TASCAM DM-3200 Digital Mixing Console OWNER’S MANUAL

D001865710A
Digital Mixing Console
OWNER’S MANUAL
IMPORTANT SAFETY PRECAUTIONS
For U.S.A
For the consumers in Europe
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 when the
equipment is operated in a commercial
environment. This equipment generates, uses,
and can radiate radio frequency energy and, if
not installed and used in accordance with the
instruction manual, may cause harmful
interference to radio communications.
Operation of this equipment in a residental 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.
Ü
ÿ
Ÿ
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.
CE Marking Information
a) Applicable electromagnetic environment: E4
b) Peak inrush current: 8 A
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.
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.
2 TASCAM DM-3200 Owner’s Manual
IMPORTANT SAFETY INSTRUCTIONS
1
2
3
4
5
6
7
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8 Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9 Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has
two blades with one wider than the other.
Grounding type plug has two blades and a third
grounding prong. The wide blade or the third
prong are provided for your safety. If the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete
outlet.
10 Protect the power cord from being walked on or
pinched, particularly at plugs, convenience
receptacles, and the point where they exit from
the apparatus.
11 Only use attachments/accessories specified by
the manufacturer.
12 Use only with the cart, stand, tripod, bracket, or
table specified by the manufacturer or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13 Unplug this apparatus during lightning storms or
when unused for long periods of time.
14 Refer all servicing to qualified service personnel. Servicing is required when the apparatus has
been damaged in any way, such as power-supply
cord or plug is damaged, liquid has been spilled
or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture,
does not operate normally, or has been dropped.
● Do not expose this apparatus to drips or
splashes.
● Do not place any objects filled with liquids, such
as vases, on the apparatus.
● Do not install this apparatus in a confined space
such as a book case or similar unit.
● The apparatus draws nominal non-operating
power from the AC outlet with its POWER
switch in the off position.
● The apparatus should be located close enough to
the AC outlet so that you can easily grasp the
power cord plug at any time.
● An apparatus with Class I construction shall be
connected to an AC outlet with a protective
grounding connection.
TASCAM DM-3200 Owner’s Manual 3
Contents
1 – Introduction
Computer (DAW) integration ...................................... 9
Other key points .......................................................... 9
Please read this manual ............................................... 9
About the DM-3200 ....................................... 10
Inputs ....................................................................... 10
Channel modules .................................................... 10
Channel destinations .............................................. 11
Outputs .................................................................... 11
Effects ......................................................................... 11
Unpacking the DM-3200 ............................... 11
About the manual ......................................... 12
What’s in the manual ................................................. 12
1, “Introduction” (page 9) ...................................... 12
2, “Basic operational concepts” (page 16) ............. 12
3, “Connections” (page 38) ..................................... 12
4, “Routing & assignment” (page 46) .................... 12
5, “Channel modules” (page 59) ............................ 12
6, “Effects” (page 81) .............................................. 12
7, “MIDI” (page 91) ................................................. 12
8, “Remote operation” (page 93) ........................... 12
9, “Specifications” (page 102) ................................ 12
Notes and warnings ................................................... 12
Special notes for touch-sensitive faders ...... 13
Copyright, etc. ............................................... 13
The features of the DM-3200 ........................ 14
Control section ........................................................... 15
Monitoring section ..................................................... 15
Module & layer control section ................................. 15
Encoder section .......................................................... 15
Modifier section ......................................................... 15
Library section and CF card slot ................................ 15
Machine control section ............................................ 15
Analog input section .................................................. 15
2 – Basic operational concepts
Smart keys .................................................................. 16
What’s on the screen? ............................................... 16
Jumping to commonly-used screens ......................... 17
Setting a USER screen ............................................. 17
Fader layers ................................................................ 18
Special controls .............................................. 18
The PODs ..................................................................... 18
Encoders ......................................................... 20
Encoder mappings ...................................................... 20
Pan mode ................................................................. 20
Aux mode ................................................................ 20
GATE/DYN dynamics processor mode ................... 20
EQ ............................................................................. 21
SND AUX 1–2 ........................................................... 21
PAN AUX 1–2 ........................................................... 21
LVL BUSS .................................................................. 21
LVL AUX ................................................................... 21
LVL CH 1–16, 17–32, 33–48 ..................................... 21
Reading the encoder indicators ................................ 21
Pan settings ............................................................. 21
EQ settings .............................................................. 22
Module levels and AUX sends ............................... 23
Dynamics settings ................................................... 23
The FLIP key ............................................................. 23
Encoder behavior ....................................................... 23
4 TASCAM DM-3200 Owner’s Manual
CF cards ...........................................................24
Formatting a new card ...............................................24
Shutting down the DM-3200 .........................25
IMPORTANT CAUTION!!! ........................................25
How to shut down the DM-3200 ...........................25
Starting up the DM-3200 ...........................................25
About projects and libraries ..........................26
Setting the date and time ..........................................27
Creating a new project ...............................................27
Using a template .....................................................27
Managing projects ......................................................28
Loading a project .....................................................28
Copying a project ....................................................28
Deleting a project ....................................................28
Renaming a project ........................................ 28
Saving project data ....................................................29
Library management ......................................30
Using library banks .................................................30
Viewing library entries ...........................................31
Recalling library entries ..........................................31
Storing library entries .............................................31
Deleting library entries ...........................................31
Library utilities ............................................................31
Target parameters ...................................................31
Source parameters ..................................................32
Naming library entries ...................................32
Options ...........................................................32
SETUP screen ...............................................................32
UPPER BAR DISPLAY ................................................33
LOCATE DISPLAY mode ...........................................33
ENCODER OPERATION mode ..................................33
LIBRARY DIRECT KEY OPERATION ..........................33
OL/STATUS LED TYPE ..............................................33
FADER SENSITIVITY .................................................33
PREFERENCES ..............................................................34
Fader Auto MODULE Select ....................................34
CH SOLO Key Auto MODULE Select .......................34
Select MODULE Return ...........................................34
ST Link by SEL key ...................................................34
SEL Key Follows Fader Layer Status .......................34
Meter Follows SEL key ............................................34
Automation fader OFF ............................................34
Balance Level CENTER:0dB ......................................34
AUX Mute follows CH Mute ...................................34
Encoder Mode Follows Current Screen ..................34
Current Screen Follows Encoder Mode ..................34
BUSS PAN Follows ST PAN ......................................34
BUSS Link/BUSS PAN are Linked ............................35
SOLO ..........................................................................35
MODE SELECT ..........................................................35
SOLO LINK ................................................................35
SOLO TYPE ...............................................................35
INPLACE SOLO DEFEAT ...........................................35
Utilities ............................................................36
UTILITY copying ..........................................................36
SWITCH utility .............................................................37
Talkback ...................................................................37
Machine Control ......................................................37
Other functions .......................................................37
Polarity .....................................................................37
Contents
3 – Connections
Analog connections ........................................39
Mic/line connections .................................................. 39
Channel inserts ........................................................39
2 TR IN ......................................................................39
ASSIGNABLE RETURNS ............................................39
