from 1.00 s to 3.00s, the steps are 0.1s apart; and from 3.00 s to
5.00s the steps are 0.2s apart.
Auto make-up
( AUTOmk-up ), controlled by POD
3 used as a switch. This is used if the compression settings have resulted in gain reduction.
Output gain
( OUTGAIN ), controlled by the POD 4 knob on the last row (grayed out if the auto make-up above is on). Variable from -20dB to +20dB in 1 dB steps.
Preset library entries
The following preset entries are provided either to be used “as-is”, or to be used as templates or starting points for experimentation.
These library entries are read-only (marked with an inverse R on the display), and may not be overwritten. However, it is possible to load the entries, edit
004
005
006
007
000
001
002
003
008
009
010
Compressors
Program
Number
Name
Sample Snare
Slap bass
Wood bass
Synth.Bass 1
Synth.Bass 2
Acoustic Guitar
Ele.Guitar 1
Ele.Guitar 2
Ele.Guitar 3
Brass
Vocal 1 the parameters, and then store them to a different library entry.
As always, there are no hard and fast rules as to what
“works”. Feel free to use the settings in a variety of contexts and change them as seems appropriate to you.
Comment
For use with snare drums
For use with slap-type bass inputs
For use with upright bass (double-bass or contra-bass)
For use with synthesized bass lines
For use with synthesized bass lines
To be used with acoustic guitars (nylon or steel-strung)
For use with electric guitars
For use with electric guitars
For use with electric guitars
Effective with brass (horn) sections, etc.
Use with vocal lines
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67
8 – Dynamics processors—Preset library entries
Program
Number
011
012
013
014
015
016
017
Name
Vocal 2
Total Comp 1
Total Comp 2
Total Comp 3
Post Pro.1
Post Pro.2
Narration
000
001
002
003
Gates/Expanders
Program
Number
Name
Noise Gate 1
Noise Gate 2
Light Expander
Slow Expander
Comment
Use with vocal lines
Overall compressor setting
Overall compressor setting
Overall compressor setting
Useful in post-production environments
Useful in post-production environments
For the spoken word
Comment
General noise gate setting
General noise agate setting
An expander setting which is not too strong
A slower expander setting
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TASCAM DM-24 Reference Manual
9 – Grouping
TheDM-24 provides the ability to group channels in either fader or mute groups or both.
Note the following points with regard to the use of these groups:
Up to eight groups of each type may be used.
The pattern of the mute groups can be copied to the fader groups, so that the two group sets are identical.
A channel cannot be a member of more than one group of each type. In other words, it can be a member of only one fader group (or of no fader groups) and/or only one mute group (or of no mute groups).
In a group (whether fader or mute) there is always one channel which is referred to as the “master” channel. This channel sets the status for all the other
“slave” channels in the group. For a mute group, this
Mute groups
The two grouping screens (for fader grouping and mute grouping) are similar. This is the mute group screen.
means that the slave channels echo the mute status of the master channel. For a fader group, this means that moving the fader of the master channel will move the faders and alter the levels of the other channels in the group.
A “slave” channel in a group can be operated independently of the other channels in the group.
In addition to channels being members of the groups, groups can also be members of groups, allowing hierarchical “group layers” to be created. Fader groups can only be members of other fader groups, and mute groups can only be members of other mute groups.
The grouping screen includes a linking sub-screen,
and this is covered in “Linked modules” on page 60.
As the name suggests, mute groups allow the channels to be grouped together in such a way that pressing the
MUTE
key of the master channel of a mute group affects the mute status of all the other (slave) channels in the group.
Slave mute may be turn on or off independently of the other mutes in the group.Groups are shown as horizontal rows in the matrix in the upper part of the screen. The 32 channels are shown as columns.
If a row (group) has no check marks or large “bullet” dots in it, no channels have been assigned to that group.
To assign a channel to a group, use the § and ¶cursor keys or dial to move the cursor to the appropriate row.
If any channels have previously been assigned to the group, the
SEL
key of the master channel flashes when the group is selected, and the
SEL
keys of any slave channels light.
NOTE
It may not always be possible to see the flashing SEL
key indicating a group master when you select a group on screen, as the master channel may be in an inactive fader layer.
Press the unlit
SEL
key of any channel to assign the channel to the group.
If the channel is the first one to be assigned to the group, the symbol changes to a large bullet point, showing that it is the master channel of the group and the
SEL
indicator flashes.
If the channel is assigned to a group and it is not the first channel in the group, it is shown with a check mark to show that it is a slave channel, and the
SEL
indicator lights.
If a channel has already been assigned to a group as a slave and that group is currently selected, pressing the
SEL
key unassigns it from the group.
If a channel has already been assigned to a group as a master and another group is currently selected, pressing the
SEL
key to turn the channel into a slave channel brings up a warning message ( Re-assign mute grouping?
), and pressing
ENTER
reassigns the group.
Any of the cursor keys may be used as “no” or
“escape” keys here.
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9 – Grouping—Fader groups
If a channel has already been assigned to a group as a master, pressing the
SEL
key clears the whole group.
A popup message appears ( Clear this mute grouping?
),
Turning groups on and off
When a group is highlighted on screen (the cursor box surrounds it), either use the fourth soft key or the
Copying mute settings to the faders
At the right of the display, about halfway down the screen, there is an on-screen LINK button.
When this button is off, it is labeled MUTE>FADER .
Moving the cursor to this button and pressing
ENTER
brings up a popup asking whether a link should be made: Grouping link(Mute -> Fader) (
ENTER
for yes, cursor keys for no).
and pressing
ENTER
clears the group. Any of the cursor keys may be used as “no” or “escape” keys here.
ENTER
key to turn the group functionality on or off.
This does not clear the group settings.
This transfers the mute groupings to the fader groupings (that is, the fader group settings become identical to the mute group settings). This is a “live link”— when changes are made to the mute groups, they are echoed in the fader groups and the other way round.
The button is now labeled MUTE=FADER and is shown in inverse, showing that the link is active.
Pressing the
LINK
button in either the mute or the fader group screens deactivates the link.
Fader groups
As the name suggests, fader groups allow the channels to be grouped together in such a way that moving the master fader of a group affects the fader level of all the other (slave) faders in the group.
Slave faders may be moved independently of the other faders in the group.
Groups are shown as horizontal rows in the matrix in the upper part of the screen. The 32 channels are shown as columns.
If a row (group) has no check marks or large “bullet” dots in it, no channels have been assigned to that group.
To assign a channel to a group, use the § and ¶cursor keys (or the dial) to move the cursor to the appropriate row.
If any channels have previously been assigned to the group. the
SEL
key of the master channel flashes when the group is selected, and the
SEL
keys of any slave channels light.
NOTE
It may not always be possible to see the flashing SEL
key indicating a group master when you select a group on screen, as the master channel may be in an inactive fader layer.
Press the unlit
SEL
key of any channel to assign the channel to the group.
If the channel is the first one to be assigned to the group, the symbol changes to a large bullet point, showing that it is the master channel of the group and the
SEL
indicator flashes.
If the channel is assigned to a group and it is not the first channel in the group, it is shown with a check mark to show that it is a slave channel, and the
SEL
indicator lights.
If a channel has already been assigned to a group as a slave and that group is currently selected, pressing the
SEL
key unassigns it from the group.
If a channel has already been assigned to a group as a master and another group is currently selected, press-
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TASCAM DM-24 Reference Manual
ing the
SEL
key to turn the channel into a slave channel brings up a warning message ( Re-assign fader grouping?
), and pressing
ENTER
reassigns the group.
Any of the cursor keys may be used as “no” or
“escape” keys here.
9 – Grouping—Grouping layers
If a channel has already been assigned to a group as a master, pressing the
SEL
key clears the whole group.
A popup message appears ( Clear this fader grouping?
), and pressing
ENTER
clears the group. Any of the cursor keys may be used as “no” or “escape” keys here.
Fader groups to mute groups
At the right of the display, about halfway down the screen, there is an on-screen LINK button.
When this button is off, it is labeled FADER>MUTE .
Moving the cursor to this button and pressing
ENTER
brings up a popup asking whether a link should be made: Grouping link(Fader -> Mute) (
ENTER
for yes, cursor keys for no).
This transfers the fader groupings to the mute groupings (that is, the mute group settings become identical to the fader group settings). This is a “live link”— when changes are made to the fader groups, they are echoed in the fader groups and the other way round.
The button is now labeled
FADER=MUTE
and is shown in inverse, showing that the link is active.
Pressing the
LINK
button in either the fader or the mute group screens deactivates the link.
Turning groups on and off
When a fader group is highlighted on screen (the cursor box surrounds it), either use the fourth soft key or
Grouping layers
It is often useful to make groups of groups in order to simplify mixing. This applies to both fader groups and to mute groups.
For example, when using mute groups, you might find it useful to group the vocal microphones of a session into one mute group, the drum microphones into another, and other percussion microphones into yet another.
In order to cut out any microphone spillage, these three microphone groups could be layered into a
“supergroup” which controls all the microphone inputs.
It is also possible to layer the layers,
The right part of this detail showing a three-level layering setup is a tree diagram, showing that group 6 is the “supermaster” group. In other words, pressing the master
SEL
key of this group controls the status of the
ENTER
key to turn the group functionality on or off. This does not clear the group settings.
groups 7 and 8 (for mute groups) or moving the master fader of the group.
These “submaster” groups in turn control groups 1 and 2 (controlled by group 8) and 4 and 5 (controlled by group 7).
To use these grouping layers:
1
Use the § and ¶ cursor keys or dial to navigate the cursor to the master groups shown as horizontal rows in the matrix at the lower part of the screen.
Empty groups (with no master or slave) are shown with an
x
by the group number)
2
Use the SEL keys of modules 1 through 8 as group selectors to assign slave groups.
NOTE
Note that here the SEL keys do not refer to channels—
they refer to the groups that have been set up in the top part of the screen. They can be used in this way in
the two channel layers (1-16 and 17-32) but not in the
MASTER
layer.
Pressing the
SEL
key corresponding to any group
except the highlighted master group adds (check mark) or removes (dot) the group to or from the layer controlled by the master group. The master group has
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71
9 – Grouping—Grouping layers
a bullet mark added by its number when a subgroup is added (groups 6, 7 and 8 in the example screen).
The tree diagram is updated.
Pressing the
SEL
key corresponding to the master group brings up a popup message asking if the current group should be cleared (
ENTER
for yes, cursor keys for no).
Attempting to make a “circular group layer”, for example making group 5 into a submaster of group 2, and then attempting to make group 2 a submaster of group 5, brings up an appropriate error message
( Cannot assign fader grouping layer ).
Moving the cursor to the CLEAR button allows all grouping layers to be cleared together. A popup message appears ( Clear all mute grouping layers?
(or fader in the case of fader grouping layers)). Pressing
ENTER
clears all group layers, but does not clear the groups themselves). Any of the cursor keys may be used as
“no” or “escape” keys here.
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TASCAM DM-24 Reference Manual
10 – Monitoring
The DM-24 contains a sophisticated monitoring system which allows different mixes to be set up in the control room and the studio, as well as an integral talkback microphone, lineup oscillator, etc.
Control room monitoring
The control room (CR) monitoring section, which also includes two stereo headphone jacks, is located to the right of the stereo meters.
Control room outputs
As might be expected, the control-room output signals are always output from the balanced 1/4” analog
CR (BAL)
connectors (+4 dBu)
However, if the digital outputs are not being used for any other purpose, the
I/O OUTPUT screen may be used to assign the control room outputs to either the
DIGITAL 1
or
DIGITAL 2
sets of outputs.
From the I/O screen, use the third soft key to bring up the output selection screen.
Move the cursor to either of the selection boxes opposite the DIGITAL OUT1 or DIGITAL OUT2 selector.
Turn the dial until C.ROOM
is shown, and press
ENTER
.
The control room signal will now be output from the selected digital outputs.
NOTE
The signal is sent from both the XLR-type jack and the
RCA jack simultaneously. The output format (AES/EBU
or SPDIF) is set using the DIGITAL display FORMAT sub-
screen.
The level of the signal sent from the analog outputs is adjusted by the
CR
control.
The level of the signal sent from the headphone jacks
(both headphone jacks together) is adjusted using the
PHONES
control.
Control room signal selection
There are four signal selection keys for the control room signal.
These are:
STEREO
,
SEL 1 (AUX 1-2)
,
SEL 2 (D IN
1)
,
SEL 3 (2 TR IN)
.
The first of these,
STEREO
, is hard-wired. That is, when this option is selected, the control room outputs as selected above will always output the stereo buss signal.
The other three keys are “soft”, and may be patched internally to output signals other than those given as the defaults (in parentheses on the panel).
The default settings may be useful when used in the following way, however:
When recording, aux sends 1 and 2 may be used as the studio cue mix, leaving aux sends 3 through 6 for effect use, etc. By using the
SEL 1
key set to the default
AUX 1-2
setting, it is therefore possible for the control room monitor to echo the signal sent to the studio.
When mixing, the mastering devices (connected to the stereo buss) may be digital or analog. The
SEL 2
key is by default set to the first digital input (whether this is the XLR-type connector or the RCA jack is determined in the channel IN screens of the I/O setup) and can therefore be used for monitoring the replay from the digital 2-track mastering device.
The
SEL 3
key is by default assigned to the analog 2track inputs
. These are typically used to monitor
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73
10 – Monitoring—Studio monitoring
the playback from an analog mastering recorder connected to the DM-24.
The setting of these keys may be changed using the
MONITOR screen.
With the
SHIFT
indicator lit, press the
METER/
FADER [MONITOR]
key to bring up this screen:
Use the cursor keys to move the cursor to the three selection key icons ( SEL 1 , SEL 2 and SEL 3 ).
Turn the dial to select from the available options: AUX
1 , AUX 2 , AUX 3 , AUX 4 , AUX 5 , AUX 6 , AUX1-2 , AUX3-4 ,
AUX5-6 , buss 1 , BUSS 2 , BUSS 3 , BUSS 4 , BUSS 5 , BUSS
6 , BUSS 7 , BUSS 8 , BUSS 1-2 , BUSS 3-4 , BUSS 5-6 ,
BUSS 7-8 , DIGITAL IN 1 , DIGITAL IN 2 , 2-TR (ANALOG) .
Press
ENTER
to confirm the choice.
NOTE
It is possible to assign the same option to more than one of the monitor selection keys.
The Follow LINK Setting also affects what is output from the control room outputs. If a mono source which has been stereo linked (that is, an individual aux or buss) is selected, and the checkbox here is checked, the source will be stereo linked to its “partner” in the monitoring.
In this case, the odd-numbered aux or buss will be output from the left channel, and the even-numbered aux or buss from the right channel.
2-track input
Because of the analog nature of the
2TR IN
inputs, the following should be noted when monitoring from this source:
• Dimming when monitoring this signal is fixed at a level of –30dB relative to normal and cannot be changed.
• If the control room output is set to one of the
DIGITAL OUTPUTS
(
1
or
2
) as explained earlier
(“Control room outputs” on page 73), it is not pos-
sible to monitor the 2-track source
• In addition, even though the studio output is an analog output, if the control room monitoring system is set up to use a digital output, it is not possible to monitor the 2-track inputs through the studio system when echoing the control room outputs to
the studio (see below, “Studio monitoring” on page 74).
Studio monitoring
The studio monitoring can be selected to follow the control room monitoring selection or to be independent of the control room monitoring using the same screen as the control room setup (above).
To make the studio outputs follow the control room sources:
On the main monitoring page (soft key 2) move the cursor to the From CONTROL ROOM “radio button” and press
ENTER
. When this is selected, whatever is selected for the control room output will also be output from the studio monitoring outputs.
To set a different source for the studio, move the cursor to the output select “radio button” and press
ENTER
to select the monitoring source displayed to the right of the radio button.
After this, move the cursor to the right and use the dial to select from the list:
Stereo
,
Buss 1-2
,
Buss 3-4
,
Buss 5-6 , Buss 7-8 , Aux 1-2 , Aux 3-4 , Aux 5-6 , Digital In 1 ,
Digital In 2 , 2TR(Analog) . Press
ENTER
to confirm the selection.
A pair of aux sends makes a good choice for the studio source, as these can be individually adjusted prefader, and a completely separate studio mix can be built up in this way.
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TASCAM DM-24 Reference Manual
10 – Monitoring—Soloing
Studio monitoring volume
The volume of the studio monitoring outputs is set on the same screen as the output selection, using POD 4.
Soloing
The solo facilities have been described briefly in the
module section (“SOLO” on page 22), but are
repeated here for convenience.
Note that soloing is provided only for the 32 input channels. It is not possible to solo aux sends or busses (use the control room selection “Control room
signal selection” on page 73 for this).
The DM-24 provides two modes of soloing, as explained here. Soloing occurs when both the
SOLO
key (above the stereo fader) and the
MUTE
key of at least one channel are active. What happens when this
The level is adjustable from –
∞dB (silence), to
+10dB.
happens is dependent on the settings made in the
SOLO screen (from the OPTION display).
MODE SELECT
Either Mix Solo or Exclusive Solo can be selected here.
The Mix Solo mode allows a number of channels (that is, all whose
MUTE
keys are flashing or lit in solo mode) to have their outputs added together to the
SOLO LINK
This option allows the fader and mute groups (see
“Grouping” on page 69) to be used with the solo
function.
If one of the group options ( MUTE GROUP or FADER
GROUP
) is enabled, selecting a group master channel solos or unsolos the whole of the group. This is regardless of the Mix Solo / Exclusive Solo setting described above.
SOLO TYPE
There are three options that may be selected here:
PFL (pre-fader listen), AFL (after- or post-fader listen). Again, these are explained in more detail in the solo section, but briefly:
PFL
provides a way of listening to the signal before it is sent through the panpot and fader. The stereo solo mix. The Exclusive Solo mode only allows one channel (the one whose
MUTE
key was pressed last) to be soloed at one time.
If a group slave channel is selected, the solo status of only that slave channel is affected. The effect on other previously-soloed channels (whether or not they are part of the group) depends on the
Mix Solo
/
Exclusive Solo setting described above.
See also “Turning soloing on and off” on page 76.
outputs are unaffected (soloing is only done through the monitor outputs—
CR
and
STUDIO
).
AFL
outputs the post-fader (pre-pan) signal from the selected channels through the monitoring system.
INPLACE SOLO
monitors the soloed signal(s) via the stereo outputs while all the other signals are cut from the stereo outputs.
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75
10 – Monitoring—Dimming and talkback
Depending on the solo type selected, the
SOLO
key
(above the
STEREO
fader) and the
MUTE
key of any soloed channel(s) will flash or light:
Inplace solo defeat
The solo defeat option prevents channels selected in this way from being muted when other channels are soloed. It can be used with a pair of effect returns, for instance, so that these effect returns will always be added in the inplace mix, together with those other channels selected for inplace soloing.
SOLO level
The level of the PFL and AFL signals is determined by the
SOLO
control above the monitor selection keys. The indicator by this control lights or flashes
Turning soloing on and off
The
SOLO
key with integral red indicator above the
STEREO
fader is used to turn the solo mode (as selected in the option screen) on and off.
When soloing is active;, this indicator lights or flashes (as does the indicator above the
SOLO
level control). All previously-lit
MUTE
indicators go out.