Analog outputs ...........................................................40
STEREO OUT ............................................................40
ASSIGNABLE SENDS ................................................ 40
Monitoring (CR OUTPUTS) ......................................40
Monitoring (STUDIO OUTPUTS) .............................40
Digital connections .........................................40
Digital audio I/O .........................................................40
TDIF I/O ....................................................................40
ADAT “lightpipe” OUT & IN ....................................40
CASCADE ..................................................................40
Digital inputs and outputs .....................................40
Digital I/O setup .........................................................41
Digital inputs ...........................................................41
Mute Defeat ............................................................41
Stereo output ..........................................................41
Slot card configuration ..............................................42
IF-AN/DM .................................................................42
IF-AE/DM ..................................................................42
IF-TD/DM ..................................................................42
IF AD/DM .................................................................42
Other connections ..........................................42
MIDI connections (IN, OUT and THRU) ..................42
RS-422 serial control terminal ................................42
TIME CODE ...............................................................42
WORD SYNC (IN and OUT/THRU) ...........................42
TO METER ................................................................43
FOOT SW ..................................................................43
USB ...........................................................................43
Power input .............................................................43
Clock setting ...................................................44
Fs MODE ................................................................... 44
Checking the clock .................................................. 44
Varispeed clocking .................................................. 44
Clock change action ................................................ 44
Changing the clock .................................................. 45
Clock phase ..............................................................45
OUT SPEED ...............................................................45
4 – Routing & assignment
Routing ............................................................47
Input routing ..............................................................47
Batch routing ...........................................................48
Flipping the channels ..............................................48
Loopback options ....................................................48
Digital input selection .............................................48
Output routing ...........................................................49
Slot card outputs .....................................................49
Insert patching ............................................................50
Send/return linking .................................................50
Channel-to-buss assignment .........................51
Assignment using the front panel ............................51
Using the assignment screens ................................51
Pan switch ................................................................52
Surround assignments ............................................53
Non-channel assignments ......................................53
Bulk assignment ......................................................53
Buss panning ...........................................................53
Monitoring ..................................................... 54
Selecting the CR source ..............................................54
Studio cue source .......................................................55
Talkback, etc. ..............................................................56
Talkback source .......................................................56
Slate definition ........................................................56
Oscillator and noise generator ..................................56
Oscillator destination ..............................................56
Meters .........................................................................57
Meter ballistics .........................................................57
On-screen meter selection ......................................57
Metering points .......................................................57
Soloing ........................................................................58
5 – Channel modules
General principles .......................................................59
ASSIGN PARAMETERS screen ..................................59
Global module settings ................................. 60
Input and return display .........................................60
EQ display and button ............................................60
GATE display and button ........................................60
COMP/EXP display and COMP button ....................60
Compressor/expander point button ......................60
Meters and pick-off point button ..........................60
Fader .........................................................................60
MUTE button ............................................................60
PAN (BALANCE) control ...........................................60
PAN follow button ..................................................60
INSERT button ..........................................................60
Phase button ............................................................60
AUX1-2 button .........................................................61
STEREO button .........................................................61
Group assignment displays .....................................61
Fader control ...............................................................61
Master screen ...........................................................61
Dynamics processors ...................................... 62
LINK ..........................................................................62
Trigger mode (TRG MOD) .......................................62
Trigger selection ......................................................62
Turning the processors on and off .........................62
Gates (input channels 1–32) .......................................63
GATE .........................................................................63
Threshold (THRESH) .................................................63
Range (RANGE) ........................................................63
Gate attack time ......................................................63
Hysteresis (HYST) .....................................................63
Gate hold time (HOLD) ............................................63
Gate decay time (DECAY) ........................................63
Compressor/expanders ..............................................63
COMP/EXPAND ........................................................63
Insert point (INS PNT) .............................................63
Threshold .................................................................63
Compression/expansion ratio .................................63
Attack time ...............................................................63
Release time .............................................................63
Auto make-up ..........................................................64
Output gain ..............................................................64
Library jump buttons ...............................................64
Preset dynamics library entries .................................64
Compressor/expander library entries ....................64
Gate library entries ..................................................65
Trigger settings ...........................................................65
TASCAM DM-3200 Owner’s Manual 5
Contents
EQ .................................................................... 66
Encoders and EQ ..................................................... 66
EQ library .................................................................... 67
Aux and buss setup ....................................... 68
Aux send screens (unlinked) .................................. 68
Copying settings between aux sends and channel
levels ..................................................................... 68
Batch setting ........................................................... 68
Source selection ...................................................... 69
Aux send pan/balance screens (linked) ................. 69
Using the encoders ................................................. 69
Module setup ................................................. 70
INPUT/RETURN selection ........................................ 70
GATE switching ....................................................... 70
AUX 1-2 SOURCE ..................................................... 70
Dynamics insert point ............................................. 70
Dynamics on/off ...................................................... 70
Assignable insert position ...................................... 70
Phase control ........................................................... 70
Module delay .......................................................... 70
Digital trim .............................................................. 71
Dithering (stereo buss module only) ..................... 71
Pan and balance settings ........................................ 71
Phase/trim/delay ........................................................ 71
Phase ........................................................................ 71
Digital trim .............................................................. 71
Delay ........................................................................ 72
Stereo linking ............................................................. 72
Balance ..................................................................... 73
Linked dynamics ...................................................... 73
Mute groups ............................................................... 73
Clearing groups ....................................................... 74
Grouping groups ..................................................... 74
Linking fader groups to mute groups ................... 74
Fader groups ............................................................... 74
Surround operations ..................................... 75
Changing surround mode .......................................... 75
Buss assignments .................................................... 75
Assigning channels to surround busses ................... 75
Surround panning ...................................................... 76
Module screen ......................................................... 76
Pattern panning ...................................................... 77
Using the cursor keys ............................................. 77