The
MUTE
keys are used to control which channels are soloed. Pressing the
MUTE
key of a channel will un-mute it, therefore soloing it. The
MUTE
indicator of a soloed channel lights or flashes.
If Mix Solo
is selected as the solo mode (see “MODE
SELECT” on page 75, pressing another
MUTE
key will add that channel to the solo mix. If solo linking is switched on, and the channel is a group master, all
Dimming and talkback
On the same screen as the control room selection, it is possible to change the amount by which the control room outputs are “dimmed” (attenuated) when the dim is active or the studio-routed talkback is active.
Use POD 2 to set the level to the level that the dimmed output will be, relative to the normal control room level. This can be set from –40dB to 0dB in 1dB steps.
When dimming the studio output, the
DIMMER
key acts as a “smart” key. That is, if pressed and released quickly, the dimming status latches on or off. Pressing and releasing the key quickly again changes the status back again.
PFL
AFL
Inplace fast flashing slow flashing lit
Inplace soloing will output the soloed channel(s) from the stereo outputs, and cut all other channels.
Use the cursor keys (or the channel
SEL
key) to highlight a channel (“box” cursor), and the
ENTER
key to change the status of the INPLACE SOLO DEFEAT .
(depending on the selected solo mode) when any soloing is taking place.
channels which belong to that group will be soloed.
More than one group may be soloed at a time in Mix
Solo mode.
If Exclusive Solo is selected as the solo mode, the channel whose
MUTE
key was pressed last will be soloed. If solo linking is turned on, and the channel is a group master, all channels which belong to that group are soloed. If another channel’s
MUTE
key is pressed (whether or not the channel is part of the group or not), only that channel will be soloed. Only one group at a time may be soloed in Exclusive Solo mode.
The type of soloing (pre-fader, etc.) is determined by
the settings described in “SOLO TYPE” on page 75.
If the key is pressed and held for more than half a scone, the switch becomes non-latching, that is, the dimming status is on as long as the key is held down.
Whenever the dimming is active, the indicator is lit.
The level of the talkback microphone (which is located below the
PHONES
control) can be adjusted using the T/B control.
The talkback signal can be routed to the studio outputs (use the
STUDIO
key) or to a “slate” (use the
SLATE
key), that is, to a selected group of aux and buss outputs, as explained below.
Both the
STUDIO
and
SLATE
keys are smart keys working in the same way as the
DIMMER
key. If
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TASCAM DM-24 Reference Manual
10 – Monitoring—Slate settings
pressed and released quickly, they are latching, but if pressed and held, they are non-latching. Indicators show the active status of these keys.
Slate settings
The DM-24 allows you to define the “slate”—the destination of the talkback microphone.
From the MONITOR screen, press the third soft key
( OSC/COM ) to bring up the oscillator and slate setting screens.
Use the
SLATE
panel in this screen to choose which aux sends, output busses and stereo channels will be included in the slate.
Lineup oscillator
The DM-24 includes a lineup oscillator, which can be assigned in the same way as the slate output.
Use the cursor keys to move along the row, and the
ENTER
key to include and uninclude the busses,
In addition to being able to choose the outputs to which the oscillator is sent, POD 1 allows the oscillator frequency to be selected ( 100Hz , 440Hz , 1kHz or
10kHz
).
The level of the oscillator is also variable (POD 2) from –36.0dBFS
to 0.0dBFS
in 0.5dB steps.
Use soft key 1 to turn the oscillator on (button is in inverse video) and off.
Meters and faders
As well as the stereo meters, the DM-24 provides onscreen metering for all modules in the console.
With the
SHIFT
indicator unlit, press the
METER/
FADER
key.
The following screen shows the metering for the input channels:
The METERING POINT for channels 1 through 32
(
CHANNEL
) can be set as
INPUT
(before the digital trim and after the input selection), PRE (pre-fader and before any assignable send/return insert), or
POST
(post-fader, and post any assignable send/return insert).
The
MASTER
(aux sends, busses, stereo) metering point can also be set: INPUT (buss level, before any compressor insertion),
PRE
(pre-fader and post any compressor insertion), and POST (post fader).
Since only 24 channels can be shown on screen at once, there is a choice of what will be metered on screen at any one time: either the 24 track returns, the
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77
10 – Monitoring—Meters and faders
24 channels or a screen with channels 25 through 32, aux sends 1 through 6 and busses 1 through 8:
The SEL Key Follows Fader Layer allows the setup of the automatic linking of the selected channel to the selected meter layer.
When this option is selected, if a channel is selected, the fader layer is changed, and then the fader layer is changed back again, the originally-selected channel is automatically selected.
For example, if this option is active, and
SEL
2 key is lit with fader layer 1-16 active, fader layer 17-32 is
Master meters
As well as the option described immediately above, pressing soft key 3 in the METER/FADER display provides a view of the master meters and faders as shown here: then selected,
SEL
key 3 (channel 19) is selected, and then fader layer 1-16 is then re-selected,
SEL
key 2 will be active.
If the option is not active, any
SEL
key which is lit remains lit when the fader layer is changed. For example, if this option is not selected, and
SEL
key 2 is lit with fader layer 1-16 active, and fader layer 17-
24 is then selected,
SEL
key 2 will still be lit (that is, channel 18).
When the Meter Follows SEL key option is checked, the meter layer automatically changes when an appropriate
SEL
key is pressed. The modes are as follows:
Fader layer SEL keys
CH 1–16
CH 17–32
MASTER
Meter layer
CH 1–16
CH 17–24
CH 25–32
CH 1–24
CH 1–24
MASTER/CH 25–32
Buss 1–8/Aux1–6/Stereo MASTER/CH 25–32
NOTE
If the FADER->METER Follow option is checked, and the
SEL Key Follows Fader Layer is not checked, the meter
follow option will not be enabled.
These settings can also be made in the OPTION
PREFERENCES sub-screen (“PREFERENCES” on page 21).
The
METERING POINT
can be set (
ENTER
key, dial and
ENTER
key) in the same ways as described earlier
(here the options are described as
PRE (pre-fader)
,
POST (post-fader) and INPUT (input)). Changes made here are reflected in the
METER
screen and vice versa.
Use the
SEL
or cursor keys to move the box cursor around the screen in groups of 4 modules, and the
PODs to set the fader values.
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TASCAM DM-24 Reference Manual
10 – Monitoring—Meters and faders
Channel faders
It is sometimes useful (for instance, in automation) to have a view of the fader levels while another fader layer is selected.
The
FADER
screen shown here (accessed with soft key
2), as well as the MASTER M/F screen immediately above, provides such a view.
In addition, the pan settings and fader levels of the channels (fader level only in the case of the aux sends and busses) can be changed.
The mute settings for all modules can be viewed.
Use the cursor and PODs to change the pan settings or the fader levels on screen. Channels are selected using the cursor and
SEL
keys in blocks of 4, corresponding to the 4 PODs.
NOTE
If the DM-24 is in a surround mode, these pan controls affect the position of the channel in the front L-R outputs.
If the fader layer being edited is selected, the appropriate fader(s) will move as the on-screen faders are moved.
Normalled faders change appearance, as in “Fader section” on page 51.
The
SEL
keys can also be used to navigate around the groups.
Meter and fader setup
Use this screen to set meter characteristics, and to transfer a specific value to a fader or group of faders.
Fader level
Use POD 1 to change the fader level
(
LEVEL
) between –
∞ and
–36dB
in 128 steps.
Use POD 2 to select the scope of the setting: groups of eight channels ( CH1–8 , CH9–16 , CH17–24 , CH25–
32 ), the eight busses ( BUSS1–8 ), the six aux sends
( AUX1–6 ), the stereo master ( STEREO ), the individual channels ( CHx ), the individual busses ( BUSSx ), the individual aux sends (
AUXx
) or all channels (
ALL CH
).
Press
ENTER
to copy the level. A popup message appears. Press
ENTER
again to confirm the copy, or a cursor key to cancel the operation.
Meter ballistics (METER SETUP)
The
RELEASE (fall time) of the meters can be set to either
Slow , Normal or Fast using POD 3.
Use POD 4 to set the peak hold time ( PEAK HOLD ) to
Off
,
1
, 2,
4
,
8
or
∞ (seconds). In the case of an infinite hold (
∞) the peak levels can be reset by selecting another value or changing the meter layer.
These settings refer to both the on-screen meters and to the optional meter bridge meters. Note that when the meter layer is changed using the optional meter bridge, the STEREO master meter peak hold is not cleared.
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11 – Machine Control/Location
The DM-24 is capable of acting as a remote control unit for a wide variety of external devices.
The exact functionality of the machine control depends, of course, on the device to be controlled.
The device control is carried out through the DTRS control port, the MIDI connections (for MMC), or the serial port (
RS-422
).
Different devices can be selected for simultaneous control by the DM-24, with different devices being
Selecting devices for control
The
EXT CTRL – MIDI/MC
key is used to set up the control of external devices.
1 With the
SHIFT
indicator lit, press the
EXT
CTRL [MIDI/MC] key.
2 Use the second soft key to bring up the machine control screen (
MACHINE CTRL
):
3 With the cursor pointing to either the
<-ADD
or
INFO
buttons, use the dial to scroll through the list of devices on the right of the screen that may be controlled by the DM-24
(
SUPPORTED DEVICES
).
4 When a device to be controlled by the DM-24 is selected in the list, move the cursor to the
<-ADD
button, and press
ENTER
. The device will be added to the list.
To obtain more information regarding a particular item in the list of devices which may be controlled by the DM-24, highlight the item, move the cursor to the
INFO button, and press
ENTER
. A popup screen provides information regarding the list item.
controlled in different ways. For instance, it is possible to select one device to have its transport functions controlled by the DM-24, while the DM-24 controls the track arming functions of another device.
NOTE
In this section, the term “controller” is used to refer to a part of the DM-24 software controlling an external device, rather than a hardware feature of the device or the DM-24.
At the bottom of the list is a key to the method used for controlling each item in the list:
Display Meaning
I
R
Internal devices
REMOTE (DTRS)
M
MIDI Machine Control
4
P2 (RS-422)
The current list of devices (at the time of writing) is:
Device Screen display
Control type
MIDI Timecode generator
Cascade mastering
DA-88 DTRS recorder
DA-38 DTRS recorder
DA-98 DTRS recorder
DA-78HR DTRS recorder
DA-98HR DTRS recorder
MMC open-loop control
MTC Generate
CASCADE MSTR I
I
DA-88
DA-38
R
R
DA-98
DA-78HR
DA-98HR
MMC OPEN
R
R
R
M
MMC closed-loop control
VTR (playback only)
MMC CLOSE
VTR PLAYonly
2-track VTR with record support VTR 2Trk REC
4-track VTR with record support
VTR 4Trk REC
MMR-8 or MMP-16 TASCAM
HD recorder
MMR8/MMR16 4
DAT recorder with timecode track
TC DAT 4
4
4
M
4
Other devices may be added to the list of supported devices in the future. If the list does not contain the name of a device that you wish to control, please contact your TASCAM dealer regarding the availability of a software upgrade which contains the control capability for your device.
Up to 16 devices may be added to the Machine Control List. If more devices are connected and added to the list than can be shown on screen, arrow marks appear at the top and bottom of the list.
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11 – Machine Control/Location—Selecting devices for control
When an entry in the Machine Control List is highlighted (that is, the cursor is on the left of the screen),
Deleting devices from the list
If a device is added in error to the Machine Control
List (or is no longer required), highlight the device, the dial is used to scroll through the list, including those items which may not be visible on the screen.
move the cursor to the on-screen
DELETE
button, and press
ENTER
. The last item in the list will be deleted.
This process can be repeated to clear the list.
Auto-detection of devices
In addition to the manual addition of controlled devices, there are two auto-detect buttons. One is used is used for detecting all devices attached to the
DM-24 ( LIST AUTO DETECT ) and the other is used for
transport mapping (see “Machine Control mapping memories” on page 82 below).
Move the cursor to the on-screen LIST AUTO DETECT button and press
ENTER
to scan the control ports and report on the detected devices, adding the controllers
to the Machine Control list (see “Machine Control mapping memories” on page 82.
NOTE
Because not every device that may be controlled by the
DM-24 is capable of reporting its presence accurately, some devices will not appear on the list, and must be added to the list manually.
Selecting the control type for the devices
The Machine Control list is composed of a number of columns. These are explained below:
STATE
An icon shows the state of the controlled device. A one-way arrow represents an open-loop device (that is, commands are sent from the DM-24 to the device, but no information is transmitted back from the device to the DM-24 along the same channel—information is transmitted from the other device through a different channel, such as timecode or
MIDI).
A double-ended arrow represents a closed loop, where information flows both ways between the remote device and the DM-24 along the same channel.
A cross indicates that the device is not being controlled by the DM-24.
Two dashes ( -) show that the type of control is not relevant here (for instance, the internal MIDI timecode generator).
When attempting to identify a MIDI device, the DM-
24 first sends out an MMC Read Signature command. It adds a generic “closed loop” device for every device ID that responds to this command.
It also sends out a MIDI Device Inquiry Message. If a remote device replies to this message, and an appropriate controller is available, this controller replaces the generic MMC closed-loop controller.
After power has been applied, it may take between one and two minutes for the remote devices to be recognized. Even if they have been added to the memorized Machine Control list previously, it may not be possible to control them immediately the system is powered up.
DEVICE
The name of the name of the device being controlled, together with its control type. These list items cannot be changed or edited.
ID
In the case of DTRS units, it refers to the unit ID, and cannot be edited. In the case of MMC units, it refers to the MMC ID (2 hexadecimal digits) of the unit. This list item cannot be changed or edited. Use the
JOG
dial to change the value and confirm with
ENTER
.
CHASE
This applies to DTRS units, and allows the
CHASE mode of the selected unit to be turned on or off. Any unit which can have its chase mode controlled by the DM-24 has this item represented by a square box. Units whose CHASE mode cannot be remotely controlled have this item represented by two dashes (
--
). Use the cursor keys to navigate to the list item, and the
ENTER
key to toggle between on (a check mark is shown in the box) and off (the box is empty).
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TRA
This two parameter allows the transport controls of the DM-24 to control the transport of the selected device ( TRA ).
Only one device at a time can be selected for transport control, as shown by the circled © symbol. If a device has been selected for transport control, and it is required to control another device, the first device selected for external control must be de-selected from transport control before the “new” device is selected for this purpose.
If the device is not active when an attempt is made to assign the transport control here, a popup message appears and the assignment is not made.
One feature which is not visible from the transport controls is an “eject” function. DTRS units, as well as most VTRs, can have their media ejected by pressing and holding the
STOP
transport key, and pressing the
CLEAR
key of the auto-punch section (not the number keypad
CLR
key).
Some machines may unthread the tape if the
STOP
key is pressed while the transport is stopped.
NOTE
The exact way in which the transport controls work with the external device depends on the capabilities of the device. For instance, the notion of “record” is not very meaningful when applied to the internal timecode generator.
Machine Control mapping memories
So that commonly-used machine control settings can be stored and recalled easily, the DM-24 provides 10 memories of machine control mappings (numbered from 0 through 9).
Each of these may contain a device which may be controlled by the transport control facilities of the
DM-24.
Each of these memories includes: the CHASE setting, the SCR setting and the TRA setting.
An an example of the practical use of this, take the example of three DTRS units connected to a VTR, chasing to timecode supplied by the VTR. Usually, the transport keys will control the VTR, and the
REC
keys will control the three DTRS units. The DTRS units will be locked and chasing the VTR. Sometimes, though, it will be necessary to control the
DTRS units directly (through the first DTRS).
Recording functions are still assigned to the DTRS units.
If you require further information on the control features of a specific device that are not detailed here, please contact your TASCAM dealer, who should be able to supply you with further information.
REC
This allows the selection of the
REC
keys on the DM-24 which arm the tracks on the remote external device.
Use the dial to choose between 1-8 , 9-16 , 17-24 , 25-32
(8 tracks), 1-16 , 17-32 (16 tracks), 1-24 and 9-32 (24 tracks).
Use the
ENTER
key to confirm the choice.
An appropriate pop-up error message is displayed if an attempt is made to assign two overlapping groups of
REC
controllers. Use the
ENTER
key to accept the new assignment, or the cursor keys to dismiss this message and return to the previous assignment.
NOTE
When the MASTER indicator is lit (the master layer is
selected), the module REC keys have no effect.
The
ALL SAFE
key above the
STEREO
fader can be used to turn off the track arming for all tracks for all assigned
REC
keys. While
ALL SAFE
is active, the
REC
keys are disabled, until
ALL SAFE
is turned off again. The recording status that was active before the
ALL SAFE
was turned on is restored when
ALL
SAFE
is turned off again.
The mappings are automatically assigned when the
TRA AUTO DETECT
button is “pressed” after the units have been added to the list.
A pop-up window appears asking if the autodetect process should take place (as it will delete all previous mappings).
Press
ENTER
to continue with the autodetection, or any of the cursor keys to cancel the process.
When the scan is complete, a pop-up screen appears, showing the detected devices and their assignments to the control maps.
Any selected devices that may be controlled are detected and a new map is created for each such device.
A message is shown if there are more devices connected than can be added to the list (that is, more than
10).
If there are IDs associated with the devices, these are also shown.
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11 – Machine Control/Location—General parameters
To use a machine control mapping
Of course, at least one machine control mapping must exist before this operation can be carried out.
1 Press and hold down the
SHIFT
key and the numeric
CLR
key.
2 Press the numeric key corresponding to the map you want to use (
0
through
9
).
Viewing the transport mappings
To view the transport mappings (that is, the list of the devices that will be controlled in each mapping):
1 Press and hold down the
SHIFT
key and the numeric CLR key.
2 Press the
EDIT
key.
Editing a mapping
When a mapping has been made, parameters other than the transport control may be edited (for instance, the use of the
REC
keys).
To make these changes a permanent part of the currently-loaded map:
The DM-24’s transport control keys will now control the device selected in that map and the other mapping features will also be enabled.
The
MAP
field at the lower part of the screen shows the currently-loaded map.
A pop-up list appears on the screen. The device controlled in each map, together with its ID, is shown.
3
Press the ENTER key to continue operations.
1 Move the cursor to the number by the
MAP field.
2 Use the dial to select the mapping memory into which the current mapping will be stored. Press
ENTER
.
3 Press
ENTER
(the on-screen
STORE
button).
General parameters
When the
SHIFT
indicator is lit, press the
MIDI/MC
key. Use the first soft key to bring up this screen:
This allows the setting of such items as MIDI channels, the flow of MIDI data (including MIDI timecode) through the system, and various machine control parameters.
Program Change channels
In order to allow independent remote changing of the mixer snapshots and the two internal effector settings using MIDI Program Change commands, these three libraries can be assigned to respond to Program
Change commands received on different channels.
Move the cursor to the MIDI Ch box by either
SNAPSHOT
,
EFECT 1
or
EFFECT 2
at the top left of the screen, use the dial to select the MIDI channel (from
1 through 16), and press
ENTER
.
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Each of these libraries must use a separate MIDI channel. A popup message is displayed if an attempt
Program Change values
This setting allows a given Program Change number to be associated with a particular library entry. This means that there does not have to be an exact match between, say, a particular synthesizer patch number and number of the effect setting that you always use with that patch.