Jump keys ................................................................ 77
Pan mode off ........................................................... 78
LFE level ...................................................................... 78
Snapshots ....................................................... 79
Snapshot library management .................................. 79
Storing snapshots ...................................................... 80
Information about a snapshot .................................. 80
6 – Effects
Routing the effects ........................................ 81
Setting up the effects .................................... 81
TASCAM effect parameters ....................................... 82
TC Works effect parameters ...................................... 83
Effect libraries ................................................ 84
Preset TC Reverb effects ............................................ 84
6 TASCAM DM-3200 Owner’s Manual
Preset TASCAM effects ...............................................87
7 – MIDI
MIDI port switching and filtering .................91
Program Change messages and the
DM-3200 .......................................................92
Setting the MIDI channels ......................................92
Batch setup ..............................................................92
MIDI Implementation Charts .........................92
8 – Remote operation
Selecting devices for transport control ........93
Deleting devices from the list ....................................94
Auto-detection of devices ..........................................94
Selecting the control type for the devices ................94
STATE .......................................................................94
DEVICE ......................................................................94
ID ..............................................................................94
CHASE .......................................................................95
TRA ...........................................................................95
REC ............................................................................95
All safe .....................................................................95
Transport mapping memories ...................................95
To use a transport mapping ......................................96
Viewing the transport mappings ..............................96
Editing a mapping ......................................................96
Machine control setup ...................................97
Edit Frames ..................................................................97
Cueing mode ...............................................................97
Play Mode ...................................................................97
AUTO ........................................................................97
DEFERRED .................................................................97
IMMEDIATE ..............................................................97
Play Command Type ...................................................97
Record Command Type ..............................................98
Locate Preroll ..............................................................98
Location memories .........................................99
Selecting the location point display ..........................99
Storing a location memory “on the fly” ...................99
Manually entering and editing a location memory .99
Location to a location memory ..................................99
Viewing a list of location memories .......................100
Manual location ........................................................100
Repeat play ...............................................................100
Auto punch operations ............................................101
ALL INPUT and AUTO MON ......................................101
9 – Specifications
Analog audio I/O ..........................................102
Digital audio I/O ...........................................103
Miscellaneous I/O connections ....................103
Equalization ..................................................104
System performance ....................................104
Physical characteristics .................................104
Dimensional drawing ...................................105
Messages and troubleshooting ...................105
Block diagram ...............................................116
Level diagram ...............................................117
List of Figures
1 ––Introduction
4 ––Routing & assignment
Figure 1.1: Basic logical components of the
DM-3200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Figure 1.1: Overview of the DM-3200 . . . . . . . . . . . . 14
Figure 4.1: Module facilities on the DM-3200 . . . . . . 46
Figure 4.2: Routing inputs . . . . . . . . . . . . . . . . . . . . . 47
Figure 4.3: Routing outputs . . . . . . . . . . . . . . . . . . . . 49
Figure 4.4: Routing inserts . . . . . . . . . . . . . . . . . . . . . 50
Figure 4.5: Assignment keys . . . . . . . . . . . . . . . . . . . 51
Figure 4.6: Buss assignment screen (linked busses) . 51
Figure 4.7: Buss assignments with the pan switch off 52
Figure 4.8: Surround channel assignment screen . . . 53
Figure 4.9: Monitoring and metering controls . . . . . . 54
Figure 4.10: Monitor parameters screen . . . . . . . . . . 55
Figure 4.11: Monitor oscillator and communication
screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Figure 4.12: Metering screen (1st 24 channel module
meters) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
2 ––Basic operational concepts
Figure 2.1: Control keys . . . . . . . . . . . . . . . . . . . . . . 16
Figure 2.2: Explanation of the top line of screen
displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Figure 2.3: POD controls . . . . . . . . . . . . . . . . . . . . . . 18
Figure 2.4: POD knobs used in a multi-control screen 19
Figure 2.5: POD knob 4 used as list selector . . . . . . . 19
Figure 2.6: POD keys 2 through 4 used as soft keys . 19
Figure 2.7: POD 1 used with a pull-up menu list . . . . 19
Figure 2.8: POD keys used to select sub-screens . . . 19
Figure 2.9: POD keys 2 and 4 used to jump to other
screens (library screens) . . . . . . . . . . . . . . . . . . . 19
Figure 2.10: Encoder functions . . . . . . . . . . . . . . . . . 20
Figure 2.11: Encoders in pan mode . . . . . . . . . . . . . . 21
Figure 2.12: Encoders in EQ gain mode . . . . . . . . . . 22
Figure 2.13: Encoders in EQ frequency selection
mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Figure 2.14: Encoders in frequency Q adjustment
mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Figure 2.15: Encoders used to make frequency band filter type selections . . . . . . . . . . . . . . . . . . . . . . . . 23
Figure 2.16: Encoders used to make module level and
aux send adjustments . . . . . . . . . . . . . . . . . . . . . 23
Figure 2.17: ENCODER OPERATION menu item . . . . . 23
Figure 2.18: Formatting a CF card . . . . . . . . . . . . . . . 24
Figure 2.19: Shutting down the DM-3200 . . . . . . . . . 25
Figure 2.20: Powering up the DM-3200 with no previous
shutdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Figure 2.21: Project structure . . . . . . . . . . . . . . . . . . 26
Figure 2.22: Setting the date and time . . . . . . . . . . . 27
Figure 2.23: The NEW PROJECT page . . . . . . . . . . . . 27
Figure 2.24: The project management page . . . . . . . 28
Figure 2.25: Storing a project . . . . . . . . . . . . . . . . . . 29
Figure 2.26: Library management (gate library shown as
example) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Figure 2.27: Library selection pull-up menu . . . . . . . 30
Figure 2.28: Library utility screen . . . . . . . . . . . . . . . 31
Figure 2.29: Setting and editing titles and memos . . 32
Figure 2.30: The SETUP option screen . . . . . . . . . . . . 33
Figure 2.31: Display top line set to SYSTEM . . . . . . . 33
Figure 2.32: The PREFERENCES screen . . . . . . . . . . . 34
Figure 2.33: SOLO options . . . . . . . . . . . . . . . . . . . . . 35
Figure 2.34: UTILITY copy screen . . . . . . . . . . . . . . . 36
Figure 2.35: UTILITY external switch settings . . . . . . 37
3 ––Connections
Figure 3.1: Overview of rear panel features . . . . . . . 38
Figure 3.2: Analog channel inputs and controls . . . . 39
Figure 3.3: DIGITAL SETUP screen . . . . . . . . . . . . . . . 41
Figure 3.4: IF-AN/DM (at left) and IF-AE/DM (at
right) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Figure 3.5: IF-TD/DM (at left) and IF-AD/DM (at right) 42
Figure 3.6: PROJECT CLOCK screen (high-speed) . . . 44
Figure 3.7: Checking the clock sources . . . . . . . . . . . 44
5 ––Channel modules
Figure 5.1: Assign parameters screen . . . . . . . . . . . . 59
Figure 5.2: Common “global” module settings . . . . . 60
Figure 5.3: Channel fader screen . . . . . . . . . . . . . . . . 61
Figure 5.4: Master fader screen . . . . . . . . . . . . . . . . . 61
Figure 5.5: Unlinked DYNAMICS screen (channels 1
through 32) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Figure 5.6: Linked DYNAMICS screen (channels 1
through 32) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Table 5.7: Compressor/Expander preset library
entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Table 5.8: Gate/Expander preset library entries . . . . 65
Figure 5.9: Assigning dynamics processor triggers . . 65
Figure 5.10: Module EQ screen . . . . . . . . . . . . . . . . . 66
Figure 5.11: EQ library . . . . . . . . . . . . . . . . . . . . . . . . 67
Table 5.12: EQ library presets . . . . . . . . . . . . . . . . . . 67
Figure 5.13: Module aux and buss screen . . . . . . . . . 68
Figure 5.14: Aux send screen (unlinked) . . . . . . . . . . 68
Figure 5.15: Aux pan/balance screen (linked) . . . . . . 69
Figure 5.16: Channel module SETUP screen . . . . . . . . 70
Table 5.17: Channel delay . . . . . . . . . . . . . . . . . . . . . 70
Figure 5.18: Linked pair balance controls . . . . . . . . . 71
Figure 5.19: Digital trim setting . . . . . . . . . . . . . . . . . 71
Figure 5.20: Channel delay screen . . . . . . . . . . . . . . . 72
Figure 5.21: Master delay screen . . . . . . . . . . . . . . . . 72
Figure 5.22: Linking modules . . . . . . . . . . . . . . . . . . . 73
Figure 5.23: Stereo linking screen . . . . . . . . . . . . . . . 73
Figure 5.24: Mute grouping . . . . . . . . . . . . . . . . . . . . 73
Figure 5.25: Clearing a group . . . . . . . . . . . . . . . . . . . 74
Figure 5.26: Grouping groups . . . . . . . . . . . . . . . . . . 74
Figure 5.27: Fader grouping . . . . . . . . . . . . . . . . . . . . 74
Figure 5.28: Selecting surround mode . . . . . . . . . . . . 75
Table 5.29: Buss assignments in surround mode . . . . 75
Figure 5.30: Surround assignment . . . . . . . . . . . . . . . 76
Figure 5.31: Surround overview . . . . . . . . . . . . . . . . . 76
Figure 5.32: Module surround panning . . . . . . . . . . . 76
Figure 5.33: Surround panning (pan mode on) . . . . . 77
Figure 5.34: Surround screen (pan mode off) . . . . . . 78
Figure 5.35: LFE level . . . . . . . . . . . . . . . . . . . . . . . . . 78
Figure 5.36: Snapshot library . . . . . . . . . . . . . . . . . . . 79
Figure 5.37: Storing a snapshot . . . . . . . . . . . . . . . . . 80
TASCAM DM-3200 Owner’s Manual 7
List of Figures
6 ––Effects
Figure 6.1: Internal effect send and return routing .
Figure 6.2: Effect library screen . . . . . . . . . . . . . . . .
Figure 6.3: Effect setting . . . . . . . . . . . . . . . . . . . . . .
Figure 6.4: Common effect parameters (Row 1) . . . .
Table 6.5: TASCAM effect parameters . . . . . . . . . . .
Table 6.6: TC Reverb effect parameters . . . . . . . . . .
Table 6.7: Preset TC Reverb effects . . . . . . . . . . . . .
Table 6.8: TASCAM effects . . . . . . . . . . . . . . . . . . . .
8 ––Remote operation
81
81
82
82
82
83
84
87
7 ––MIDI
Figure 7.1: MIDI setup . . . . . . . . . . . . . . . . . . . . . . . . 91
Figure 7.2: MIDI Program Change screen . . . . . . . . . 92
8 TASCAM DM-3200 Owner’s Manual
Figure 8.1: Adding external devices for control by the
DM-3200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Table 8.2: Control methods . . . . . . . . . . . . . . . . . . . . 93
Table 8.3: Supported transport machine control
devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Figure 8.4: Machine control setup parameters . . . . . 97
9 ––Specifications
Figure 9.1: Dimensional drawing . . . . . . . . . . . . . . . 105
Table 9.2: Popup messages . . . . . . . . . . . . . . . . . . . 105
Figure 9.3: Block diagram . . . . . . . . . . . . . . . . . . . . 116
Figure 9.4: Level diagram . . . . . . . . . . . . . . . . . . . . . 117
1 – Introduction
This section provides an overview of the features and facilities provided by the DM-3200. It also includes an
overview of the operational procedures involved when using the unit. It is important to read this section to gain
a basic understanding of the way that the DM-3200 works before proceeding with setting up and using the
unit.
The DM-3200 provides you with a new and flexible
approach to mixing and recording.
Designed to integrate with the latest Digital Audio
Workstation (DAW) personal computer software as
well as with standalone recorders, it can form the
heart of any recording studio.
Full-sized motorized faders, sixteen rotary encoders
with ring LED indicators, a large clear LCD display
and ergonomically-placed dedicated controls help to
make the DM-3200 intuitive, as well as powerful, to
use.
Computer (DAW) integration
The DM-3200 can be used with a computer system:
with the built-in USB port, which allows control of
the DAW by the DM-3200, emulating popular controller hardware.
Additionally the optional FireWire expansion card
(IF-FW), which provides all the USB functionality,
and also allows multi-channel digital audio to be
transmitted and received between the DM-3200 and
the DAW application.
In this second method, the DM-3200 may be used as
an outboard mixer, freeing the computer from this
task, and reserving the DAW for audio editing, etc.
In both cases, the TMCompanion software can be
used for management of the DM-3200. See the documentation accompanying the latest release of the
software for full details of the capabilities of the software with the unit.
NOTE
Some of these features may not be available in the first
release of the DM-3200 firmware.
Other key points
Since the DM-3200 is designed with a working environment in mind, full control-room and studio monitoring facilities, as well as talkback, are integrated.
The DM-3200 provides automation facilities which
are independent of any external computer. Mix
moves can easily be recorded, edited and replayed in
the DM-3200 in standalone mode, requiring only a
timecode source (including the internal generator).
terms of projects where all information and settings
are stored together for future recall.
The data for projects is stored on industry-standard
CompactFlash cards for easy offline storage, archival
and transportation between facilities.
In addition, computer-aided librarian functions make
it simple to juggle the demands of a busy studio
schedule.
Sony P2 9-pin protocols are also provided, allowing
control of other studio equipment from one central
unit.
Top-quality internal effects reduce the need for large
outboard racks and allow still further for portability
of projects.
Working in multiple locations is easier than ever
before, as the DM-3200 works the way you do; in
Timecode, word sync, MIDI, 9-pin serial control etc.
are also provided for the widest possible integration
with other equipment in your setup.
Please read this manual
Please take the trouble to read this manual carefully.
Although every attempt has been made to make the
DM-3200 as easy to use as possible, there are many
features that may not be immediately obvious.
A little time spent studying the manual now may save
you a lot of time and effort later on.
TASCAM DM-3200 Owner’s Manual 9
1 – Introduction : About the DM-3200
About the DM-3200
Inputs For analog input, the DM-3200 provides
sixteen balanced inputs, with both high-quality mic
amps, and balanced line connections as well as analog insert points (both mic and line connections may
be made to the same channel at the same time, but
only one may be used at a time). There are also four
assignable send outputs and inputs for external loop
effects.
The digital side comprises three TDIF I/O ports, as
well as ADAT “lightpipe” I/O, and two pairs of stereo S/PDIF or AES/EBU inputs and outputs.
Two TASCAM-standard card slots provide I/O
expansion capabilities, with a variety of digital or
analog options being available, including a FireWire
³
expansion card for direct high-speed bidirectional
communication between a DAW and the DM-3200.
Channel modules The DM-3200 provides 48
channel modules. These may be freely assigned
internally to the 16 buss modules.
Of these 48 channel modules, 32 are “full-function”
modules with 4-band EQ, digital trim and phase, and
full dynamics processing with compressor/expanders
and gates. The other 16 are more basic in the facilities provided, but still provide full buss assignment
and aux sends.
The first 32 EQ-enabled channels can have two
sources (input and return), which may be freely
assigned, and can be switched, depending on whether
the project is in the recording or tracking stage. See
the section on assignments (“Routing & assignment”
on page 46) for details of how channel sources are
assigned,
³
³
Mic/Line inputs
(x 16)
TDIF inputs
(x 24)
ADAT inputs
(x 8)
Option slots
Channel destinations
Digital stereo
inputs (x 2)
32 full-EQ
channels
Mixer channels
Inputs (hardwarte)
Assignable returns
(x 4)
³
Assignable internal
inserts (x 16) —
full-EQ channels
only
TDIF x 24
Direct outs
(x 32)
Assignable sends
x4
Aux sends
(x 8)
Busses
(x 16)
16 non-EQ
channels
Stereo buss
ADAT x 8
Outputs (hardware)
The DM-3200 provides a fully comprehensive range
of I/O facilities. Almost all inputs and internal busses
are “soft”, allowing connections to be patched internally (naturally, routing configurations may be stored
and recalled).
Option slots
Cascade
Stereo outs
(analog & digital)
Cascade
CR outs
2-track in
Studio outs
Figure 1.1: Basic logical components of the DM-3200a
a. Note that cascade connections are not available on the first release of the DM-3200 software.
10 TASCAM DM-3200 Owner’s Manual
1 – Introduction : Unpacking the DM-3200
Channel destinations There are 16 busses,
eight aux busses, 16 assignable inserts (not to be confused with the “hard-wired” analog inserts on the
input pre-amps) as well as the stereo buss module.
Outputs from the channels can be assigned to these.
Furthermore, even when working at a sampling frequency of 88.2 kHz or 96 kHz, the DM-3200 retains
the same number of channels and facilities as when
operating at “conventional” sampling frequencies.
Physical outputs available include the built-in TDIF
outputs (3 sets of eight outputs each), and eight channels of ADAT “lightpipe”, as well as two stereo digital and one stereo analog sets of outputs.
Since buss outputs can be assigned to the TDIF and
ADAT ports, this allows all the channels of a surround mix to be recorded together.
The option slot cards typically provide outputs as
well as inputs.
Outputs The sources for the outputs (built-in and
optional slot) are then assigned to the actual physical
outputs.