These settings are made at the bottom left of the screen. The three libraries mentioned above (snapshot and the two internal effects libraries) may have these settings made. The method is identical for each library.
is made to assign the same MIDI channel to more than one library.
1 Move the cursor to the library table to be edited (
MIXER
for snapshots,
EFF1
for effector
1, and
EFF2
for effector 2).
2 Press
ENTER
.
3 Use POD 3 to select the MIDI Program change number.
4 Use POD 4 to select the library entry to be associated with the program change.
Continue this process until the library Program
Change table is set up as you want.
General MIDI parameters
The following parameters may be set (consult a general reference work on MIDI if you are unsure of the operation of some of these MIDI functions):
MIDI OUT Active Sensing
This turns the
Active Sensing output from the DM-24 on and off.
OUTPUT MTC when slaved
This controls whether the DM-24 will output MTC as an echo of the input timecode when it is acting as a timecode slave.
RESET (ffh)
This controls the action to be taken when a MIDI Reset message is received. The DM-24 can be either set to ignore all Reset requests, or when a Reset is received, to pop up a panel on the display informing the user asking if the Reset request is to be honored or ignored.
MIDI filtering
The following types of MIDI messages can be set to be accepted or ignored by the DM-24 on input and/or output: Control Change messages, Program Change messages, System Exclusive (
SysEx
) messages, MTC
( MIDI Time Code ) and MIDI Machine Control ( MMC ) messages.
When a checkbox is checked, that particular MIDI message is accepted if the checkbox is in the IN col-
Serial output
The DM-24 can be set to output its own timecode from the
MIDI OUT
port ( MTC OUT ).
umn, and will be transmitted by the DM-24 if the checkbox is in the OUT column.
The PASS and CUT boxes are not selectable. There are there to remind you that a checked box means that the MIDI message is passed, and an unchecked box means that it is filtered (cut).
Alternatively, it can output incoming timecode as
MIDI timecode from the
MIDI THRU
and the
RS-422
serial port ( RS-422 ).
Edit Frames
When this is set on, location memories, etc. are edited to frame accuracy. When it is set to off, location settings are made to second accuracy.
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11 – Machine Control/Location—Location memories
Play Mode
This function determines the way in which the
PLAY
key works in conjunction with the location facilities.
There are three settings:,
Auto
,
Deferred
and
Immediate
.
AUTO
The
PLAY
indicator flashes as the unit is locating to a location point. When the location point is reached, playback starts automatically. However, if the
PLAY
key is pressed before the location point is reached, the unit stops locating and starts playing.
DEFERRED
The unit stops after location is completed. However, if the
PLAY
key is pressed while the
Cueing Mode
“Cueing mode” here means that if the controlled device is in play mode, and either of the fast transport keys (forward or rewind) is pressed, the fast transport mode is not latched and the unit is in cue mode (that is, when the fast transport key is released, the unit goes back into play mode). To latch the unit in the fast transport mode, press the
STOP
key before entering fast transport mode.
Locate Preroll
Move the cursor to the numeric field, which shows the pre-roll time when a location point is reached
(displayed in minutes and seconds). For example, if this field shows
0:10
, if a location operation is carried out to a location memory of 00:20:32, the actual point located to is 00:20:22.
Note that this is used only in the case of Direct loca-
tion (“Location to a location memory” on page 86),
and not in the case of manual location operations
(“Manual location” on page 87), which locates to the
Location memories
The DM-24 allows the storage and recall of up to ten location memories, allowing easy location of the controlled devices to predetermined cue points.
Selecting the location point display
As explained in “LOCATE DISPLAY MODE” on page 20, the
LOCATE DISPLAY MODE setting in the
OPTION SETUP screen is used to determine whether the LED time counter shows the location memories as they are entered, edited and recalled, or whether they are shown as “popup” panels on the LCD display screen.
unit is locating, the
PLAY
indicator flashes, and playback starts when the location point is reached.
NOTE
Because an open MMC connection cannot determine when the locate point has been reached, deferred play is not possible for a machine controlled in this way.
IMMEDIATE
The unit stops after location is completed. If the
PLAY
key is pressed while the unit is locating, the machine goes straight into play mode, without locating.
A VTR controlled over the RS-422 connection which is put into fast wind with the cueing mode set on fast winds with the picture visible.
If cueing mode is not selected, when a fast transport key is pressed, irrespective of the current transport mode, the unit enters the fast transport mode, even when the fast transport key is released.
value entered, irrespective of the pre-roll time set here.
Use the dial to set the pre-roll value and confirm the setting of this value with the
ENTER
key.
NOTE
A DA-98 DTRS unit controlled by the DM-24 always locates to a point about seven seconds before the location point as entered on the DM-24, irrespective of the setting made here.
When this section mentions “the display” showing location memory values, this refers to the display that has been selected in this option.
NOTE
Depending on the settings for frame display (“Edit
Frames” on page 84), the frames value may or may not
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85
11 – Machine Control/Location—Location memories
be shown on the display when location memories are being edited, etc.
Storing a location memory “on the fly”
This procedure allows you to set a location memory, regardless of whether timecode is currently being received or not. If timecode is not currently being received, the value of the location memory is the last received value as shown on the time counter on the display.
The value on the time counter, regardless of source, is stored as the location memory. This may be timecode, MTC or an ABS time from a DTRS unit. However, only a controller which is specifically for DTRS use can locate a DTRS unit correctly, if there is an offset or other difference between timecode and the
ABS time. If an ABS time is captured, other controllers will assume that this was a timecode value, and will locate the unit to this timecode position.
1 Press the
MEMO
key. The indicator starts to flash.
2 Press any of the numeric keys, corresponding to the ten location memories available.
3 The
MEMO
indicator stops flashing and the currently-displayed timecode value is stored in the location memory corresponding to the numeric key which was pressed.
Manually entering and editing a location memory
This procedure can be used for editing existing location memories or for adding new ones.
4
Press the ENTER key when the timecode value for the location memory has been entered.
1
Press the EDIT key. The indicator starts to flash.
2
Press one of the number keys to select the location memory which will store the value.
The EDIT indicator lights steadily.
5 Press
EDIT
again once to edit another location memory, or press EDIT twice to exit the location memory editing mode.
3 Enter the timecode value using the numeric keypad. The display shows the value, “filling up” from the right digit towards the left.
If the CLR key is pressed before the ENTER key, a location memory entry which has been made in error is cleared. Pressing ENTER stores the cleared memory.
Or, if the EDIT key is pressed again after the location memory number has been pressed, the indicator starts to flash again, allowing the checking and editing of another location memory.
NOTE
All blank location memories are assumed to be timecode memories. Editing one, and attempting to locate using ABS with a DTRS controller will almost certainly result in an unwanted result. It is suggested that an ABS time is captured first and then edited.
It is possible to switch between the capture, edit and location procedures at any time.
Location to a location memory
When the location memories have been entered, they are recalled in the following way:
1 Press the
DIRECT
key. The indicator lights.
2
Press any one of the numeric keys, corresponding to the ten location memories.
3
The controlled device locates to the memory stored in the location memory.
What happens next depends on the
PLAY
MODE
setting (see “Play Mode” on page 85).
NOTE
tion memory point, minus the value set as the preroll time.
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Viewing a list of location memories
To view a popup list of all the location memories which have been stored:
1 Press the
SHIFT
key so that the indicator is lit.
2 Press the
EDIT
key (now the
LIST
key as shown by the shifted legend).
The location memory source (timecode or
MTC, or ABS) is shown, along with the value of each location memory.
Manual location
It is also possible to enter a location point manually,
(from a cue list, for instance) and locate straight to it.
1
Press the MANUAL key so that the indicator lights.
2
Use the number keys to enter a number in
hh:mm:ss
(and optionally frames) format.
3
When the ENTER key is pressed, the controlled device starts to locate to the location point just entered.
Repeat play
Location memories 8 and 9 (accessed with the
8
and
9
keys) are used as the start and end points of a repeat loop that can be played by pressing the
REPEAT
key in the transport control section.
Auto punch operations
For DTRS units, the three
AUTO PUNCH
keys:
RHSL
,
IN/OUT
and
CLEAR
are used in the same way as the corresponding keys on the DTRS unit.
Consult the documentation for the DTRS unit for details of how to perform punch operations.
ALL INPUT and AUTO MON
The
ALL INPUT
and
AUTO MON
keys send the appropriate commands to all devices in the list that have the
REC
function enabled. When the function is active, the key’s indicator lights.
If the controller does not support the function, the indicator does not light.
If a number of controllers have had the
REC
function selected, some of which do accept this command,
External control
These following notes apply to the external control screens, etc. for some of the specific devices that may be controlled by the DM-24.
This location point can be stored by pressing the
MEMO
key so that the indicator flashes, followed by pressing the
MANUAL
key again.
To locate to this point again after storing the location point, press the
MANUAL
key, followed by the
ENTER
key.
Note that the pre-roll time (“Locate Preroll” on page 85) does not apply here.
If point 8 follows point 9, or if the distance between the two points is very short, the behavior of the repeat playback depends on the device being controlled.
When punch operations are taking place, the punchin and punch-out points may be viewed and edited in location memories
4
and
5
respectively. When the
CLEAR
key is pressed to finish punch operations, the original location memories (if any) are restored.
and some which do not, the indicator will not light in the majority of cases.
DTRS devices can accept this command, as can
MMC devices. Some devices controlled using the P2 protocol can accept these commands, but some cannot, depending on the manufacturer’s implementation of the protocol.
The list of devices which are assigned to the DM-24 for control is set up in the following way:
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Press the
EXT CTRL
key (
SHIFT
indicator should not be lit) to bring up the main external control screen:
Initially, the list will be blank, but devices can be added as described here.
Note that this list is unconnected with the lists of machine and transport control devices described earlier in this section and refers to specific control capabilities of these devices, rather generic controls.
Move the cursor to the right column of the screen, and use the dial to scroll through the list of supported devices. When the desired device is highlighted, press the on-screen <ADD button to add it to the main list in the left part of the screen.
To obtain information on the selected device, press the INFO button for a pop-up message describing the connected device of the selected type.
As the device type is added to the external control list, the ID and the communication type (as described
in “STATE” on page 81 and “ID” on page 81) are
also detected and displayed. The devices available are:
DEVICE Screen name
DA-98HR DTRS recorder (“DA-98HR”
DA-78HR DTRS recorder (“DA-78HR”
DA-98 DTRS recorder (“DA-98” on page 91)
DA-38 DTRS recorder (“DA-38” on page 92)
DA-88 DTRS recorder (“DA-88” on page 92)
CONTROLLERS
Common MIDI Control Change
Parameters for a single MIDI channel
(“MIDI controllers” on page 93)
Faders control a MIDI Control Change
parameter on 16 channels (“MIDI faders” on page 93)
MIDI FADERS
DA-98HR internal submixer control
DA-98HRMixer
Up to eight devices may be added in this way. If an attempt is made to add more, a popup panel ( External
Control List Full ) appears. Press
ENTER
to dismiss this message.
In the case of MIDI devices (controllers and faders), the ID can be set to correspond to the MIDI channel
To delete a device from the active list, move the cursor to the left part of the screen so that the dial scrolls through the active list.
Turn the dial to highlight the device to be deleted, move the cursor to the on-screen DELETE button, and press
ENTER
.
To jump to the specific control screen for the selected device, highlight the device so that the cursor is by the JUMP button, and press
ENTER
.
Moving between screens
When an external screen is selected in this way, the bottom of the screen shows two buttons, accessed with soft keys 3 and 4.
These keys allow jumping between the different pages of the devices selected for external control in the main EXTERNAL CONTROL setup screen.
DTRS devices
Depending on the functionality of the DTRS unit
(DA-98HR, DA-78HR, DA-98, DA-88 or DA-38),
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11 – Machine Control/Location—DTRS devices
be carried out easily from the DM-24. Consult the documentation of your DTRS unit for full details of how these operations affect the unit.
It is essential the unit connected directly using the
DTRS REMOTE CONTROL
connection from the
DM-24 has an ID of 1 (0 in the case of DA-88s). It is suggested that the other units in the chain are numbered in order following this (but this is not essential). Remember that all chains of DTRS units should be terminated.
DA-98HR
This screen (accessed using soft keys 3 and 4) allows the remote control of the following parameters.
NOTE
When the DA-98HR is set to any sampling frequency other than the eight base-frequency track setting
(including dual-frequency or quad-frequency recording modes), the number of tracks shown on screen whose parameters are shown will differ from those shown here. In addition, some features are only available in the eight track mode. Consult your DA-98HR documentation for full details of some of these features.
DIGITAL INPUT
Use this to change between the
TDIF and AES/EBU inputs.
INPUT PATCH
The input patchbay can be viewed and set using this screen. Navigate around the matrix using the cursor keys.
OUTPUT PATCH
View and set the output patchbay using this part of the screen.
INPUT MONITOR
The individual track monitoring can be set and viewed with this part of the screen.
If the DTRS units are to be word clock slaves of the
DM-24, the dedicated word clock input of the DTRS unit connected directly to the DM-24 should be connected to the word clock sync output of the DM-24, and the clock source set to WORD. Subsequent units in the chain will receive their word clock information directly through the REMOTE connections, and do not require dedicated word clock connections.
Some specific information concerning the individual models in the range is provided here.
TRACK DELAY
Can be set individually, or together. Move the cursor to the appropriate row and use the appropriate PODs to set the individual track or POD 3 to set all values together, and confirm with the on-screen SET button.
Change between samples and milliseconds as the unit of measurement, using POD 4.
TIME MODE
Select between ABS and TC timing reference.
TC REC
Arm and unarm the timecode track using this on-screen button.
TC Generator
Start and stop the DA-98HR generator, as well as setting the start time. Individual hours, minutes, seconds and frames are set by navigating to the appropriate field.
Machine Offset
Set this value here. Individual hours, minutes, seconds and frames are set by navigating to the appropriate field.
PUNCH IN/OUT
Set the preroll and postroll values.
DITHER
Set the dither type to off, rectangular or triangular.
VARI SPEED
Can be set on or off, and the value changed to ±6.0% relative to the nominal pitch.
CLOCK
Choose between the different available clock sources for the DA-98HR: INT (internal),
VIDEO
,
SLOT
,
WORD
and the AES/EBU inputs. If the
AES/EBU inputs are selected, the pair to be used as the clock source can then be chosen.
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11 – Machine Control/Location—DTRS devices
DTRS mixer
In addition to the screen just described, there is an on-screen output mixer which controls the internal mixer of up to two DTRS units.
This is selected as a separate item in the list of devices to be controlled by the DM-24 ( DA-98HR
Mix ). If this item is not added to the list of controllable devices, it will not be possible to make these mixer settings described here, even if the appropriate
DTRS units have been added to the list of controllable devices.
See the DTRS documentation for full details of how the mixdown mode functions with each model.
If more than one DTRS unit has been displayed in this way, the screen is split into two, with two “top rows”, etc.
The
INPUT SELECT
section at the top of each halfscreen allows the assignment of sources to channels.
Use the cursor keys, dial, and
ENTER
key to change these assignments. For DA-78HR units, these can be selected as Track (
T
), Digital (
A
) or Analog (
A
) and for DA-98HR units, they can be Track ( T ), Digital ( D ) or Slot (
S
).
The on-screen
MIX DOWN
button controls the mixdown mode of the DTRS unit.
In the first row of each half-screen, POD 1 allows the setting of a master PAN value, with a
SET
button to confirm the setting for a scope set by POD 2 ( ALL ,
ODD
,
EVEN
,
1-8
and
9-16
).
Also in the first row, POD 3 is used to control the overall output master level for the first eight channels
(the first unit), and POD 4 does the same for the second eight channels (the second unit).
The PODs in the remaining rows of the half-screen are used to control the pan positions of the outputs.
The master layer faders and
MUTE
keys are used to control the DTRS mixer when this screen is active
(modules 1 through 8 control the first unit, and 9 through 16 control the second unit). While this is screen active, and the master layer is selected, the
MASTER
indicator flashes, as do the
MUTE
keys of the modules.
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11 – Machine Control/Location—DTRS devices
DA-78HR
This is very similar to the DA-98HR settings displayed above, except that the eight tracks are always available (since the DA-78HR always has eight tracks available). The main other difference is the inability of the DA-78HR to provide individual input monitoring selection on a per-track basis, and so this feature is not present in the control screen.
The digital input selection is between the TDIF1 inputs and the SPDIF input (2 channels only)
In addition, the clock sources which do not exist on the DA-78HR (video, AES/EBU and slot) are not available on this screen.
The internal mixers of up to two units can be controlled using another screen, in the same way as for the DA-98HR. In this case, the DTRS Mixer device must be added to the list of controllable devices. If this item is not added to the list of controllable devices, it will not be possible to make these mixer settings described here, even if the DA-78HR has been added to the list of controllable devices.
DA-98
The DA-98 includes many of the features of the two units above, but with the following differences:
Digital input can only be switched on and off.
Track copying can be enabled or disabled, and the track copy routing can be set using the screen. Use the cursor to navigate to the input ( IN ) or the tape ( TP ) row, and use the dial to make the assignments between tape and inputs.
The input monitor can be switched on a track-bytrack basis.
The three clock sources available are internal, word and video.
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11 – Machine Control/Location—DTRS devices
DA-38
The DA-38 does not include quite so many options as the DA-98.
Input monitoring is not possible, but track copying is available in the same way as for the DA-98.
Since the DA-38 does not include a timecode generator, the range of options available in the
TC/SYNC
section is more limited, being restricted only to setting the machine offset value.
The clock sources are restricted to internal and word.
DA-88
This provides the following facilities as shown on the screen here:
Similar to the DA-38, digital input can be switched on and off (that is, between analog and digital inputs).
The track delay time can be set individually, as well as a global setting. Use the PODs here to make the adjustment.
If an SY-88 card is fitted in the DA-88, the timecode settings can be made in the same way as for the DA-
98 timecode.
Punch preroll time only can be set (postroll cannot be set).
Clock source options are restricted to internal, video and word.
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11 – Machine Control/Location—MIDI controllers
MIDI controllers
The PODs of the DM-24 can be used to send MIDI
Control Change messages as described here.
The most common controllers are listed here, and the cursor keys and PODs are used to set the values of these controllers on the selected channel.
The selected channel is shown at the top of the screen, and is the same as the ID selected on the setup page.
Control Functions available in this screen are:
07
08
10
12
13
01
02
04
11
No.
Modulation
Breath
Foot
Expression
Ch.vol
Balance
Pan
Eff Ctrl
Eff Ctrl
Control Function
MIDI faders
In the MIDI faders screen, the master layer of the
DM-24 faders is used to control MIDI Control
Change values, on the same controller, for all sixteen
MIDI channels:
17
18
19
5
64
67
16
84
99
101
No.
Sustain
Soft
Gpc1
Gpc2
Gpc3
Gpc4
Porto Time
Porto Ctrl
Non Reg
Reg
Control Function
The MIDI Control Change number can be selected and set in this screen. As the example here shows, this may be used most often with MIDI volume
(Control Change 7) in order to provide an easy way of independently controlling the volume of up to 16
MIDI devices connected to the DM-24.
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11 – Machine Control/Location—MIDI faders
The MIDI faders may be used to control the following settings:
No.
Control Function No.
Control Function
03
04
05
06
00
01
02
Bank Select
Modulation
Breath Control
Undefined
Foot Controller
Portamento Time
Data entry MSB
07
08
09
10
Channel Volume
Balance
Undefined
Pan
11
12
Expression
Effect Control 1
13 Effect Control 2
14 - 15 Undefined
72
73
74
75
68
69
70
71
64
65
66
67
50
51
GP Controller 3 (LSB)
GP Controller 4 (LSB)
52 - 63 Undefined
Damper Pedal (sustain)
Portamento On / Off
Sostenuto
Soft Pedal
Legato Footswitch
Hold 2
Sound Variation
Harmonic Intensity
Release Time
Attack Time
Brightness
Sound Controller 6
39
40
41
42
35
36
37
38
16
17
18
19
GP Controller 1
GP Controller 2
GP Controller 3
GP Controller 4
20 - 31 Undefined
32 Bank Select (LSB)
33
34
Modulation (LSB)
Breath Control (LSB)
Foot Controller (LSB)
Portamento Time (LSB)
Data entry MSB (LSB)
Channel Volume (LSB)
Balance (LSB)
Undefined
Pan (LSB)
76
77
78
79
80
81
82
83
Undefined 84
85 - 90
91
92
93
94
95
96
Sound Controller 7
Sound Controller 8
Sound Controller 9
Sound Controller 10
GP Controller 5
GP Controller 6
GP Controller 7
GP Controller 8
Undefined
Effect 1 Depth
Effect 2 Tremolo
Effect 3 Chorus
Effect 4 Detune
Effect 5 Phaser
Data increment
43
44
Expression (LSB)
Effect Control 1
45 Effect Control 2
46 - 47 Undefined
48
49
GP Controller 1 (LSB)
GP Controller 2 (LSB)
97
98
99
100
Data decrement
Non-Registered LSB
Non-Registered MSB
Registered LSB
101 Registered MSB
102 - 119 Undefined
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TASCAM DM-24 Reference Manual
12 – MIDI
The DM-24 can be used for control of MIDI devices, as well as being controlled by them.
In the section on machine control, it is explained how the DM-24 can be used to control MIDI devices, using the PODs to transmit different common Con-
trol Change messages on a single channel (“MIDI controllers” on page 93) or using the faders to send
the same Control Change message on up to 16 differ-
ent MIDI channels (“MIDI faders” on page 93).
In the section on Machine Control, it is also explained how the DM-24 can be set up to use or ignore certain MIDI messages, as well as other MIDI
setup parameters (“General MIDI parameters” on page 84 and “MIDI filtering” on page 84).
The DM-24 can also be controlled by means of MIDI messages, etc. as well as being able to save and load library settings, etc. to and from MIDI bulk storage devices, by using System Exclusive bulk dump messages.
Bulk dumps
This provides a convenient way for you to store and recall the settings you make on the DM-24. Since most sequencer programs, etc. allow you to save such
System Exclusive dumps on floppy disks or other portable media, you can easily carry the settings for a project (including all the automated mix moves) between different facilities equipped with DM-24s.
In addition, if you have two DM-24 units side-byside, it is possible to use this facility to transfer settings from one unit to another.
In each case, the
MIDI OUT
of the DM-24 must be connected to the MIDI IN of the remote unit, and the
MIDI IN
of the DM-24 to the MIDI OUT of the remote unit.
Enter the MIDI BULK SEND/RECEIVE screen by pressing
MIDI/MC
key with the
SHIFT
indicator lit.
Then use soft key 3 to bring up this screen.
It is possible to save the library memories for snapshots, dynamics processors (gates and expanders, and compressors), the EQ library entries and the two internal effector entries. These can be saved as ALL entries in that library, or individually).
Automation data can also be stored in this way (individual banks or ALL ).
Other options are the Program Change table (“Program Change values” on page 84) and the Control
Change tables (“Control Change messages to and from the DM-24” on page 96) stored together as
CTRL/PGM Change Table .
The Machine Control Mappings, the external control
list and the location time memories (“Location memories” on page 85) can also be selected for MIDI
dump storage ( MC Map/EXT CTRL LIST/Locate Time ).
All system data can also be dumped in this way
( System Data All ).
Last on the list is the ALL option, where all the above options—the contents of all libraries as well as the other data described above (
ALL
), all the library entries of all the libraries, ( LIBRARY ) or all the library entries of all the libraries together with the automation data ( Library+Automation ) can be selected for dumping.
Bulk transfer of data from the DM-24
Prepare the other MIDI device to receive System
Exclusive bulk data.
Select the data to be transferred from the DM-24.
When the appropriate set of data to be dumped to the
MIDI device has been selected, move the cursor to the on-screen
BULK DUMP
button, and press
ENTER
.
A popup appears, giving the progress as a percentage as the data is transferred to the remote bulk device.
The dump process can be halted by pressing any of the cursor keys.
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12 – MIDI—Updating the system software
At the end of the dump, the popup display shows
Done!
and then disappears from the screen.
Bulk transfer of data to the DM-24
When the appropriate set of data to be dumped to the
MIDI device has been selected, move the cursor to the on-screen
BULK LOAD
button, and press
ENTER
.
A popup message appears, saying that the DM-24 is now ready to receive the selected data. At this point, a cursor key can be pressed to cancel the operation.
At this point, it is a good idea to check that important data which is needed and stored on the DM-24 will not be overwritten by the incoming data.
The bulk dump from the remote device should then be started. The receiving DM-24 shows that the start command has been received and when the data transfer is finished, this is also shown on the DM-24 screen.
NOTE
It is important that the data transfer from a remote device to the DM-24 is not interrupted while it is in progress. If only part of the data is transferred, there is a risk that the library contents, etc. will be corrupted and become unusable.
Updating the system software
This is a special case of bulk data transfer. Periodically, TASCAM makes upgrades to the DM-24 available through your TASCAM dealer. Consult your dealer, or the TASCAM Web site, for details of these upgrades.
The software is provided in the form of a standard
MIDI file which must be dumped if it was a song being played from a MIDI sequencer to the DM-24.
To update the system software:
1 Turn off all audio devices connected to the
DM-24. As the DM-24 resets itself after the software has been updated, this may cause unwanted “thumps”, etc. in the audio chain.
2 Connect the
MIDI IN
of the DM-24 to the
OUT of the remote device.
3 On the
BULK
screen, move the cursor to the
PROGRAM VERSION UPDATE
[
READY
] button and press
ENTER
.
A popup message appears. The update procedure can be cancelled at this stage by pressing a cursor key.
4 Start the “playback” from the remote device.
The screen shows that a MIDI file dump is taking place and what data is currently being transferred. It provides an indication of the transfer process by blinking.
WARNING
It is MOST IMPORTANT that you do not turn off the power or otherwise interrupt the transfer of data while a system update is taking place. If the transfer in interrupted, it is almost certain that the DM-24 will be unusable.
The DM-24 resets itself when the data has been transferred successfully. After the reset, the other audio devices can be turned on again.
Control Change messages to and from the DM-24
As well as being able to send Control Change mes-
sages (as described in “MIDI controllers” on page 93), the DM-24 is also able to send and accept
Control Change messages to and from a MIDI device using the audio faders, pan settings and
MUTE
keys of the channels, and the faders and
MUTE
keys of the master channels.
Although the Control Change messages received do not provide full remote control of the DM-24, this does allow for some useful functions.
For example, a sequencer can be used to mute and un-mute channels precisely in sync with the musical timing of a piece, rather than by timecode values.
The Control Change messages transmitted in this way can also be used to make settings on remote
MIDI devices in time with fader movements, etc.
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12 – MIDI—Control Change messages to and from the DM-24
To access this facility, use the CTRL. CHANGE (Control
Change) screen of the MIDI/MC group, with the fourth soft key providing access to this screen:
If two channels have been linked, the even-numbered channel of the pair is represented by upward-pointing arrows, and no assignment can be made to it, since it will use the assignment of the odd-numbered member of the pair.
If a MIDI Channel/Control Change combination has already been used, a popup message appears ( MIDI
Chx [Control No. y] is already assigned.
). Press
ENTER
to dismiss this popup message.
The above assignments apply to the first three options: Ch. Fader (fader), Ch. Pan (pan) and Ch. Mute
(mute). For the other options, the situation changes a little:
Use POD 4 to choose the option that will be affected by the selected Control Change numbers.
Since there are 32 channels and only 16 MIDI channels, there must be some mapping performed. It is not possible, for example, to use the MIDI volume
Control Change (07) to affect the fader values of all
32 channels of the DM-24.
As shown here, each target (channel and value) is associated with both a MIDI channel and a MIDI
Control Change number. These are edited using the cursor keys, dial and
ENTER
key.
NOTE
The following Control Changes are not available for use with this function: 0, 6, 32, 38, and 96 through 127.
If the Master option is selected, the fader values and mute settings for the buss and for the aux sends are displayed, as well as the main STEREO fader value.
Assign MIDI channels and Control Change numbers to these parameters.
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12 – MIDI—MIDI Implementation Chart
MIDI Implementation Chart
TEAC [Digital Mixer]
Model:DM-24 MIDI Implementation Chart
DATE : 25 June, :2001
Version : 1.0
Basic
Channel
Mode
Note
Number
Velocity
After
Touch
Pitch Bend
Control
Change
Prog
Function
Default
Changed
Default
Messages
Altered
True Voice
Note On
Note Off
Key’s
Ch’s
1-5, 7-31, 64-95
0, 6, 32-63-96-119
1-2, 4-5, 7-8, 10-13, 16-19
64, 67, 84, 99, 101
0, 3, 6, 9, 14-15, 20-63
65-66, 68-83, 85-98, 100
102-119
0-119
O x
O
O x x x x x x x x x x
O x x x
1-16
1-16 x x
************ x x x
************
O
O (1-127)
************
O
O (*1) x
Transmitted Recognized
x x x x x x x
1-16
1-16 x x
O x x x
O
O (1-127)
************
O
O x
O
O x x x x x x x x
O
O (*1)
Memorized
Assignable *1, *a
*b
*c
Assignable, *1, *b
Remarks
System Exclusive
Common MTC Quarter Frame
Song Pos
Song Sel
Tune
System
Real Time
Clock
Commands
Aux
Messages
Local ON/OFF
All Notes OFF
Active Sense
Reset
*1, *3
*1
*a.Capable of being enabled or disabled
*b.Snapshot, Effect1, Effect2
*c.Bulk Dump (MFD Header, MFD Data Packet, MFD EOF) MMC, MTC Full Message, Device Enquiry
*a.Fader, mute, pan effect settings with the Control Change on the MIDI screen
*b.Usable with the MIDI Controllers display
*c: Usable with the MIDI Faders display
MODE 1: OMNI ON, POLY
MODE 3: OMNI OFF, POLY
MODE 2: OMNI ON, MONO
MODE 4: OMNI OFF, MONO
O:Yes x: No
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13 – Library functions
The DM-24 allows storage of commonly-used settings in libraries.
The settings that can be stored are:
• Snapshots
• EQ settings
• Internal effector settings (separate groups for effectors 1 and 2)
• Internal dynamics processor settings (both compressor and gate/expander)
• Automation data
The procedure for working with all of these libraries is very similar (except for the automation library,
Library concepts
Each library contains a number of different locations as follows:
Library
Snapshots
EQ
Effect 1 (P1)
Effect 2 (P2)
User effect library (U1)
Compressor
Gate/Expander
Automation
Total locations
Read-only locations
128
128
128
7
100
128
128
128
1
20
128
128
0
18
2
–
In most of the libraries, several locations are reserved as read-only, with the settings in these locations being set up containing useful pre-set values.
The effect libraries are divided into two types: preset
(
P
), where none of the locations can be overwritten, and a user library ( U ), where all locations can be use for storing user settings. See the separate effects manual for further details.
Managing library entries
Library entries can be stored, recalled and edited
(including the addition of meaningful alphanumeric names).
Storing active library entries
When a library has been set as the active library, with direct key operation enabled, storing the current setting of that library is carried out in the following way from other screens: which has various different features and is explained in the automation manual).
For all the libraries, practically all the administration can be carried out from a single screen.
The dedicated
LIBRARY
keys (
–
,
+
,
RECALL
and
STORE
) to the immediate left of the display do not work with the automation data. As explained in
“LIBRARY DIRECT KEY OPERATION” on page 20, these keys can be set up to work with any of
the libraries above except for the automation data.
If we make reference to the library which is selected for use with the dedicated keys in this way, we refer to it as the active library.
On the screen, a read-only location is displayed with an inverse R (as is snapshot 000 in the screen below):
Use these read-only settings “as-is” as presets, or use them as starting points for experimentation.
If you try to store your own settings to any of these read-only entries, an appropriate popup error message appears.
1
Use the + and – keys to the left of the display to change the library entry number shown at the top of the screen.
2 Press the
STORE
key below the
+
and
–
keys to store the current settings to the library.
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13 – Library functions—Managing library entries
If the currently-selected entry is read-only
(the inverse
R
is shown), an appropriate error message is displayed and the data is not stored.
If data already exists in the library entry, a popup message appears to show that data is already there and will be overwritten.
3 In the case of overwriting an existing entry, press ENTER to overwrite the entry, or any of the cursor keys to cancel the operation.
Storing entries in a non-active library
When a library has not been set as active, the dedicated library screen must be used.
1 With the
SHIFT
indicator off, press
LIBRARY
(key
7
on the numeric keypad). The screen corresponding to the last library used appears.
2 To change the library, press soft key 1 so that a pull-up menu containing the different libraries appears. Turn POD 1 to highlight the library that is to store the data, and press
ENTER
.
The screen changes depending on the selected library, as a “preview” of the selected entry is shown, and the way in which this preview is displayed changes according to the library.
3 Use POD 4 to scroll up and down through the list of entries. Read-only entries are marked, and entries which contain data are titled.
4 When the entry where the current data is to be stored is highlighted, press the second soft key (
STORE
) or the dedicated
STORE
key.
If the currently-select entry is read-only (the inverse
R
is shown), an appropriate error message is displayed and the data is not stored.
If data already exists in the library entry, a popup message appears to show that data is already there and will be overwritten.
5 Overwrite existing entries using the
ENTER key.
6 When a library entry is to be stored, it must be named. See below for details of naming entries.
Loading entries from an active library
When a library has been made active, you can recall entries in the library from almost any screen.
1 Use the
+
and
–
keys to the left of the display to change the library entry number shown at the top of the screen.
2
Press the RECALL key below the + and – keys to recall the library entry and overwrite the current settings.
If there is no data in the library entry, a popup message appears to show this, and no data is recalled.
NOTE
Recalling library entries, especially if you are unsure of the contents of the entry, may result in unexpected changes of volume. Be prepared for this, and turn down the monitoring system to avoid damage to your ears
(and the monitoring equipment) if you feel that this may be a problem.
Loading entries from a non-active library
1
With the SHIFT indicator off, press LIBRARY
(key
7
on the numeric keypad). The screen corresponding to the last library used appears.
2
To change the library, press soft key 1 so that a pull-up menu containing the different libraries appears. Turn POD 1 to highlight the library that is to store the data, and press
ENTER
.
The screen changes depending on the selected library, as a “preview” of the selected entry is shown, and the way in which this preview is displayed changes according to the library.
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13 – Library functions—Managing library entries
3
Use POD 4 to scroll through the list of entries in the library.
4
Press soft key 4 or the dedicated RECALL key to recall the entry.
Library undo/redo
When library entries are recalled (“Library functions” on page 99), the
2ND F.
key pressed together with the
RECALL
key acts as an undo key, allowing
Setting and editing titles
The DM-24 provides titling facilities for the library entries. These are available when an entry is first stored, or when the EDIT soft key (3) is pressed from the library screen.
Library entries may have a name consisting of up to
16 characters.
If there is no data in the library entry, a popup message appears to show this, and no data is recalled.
the recently recalled library setting to be compared with the previously-loaded library setting.
Use POD 4 to scroll through the list of library entries.
When a library entry is stored it is given a default name (for instance FROM CH12 would be used to describe an EQ setting which had been saved from the current settings on channel 12).
If the entry highlighted in the list at the right of the screen already has a name which is to be edited, use the dial to pick the ÄNAME special command and press
ENTER
. This copies the entry name to the name editing area.
Use the cursor keys to navigate the cursor around the name editing area on the left of the screen.
Pick letters and symbols from the list below the name editing area. Press
ENTER
to insert the highlighted symbol into the name editing area.
It is also possible to use the
SCREEN MODE
/
NUMERIC ENTRY
keys to enter numbers directly into the title.
Use the special commands as follows:
INSERT – inserts a space at the cursor position
DELETE – deletes the character at the cursor position
<-NAME – as explained above, this copies the existing name of the highlighted data entry to the name editing area.
NAME-> – this copies the edited name to the highlighted entry in the list at the right of the screen.
Xtion-> and <-Xtion – snapshots only. This is not part of the name, but represents the transition time to load a snapshot. This is edited using POD 2 and can be set from 0.0 seconds to 9.9 seconds, in 0.1 second intervals. Use these two on-screen options to move the transition time from and to the editing area, respectively.
When the name is edited, use the STORE soft key (2) to store the name (and the transition time in the case of snapshots). Note that this does not store the snapshot, but only the name, etc.
Use the CANCEL soft key (3) to cancel the name editing operation.
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13 – Library functions—Libraries—snapshots
Libraries—snapshots
There are a few items regarding the snapshot library which should be noted:
The snapshot library screen includes a picture of the faders, together with pan/balance settings and mute settings.
Protecting snapshot settings
It is possible to protect various aspects of the setup, to prevent the recalled snapshot from overwriting them. This means that only the “important” parts of a snapshot can be used—for example, the I/O and buss assignments can be retained and not overwritten by the snapshot.
I/O SEL / BUSS ASSIGN
If this is checked, it
settings.
Snapshot “neutral” setting
The snapshot read-only entry is a “neutral” setting.
All faders are set to nominal levels, and pan controls are set to center, etc.
Specifically
Item Value
EQ switch ON
EQ gain (all bands) 0dB
EQ frequency (LO/LM/LH/HI) 99 Hz/1 kHz/4 kHz/10.1 kHz
EQ Q (LO/LM/LH/HI)
Fader level
L.SHELF/8.65/8.65/H.SHELF
0dB
Cut
Aux send levels (all)
OFF
–
∞
Aux pre/post (Aux 1,2 only) POST
However, the snapshot itself comprises more than
As the list on the right of the screen is scrolled using
POD 4, the snapshot image on the right changes to show the setting stored in that entry.
The snapshot image on the left shows the current data.
As well as the snapshot name itself, the entry also stores whether the snapshot was made at high (96k or
88.2k) or normal sampling frequency.
NOTE
It is not possible to recall a snapshot made at a high sampling frequency when the DM-24 is in normal sampling frequency mode, or the other way round.
The transition time is also displayed (in seconds).
See above for how to set and store this time.
GROUPING
If this is checked, when the snapshot is recalled, the mute and fader groupings are retained.
OTHER
If this is checked, other settings will be retained when a snapshot is recalled.
NOTE
If all these boxes are checked, no settings will be changed when a snapshot is recalled.