Effects
The DM-3200 incorporates two high-quality digital
effects, including a digital reverb programmed by TC
Works.
In addition, channels 1 through 32 can use built-in
dynamic processors to provide compression or
expansion either pre- or post-fader.
Signals may be routed internally to these effects
using busses or aux sends, and the returns fed back to
mixer channels for inclusion in the mix. Alternatively, the assignable inserts may be used to insert
and effect into the signal path of a channel module.
Gates can be inserted at the inputs, with a wide range
of triggering options.
External effects can be looped through the assignable
analog sends and returns (the returns can then be
assigned to channels), or kept in the digital domain
by using the stereo digital I/O facilities.
There are also analog inserts associated with each
mic/line input, which allow additional processors to
be inserted, before the DA converters. These insert
points can also be used to bypass the DM-3200’s
internal mic amps and patch in external mic amps.
Unpacking the DM-3200
The DM-3200’s box contains the items listed below.
When opening the package please be certain all the
items listed are included. If any items are missing,
please consult your TASCAM dealer.
• The DM-3200
• AC power cable
• A 32MB CF card, pre-formatted, and installed in
the card slot of the DM-3200.
• A USB cable
• A CD-ROM containing the utility software and
documentation for the DM-3200 (Windows and
Mac compatible).
• This manual
• The Quick Reference Guide
• Warranty card.
WARNING
The DM-3200 is a large and bulky piece of equipment.
We strongly suggest that you get someone to help you
lift it out of the carton and locate it in the position
where it will be used.
Lifting properly—When lifting, be sure of your footing
and grip. Bend your legs to get close to the DM-3200,
keeping your back straight, and then lift by straightening your legs. Hold the unit close to your body. Avoid
twisting or turning your body while lifting or carrying
the DM-3200.
TASCAM DM-3200 Owner’s Manual 11
1 – Introduction : About the manual
About the manual
Pushed controls on the DM-3200 are referred to as
“keys”.
Their virtual equivalents displayed on screen are
referred to as “buttons”.
Within this manual, the following typographic conventions are used:
• The name of a control or connector on the unit is
written in the following way: LINE/MIC.
• Messages and text shown on the display of the
DM-3200 are shown as follows: DIGITAL IN 1.
• The name of a control or connector on another unit
is written in the following way: AUX IN.
What’s in the manual
1, “Introduction” (page 9) This section, providing an introduction to the DM-3200.
This section also contains information on using the
DM-3200 in surround modes.
2, “Basic operational concepts” (page 16)
6, “Effects” (page 81) The parameters control-
This is important—it gives you basic information on
the way in which you use the DM-3200’s controls
and menu systems, etc. as well as providing an explanation of way in which the DM-3200 stores data.
ling the built-in effects of the DM-3200 are described
here and a list of the preset libraries may also be
found in this section.
3, “Connections” (page 38) Provides informa-
7, “MIDI” (page 91) This provides information
on the MIDI capabilities provided by the DM-3200.
tion on how to connect the DM-3200 to other equipment in your setup.
8, “Remote operation” (page 93) The DM-
4, “Routing & assignment” (page 46) Since
the DM-3200 is a “soft” console, with many patches
and assignments made through software rather than
physical connections, you should read this section to
understand how the inputs and outputs of the DM3200, as well as the internal connections, are linked
together.
5, “Channel modules” (page 59) This section describes the modules which form the basic
“building blocks” of the DM-3200. Most of the mixing work you do on the DM-3200 will use the functions described here.
3200 is capable of acting as a remote control unit for
a wide variety of external devices, including DAW
systems. This section explains how to use these capabilities.
9, “Specifications” (page 102) Specifications
of the DM-3200, together with a guide to the popup
messages that appear on screen.
Also note that there are two separate publications in
addition to this manual and the printed Quick Reference Guide: these cover the automation features of
the DM-3200 and the TMCompanion software,
which are provided as electronic publications in PDF
format.
Notes and warnings
TIP
We give hints and tips on using the DM-3200 in this
way.
NOTE
These notes provide additional explanations for special
cases, etc.
12 TASCAM DM-3200 Owner’s Manual
CAUTION
Cautions show that you may lose data or performance
may suffer if the instructions are not followed.
WARNING
These warnings should be taken very seriously. They
describe situations which can cause injury, or damage to
equipment if the instructions are not followed.
1 – Introduction : Special notes for touch-sensitive faders
Special notes for touch-sensitive faders
The usual rules regarding precision electronic equipment naturally apply to the DM-3200. In addition,
note the following that apply to the touch-sensitive
faders:
• The faders need a human finger to operate their
touch-sensitivity. Do not use a pencil, ruler, etc. to
operate them. Even using your fingernails may not
activate the touch-sensitivity.
• The humidity and temperature of your environment
affects the touch-sensitivity of the faders. Under
normal working conditions you should experience
no issues. However, extremes of temperature and/
or humidity may sometimes cause operational
problems.
Copyright, etc.
Windows, Windows XP, and Windows 2000 are
trademarks of Microsoft Corporation.
HUI and Mackie CONTROL are trademarks of
LOUD Technologies Inc.
Macintosh, MacOS, MacOS X and FireWire™ are
trademarks of Apple Computer.
All other trademarks are the property of their respective holders.
TASCAM DM-3200 Owner’s Manual 13
1 – Introduction : The features of the DM-3200
The features of the DM-3200
This section describes the different areas of the DM3200 as well as providing a guide to hooking up
other equipment for use in your studio setup.
The front surface of the DM-3200 may seem a little
intimidating at first, but it is actually remarkably simple, considering the functionality built into the unit.
Controls are logically grouped, depending on their
function:
Analog input section
Monitoring section
Control section
Modifier
keys
Library section
and CF card slot
Encoder section
Module and fader layer section
Figure 1.1: Overview of the DM-3200
14 TASCAM DM-3200 Owner’s Manual
Machine
control section
1 – Introduction : The features of the DM-3200
Control section
This section contains the screen, the dedicated function keys, and the PODs, as well as the cursor keys
and the data dial.
The operation of this section is described in more
detail in “Basic operational concepts” on page 16,
which you should read in order to gain an understanding of how the PODs, etc. are used.
Monitoring section
This section contains the controls for the control
room and studio monitoring and cueing controls, as
well as the talkback microphone and slate controls.
The main stereo meters are also in this section.
See “Monitoring” on page 54 for details of this section’s operation.
Module & layer control section
The faders and module control keys are in this section, together with the keys used to select the different layers.
The SEL keys are used to select the modules to be
edited. This can also be done with the touch-sensitive
faders.
See “Fader layers” on page 18 for details of how the
fader layers are used on the DM-3200.
Encoder section
The use of the encoders is described in “Encoders”
on page 20.
See this section for a complete description of how the
indicators surrounding the encoders are lit when the
encoders perform different functions.
Modifier section
These are keys which when pressed and held, affect
the behavior of other keys.
Library section and CF card slot
These keys perform recall, etc. of library entries. The
CF card slot is used with a CF card to store projects
and the data associated with these project.
Machine control section
These controls are used to control a device (external
hardware recorder, or DAW) connected to the DM3200 using MIDI, USB or the 9-pin serial control
protocol.
See “Remote operation” on page 93 for details of
how to set up and use these controls in your projects.
Analog input section
These are the built-in mic/line inputs and inserts. See
the details later in this section (“Mic/line connections” on page 39) for details of how to connect and
use them.
TASCAM DM-3200 Owner’s Manual 15
2 – Basic operational concepts
NOTE
Please take the time to read and understand this section, so that you understand how the basic navigation
and parameter editing operations are performed.