Item
Aux ON/OFF
Pan/BAL
Image width
MONO switch
Surround L-R
Surround F-R
Surround L-R Div
Surround F-R Div
SUB level
Aux master levels
Aux master link
Aux master cut
Buss level
Value
ON
CENTER
STEREO100%
STEREO
CENTER
F45
100%
100%
0dB
0dB
OFF
OFF
0dB
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Item Value
Buss links OFF
Buss cuts
Dynamics on/off
Dynamics type
OFF
OFF
COMP
Dynamics parameters
THRESH/RATIO/ATTACK/
RELEASE/OUTGAIN/AUTO-
MAKEUP
0dB/ –
∞:
1 /5ms/5ms/0dB/OFF
Dynamics links OFF (except for ST IN 1 and 2)
Dynamics trigger (not shown
BOTH as link is off)
Effect in
Link
0dB
OFF
Pad level
Phase switch
Pan gang
Sample delay
0dB
Normal
OFF
0sample
Delay switch
Buss assignments
OFF
No Assign
Stereo/direct assignments (St:ON)/(Dout:OFF)
Surround assignments (Srnd:ON)/(Sub:OFF)
Cut group
Fader group
Snapshot name
No Assign
No Assign
INITIAL-DATA
Libraries—effects
When the internal effect library is selected, the screen display changes as shown below:
This differs from the other libraries, because it is possible to access four different sub-libraries from a single screen.
The settings for the current and the library entry data effector are displayed on the left and the right of the screen respectively. In addition, the current effector setting (either 1 or 2, as determined by the currentlyselected sub-library) also shows the input to and the output from the effector.
The sub-libraries are:
• Preset entries for effect 1 ( P1 )
• Preset entries for effect 2 ( P2 )
• User entries ( U1 )
To change the sub-library:
1
Use the cursor keys to select the sub-library.
2 Press the
ENTER
key to select the sublibrary.
Use the normal procedures to store, recall and name the effector entries.
Preset entries can be recalled, and then edited and stored in the user sub-library.
Obviously, read-only preset entries cannot be overwritten by user entries.
In addition to the name of the entries stored in the library, the type of effect is also shown beside the name. This type is automatically entered when the
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13 – Library functions—Libraries—dynamics processors
See the separate effects manual for further details.
effect is stored, and cannot be changed or edited in any way.
Libraries—dynamics processors
There are two separate sets of dynamics processor, which are very similar to each other in terms of operation, and so are described together here:
The first is the compressor set:
The other set is the expander/gate set:
These two sets differ only in the fact that the parameters for these dynamics processors vary, and accordingly the screen display of the current settings and the library entries reflect this.
It is not possible to store a compressor setting into the expander/gate library, or the other way round.
However, expanders and gates may be mixed in the expander/gate library.
The type of dynamics processor which is stored is shown to the right of the title in the list. This cannot be edited or changed.
The store, recall and edit functions are as described
earlier in this section (“Managing library entries” on page 99).
Preset dynamics entries—compressors
The titles of these compressor preset settings are intended to give an idea of the kind of signal for which they have been designed. However, this is only a guide, and you should experiment with these set-
Title Number
000
001
002
003
004
Snare drum
Slap Bass
Wood Bass
Synth. Bass 1
Synth. Bass 2 tings, and variations of these settings, in different contexts in order to discover the best sounds for your purposes.
Comment
Sampled snare drum setting
Suitable for slap bass sounds
Suitable for upright plucked double bass
For synth bass sounds
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Number
009
010
011
012
005
006
007
008
013
014
015
016
017
Acoustic Guitar
Ele. Guitar 1
Ele. Guitar 2
Ele. Guitar 3
Brass
Vocal 1
Vocal 2
Total Comp 1
Total Comp 2
Total Comp 3
Post Pro.1
Post Pro.2
Narration
Title
Preset dynamics entries—gates
Two noise gates are provided as starting points for experimentation:
Title Number
000
001
Snare drum
Slap Bass
Libraries—EQ
The EQ library provides preset and user settings.
13 – Library functions—Libraries—EQ
Comment
Acoustic guitar compression
For electric guitars
For brass sections
For vocals
Overall “blanket” compression settings
Useful in post-production work
Useful setting when recording narrations
Comment
Sampled snare drum setting
Suitable for slap bass sounds
As well as the graphical representation of the equalization curve for both the current settings and the library entry, the numerical values of the gain, frequency and Q for each of the four frequency bands are displayed.
In addition, a small icon beside each band’s figures indicates whether the EQ band has been configured as a shelving, peaking, notch or LPF or HPF filter.
Storing, editing and naming, and recall operations
are all as described in “Managing library entries” on page 99.
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13 – Library functions—Libraries—EQ
Preset EQ entries
The following are provided for use, and also as starting points for experimentation and creating original
EQ settings
Title Number
14
15
12
13
10
11
08
09
18
19
16
17
06
07
04
05
02
03
00
01
Snare Drum
Bass Drum
Sample Snare Dr.
Sample Bass Dr.
Wood Bass
Synth. Bass 1
Synth. Bass 2
Acoustic Guitar
Ele. Guitar 1
Ele. Guitar 2
Ele. Guitar 3
Violins & Violas
Cello & C.Bass
Brass
Piano
Pad fits to VOX
Vocal 1
Vocal 2
Hum Cancel
Radio Voice
Comment
Suitable for a snare drum
Suitable for kick (bass) drum
EQ for a sampled snare sound
For a sampled kick (bass) drum sound
Upright plucked double bass
For synth bass sounds
Suitable for acoustic guitars
For electric guitars
For the upper instruments in a string ensemble
For the lower instruments in a string ensemble
For brass sections
Acoustic piano setting—starting point for experimentation
For “pad” sounds to match vocals
Vocal EQ starting points
Elimination of AC (mains) noise
“Squawk-box” vocal setting
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14 – Surround operations
In addition to normal stereo operations, the DM-24 is also capable of producing surround mixes in a variety of formats.
Because the DM-24 is capable of mixing to several different surround modes, some of the operations and display screens are slightly different from the “normal”, stereo mode, as explained here.
Selecting a surround mode
This selection is made through the PAN/BAL
SURROUND MODE screen:
1
Make sure the SHIFT indicator is off, and press the
PAN/BAL SURROUND
key until the following screen is shown (or press soft key
1):
Some of these operations are also explained in other parts of the manual, but are gathered here for easy reference.
In all cases where a surround mode is selected, the output busses are used to control the levels of the signals sent to the different channels of the surround matrix.
2
Use the cursor keys and the ENTER key to highlight and select the stereo mode or a surround mode from the following:
STEREO One left and one right speaker, output through the stereo output buss
2 + 2 One front left speaker and one front right speaker, with a pair of rear speakers (left and right)
3 + 1
5 . 1
A pair of front left and right speakers, together with a front center speaker and a center rear speaker
A pair of front left and front right speakers, with a front center speaker. A pair of rear left and rear right speakers is also provided, as is a sub channel (typically placed front center)
A popup screen appears, allowing you to confirm the new setting, or cancel it.
A plan view of the speaker layout is shown on the display screen.
Note that in the 5.1 screen, the two rear speakers can be selected as a single mono output.
Monitoring surround patterns
The output busses are used to control the levels of signals sent to the surround matrix channels. In this context, they can be regarded as master “surround pan” controls.
For monitoring, therefore, it is necessary to have an analog output for each output buss used. This is most easily achieved using the analog I/O slot card (IF-
AN/DM). This allows easy connection of an analog multi-channel monitoring system to the DM-24.
The assignment of the busses to the channels is shown by a number beside the representation of the on-screen speakers.
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14 – Surround operations—Assigning modules
Selecting a buss pattern
The surround buss assignments below each surround mode type allow the assignment of different buss patterns to the surround channels. Where a channel does not exist as part of a surround mode pattern, it is represented by a dash (–).
Output buss used for:
2+2
3+1
1
2
3
3
4
1
2
1
1
1
1
1
1
1
3
2
2
— 2
— 3
— 4
— 2
2
3
4
2
4
3
2
— 4
— 4
— 3
— 4
— 4
— 3
— 3
— —
— —
— —
—
—
—
—
Output buss used for:
5.1
3
4
5
1
2
1
1
1
1
1
2
5
2
3
3
3
2
3
5
2
4
3
5
2
5
— 4
— 6
— 5
— 4
— 4
This facility allows the selection of a fader pattern that suits your individual way of working or allows your surround to correspond to the surround buss assignments of another piece of equipment in the system.
6
6
6
6
4
Assigning modules
When a surround mode has been selected, the ASSIGN
BUSS screen changes so that the usual buss assignments are not shown, but the modules are now assignable to the surround channels:
The screen below shows the 2+2 surround assignment settings
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The screen below shows the 3 + 1 surround assignment settings.
The following screen shows the 5.1 surround assignment settings.
In these screens, the four buss pairs are replaced by buttons representing the front and rear pairs of speakers ( SRND ) and the center speaker ( C ) for the 3 + 1 and 5.1 modes. The 5.1 mode also includes a buss for the sub-woofer or “boom” speaker ( B-M) .
The channel can also be output through the usual stereo buss ( ST ).
As in the usual assignment procedure, channels 1 through 16 are also capable of direct output.
Use the
SEL
keys and cursor keys to select the channel, and POD 4 to select the output channel, and make and un-make assignments to the channels using the
ENTER
key.
Soft keys 1 and 2 are used for on-screen buttons, allowing all channels to be assigned to or de-assigned from the routing selected by POD 4.
“Pan” controls
The concept of panning does not apply to surround mixes as it does to stereo mixes.
Accordingly, when a surround mode is selected, the
MODULE screen shows the pan control only for the left-right pan setting.
To make other surround settings, use the SURROUND screen.
This screen is accessed by pressing the
PAN/BAL –
SURROUND
key. Instead of a global screen showing all modules, the surround screen for the currentlyselected module and one other module is shown.
If a pair of modules has been linked as a stereo pair, the stereo linking does not apply to the surround set-
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14 – Surround operations—“Pan” controls
tings—each module’s (or channel’s) position in the surround image is set independently. However, the fact that these modules have been linked is shown by a & following the module number at the top of the screen.
To change the module to be edited, use the
SEL
key of the channel to be edited.
Each channel is shown as a “dot” cursor on a plan of the current surround mode.
The crossing point of the cursor (i.e. the position of the module signal in the surround mix) can be changed with the knobs of POD 1 and POD 3 (these adjust the left/right position for the odd and even modules) and the knobs of PODs 2 and 4 are used to adjust the position from front to rear. These adjustments are made when the row cursor is highlighting the top row on the screen.
Global boom levels (5.1 only)
In addition to the individual levels which may be set for the bass speaker ( BOOM ), there is a global page which allows this level to be viewed and edited for all channels simultaneously:
For the left/right settings, there are 201 steps, so the left/right setting goes from L through L99 through C
(center) through R99 to R . The front/rear settings go from F50 through C (center) to R50 .
There is another parameter, which determines the amount of the total “sound-stage”, taken from the center position, within which the module signal can be positioned. This is set using the second row of onscreen PODs.
The values here are set in 4 steps: 25% (the most tightly focussed, almost a point source near the center), through 50% and 75% to 100% (the whole of the sound-stage is available).
Using these parameters, it is therefore possible to set the position of a signal precisely or loosely in either dimension.
Note also the “bar-graphs” (not meters) by each onscreen speaker, which give an indication of the relative level of the signal to each of the output channels in the surround matrix.
In addition to these positioning controls, in the 5.1 surround mode the sub-woofer level ( BOOM ) may be set with the knobs of PODs 1 and 3 using the bottom on-screen row of PODs.
Pods 2 and 4 of this row are used to move the signal source diagonally within the surround area (equivalent to turning the L-R and F-R pan controls simultaneously). The diagonal angle is set using the onscreen buttons.
NOTE
This screen is only available in 5.1 mode, as it only has any meaning in this mode.
1
While in the
SURROUND
screen, press soft key
3 to bring up the boom level display.
2
Use the cursor keys to select groups of four channels.
3
Use the PODs to edit the levels of the four selected channels.
To set the levels of many channels together:
1 Move the cursor to the bottom row of the screen.
2 Use POD 2 to change the selection group between
ALL
(all channels),
ODD
(odd-numbered channels),
EVEN
(even-numbered chan-
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nels),
1-8
,
9-16
,
17-24
,
25-32
(blocks of eight channels).
3
Use POD 1 to set the level for the selected group.
4
Move the cursor to the on-screen
SET
button, and press
ENTER
.
After making a “global” setting in this way, use the cursor keys and PODs to trim the individual channel levels as desired.
It is also possible to use the faders to control the boom level (use the BOOM LEVEL FADER CONTROL button at the top of the screen, and the faders as
described in “Using the faders to change values” on page 14.
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15 – High sampling frequency
The way in which the DM-24 operates in high sam-
pling frequency mode (88.2k and 96k) is slightly different in many cases to the operation in normal sampling frequency mode (44.1k and 48k).
This section describes the differences between high sampling frequency mode and normal sampling frequency mode.
To select high sampling frequency
Use the
DIGITAL
key (
SHIFT
and
AUX 5-6
), and choose the CLOCK screen.
The high sampling frequency can be obtained internally, when the DM-24 acts as the word sync clock for the whole of the audio system, or the DM-24 can act as a word sync slave, taking word sync from other suitably-equipped devices.
At the top of this screen is the Hi-sampling / Normalsampling pair of on-screen radio buttons.
Select the Hi-sampling button and press
ENTER
.
Changing from normal to high sampling frequency mode, and the other way round brings up a pop-up message which asks for the DM-24 to be turned off and on again.
The sampling frequencies displayed on the screen as available for use change, as shown here.
NOTE
If other devices are not connected properly, this may cause noise in the monitoring system when the DM-24 restarts. Make sure that all monitoring equipment levels are turned down (or the monitoring equipment is turned off) when making these changes.
When the high sampling frequency mode is selected, many of the control screens change as explained in this section.
The word sync output from the DM-24 can be set to be DOUBLE or NORMAL speed in high sampling frequency mode. This may be necessary if the DM-24 is to act as a word sync master to another device that cannot accept double-speed word sync.
NOTE
The DM-24 itself can only accept normal-speed word sync when it is in high sampling frequency mode.
Constraints on other devices
When using the DM-24 is high sampling frequency mode, other digital audio devices must be compatible with this mode (that is, they must be capable of accepting and/or transmitting digital audio data at these high sampling frequencies.
Such devices are the TASCAM DA-98HR and the
TASCAM MX-2424.
When connecting to other devices via AES/EBU connections made using the optional AES3 slot card, there are some important points to be noted.
The SLOT screen of the DIGITAL display shows this:
There are two ways in which AES/EBU data can be sent at high frequencies.
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15 – High sampling frequency—Channels, etc.
DUAL-LINE is a “parallel” method, in which a pair of
AES/EBU cables send two channels of high sampling frequency audio data.
HIGH-SPEED uses one AES/EBU cable to send two channels of audio data at twice the standard data rate.
In this screen, the output format of the four AES/
EBU input streams available to the DM-24 can be selected to be either high-speed or dual-line, depending on the capabilities of the other equipment connected to the DM-24.
This choice also applies to devices connected to the
DIGITAL IN
and
DIGITAL OUT
ports of the DM-24, as shown here.
The high sampling frequency format of
DIGITAL IN
and
OUT 1
and
2
must be altered together (they cannot be set independently) and the MODE choice (at the top of the screen, highlighted here) is either NORMAL ,
DUAL-LINE or HIGH-SPEED .
NOTE
These settings can also be made in normal sampling frequency mode, but the frequency conversion must be set to in for this to apply.
Channels, etc.
When high sampling frequency has been selected, the number of channels available is halved, from 32 to 16.
The first sixteen physical faders 1 through 16 are used for this purpose. The fader layer 17-32 has no meaning in the high sampling-frequency mode.
Twelve channels are available for mic/line input, and a further four for channel input.
The number of aux sends is also reduced, from 6 to 4.
However, the number of busses is unchanged at 8.
Also note that the number of AES/EBU channels available on any installed slot cards is now halved.
The number of onboard compressors and dynamics processors, etc. is also reduced.
However, the functionality of the components that make up the modules (EQ, etc.) is not impaired or reduced.
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15 – High sampling frequency—Channels, etc.
High sampling frequency I/O
The following explains how the I/O assignments are changed when high sampling frequency is selected.
groups. The eight output busses are therefore split between two groups (the first four going to the first group selected, and the second four to the second group). The number of direct outputs is also reduced in this mode, from 16 to 8.
Instead of being divided into groups of eight, as in
shown in the figure above.
Eight channels are shown on screen at one time.
The second group of eight channels (the second four of which cannot accept signals from the mic/line inputs) is shown here:
Finally, the screen in which the assignable sends are used in high frequency sampling mode differs slightly from the usual:
Note how the usual eight channels of the TDIF connectors are reduced to four in this mode.
The output screen changes as shown here, as only four output channels are available on each output
There are only two assignable sends and returns (the physical connectors used here are 1 and 2).
Only two channels of master compressors are available in high sampling frequency.
In other respects, this screen operates in the same way as its normal sampling frequency counterpart.
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15 – High sampling frequency—Monitoring
Monitoring
The monitoring system in this mode is very similar to the normal mode:
The difference is in the choice of the destinations for the oscillator and the talkback slate (there are only four aux sends available for the destination). See
operations.
Aux sends
Since there are only four aux sends, the aux send screens change. For instance, the module Aux screen is slightly “stripped down” to show only four Aux sends.
When the
AUX 5-6
key is pressed and the DM-24 is in high sampling frequency mode, the key has no effect.
When either
AUX 1-2
or
AUX 3-4
is pressed, only sixteen channels are shown on screen.
Channel stereo linking
When the DM-24 is in high sampling frequency
screen:
As can be seen here, there are only 16 channels available, and four aux sends.
Links are made and unmade in the same way as in normal sampling frequency mode.
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15 – High sampling frequency—Grouping
Grouping
Mute and fader groups are displayed also slightly differently on account of the reduced number of channels, as shown here:
The mute grouping is shown here, but the fader grouping is almost identical.
When the change is made between high sampling frequency and normal sampling frequency modes, the console reverts to “neutral settings” and the current groupings are no longer valid.
For details of how to operate these facilities, see
Trim and delay
The trim screen shows 16 channels, and the delay screen shows 12 channels, rather than 32.
Also, note that the range for delay times remains the same, even though the sampling frequency is different.
Libraries
Because of the different configuration of the DM-24 in normal and high sampling frequency modes, it is not possible to use a normal frequency snapshot in high sampling frequency mode, or the other way round.
Snapshot library entries are marked with an Hs (high sampling) or Ns (normal sampling) beside their names in the list of library entries on the library screen.
An appropriate popup message is displayed if an attempt is made to load a different kind of snapshot library entry, and the load fails.
However, note that it is possible to store dynamics processor, effects and equalization library entries in one sampling frequency mode, and recall them for use in the other mode.
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15 – High sampling frequency—Other screens
Other screens
Throughout the operation of the DM-24, whenever a normal sampling frequency screen displays 32 channels, or provides facilities for 32 channels, in highfrequency mode this will be halved to 16.
Also, since there are only four aux sends available in high sampling frequency mode, all screens which refer to the aux channels (such as the one below) reflect this.
For example, in this screen, the meter layer cannot follow channels 17 through 32 (they do not exist) and therefore the option is not available.
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16 – Options
The DM-24 can be expanded by means of cards (one or two) installed in the expansion slots.
WARNING
Regarding installation, consult your nearest TASCAM dealer.
Do not install options by yourself which require opening the DM-24 or you will lose your warranty.
You will need a cross-head (Phillips) screwdriver.
1 Turn off the DM-24 and disconnect it from the power supply. Disconnect all other equipment connected to it.
WARNING
The above step is most important. If you do not do this, there is a risk that you may cause damage to the DM-24 as well as other equipment.
2 Use the screwdriver to remove the blanking panel from the slot into which you will fit the interface card. Keep the retaining screws in a safe place.
We suggest that you start from the top slot
(slot 1) and work downwards. Take care, if you are removing a previously-fitted interface card, that you are removing the retaining screws, and not the smaller screws which fix the card to the rear plate. Also, if you are removing a previously-fitted card, use the binding posts on the rear plate to help remove the card.
3 Remove the interface card from the antistatic protective bag.
4 Hold the card by the edges, and insert it, component side upwards, into the slot.
5 Locate the card into the connector inside the
DM-24. Push the card firmly, without forcing, so that the connector grips the end of the card. A new DM-24 and/or new card may be a little stiff. Make sure that the card is pushed as far as it will go (so that the card rear connector plate touches the rear panel of the DM-24).
The cards available for the DM-24 are:
• Cascade card
• TDIF card
• ADAT card
• AES/EBU card
• Analog I/O card
The setting up of these cards is done using the SLOT screen of the DIGITAL display.
This screen is split into two: the left half of the screen represents the card in slot 1 (the top slot) and the right represents the card in slot 2 (the lower slot). If either or both of these slots are unoccupied, the screen shows No Card for the appropriate slot(s).
Clock sources
Any cards which provide digital audio input facilities
(that is, the cascade card, the TDIF card, the ADAT card and the AES/EBU card), can be used as clock sources.
The cards are listed in the CLOCK screen when they are fitted.
In the case of the AES/EBU card, any of the four inputs (two in the case of high sampling frequency) can be selected as the word sync source.
Cascade slaves automatically take their clock from the master (which is free to take it from any other source).
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16 – Options—Cascade card
Cascade card
This card allows the connection of two DM-24 units to increase the number of channels, etc. available. A cascade card must be fitted in slot 1 of each unit to be cascaded.
In a cascade chain, one unit is designated as the mas-
ter unit, and the other as a slave. The master unit must always act as the word sync master for the cascade chain (though it can act as a word sync slave in the overall audio system).
There is one connection to be made between the two units. This connection must be made between the cascade cards with the power off on both units. It carries all appropriate audio signals as well as the sync signals and control signals.
Only use a TASCAM cascade cable designed and produced for this purpose when making this connection.
Setting up the cascade
When the connection between the two cascade cards has been made, turn on the slave unit, followed by the master unit. Wait until the fader calibration is ended, and then go to the SLOT screen (soft key 3 in the
DIGITAL
screens) on the DM-24 which will be used as the slave.
The cascade card is identified as CASCADE Card at the top of the slot 1 section of the screen:
This effectively gives you one double-sized DM-24 mixing console, with the following features:
• 32 mic/line inputs
• 64 channels
• 48 TDIF I/O channels
• 16 lightpipe I/O channels
• 4 AES/EBU 2-channel I/O
• 4 SPDIF 2-channel I/O
• 8 assignable sends and returns
• 4 internal effect processors
• 33 touch-sensitive, motorized faders
• The ability to run a 24-track, 24-bit 96 kHz 5.1 automated mixing environment
Set the unit up as the cascade slave (
SLAVE
) using the on-screen radio button.
Now enter the same screen on the unit which will be used as the master, and set that one up as the cascade master ( MASTER button).
On the slave, set the CASCADE to ON . The display shows
Scan Cascade Machine
. Leave the cursor by the
CASCADE button.
Next, on the master, set CASCADE to ON . Leave the cursor by the
CASCADE
button.
The master display shows
Found DM-24 slave machine!
and the slave display shows Found DM-24 master machine!
.
An error message is displayed if the cascade is established and subsequently becomes disconnected.
Use of the cascade
Since the cascade function allows busses, aux sends, etc. to be controlled from the master unit, and thereby be shared between the two cascaded units, the two
DM-24s can be used as one large digital console.
The ENABLE checkboxes allow the selection from the master unit of which busses and functions will be shared.
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16 – Options—Cascade card
Typically, monitoring and stereo outputs should be connected to the cascade master, but there are a number of occasions when these outputs may be used from the slave as well as from the master.
For example:
• Using the stereo buss of both units would allow the stereo buss of one unit to be used dry, with the other unit’s stereo buss being processed (compressor, etc.).
Cascaded facilities
Soloing and muting
When two units are cascaded, the soloing and muting can be shared. However, note that mute groups and fader groups are not cascaded.
Snapshots
Snapshot recall and store is cascaded.
In other words, naming and storing a snapshot on the master also names and stores it on the slave, and recalling this snapshot on the master also recalls it on the slave.
This data must be dumped and reloaded individually from each unit for further use.
Automation
When automation is taking place, the master must receive external timecode (either LTC or
Cascading and effects
When two units are cascaded, there are four internal effects units in total. These four effects are all available for assignment from any aux send on either unit.
For example, a reverb could be set up on aux 3, a chorus effect on aux 4, a delay on aux 5, and a phased on aux 6, across both units.
• The digital outputs (AES/EBU, SPDIF), together with the balanced analog) allow for up to 6 different stereo mixes to be output simultaneously).
• The monitor outputs on the slave (
CR
and
STUDIO
) could be used to drive a different set of monitor speakers (for example mid-field monitors and smaller computer-type speakers, while the master unit drives main and near-field speakers).
MTTC). This timecode is passed through the cascade connection to synchronize the slave automation.
NOTE
The automation UNDO facility is local to one unit only and is not cascaded.
MIDI Control Change
Each DM-24 in a cascade can be set to send and receive MIDI Control Change messages which can be used to control DAWs,. Since these can be set independently for each unit in the cascade, a very large number of MIDI controllers can be assigned and used when using two DM-24 units cascaded together.
NOTE
Only the “local” effects can be used with inserts and assignable inserts on each unit.
See the separate effects documentation for further details of assigning effects.
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16 – Options—TDIF-1 card
High sampling frequency considerations
NOTE
When cascading, all units must either be in high sampling frequency mode or all units must be in normal sampling frequency mode.
Because of the reduced number of aux sends, the cascade screen changes when the high-frequency mode is selected, as shown here:
TDIF-1 card
The optional TDIF-1 card provides an additional eight channels of I/O (four in high sampling frequency mode).
As with the built-in TDIF-1 connectors, data can be accepted using 16, 20 or 24 bit word lengths to match the connected device. The card takes its values for these input parameters from the settings made in the
MULTI I/O
section of “The FORMAT screen” on page 26.
The output parameters cannot be changed (fixed at
24-bit, with the emphasis status echoing that of the input).
ADAT card
The optional ADAT card provides an addition eight channels of digital audio I/O using a “lightpipe”
TOSLINK fiber connection.
Any word sync connection from an ADAT connected via this card must be made through the on-board
WORD SYNC connector, as the card is not fitted with a word sync input.
The clock can be set as in the same way as for the
built-in ADAT connection (“CLOCK settings” on page 24).
All other parameters (word length and sampling frequency) are determined by the ADAT device, and may not be set on this screen.
NOTE
This card cannot be used in high sampling frequency mode. A message is displayed in the appropriate part of the screen if the card is fitted and high sampling frequency mode is selected.
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16 – Options—AES3 card
AES3 card
This card allows for the connection of up to four AES input and four output lines.
In normal sampling frequency mode, this provides eight audio channels in each direction, and in high sampling frequency mode, it provides four channels in each direction.
Input options
The inputs may be selected as return sources for
channels (“Assigning inputs to channels” on page 38)
and the outputs of the cards may be selected as either
buss or aux send destinations (“Output assignments” on page 42).
The word length can be set to be 24 or 20 bits long.
The on-screen
DETAIL
button provides information on the signal currently being received if the cursor is moved to the button, and
ENTER
is pressed.
This information includes: format, contents of the data, emphasis status, channel mode, sampling frequency word length, etc. Dismiss the popup with the
ENTER
key.
The incoming format is automatically detected.
The MUTE DEFEAT checkbox allows overriding of the automatic mute function. This mute function is usually activated when data is received that does not conform completely to the AES audio standards.
However, some units output audio data which is actually correct, but one or two bits in the audio cause it to be interpreted as invalid. If you are using one of these units as an input to the DM-24, you may check these boxes to allow the audio to be input to the DM-
24.
NOTE
These checkboxes should only be enabled if you are satisfied that the device from which the data is being received actually is outputting the correct form of audio data.
The inputs may be set to be normal sampling frequency ( NORMAL ), in normal sampling frequency mode. In dual sampling frequency mode, the choices are dual line ( DUAL-WIRE ) or high speed ( HIGH-
SPEED
) 1 .
1. For definitions, see “Constraints on other devices” on page 112
Output options
In high sampling frequency mode, the options for the output format are DUAL-LINE or HIGH-SPEED , as for the input options.
In normal sampling frequency mode, only the
NORMAL option is available.
If an attempt is made to select an inappropriate transfer mode, a pop-up error message appears.
Note that unlike the inputs, the format must be selected for all outputs together. It is not possible to make independent settings for each output.
The word length ( WORD ) can be selected as 24-bit or
20-bit).
Each of the outputs can be selected (normal sampling frequency) to transmit either SPDIF or AES/EBU . In high sampling frequency mode, only AES/EBU is meaningful.
In high-speed mode, only inputs 1 and 3 are used (2 and 4 are unused).
When a DETAIL button is pressed, the details of the audio data currently being output are displayed in a popup button.
Details include: format, contents, emphasis, SCMS status, category, generational status, and sampling frequency. Dismiss the popup with the
ENTER
key.
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16 – Options—AD/DA card
AES/EBU is the only available output format.
The NORMAL option is not available for either input or output in this mode.
AD/DA card
This card provides eight balanced channels of analog input and eight balanced channels of analog output, converted at up to 24-bit resolution (the resolution is displayed here, but cannot be changed).
The eight output tracks associated with this card can be selected (1-8, 9-16, 17-24).
Remember that if this card is selected for output from the eight busses, it can be used to drive a surround multi-speaker monitoring system.
Timecode display
The timecode display shows either the timecode or location point, as selected from the main unit LOCATE
DISPLAY MODE
The
TC
and
LOCATE
indicators light to show the current status of the timecode display, either timecode or location point, respectively.
When the timecode from a connected MTR is locked, the
LOCK
indicator lights.
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123
17 – Specifications
This section provides technical information about the
DM-24.
Analog audio I/O
All specifications are given with the factory reference level of –16 dBFS.
MIC inputs (channels 1 through 16)
PHANTOM (+48V)
LINE IN (BAL) inputs (channels 1 through 16)
INSERT connections (channels 1 through 16)
ASSIGNABLE RETURNS (BAL) (1 through 4)
ASSIGNABLE SENDS (1 through 4)
2 TR IN (L/R)
STEREO OUTPUT (L/R)
Stereo INSERT (L/R)
MONITOR OUTPUTS (CR (BAL))
MONITOR OUTPUTS (STUDIO)
PHONES
Balanced XLR-type female connectors a
Adjustable input level (–56 dBu (TRIM max) to –2dBu (TRIM min))
Input impedance 2.2k
Ω
+48V phantom power. Switchable in blocks of 4 channels
(1–4, 5–8, 9–12, 13–16)
Balanced 1/4” jacks b
Adjustable input level (–42dBu (TRIM max) to +12dBu (TRIM min))
Input impedance 10k
Ω
1/4” TRS jacks c
Send: nominal output level –2dBu
, maximum output level +20dBu, impedance
100
Ω
Return: nominal input level –2dBu, headroom 16dB, impedance 10k
Ω
Balanced 1/4” jacks
Nominal input level: –2dBu
Headroom: 16dB
Input impedance: 5k
Ω
Quasi-balanced 1/4” jacks
Nominal output level: –2dBu
Maximum output level: +14dBu
Output impedance: 100
Ω
2 x RCA pin jacks
Nominal input level –10dBV
Headroom: 16dB
Input impedance: 10k
Ω
Balanced XLR-type male connectors
Nominal output level: +4dBu
Maximum output level: +20dBu
Output impedance: 100
Ω
1/4” TRS jacks
Send: nominal output level –2dBu, maximum output level +14dBu, impedance
100
Ω
Return: nominal input level –2dBu, headroom 22dB, impedance 10 k
Ω
Balanced 1/4” jacks
Nominal output level: +4dBu
Maximum output level: +20dBu
Output impedance: 100
Ω
RCA pin jacks
Nominal output level –10dBV
Maximum output level: +6 dBV
Output impedance: 100
Ω
2 x 1/4” stereo jacks
120 mW + 120 mW total d
33
Ω a. all XLR-type connectors are wired 1=ground, 2=”hot”, 3=”cold” b. all balanced 1/4” jacks are wired sleeve=ground, ring=cold, tip=hot c. all TRS 1/4” jacks are wired sleeve=ground, ring=return, tip=send d. Maximum 120mW + 120mW with both PHONES jacks driven at maximum
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17 – Specifications—Digital audio I/O
Digital audio I/O
DIGITAL INPUTS (1, 2)
DIGITAL OUTPUTS (1, 2)
TDIF-1(1, 2, 3)
ADAT IN/OUT
Sampling frequencies
2 x XLR-type female connectors (input impedance 110
Ω)
2 x RCA pin jacks (input impedance 75
Ω)
AES3-1992 or IEC60958 data format (automatically detected)
24-bit word length
Switchable sampling frequency conversion available
2 x XLR-type male connectors (output impedance 110
Ω
2 x RCA pin jacks (output impedance 75
Ω)
AES3-1992 or IEC60958 data format (software selectable)
24-bit word length
3 x 25-pin D-sub connectors (metric lock screws)
Conform to TDIF-1 standard
24-bit word length
2 x “Lightpipe” optical connectors
Conform to ADAT OPTICAL specifications
24-bit word length
Internal 44.1kHz/48kHz, 88.2kHz/96kHz (high sampling frequencies)
External ±6.0%
Miscellaneous I/O connections
WORD SYNC IN
WORD SYNC OUT/THRU
MIDI IN, OUT, THRU/MTC OUT
TIME CODE IN
DTRS REMOTE OUT
EXT SW
TO METER
RS-422 (for Sony 9-pin)
GPI (for Machine start)
BNC connector
Switchable 75
Ω termination
TTL level
BNC connector
Switchable between through and output
TTL level
3 x 5-pin DIN connectors—conform to MIDI specifications
RCA pin jack
Conforms to SMPTE specifications
15-pin D-sub male (metric lock screws)
Conforms to DTRS SYNC standard
1/4” mono jack
25-pin D-sub connector (non-metric lock screws)
For use with the optional MU-24/DM
9-pin female D-sub connector (non-metric lock screws) wired to RS-422 standards
9-pin female D-sub connector (non-metric lock screws) wired for GPI control
Pin 1=GPI1, Pin 2=GPI2, Pin 3=GPI3, Pin 4=GPI4, Pin 5=GPI5, Pin 6=GPI6,
Pin 7=GPI7, Pin 8=GPI8, Pin 9=ground
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17 – Specifications—Equalization
Equalization
EQ switch
HIGH filter
On/Off
HI MID filter
LO MID filter
LOW filter
Frequency:
Q:
Type:
Gain:
Frequency:
Q:
Type:
Gain:
Frequency:
Q:
Type:
Gain:
Frequency:
Q:
Type
All filters are fitted with “gain flat” switches
System performance
THD (nominal level)
Frequency response
(nominal level)
20Hz – 20kHz LINE IN to INSERT SEND
1kHz LINE IN to STEREO OUTPUT
+0.5dB/–1.5dB, MIC/LINE IN to INSERT SEND
+0.5dB/–1.0dB, LINE IN to STEREO OUTPUT
+0.5dB/–1.0dB, LINE IN to BUSS/AUX OUTPUT
+0.5dB/–1.5dB, 2TR IN to MONITOR OUTPUTS
Noise level (20Hz – 20kHz, MIC IN to INSERT SEND
TRIM:max, 150
Ω
, –60dB
MIC IN to STEREO OUTPUT (BAL)
MIC IN to STEREO OUTPUT (UNBAL)
MIC IN to BUSS/AUX OUTPUT
2TR IN to MONITOR OUTPUT
Crosstalk @ 1kHz STEREO/BUSS/AUX OUTPUTS
MONITOR OUTPUTS
Physical characteristics
Displays
Faders
Maximum overall dimensions (w x d x h) including rest
Weight
Voltage requirements
Power consumption
Peak inrush current
Applicable electromagnetic environment
Supplied accessories
31Hz to 19kHz
0.27 to 8.65
Hi-shelving, Peak, LPF
±18dB, 0.5dB resolution
31Hz to 19kHz
0.27 to 8.65
Peak, Notch
±18dB, 0.5dB resolution
31Hz to 19kHz
0.27 to 8.65
Peak, Notch
±18dB, 0.5dB resolution
31Hz to 19kHz
0.27 to 8.65
Low-shelving, Peak, HPF
< 0.1%
< 0.013%
20Hz – 25kHz
20Hz – 20kHz
20Hz – 20kHz
20Hz – 25kHz
< –128dBu
< –68dBu
< –74dBu
< –74dBu
< –80dBu
> 80dB
> 70dB
Backlit 320 x 240 LCD with contrast control
2 x 12-segment LED meters
17 x 100mm stroke, motor-driven touch-sensitive faders
582 x 657 x 198 (mm) 22.9 x 25.9 x 7.8 (in)
20.5kg (45.1lbs)
120VAC, 60Hz
230VAC, 50Hz
240VAC, 50Hz
82W
8A
E4
Power cord, warranty card
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TASCAM DM-24 Reference Manual
Dimensional drawing
17 – Specifications—Dimensional drawing
198 mm (7.8 in)
582 mm (22.9 in)
TASCAM
657 mm (25.9 in) t
93 mm
(3.7 in)
Messages and troubleshooting
This provides a list of the messages that you may see on the DM-24, which provide information on the operation that you are performing.
Not all of these messages are error messages.
“Information” messages, i.e. those which pop up briefly and provide information about a change in status, etc., are marked with a
â—Ź.
Action
âś”
âś”
âś–
âś–
Message
Flash Write Count
EQ Library: aaaa
Gate/Expand Library: bbbb
Effect
Snapshot
Library: dddddd
Area 1: eeee
Area 2: fffff
Area 3: gggg
Area 4:
Press ENTER to continue.
Copy OK?
Press ENTER to confirm, or a cursor key to cancel.
Reboot after
System Data All has been loaded.
Press ENTER to confirm, or a cursor key to cancel.
Can’t load data.
Unexpected data type.
Load data type:
[DM-24 SNAPSHOT SNGL]
Press ENTER to continue.
“Confirm” messages, where a response may be necessary (usually confirm with the
ENTER
key or cancel with the cursor keys) are marked with a
âś”
.
Error messages demanding action other than a simple confirmation are shown with a (
âś–
), but even these do not necessarily indicate an error.
Explanation
The message displayed when the library flash memory usage is checked. The
“aaaa” etc. values are replaced by real numbers (“FLASH Info.” on page 22).