Dedicated screen mode selection keys provide access
to the different screens shown on the LCD display:
select the screen whose title is written in inverted
characters above the key. For example, key 7 normally brings up the AUX 1-2 screen, but using this key
with the ALT key brings up the OPTION screens. Note
that some keys (e.g. the LIBRARY and ROUTING
keys) are marked as “alternative” screens only, but
these keys do not need the ALT key to be pressed to
access their screens.
Many screens accessed with these keys include subscreens or “pages”. These sub-screens can be
accessed using the POD keys (“The PODs” on
page 18) or repeated presses of the same control key
will cycle through these pages.
Use the cursor keys to navigate around the screen
(sometimes, the dial can also be used to navigate).
Radio buttons (exclusive-or options) or checkboxes
(options) are set and unset using the ENTER key
when the cursor highlights the option.
When a parameter is selected, the dial is usually used
to change the value.
Figure 2.1: Control keys
Press one of these keys to access the screen marked
above the key in “normal” (for example, key 4 is
used to select the AUX 7-8 screen).
For the alternative screen available from many keys,
press the ALT key so that the ALT indicator lights
(see “Smart keys” on page 16 for details of the
behavior of this key), and then the appropriate key to
For non-numerical values changed using the dial,
usually ENTER should be pressed to confirm the
entry. Note that while the parameter is being edited,
the displayed parameter blinks on screen, and the
cursor cannot be moved until the new value is confirmed with the ENTER key.
For a few parameters (chiefly connected with the
remote unit location facilities), the number keys can
also be used when the number is selected using
ENTER. Confirm the entry of a value made in this
way by pressing ENTER.
Smart keys
The DM-3200 features five “smart keys”: the ALT
key and four “talkback” keys (DIM, MONO, TO
SLATE and TO STUDIO). When the status of any of
these keys is off, and the key is then pressed very
briefly and released, the status of the key, as shown
by the indicator, is changed to on after the key is
released (latching).
If the status of the key is off, and the key is pressed
and held down, the status is only changed as long as
the key is held down (non-latching).
If the status of one of these keys is on, the length of
the key press makes no difference—the key status
changes to off when the key is released.
What’s on the screen?
For almost all the screens displayed by the DM-3200,
there are two common areas. The first is at the top,
and we explain that area here (the second is the row
of labels which identify the POD functions
(described in “Special controls” on page 18)).
16
TASCAM DM-3200 Owner’s Manual
These top and bottom areas are for display, and their
contents are automatically determined (they cannot
be edited).
2 – Basic operational concepts :
On the top row of the top section, the left side shows
(on top) the current encoder mode (see “Encoders”
on page 20) and immediately below that, the curAutomation status
Screen display
Encoder mode
rently-selected module or modules. To the right of
this, the current automation settings (on or off, or
global mode) are shown.
Current library entry
selected by direct recall
Current timecode value
Currently-selected
module
Figure 2.2: Explanation of the top line of screen displays
To the right of this, the name and number of the current library entry selected with the direct library
functions are shown, and immediately below that, in
larger letters, the title of the current screen.
Finally, on the right, the current timecode value (with
the source as set up as preference) is displayed.
Note the timecode displayed can be changed as a
setup option. See “UPPER BAR DISPLAY” on
page 33.
Jumping to commonly-used screens
Within a project, it’s likely that you’ll find yourself
using some screens more than others. One of the
main such screens is the module screen, allowing you
to view and change a module’s parameters at a
glance.
For this reason, a dedicated MODULE
key, with indicator, is provided to the
right of the number keys. The module
parameters shown are those of the
module selected using the SEL keys.
The three USER keys are used to set
up three commonly-used shortcuts to
screens used frequently within a
project.
Setting a USER screen With the
screen shown to which you want to
make a shortcut, press and hold the
SHIFT and CTRL keys (to the left of
the unit). While holding down these
keys, press one of the USER keys.
Release all the keys. Next time you
press that USER key (without the SHIFT and CTRL
keys), the display shows the screen you set
previously.
TASCAM DM-3200 Owner’s Manual 17
2 – Basic operational concepts : Special controls
Fader layers
The DM-3200 has sixteen
channel faders and encoders,
but is capable of controlling
48 channels, in addition to
the master aux send and buss
levels.
these keys are pressed, the faders move to the appropriate positions, reflecting the new fader layer.
The faders (and the encoders, when the encoders are
associated with channels)
are therefore arranged in
layers, allowing different
groups of faders to be
accessed.
The next key selects the aux sends, and uses the first
eight faders for this purpose (faders 9 through 16 are
disabled here).
The first three keys are used to select the channels (1
through 16, 17 through 32 and 33 through 48).
Following this, the next key selects the 16 busses.
The faders may be used for remote DAW control, etc.
in REMOTE mode.
Use the LAYER STATUS
keys (which light when the
appropriate layer is active)
to select these layers. These
keys are located to the right
of the master fader. When
Special controls
The DM-3200 incorporates a few controls that are
not found on every digital mixer and which therefore
may be a little unfamiliar.
These are the PODs, which are located immediately
below the display, and the 16 encoders, located above
the channel strips.
The PODs
The DM-3200 has four encoder/key combinations
(referred to as PODs) below the display. The func-
tion of these pods varies according to the current
screen display.
Figure 2.3: POD controls
Very often, in a screen with many controls displayed,
the up and down cursor keys are used to move a highlighting box around the screen. These boxes highlight a maximum of four on-screen rotary controls,
which are then controlled by the corresponding POD
18 TASCAM DM-3200 Owner’s Manual
encoders (immediately below the on-screen controls).
Note also the contrast control to the right of the
PODs.
2 – Basic operational concepts : Special controls
TIP
You can change between a white on black display
and a black on white display by using the ALT +
FLIP key combination.
Other screens may use them as buttons which display
a pull-up list of options. When the list is shown, the
appropriate POD encoder, or the main dial, is used to
navigate through the list, and the POD key or ENTER
key is used to confirm the entry.
Figure 2.7: POD 1 used with a pull-up menu list
Figure 2.4: POD knobs used in a multi-control
screen
POD knobs are also used on some screens to make a
selection from a list. In these cases, the screen shows
what POD knob should be used to change the selection:
The POD keys may also be used to select “subscreens” from within a major heading. In this case,
simply pressing the appropriate POD key jumps to
the next screen: as shown on the “tag”:
Figure 2.8: POD keys used to select sub-screens
TIP
As well as using the POD keys to switch between tabbed
pages, you can also make repeated presses of the key
that was used to bring up the screen (with the ALT
indicator lit if necessary) to change between these
pages.
The POD keys may also be used to jump to another
screen with a different function.
Figure 2.5: POD knob 4 used as list selector
The POD keys are often used as soft keys to perform
an action, as shown on the bottom of the screen (onscreen buttons).
Figure 2.9: POD keys 2 and 4 used to jump to
other screens (library screens)
TIP
Figure 2.6: POD keys 2 through 4 used as soft keys
The POD knobs change values fairly coarsely, but be
pressing and holding the SHIFT key (to the left of the
unit), the POD knobs can be used for fine adjustment.
This behavior can be changed (see “Encoder behavior”
on page 23 below).
TASCAM DM-3200 Owner’s Manual 19
2 – Basic operational concepts : Encoders
Encoders
The 16 rotary encoders at the top of each channel
have a number of functions, which are selectable
using the four keys below the dial. There are three
settings for each key, depending on whether the key
is pressed alone, or with the SHIFT or CTRL key (at
the left of the DM-3200, above module 1).