Shown when about to copy parameters in the UTILITY PARAM. COPY screen
(“UTILITY copying” on page 62).
Shown after ALL System Data has been received (“Bulk transfer of data to the
DM-24” on page 96). The DM-24 should be rebooted. Turn down the volume of
all other devices and press ENTER.
Shown if the data type being loaded by MIDI Bulk Dump transfer does not
match the expected type (“Bulk transfer of data to the DM-24” on page 96).
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17 – Specifications—Messages and troubleshooting
âś”
â—Ź
Action
âś–
â—Ź
âś”
âś”
âś”
â—Ź
âś”
âś”
â—Ź
â—Ź
â—Ź
â—Ź
âś”
âś–
â—Ź
Already assigned.
Message
95% of automation memory has been used.
Please back up automation data now.
Press ENTER to continue.
Assignable send/return 1 is INSERT MODE
Press ENTER to continue.
Automation Bank Memory is full.
Check the Bank memory.
Press ENTER to continue.
Automation Bank01 Recalled.
AUTOMATION Screen [Page: CONFIG Setup]
Individual module setup...
Individual parameter setup...
Aux1-2 to STEREO is assigned.
Press ENTER to continue.
Can’t recall snapshot99.
Different Fs mode.
Can’t Select Normal
Different Fs mode
Press ENTER key to continue.
In the master buss assignment, this warning appears if an attempt is made to
override an existing assignment (“AUX 1-2” on page 40).
An attempt has been made to recall a snapshot which was stored in a different
sampling frequency mode from the current mode (“Library functions” on page 99).
An attempt has been made to select the normal transmission in high sampling
frequency mode (must be “dual-line” or “high-speed”)—“High sampling frequency” on page 112.
An attempt is made to select the normal format in high sampling frequency
mode (“High sampling frequency” on page 112).
Can’t select Normal
Different Fs mode
Press ENTER to continue.
Can’t store from Master Module.
There are no EQ parameters.
Can’t recall to Stereo Module.
Comp is not inserted.
Can’t store from Stereo Module.
Comp is not inserted.
Can’t store from Chxx
GATE/EXP is not inserted.
Can’t use RS-422 port.
Serial Out: MTC OUT
Setup with MIDI/MC[SETUP]
Press ENTER to continue.
Can’t Load MIDI Sys Ex data.
SysEx filter is set in MIDI/MC
[SETUP] screen]
Press ENTER to continue.
Can’t recall Master Module.
There are no EQ parameters.
Explanation
Shown if the automation memory area is too full for future use. Back up
Shown when an attempt is made to add a device already in the Machine Control List to the list.
An attempt has been made to assign a channel input from an assignable return
which is currently assigned as an insert loop (“Assignable sends” on page 37).
Shown if the automation memory area is full. Back up unwanted automation
banks using MIDI Bulk Dump (“Bulk transfer of data from the DM-24” on page 95), and delete them.
Shown after recalling an automation memory bank.
Shown when automation mode setup is turned off
An attempt has been made to store an EQ library entry from a master module
(which cannot accept these parameters) (“Library functions” on page 99).
An attempt has been made to load compressor settings from the library to a
master module where a compressor has not been inserted (“Library functions” on page 99).
An attempt has been made to store compressor settings to the library from a
master module where a compressor has not been inserted (“Library functions” on page 99).
An attempt has been made to store gate/expander settings to the library from a
module where a gate or expander has not been inserted (“Library functions” on page 99).
The serial port has already been assigned to use MIDI Timecode, and therefore
cannot be used for control (“Serial output” on page 84).
Shown if a MIDI filter has been set up preventing MIDI System Exclusive recep-
tion (“MIDI filtering” on page 84) and an attempt is made to load data.
An attempt has been made to recall an EQ library entry to a master module
(which cannot accept these parameters) (“Library functions” on page 99).
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17 – Specifications—Messages and troubleshooting
âś”
âś”
â—Ź
âś–
âś”
â—Ź
âś”
âś”
âś”
â—Ź
â—Ź
â—Ź
â—Ź
â—Ź
â—Ź
âś”
âś”
Action
âś–
Message
Can’t do MIDI Bulk Load with timecode running
âś”
Can’t assign fader grouping layer.
Can’t assign mute grouping layer.
Can’t Dump MIDI Sys Ex data.
SysEx filter is set in MIDI/MC
[SETUP] screen]
Press ENTER to continue.
Can’t Recall COMP Libraryxxx.
Can’t Recall Effect U1-xxx.
Can’t Recall EQ Libraryxxx
Can’t recall GATE/EXP Libraryxxx.
Can’t recall Snapshotxxx.
Can’t recall to Chxx.
GATE/EXP is not inserted.
Can’t select dual-line
Different Fs mode
Press ENTER key to continue.
Can’t select dual-line
Different Fs mode
Press ENTER to continue.
Can’t STORE Automation Bank01.
Cascade connection broken!
Press ENTER to continue.
Ch parameters Setup?
Press ENTER to confirm, or a cursor key to cancel.
CH x is already inserted.
Clear all fader grouping layers ?
Press ENTER to confirm, or a cursor key to cancel.
Clear all muting grouping layers ?
Press ENTER to confirm, or a cursor key to cancel.
Clear Current Automation Event Data?
Press ENTER to confirm, or a cursor key to cancel.
Explanation
Shown when an invalid fader grouping is attempted (“Grouping layers” on page 71).
Shown when an invalid mute grouping is attempted (“Grouping layers” on page 71).
Shown if a MIDI filter has been set up preventing MIDI System Exclusive trans-
mission (“MIDI filtering” on page 84) and an attempt is made to dump data.
The compressor library entry xxx cannot be recalled as it does not exist (no
data has been written to that library entry) — “Library functions” on page 99
The user effect 1 library entry xxx cannot be recalled as it does not exist (no
data has been written to that library entry) — “Library functions” on page 99
The EQ library entry xxx cannot be recalled as it does not exist (no data has
been written to that library entry)—“Library functions” on page 99
The gate/expander library entry xxx cannot be recalled as it does not exist (no
data has been written to that library entry (“Library functions” on page 99)
The snapshot xxx cannot be recalled as it does not exist (no data has been written to that library entry)
An attempt has been made to load gate/expander settings from the library to a
module where a gate or expander has not been inserted (“Library functions” on page 99).
An attempt has been made to select dual-line transmission in normal sampling
frequency mode (must be “normal”)— “High sampling frequency” on page 112.
An attempt is made to select the dual-line format in normal sampling frequency
mode (“High sampling frequency” on page 112).
Shown if there is a problem overwriting a protected memory bank (automation)
Shown on cascade master when an existing cascade connection has become
disconnected or is otherwise inoperative (“Cascade card” on page 119).
Shown when a global screen has been used to make changes to a range of
An attempt has been made to assign a second insert loop to a channel which
has already had an insert loop assigned to it (“Assignable returns” on page 36).
Shown when the on-screen CLEAR button has been pressed to clear all fader
groups (“Grouping layers” on page 71).
Shown when the on-screen CLEAR button has been pressed to clear all mute
groups (“Grouping” on page 69).
Shown in automation, when the current data is to be cleared (using soft key 2)
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17 – Specifications—Messages and troubleshooting
â—Ź
âś–
Action
âś”
âś”
âś”
âś”
âś”
âś”
â—Ź
Message
Clear all current automation data?
Press ENTER to confirm, or a cursor key to cancel.
Clear this fader grouping?
Press ENTER to confirm, or a cursor key to cancel.
Clear this fader grouping?
Press ENTER to confirm, or a cursor key to cancel.
Clear this mute grouping?
Press ENTER to confirm, or a cursor key to cancel.
Clear this mute grouping?
Press ENTER to confirm, or a cursor key to cancel.
Clock check Results
Current Fs: 48kHz
Sources
Word : 44.1kHz 0.0%
Digi In 1 : Out of Range
Digi In 2 : Unuseable
TDIF1 : 44.1kHz 0.0%
TDIF2 : 44.1kHz 0.0%
TDIF3 : Unuseable
Slot1 : 48kHz + 1.0%
Slot2 : Unuseable
Press ENTER to continue.
COMP Libraryxxx Recalled
to CHy.
â—Ź
COMP Libraryxxx is Read Only!
âś”
âś”
âś”
âś”
âś–
Confirm LIST Auto Detect?
Press ENTER to confirm, or a cursor key to cancel.
Confirm TRA Auto Detect?
Press ENTER to confirm, or a curser key to cancel.
Copy Ch Fader level->Aux level?
Press ENTER to confirm, or a cursor key to cancel.
Copy from Ch2 Automation config.
Data Load Error.
(sequence or checksum)
MIDI Bulk Load canceled.
Press ENTER to continue.
Delete Automation Bank01?
Press ENTER to confirm, or a cursor key to cancel.
Device is not active.
Explanation
Shown when attempting to clear all current automation memory.
Shown when the SEL key of a group master is pressed. Pressing ENTER will
clear the group (“Grouping” on page 69).
Shown when an assigned fader grouping master group’s SEL key is pressed
(“Grouping layers” on page 71). ENTER will clear the group.
Shown when the SEL key of a group master is pressed. Pressing ENTER will
clear the group (“Grouping” on page 69).
Shown when an assigned mute grouping master group’s SEL key is pressed
(“Grouping layers” on page 71). ENTER will clear the group
A sample popup shown when a clock check is performed (“CLOCK settings” on page 24).
The compressor library entry xxx has been successfully recalled, and the set-
tings applied to channel y — “Library functions” on page 99
An attempt is being made to overwrite a read-only compressor library entry
(“Library functions” on page 99).
Shown when the on-screen LIST AUTO DETECT button is pressed (“Autodetection of devices” on page 81).
Shown when the on-screen button is pressed to start an automatic search for
transport control devices (“Auto-detection of devices” on page 81).
From the global aux screens, the channel fader levels are being copied to the
specified aux level (“Aux sends (global)” on page 55).
Shown in automation setup parameter copy operations
Shown if the Bulk Data sent to the DM-24 is corrupt or cannot otherwise be
received successfully (“Bulk transfer of data to the DM-24” on page 96).
Shown when requesting the deletion of an automation memory bank.
wise unavailable.
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17 – Specifications—Messages and troubleshooting
âś”
âś”
â—Ź
â—Ź
âś”
âś–
â—Ź
â—Ź
Action
âś–
Message
Digital input X: Fs convert On
Can’t select Master Clock.
Press ENTER to continue.
âś”
DIGITAL INPUT1(XLR) set to master clock
Press ENTER to continue.
âś–
Digital INx is not audio data.
Press ENTER to continue.
â—Ź
Effect P1-000 is Read Only!
â—Ź
Effect P1-xxx Recalled.
EQ Libraryxxx is Read Only!
EQ Libraryxxx Recalled
to CHy
External Control List Full.
Press ENTER to continue.
Flash Memory [Snapshot Area 0]
has been written 99950 times.
Please contact TASCAM service.
Press ENTER to continue.
âś”
âś”
Flash Write Count
Automation Area 1: aaaa
Area 2: bbbb
Area 3: cccc
Area 4: dddd
Area 5: eeee
Area 6: ffff
Area 7: gggg
Area 8: hhhh
Press ENTER to continue.
Found cascade slave
Press ENTER to confirm, or a cursor key to cancel.
GATE/EXP Libraryxxx Recalled
to CHy.
GATE/EXP Libraryxxx is Read Only!
Group x is empty.
âś”
âś–
Grouping link(Fader—>Mute)
Press ENTER to confirm, or a cursor key to cancel.
Grouping link(Mute—>Fader)
Press ENTER to confirm, or a cursor key to cancel.
Hi-sampling mode not supported.
Press ENTER to continue.
Explanation
An attempt has been made to use a digital input as a word sync clock source, but the sampling frequency conversion is turned on, preventing this input from
being used as a clock source (“CLOCK settings” on page 24).
Warning message sent when Digital input is set as master clock and then unassigned.
The data received at digital input x is not being read as valid audio data by the
DM-24. Check the source (“CLOCK settings” on page 24).
An attempt is being made to overwrite a read-only EQ library entry (“Library functions” on page 99).
The EQ library entry xxx has been successfully recalled, and the settings
applied to channel y (“Library functions” on page 99)
The flash memory specified here has been used the number of times specified.
Although you can continue to use the unit safely for some time to come, we rec-
ommend that you consult your TASCAM service center for advice (“FLASH
The message displayed when the automation flash memory usage is checked.
The “aaaa” etc. values are replaced by real numbers (“FLASH Info.” on page 22).
Popup message shown when cascade slave unit exists (“Cascade card” on page 119).
The gate/expander library entry xxx has been successfully recalled, and the
settings applied to channel y (“Library functions” on page 99)
An attempt is being made to overwrite a read-only gate/expander library entry
(“Library functions” on page 99).
An attempt has been made to assign an empty group (x) to a grouping layer
(“Grouping layers” on page 71).
Shown when the on-screen LINK button has been pressed to link mute and
fader groups (“Grouping” on page 69).
Shown when the on-screen LINK button has been pressed to link mute and
fader groups (“Grouping” on page 69).
The high sampling frequency mode is not supported (by another device in the system of which the DM-24 is aware). Reset the DM-24 to normal sampling frequency mode.
TASCAM DM-24 Reference Manual
131
17 – Specifications—Messages and troubleshooting
Action
â—Ź
Message
LOCATE TIME 0
00 : 00 : 00.00 ABS
âś”
Machine Control List Full
Press ENTER to continue.
âś–
Master clock has gone out of range.
Console muted.
Press ENTER to continue.
âś”
âś–
âś”
MC Transport Maps
0 : DA98 ID=01
1 : DA88 ID=02
2 : DA38 ID=03
3 : MMC Open ID=120
4 : MTC Generate
5 : ADAT ID=01
6 : None
7 : None
8 : None
9 : None
Press ENTER to continue.
MIDI Active Sensing has been disconnected
Press ENTER to continue.
MIDI BULK Dump in progress_
Done!
âś”
MIDI BULK Dump in progress _
Press a cursor key to cancel.
âś”
âś”
MIDI Bulk Load in progress_
[DM-24 SNAPSHOT ALL]
Press a cursor key to cancel.
MIDI Bulk Load Ready _
Press a cursor key to cancel.
âś”
MIDI Bulk Load completed _
Press a cursor key to cancel.
âś”
âś”
MIDI Ch1 [control No.1] is already assigned.
Press ENTER to continue.
MIDI Ch1 is already assigned.
Press ENTER to continue.
âś–
âś”
âś”
âś”
MIDI System Reset
Received, Reboot Mixer?
Press ENTER to confirm, or a cursor key to cancel.
Mixer will mute while checking
OK to continue?
Press ENTER to confirm, or a cursor key to cancel.
No card in SLOT1.
Press ENTER to confirm, or a cursor key to cancel.
No cascade slave
Press ENTER to continue.
Explanation
The popup that appears when a location memory is selected (“Location memories” on page 85).
The master clock frequency has gone outside permissible limits or is not present (±6.0% of the nominal frequency). The DM-24 output is muted
(“CLOCK settings” on page 24).
A sample transport map popup (“Viewing the transport mappings” on page 83).
Active Sensing has been turned on (“MIDI OUT Active Sensing” on page 84),
and the remote device is now disconnected.
A MIDI Bulk Dump is taking place, and can be cancelled with a cursor key
(“Bulk transfer of data from the DM-24” on page 95)’
Shown when about to start a bulk load (“Bulk transfer of data to the DM-24” on page 96).
Shown when MIDI Bulk data has been received successfully by the DM-24
(“Bulk transfer of data to the DM-24” on page 96).
Shown when a MIDI channel has already been assigned for Program Change,
etc. (“Program Change channels” on page 83)
A Reset Message has been received (“RESET (ffh)” on page 84) from a remote
MIDI device.
While the DM-24 is changing between normal and high sampling frequency
An attempt is made to assign a return from a non-existent slot card (“Card slots” on page 36).
Popup message shown when cascade slave unit cannot be located (“Cascade card” on page 119).
132
TASCAM DM-24 Reference Manual
17 – Specifications—Messages and troubleshooting
â—Ź
âś”
â—Ź
âś”
Action
âś”
âś”
âś”
âś”
âś”
âś”
âś”
âś”
âś”
Message
OK to overwrite Automation Bank01?
Press ENTER to confirm, or a cursor key to cancel.
OK to Overwrite COMP Library024
from CH2?
Press ENTER to confirm, or a cursor key to cancel.
OK to Overwrite Effect U1-xxx?
Press ENTER to confirm, or a cursor key to cancel.
OK to Overwrite EQ Libraryxxx
from CHy?
Press ENTER to confirm, or a cursor key to cancel.
OK to Overwrite GATE/EXPAND Libraryxxx
from CHy?
Press ENTER to confirm, or a cursor key to cancel.
OK to Overwrite Snapshot?
Press ENTER to confirm, or a cursor key to cancel.
OK to overwrite Transport Map?
Press ENTER to confirm, or a cursor key to cancel.
OK to assign STEREO to Aux1-2?
Press ENTER to confirm. or a cursor key to cancel.
OK to assign Aux1-2 to STEREO
Press ENTER to confirm, or a cursor key to cancel.
Panel keys [REHEARSE/WRITE/TRIM]
Paste Buffer data to Ch2?
Press ENTER to confirm, or a cursor key to cancel.
Paste Ch2 Automation config.
âś”
âś”
âś”
âś”
âś”
Re-assign fader (cut) group?
Press ENTER to confirm, or a cursor key to cancel.
Re-assign fader grouping?
Press ENTER to confirm, or a cursor key to cancel.
Re-assign fader grouping layer?
Press ENTER to confirm, or a cursor key to cancel.
Re-assign mute grouping layer?
Press ENTER to confirm, or a cursor key to cancel.
Re-assign mute grouping?
Press ENTER to confirm, or a cursor key to cancel.
Re-assign mute group?
Press ENTER to confirm, or a cursor key to cancel.
Explanation
Shown when requesting the storage of automation data to a bank already containing data.
Data already exists in compressor library entry xxx as an attempt is made to
store the EQ data from channel y (“Library functions” on page 99).
Data already exists in user effect 1 library entry xxx as an attempt is made to
store the current effector data (“Library functions” on page 99).
Data already exists in EQ library entry xxx as an attempt is made to store the
EQ data from channel y (“Library functions” on page 99.).
Data already exists in gate/expander library entry xxx as an attempt is made to
store the EQ data from channel y (“Library functions” on page 99).
Data already exists in the snapshot library entry to which an attempt is being
made to store the data (“Library functions” on page 99).
Shown when assigning a link of stereo to Aux 1-2 to overwrite a setting of Aux
1-2 to Stereo (“AUX 1-2” on page 40) (“Library functions” on page 99).
Shown when assigning a link of Aux 1-2 to stereo to overwrite a setting of Ste-
reo to Aux 1-2 link (“AUX 1-2” on page 40).
Shown in automation mode setup
Shown when pasting automation setup parameter data to another channel.
Shown in automation setup parameter copy operations
Shown when a fader group is to be reassigned (“Grouping” on page 69).
Shown when changing a group slave to be the master of another group
(“Grouping layers” on page 71).
Shown when re-assigning an assigned group to another grouping layer
(“Grouping layers” on page 71).
Shown when re-assigning an assigned group to another grouping layer
(“Grouping layers” on page 71).
Shown when changing a group slave to be the master of another group
(“Grouping layers” on page 71).
Shown when a mute group is to be reassigned (“Grouping” on page 69).
TASCAM DM-24 Reference Manual
133
17 – Specifications—Messages and troubleshooting
Action
âś”
âś”
Message
Recall Automation Bank01?
Current data will be erased.
Press ENTER to confirm, or a cursor key to cancel.
Return x is input into Chyy
Press ENTER to continue.
â—Ź
Scanning for cascade slave...
âś”
âś”
âś”
âś”
âś”
âś”
Signal Info: ADAT
ADAT clock: Internal
Press ENTER to continue.
Signal Info: Digital in1
Format: AES/EBU
Contents: Audio
Emphasis: No enable
Channel Mode: Two channel
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: Digital in1
Format: AES/EBU
Contents: Audio
Emphasis: None
Channel Mode: Two channel
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: Digital in1
Format: SPDIF
Contents: Audio
Emphasis: None
SCMS: on
Category: Mixer
Generation: Home Copy
Fs: 44.1kHz
Word Length: 20bit
Press ENTER to continue.
Signal Info: Digital out 1
Format: SPDIF
Contents: Audio
Emphasis: None
SCMS: off
Category: General
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: Digital out 1
Format: SPDIF
Contents: Audio
Emphasis: None
SCMS: off
Category: General
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Explanation
Shown when requesting the recall of an automation memory bank.
An attempt has been made to assign a return to a channel, when it has already
been assigned to a channel (“Assignable sends” on page 37).
Displayed by cascade master when scanning for slave (“Cascade card” on page 119).
Sample popup clock information screen for ADAT device (“CLOCK settings” on page 24).
Sample information popup about the Digital input data (“CLOCK settings” on page 24).
Sample popup information screen for AES/EBU data received at a DIGITAL IN
(“CLOCK settings” on page 24).
Sample popup information screen for SPDIF data received at a DIGITAL IN
((“CLOCK settings” on page 24).
Sample information about the data transmitted from a digital output (“CLOCK settings” on page 24).
Sample popup information screen for SPDIF data transmitted from a DIGITAL
OUT (“CLOCK settings” on page 24).
134
TASCAM DM-24 Reference Manual
17 – Specifications—Messages and troubleshooting
Action
âś”
âś”
âś”
âś”
âś”
âś”
âś”
âś”
Message
Signal Info: Digital out1
Format: AES/EBU
Contents: Audio
Emphasis: None
Channel Mode: Two channel
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: INTERNAL
Fs: xxxxkHz
Press ENTER to confirm, or a cursor key to cancel.
Signal Info: Slot1 AES3 Card input 1
Format: AES/EBU
Contents: Audio
Emphasis: None
Channel Mode: Two Channel
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: Slot1 AES3 Card Output1
Format: SPDIF
Contents: Audio
Emphasis: None
SCMS: off
Category: General
Fs: 44.1kHz
Word Length: 24bit
Press ENTER to continue.
Signal Info: Slot1
Option: AES3 Card
Press ENTER to continue
Signal Info: TDIF1
Input
Tx/Rx mode: Dual-line
Fs: 192kHz
Word Length: 24bit
Emphasis: None
Output
Tx/Rx mode: Normal
Fs: 44.1kHz
Word Length: 24bit
Emphasis: No
Press ENTER to continue.
Signal Info: TDIF1
Input
Tx/Rx mode: Dual-line
Fs: 192kHz
Word Length: 24bit
Emphasis: None
Output
Tx/Rx mode: Normal
Fs: 4401kHz
Word Length: 24bit
Emphasis: No
Press ENTER to continue.
Signal Info: WORD
No signal
Press ENTER to continue.
Explanation
Sample popup information screen for AES/EBU data transmitted from a DIGI-
TAL OUT (“CLOCK settings” on page 24).
The information screen given when the master clock is selected (“CLOCK settings” on page 24).
Sample popup information for optional AES slot card input (“CLOCK settings” on page 24).
Sample popup information for optional AES slot card output (“CLOCK settings” on page 24).
Sample popup clock information screen for device connected to optional AES3
slot card (“CLOCK settings” on page 24).
Sample popup information screen for TDIF audio data received by and trans-
mitted from a TDIF connector (“CLOCK settings” on page 24).
Sample popup information (details of a TDIF connection)—“CLOCK settings” on page 24.
The screen given when the clock signal from the source selected is not present
(“CLOCK settings” on page 24).
TASCAM DM-24 Reference Manual
135
â—Ź
âś”
â—Ź
â—Ź
â—Ź
âś”
â—Ź
â—Ź
â—Ź
â—Ź
âś–
Action
âś”
âś–
Message
Signal Info: Word
New clock source is out of range,
Master clock is unchanged.
Press ENTER to continue.
SLOT1 Card is Unknown
Check Card Type
Press ENTER key to continue.
â—Ź
Snapshot000 is Read Only!
âś”
Snapshotxxx Recalled.
âś”
âś”
âś”
â—Ź
Source Fs unlocked.
Press ENTER to continue.
ST L NK ON(CH EVEN—>ODD)
Press ENTER to confirm, or a cursor key to cancel.
ST L NK ON(CH ODD—>EVEN)
Press ENTER to confirm, or a cursor key to cancel.
ST LINK ON(CH xx—>yy)
and
Re-assign fader (cut) grouping?
Press ENTER to confirm, or a cursor key to cancel.
ST L NK OFF(CH ODD—>EVEN)
Press ENTER to confirm, or a cursor key to cancel.
STEREO L-R is already inserted.
STEREO to Aux1-2 is assigned.
Press ENTER to continue.
Store to Automation Bank01.
Stored to COMP Libraryxxx
from CHy.
Stored to Effect Libraryxxx.
Stored to EQ Libraryxxx
from CHy.
Stored to GATE/EXPAND Libraryxxx
from CHy.
Stored to Snapshotxxx.
SYSTEM update Ready _
Press a cursor key to cancel.
There is no current data.
17 – Specifications—Messages and troubleshooting
Explanation
An attempt has been made to select a new clock source, which is out of range
(“CLOCK settings” on page 24).
The DM-24 cannot recognize the card fitted in the optional slot. Check the card and its installation in the DM-24. Contact your TASCAM dealer for assistance if necessary.
An attempt is being made to overwrite a read-only snapshot library entry
(“Library functions” on page 99).
Snapshot xxx has been successfully recalled from the library (“Library functions” on page 99).
The sampling frequency of the clock source is no longer valid. Reconnect if
necessary, and recheck the source (“CLOCK settings” on page 24).
Shown when the SEL keys are used to link two channels (“Linking and unlinking modules” on page 60)
.
Shown when the SEL keys are used to link two channels (“Linking and unlinking modules” on page 60).
Shown when SEL keys are used to link two channels and the stereo link will
cause a current group assignment to change (“Linking and unlinking modules” on page 60).
Shown when SEL keys are used to break a channel link.(“Linking and unlinking modules” on page 60).
An attempt has been made to assign a second insert loop to the stereo buss
when an insert loop has already been assigned to it (“Master settings” on page 40.
In the master buss assignment, this warning appears if an attempt is made to
override an existing assignment (“AUX 1-2” on page 40).
Shown when storing automation data.
The compressor settings from channel y are now stored in EQ library entry xxx
(“Library functions” on page 99).
The effector settings are now stored in library entry xxx (“Library functions” on page 99).
The gate/expander settings from channel y are now stored in EQ library entry
xxx (“Library functions” on page 99).
The snapshot settings have been successfully stored to snapshot library entry
xxx (“Library functions” on page 99).
The system software is ready to be upgraded. Cancel the operation by pressing any of the cursor keys.
Shown as a warning that there is no current data to be manipulated (automation)
136
TASCAM DM-24 Reference Manual
17 – Specifications—Messages and troubleshooting
Action
âś”
Message
There are no copy parameters
Press ENTER to continue.
âś”
âś”
âś”
Unmatched Fs.
Do not show this message in the future?
Press ENTER to confirm, or a cursor key to cancel.
Unmatched timecode.
Do not show this message in the future?
Press ENTER to confirm, or a cursor key to cancel.
Version information.
Console
Remote : 1.00
Effecter:
Download: 1.00
TC Works: 1.00
Antares : 1.00
TASCAM: 1.00
Press ENTER to continue.
Explanation
Shown when an attempt is made to copy parameters in the UTILITY PARAM.
COPY screen (“UTILITY copying” on page 62) but no parameters have been
set.
Shown when the stored sampling frequency does not match the current sampling frequency (automation data recall)
Shown when the stored timecode type does not match the current timecode type (automation data recall)
Popup shown when version number request is made (“Version Info.” on page 22).
TASCAM DM-24 Reference Manual
137
17 – Specifications—Block diagram (normal sampling frequency)
Block diagram (normal sampling frequency)
4 -2dBu
60mW+60mW [47ohms]
STU DIO
PRE POST
STEREO MASTER
8
AUX1-6 BUSS1-8 D.IN 1 STEREO AUX1-2
Internal EFFECTOR 1
Internal EFFECTOR 2
MUTE/ SOLO MUTE/ SOLO
MUTE/ SOLO
EQ 4Band
Gate /Exp
TRIM
INPUT /RTN
EQ 4Band
TRIM
INPUT /RTN
RTN SEL 1-8
RTN SEL 9-16
BUSS 1-8 /DIR9-16
BUSS 1-8 /DIR1- 8 /DIR9-16
RTN SEL 17-24
TRIM
EQ 4Band
DIGITAL IN 1
DIGITAL IN 2
138
TASCAM DM-24 Reference Manual
17 – Specifications—Block diagram (high sampling frequency)
Block diagram (high sampling frequency)
2 -2dBu
60mW+60mW [47ohms]
STU DIO
PRE POST
STEREO MASTER
8
AUX1-4 BUSS1-8 D.IN 1
2TR
STEREO AUX1-2 D.IN 1 2TR
Internal EFFECTOR 1
MUTE/ SOLO MUTE/ SOLO
MUTE/ SOLO
EQ 4Band
Gate /Exp
TRIM
INPUT /RTN
EQ 4Band
TRIM
INPUT /RTN
RTN SEL 1-4
RTN SEL 5-8
BUSS 5-8 /DIR5-8
BUSS 1-4 /DIR1- 4 /DIR5-8
RTN SEL 9-12
TRIM
EQ 4Band
DIGITAL IN 1
TASCAM DM-24 Reference Manual
139
17 – Specifications—Level diagram
Level diagram
C.ROOM OUTPUT
STUDIO OUTPUT
INPUT FADER
140
TASCAM DM-24 Reference Manual
A
accelerating the PODs
AD/DA card
ADAT
ADAT connections
,
,
AES/EBU
as word sync source
AES3 card
AFL
ALL INPUT and AUTO MON
ALL INPUT key
ALL SAFE key
analog connections
analog input levels
analog inputs
analog monitoring
analog outputs
analog performance
ASSIGN keys
assignable insert position (ASSIGN INSERT)
assignable insert switch (ASSIGN INS SW)
assignable inserts
assignable returns
assignable sends
Assigning
assigning channels to busses
inputs to channels
modules
processors to master channels
assignment
busses in snapshot 00
busses in surround mode
modules in surround mode
attack time
auto make-up (dynamics processors)
AUTO MON
AUTO PUNCH IN/OUT
auto punch operations
auto-detect (machine control)
auto-detection of devices
automation
control keys and indicators
data
fader OFF
keys
memory
AUTOMATION UNDO key
aux 1 and 2 source (AUX 1-2 SOURCE)
aux sends
in snapshot 00
aux sends (global)
B
balance level CENTER
Index A - D
0dB
stereo linked pair
battery check
bulk dumps
bulk transfer of data from the DM-24
bulk transfer of data to the DM-24
busses
surround mode
C
card slots
cascade
cascade card
cascade master
channel faders
channel source (CH SOURCE)
channel stereo linking
channels
channel-to-buss assignments by channel
global
chase
clock
clock settings
clock source
clock sources checking
common controls and displays
compression insert (COMP INSERT)
compressor
,
insert point
switch (COMP SW)
contrast display
control room monitoring
control room outputs
control room signal selection
copying mute settings to faders
CR volume control
cueing mode
cursor follows EQ Band Key (preference)
cursor keys
D
DA-38
DA-78HR
DA-78HR mixer
DA-88
DA-98
DA-98HR
DA-98HR mixer
dial
digital audio I/O
digital connections
digital delay time
TASCAM DM-24
Index - 141
Index E - G
units
digital input format
digital input parameters
digital inputs
digital inputs and outputs
digital outputs
word length
digital trim and delay (global)
digital trim control
dimming key and indicator
talkback
direct outputs
display contrast
dither
DTRS control
DTRS recorder
ABS time
CHASE
connections
ejecting tapes
machine control
punch operations
word sync
DTRS REMOTE CONTROL
dual-wire (definition)
dynamics channels 17–32
input channels 1–16
master channels
dynamics controls
dynamics diagram
dynamics meter
dynamics processor
,
library entries
dynamics processors trigger source
dynamics screen
E
editing mappings
editing values
effect loop
effect processors
library entries
effect returns
effect sends
encoders
as aux send controls
as EQ frequency controls
as EQ gain controls
as pan controls
as Q controls
function select key and indicators
operation mode
ENTER key
entering numbers
Index - 142
TASCAM DM-24
EQ
buss assignments
in snapshot 00
library
equalization
equalizer keys
expander
EXT CLOCK indicator
external control
external dynamics processors and effectors
F
fader auto select
fader control
fader groups
in snapshot 00
fader layers
,
fader level
fader position
fader sensitivity
fader setup
Fader->Meter Follow (option)
faders as controls
changing values with the faders
in snapshot 00
in surround mode
5.1 surround
FLASH Info.
frame resolution
frame resolution display
frequency range (EQ)
Fs indicators
status
G
Gain (EQ)
ganging EQ
gate
attack time
decay time
hold time
switch
gate/expander
,
,
general MIDI parameters
global digital delay
global digital trim
global pan
global screens
GPI
grouping
grouping layers
H
headphones
high sampling frequency
high-speed (definition)
hysteresis (gate)
I
I/O assignment
I/O connections
Inplace solo
inplace solo
,
defeat
INPUT
input channels
input monitor
input options
input phase phase
input sources
input/return assignments
inputs and returns
insert
STEREO OUTPUT
insert point
interface cards
internal effectors
J
JOG/DATA dial
L
LAYER STATUS keys
LCD display display
libraries
library direct key operation
undo/redo
LIBRARY + and – (BANK)
library banks dynamics processors
EQ
snapshots
library entries
protecting snapshot settings
library functions
library memory
library section
lineup oscillator
linked aux sends
linked channels
linked dynamics processors
linked modules
Index H - M
linking and unlinking modules
locate display mode
locate keys and indicators
locate preroll
location manual
manual location points
location memories
location to a location memory
M
machine control deleting devices from the list
keys
location
mapping memories
parameters
managing library entries
“master” settings
master compressors
master meters
master modules
master settings
mastering machine
meter and fader setup
meter unit
metering
meters
ballistics
MIC/LINE connections
MIDI active sensing
bulk data transfer
connections
control
Control Change
Control Change messages
controllers
device enquiry message
faders
filtering
implementation chart
machine control
merge
MTC
Program Change
RESET (ffh)
settings
software updates
terminals IN, OUT and THRU
timecode
MIDI IN MTC
MODE SELECT (solo)
MODULE key
module operations
module parameters
module screens
monitor outputs
TASCAM DM-24
Index - 143
Index N - S
monitor outputs (CR (BAL))
monitoring
assignments
monitor selection keys
mono
surround patterns
MTC
mute and fader groups
mute group
mute groups
copying to fader groups
MUTE keys
N
naming
normalization
number and predefined function keys
O
OL/STATUS indicators
OPTION screen
oscillator
out of range clock signals
output assignments
output busses
,
in surround modes
output gain
output options
output signals
P
P2 connections
pan
in snapshot 00
in surround modes
pan control
surround
patching between input and return
PFL
,
phantom power
phase switch
PHONES
PODs
acceleration
power switch
pptions
pre/post settings
preferences
preset library entries
compressors
EQ
gates
Program Change channels
Program Change values
punch keys and indicators
Index - 144
TASCAM DM-24
R
repeat play (machine control)
return modules
return source
rotary encoders (ring LEDs)
RS-422
timecode
S
sampling frequency
sampling frequency conversion
2ND F. (MOVE) key
SEL keys
selecting a buss pattern
selecting a gate or an expander
selecting a surround mode
selecting devices for control
selecting modules
selecting the control type for the devices
selecting the location point display
serial output
setting and editing titles
SHIFT key and indicator
signal sources
slate
slate settings
slot cards
SMPTE/EBU timecode connections
soft keys
library
pull-up menus
solo
mode select
outputs
SOLO control and indicator
SOLO key
SOLO level
SOLO LINK
SOLO TYPE
SPDIF
STEREO fader
stereo linking in snapshot 00
stereo linking (global)
stereo master outputs
stereo out setup
stereo outputs
STORE key
storing a location memory “on the fly”
studio monitoring
studio monitoring volume
sub channel (surround)
subwoofer ("boom")
surround in snapshot 00
panning
sub channel
surround assignments
surround modes
surround operations
synchronization and control connections
system display
system-wide options
T
talkback
microphone
T/B volume control
TC generator
TC IN
TC REC
TDIF
card
connectors
interfaces
timecode
display
flywheel
flywheel (frames)
generator
location
output
titles of library entries
TRA
TRA Target link
track arming
transport and automation control
transport keys and indicators
trim and delay
turning dyaanmics processors on and off
turning groups on and off
turning soloing on and off
Index T - W
2-track input
2-TR IN
U
undo/redo library
updating the DM-24
updating the system software
user interface
utility copying
V
varispeed
version information
viewing a list of location memories
viewing the transport mappings
W
word clock
word length
word sync
connections
connectors (OUT/THRU, IN) and switch
I/O
issues
master
out of range
phase
setup
slave
sources
varispeed
TASCAM DM-24
Index - 145
»
DM-24
TEAC CORPORATION
Phone: (0422) 52-5082 3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan
TEAC AMERICA, INC.
Phone: (323) 726-0303 7733 Telegraph Road, Montebello, California 90640
TEAC CANADA LTD.
Phone: 905-890-8008 Facsimile: 905-890-9888
TEAC MEXICO, S.A. De C.V
Phone: 5-851-5500
5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada
Campesinos No. 184, Colonia Granjes Esmeralda, Delegaacion Iztapalapa CP 09810, Mexico DF
TEAC UK LIMITED
Phone: 01923-819699
TEAC DEUTSCHLAND GmbH
Phone: 0611-71580
TEAC FRANCE S. A.
Phone: 01.42.37.01.02
TEAC BELGIUM NV/SA
Phone: 0031-162-510210
TEAC NEDERLAND BV
Phone: 0162-510210
TEAC AUSTRALIA PTY.,LTD. A.B.N. 80 005 408 462
Phone: (03) 9672-2400 Facsimile: (03)9672-2249
TEAC ITALIANA S.p.A.
Phone: 02-66010500
5 Marlin House, Croxley Business Park, Watford, Hertfordshire. WD1 8TE, U.K.
Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany
17 Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France
Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands
Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands
280 William Street, Port Melbourne, Victoria 3000, Australia
Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy
Printed In U.S.A. MA-0518

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