Key pressed alone
With SHIFT key
Pan position in stereo mode(L-R
pan in surround) for the selected
fader layer
Aux sends (selected channel)
Dynamics settings (selected
channel)
EQ settings (selected channel)
With CTRL key
Aux 1–2 send level (selected fader
Channel 1–16 levels
layer)a
Aux 1–2 send pan position
(selected fader layer)b
Channel 17–32 levels
Buss levels
Channel 33–48 levels
Aux send levels
—
Figure 2.10: Encoder functions
a. When Aux 1 and 2 are linked. Aux 1 level when they are unlinked.
b. When Aux 1 and 2 are linked. Aux 2 level when they are unlinked.
As you can see, by using these keys, you can view
and set the levels of channels, busses, and aux sends,
even when you are not in that particular fader layer.
Also, the channel aux send, dynamics processor and
EQ setting modes are useful for convenient viewing
and setting of a number of channel parameters at
once.
TIP
If you are using aux sends 1 and 2 as a studio cue feed,
the SHIFT options provide a quick and easy way to set
up the cue mix.
Encoder mappings
The following table provides a reference to the use of
the encoders in the different modes:
Pan mode Encoders 1 through 16 pan channel
modules 1 through 16 in the active fader layer (i.e.
they pan the channel whose fader is below the
encoder).
Aux mode Encoders 1 through 8 set the correspondingly-numbered aux send levels for the
selected module.
20 TASCAM DM-3200 Owner’s Manual
GATE/DYN dynamics processor mode
Encoders 1 through 6 control gate parameters: 1=
threshold level; 2= gate range; 3 = attack time; 4 =
hysteresis level; 5= hold time; 6 = decay (release)
time.
Encoders 9 through 13 control compressor/expander
parameters: 9 = threshold level; 10 = compression
ratio; 11 = attack time; 12 = release time; 13 = output
level.
2 – Basic operational concepts : Encoders
EQ The encoders form four groups of four encoders,
each group controlling a different band, where 1–4
control the low band, 5–8 low-mid, 9–12 high-mid,
and 13–16 high.
Within each band, the first encoder (1, 5, 9, 13) controls gain; the second (2, 6, 10, 14) controls the frequency of the EQ band; the third (3, 7, 11, 15)
controls the Q; and the fourth (4, 8, 12, 16) controls
the band type.
SND AUX 1–2 Encoders 1 through 16 control the
level of the aux send to 1 and 2 from the channel
module immediately under the encoder when aux 1
and 2 are linked. When they are unlinked, they control the aux 1 send level.
PAN AUX 1–2 Encoders 1 through 16 control the
pan level of the aux send to 1 and 2 from the channel
module immediately under the encoder aux 1 and 2
are linked. When they are unlinked, they control the
aux 2 send level.
LVL BUSS The 16 encoders control the levels of the
correspondingly-numbered busses.
LVL AUX Encoders 1 through 8 control the master
levels of the aux sends.
LVL CH 1–16, 17–32, 33–48 Encoders 1
through 16 control the fader levels of the modules in
the fader layer selected by the CTRL + ENCODER
key combination.
NOTE
For the BUSS, AUX and CH level settings, the encoders
may be set to control the same modules as the current
fader layer. In this case, turning the encoder will move
the fader, moving the fader will be reflected by the
encoder indicators.
Reading the encoder indicators
The encoder indicators change their pattern, depending on the parameter being controlled by the encoders.
Pan settings When the PAN key is pressed, the
encoders control the panning of the channels/busses
associated with the fader (not in surround modes).
When the encoders are in pan mode, the indicator
patterns are as shown here.
Hard left
A little less hard
left
Centered
A little to the
right
Figure 2.11: Encoders in pan mode
Note how the slight pan away from center half-lights
the indicator at the end of the circle. This helps to
indicate the fact that the pan position is not centered,
even when the line of sight to the center indicator is
blocked by the encoder knob.
TASCAM DM-3200 Owner’s Manual 21
2 – Basic operational concepts : Encoders
EQ settings The EQ key assigns the 16 encoders
to control the 4-band EQ for the module selected
with the SEL keys. Each of the four bands may have
its gain, frequency, Q and type controlled by the
encoders as shown by the labels under the encoders.
No cut or boost
Slight boost (note
lower indicator is
now off)
The first encoder in each band is used to control the
gain, the indicators are used as below. “Half-steps”
are indicated by dimmed indicators. Note also the
slight boost and cut settings, which give an indication, even when the venter is hidden by the control
knob.
A little more boost
(three indicators
now lit and
one half-lit)
Full cut
Figure 2.12: Encoders in EQ gain mode
The second encoders of each band in EQ mode show
the frequency of the band in the following way:
Lowest frequency
Middle of the
range
A little higher
than middle
A little higher
again
Figure 2.13: Encoders in EQ frequency selection mode
The third encoders of each EQ band are used to control the Q (bandwidth), as shown here:
High Q value
(minimum bandwidth)
A little wider
Minimum Q
(widest band)
Figure 2.14: Encoders in frequency Q adjustment mode
22 TASCAM DM-3200 Owner’s Manual
2 – Basic operational concepts : Encoders
The fourth encoders of each band are used to set the
type (peak, notch, shelf, etc. of the band. An EQ band
Low shelf
High shelf
Peak
may have various options relating to the type of filter,
and the encoders reflect this:
Notch
HPF
LPF
Figure 2.15: Encoders used to make frequency band filter type selections
Module levels and AUX sends The level is
displayed up to the nominal level, and the nominal
level is marked by the lower indicator lighting with
all indicators up to the nominal position half-lit.
Full cut
Below nominal
(0dB)
Levels above the nominal are shown by additional
segments above the nominal segment lighting, and
those below the nominal position changing to half-lit
status, as shown in the illustration here.
Nominal (0dB)
Above nominal
level
Figure 2.16: Encoders used to make module level and aux send adjustments
If the encoders are “flipped”, the position of the
channel faders is represented in the same way as for
aux sends.
Dynamics settings These are typically “rotary”
settings, with the higher levels lighting more segments.
One exception to this is the output level from the
compressor/limiter, which lights the center indicator
(and bottom center indicator) at a 0 dB setting (no cut
or boost). Cuts and boots light indicators to the left
and right of the center, respectively.
The FLIP key The FLIP key exchanges the functions of the faders and the encoders, allowing the
touch-sensitive faders to be used for automating tasks
that might otherwise be performed by the encoders.
When this key is pressed, the faders automatically
move to reflect the new values assigned to them.
TIP
When setting up a cue mix on aux sends 1 and 2, for
example, you can use the faders for this, while still
keeping an eye on the main level settings (on the
encoders).
Encoder behavior
Typically, the encoders, as well as the PODs, change
values several steps at a time. To change the resolution of these controls, so that they change only one
step at a time, press and hold the SHIFT key (at the
extreme left of the unit) while turning the encoder.
However, there is an option allowing this behavior to
be changed so that the unshifted behavior makes fine
adjustments while the shifted behavior makes coarse
adjustments.
With the ALT indicator lit, press key 2 (OPTION).
Use the cursor keys to move down in the OPTION
screen to the ENCODER OPERATION item, which allows
you to select either 1Step (fine) or Coarse (multi-step)
as alternatives for the unshifted mode.
Figure 2.17: ENCODER OPERATION menu item
Press ENTER to select one of these options.
TASCAM DM-3200 Owner’s Manual 23
2 – Basic operational concepts : CF cards
CF cards
Make sure that you have a CF card with sufficient
space on it to hold the project (one with at least
32MB, such as the one supplied with the DM-3200,
is recommended).
The DM-3200 does not retain unsaved project data
when the power is turned off. Always save project
data before turning off the DM-3200. See “Shutting
down the DM-3200” on page 25. The capacity of the
card determines the number of projects that can be
stored on it (there is a maximum of 128 projects that
can be stored on one card).
The size of a project depends on the number of
library entries, and the amount and complexity of the
automation data which forms part of the project.
Insert the card into the CF slot, pin socket edge first,
and the maker’s label towards the display (there is
often an arrow printed on the card which should
match the arrow printed on the DM-3200’s top
panel).
To eject a card, remove the TASCAM card cover, and
press the square eject button just below the card slot.
CAUTION
To avoid possible data loss or corruption, we strongly
recommend that you only remove cards while the DM3200 is turned off. No physical damage will be caused to
either the unit or the card if you insert or remove cards
with the power turned on, though.
Note that the TASCAM card slot cover may prevent you
from seeing whether a card is actually properly inserted
or not. Always make sure the card is properly inserted
after the mixer has been transported, or the eject button has accidentally been touched. We recommend
keeping the card cover in place at all times, to avoid
dust etc. contaminating the card slot contacts.
Formatting a new card
Cards must be prepared before use (including the one
supplied with the DM-3200). Once formatted by the
DM-3200, the card is formatted in FAT16 format,
allowing it to be backed up easily to a personal computer fitted with a CF card reader.
1 Enter the UTILITY screen, and jump to the SYSTEM page (you can continue pressing the
UTILITY key until this page appears):
4 One more popup appears, reminding you that
the data on the card will be erased. Press
ENTER to continue with the format operation.
As the card is being formatted, a popup
appears.
NOTE
As this popup reminds you, the power to the DM-3200
should not be turned off while the formatting operation is taking place, otherwise the card will probably be
unreadable.
•
When the card has been formatted, a Completed
popup appears briefly. The card can then be
used.
• A failure in the formatting produces a message
inviting a retry. If a card cannot be reformatted after a number of attempts, it is probably
faulty, and you are advised not to use this card
with the DM-3200.
Note that this screen also provides a number of other
features.
Figure 2.18: Formatting a CF card
2 Move to the CF CARD FORMAT section, and use
the ENTER key to press the on-screen FORMAT
button.
3 A popup appears asking if you are sure you
want to format the card. Press ENTER to continue (at any point before formatting starts,
you can press a cursor key to exit).
24 TASCAM DM-3200 Owner’s Manual
• You can jump from here directly to the project
management (see “About projects and libraries” on
page 26) or the library management screens (see
“Library management” on page 30).
• The DM-3200 system date and time can be set here
(see “Setting the date and time” on page 27).
2 – Basic operational concepts : Shutting down the DM-3200
Shutting down the DM-3200
IMPORTANT CAUTION!!! Data associated with
projects (automation, library entries, etc.) is not automatically stored on the card. If you turn off the DM3200 without having shut down the DM-3200 properly,
YOU MAY LOSE ALL YOUR DATA NOT STORED TO A
PROJECT SINCE THE LAST SAVE!
2 While holding down the key, press the ALT key
of the number keypad.
As when you work with computers, we strongly recommend that you save your project data to card frequently
to avoid any possible data loss.
How to shut down the DM-3200 In order to
shut down the DM-3200:
1 Press and hold the SHIFT and CTRL keys (left
side of the surface–GLOBAL section).
Figure 2.19: Shutting down the DM-3200
3 A popup message (Figure 2.19, Shutting down
the DM-3200)appears. Press ENTER to continue with the shutdown, or any of the cursor
keys to cancel the operation.
4 When the all the data associated with the
project has been saved, the screen shows an
appropriate message. Use the switch on the
rear panel to turn off the DM-3200.
•
Alternatively, to reboot the DM-3200 without
turning it off and on again, use the ALT +
STOP + PLAY key combination.
Starting up the DM-3200
When you power down the DM-3200 after working
on a project, the project is automatically loaded, if
the CF card containing that project is inserted (a message appears on screen at the completion of the
project load).
power it up with the project CF card installed, the
screen shows a message warning you:
See “About projects and libraries” on page 26 for
more details about how the DM-3200 uses projects
and libraries to manage and store data.
If the CF card is not inserted, or if a different (or
unformatted) CF card has been inserted, an appropriate message is displayed (asking if you want to format a blank card, for example).
If you do not shut down the DM-3200 as described
above before powering it down, when you next
Figure 2.20: Powering up the DM-3200 with no previous
shutdown
TASCAM DM-3200 Owner’s Manual 25
2 – Basic operational concepts : About projects and libraries
Pressing ENTER will reload the last data which was
in the internal memory (the “resume data”), and
pressing a cursor key will load the project, ignoring
any changes since the last project save.
About projects and libraries
As mentioned earlier, the DM-3200 uses projects to
store settings.
with it (it is possible to pick and choose from this
list):
Projects contain system information, automation and
routing information associated with a project, making it easy to return to a previous state when a project
has to be conducted over more than one session.
•
•
•
•
•
•
•
When a new project is created, any of the following
data from a previous project may also be associated
System data
Snapshot (scene) data library
EQ setting library
Compressor/expander setting library
Gate library
Either or both of the effect libraries.
Effect setting libraries
Project
Automation
data
Snapshot
EQ
Comp/
Exp
Gate
Effect
CF Banks
CF Banks
CF
Banks
1-4
CF
1-4Banks
1-4
1-4
CF Banks
CF Banks
CF
Banks
1-4
CF
1-4Banks
1-4
1-4
CF Banks
CF Banks
CF
Banks
1-4
CF
1-4Banks
1-4
1-4
CF Banks
CF Banks
CF
Banks
1-4
CF
1-4Banks
1-4
1-4
CF Banks
CF Banks
CF
Banks
1-4
CF
1-4Banks
1-4
1-4
Slot 1-128
Slot 1-128
Slot 1-128
Slot 1-128
(x4)
Slot 1-128
Slot 1-128
Slot 1-128
Slot 1-128
(x4)
Slot 1-128
Slot 1-128
Slot 1-128
Slot 1-128
(x4)
Slot 1-128
Slot 1-128
Slot 1-128
Slot 1-128
(x4)
Slot 1-128
Slot 1-128
Slot 1-128
Slot 1-128
(x4)
Settings
data
Libraries
Each library in each project also has access
to the appropriate preset bank (RAM).
There are two preset banks for the effects.
Figure 2.21: Project structure
Within each project, five libraries, each divided into
four banks, contain the settings for the storable
parameters mentioned above.
Each of these banks contains 128 “slots” to hold settings (numbered from 000 to 127).
In addition, the preset bank, stored in the DM-3200’s
memory, is available for recall of presets to be used
as starting points for user settings. The effect library
has access to two preset banks.
26 TASCAM DM-3200 Owner’s Manual
Individual slots and banks may be copied between
projects after the project has been created.
Projects are stored on easily-transportable standard
Compact Flash cards, allowing projects to be tracked
in a project studio, and mixed and produced in a
larger facility, for example.
Projects are date-stamped automatically (the DM3200 contains a battery-backed clock) which helps
you keep your work organized.
2 – Basic operational concepts : About projects and libraries
Setting the date and time
To set the date on the DM-3200, follow the steps
below:
1 Enter the UTILITY screen, and jump to the
SYSTEM page:
3 Use the cursor and dial to set the date and
time.
Note that the month is a three-letter abbreviation of the English month name (JAN, FEB, MAR,
APR, MAY, JUN, JUL, AUG, SEP, OCT, NOV, DEC) and
the hours are set in 24-hour (“military”) format.
4 When you have set the values, press ENTER.
The DM-3200 shows a confirmatory pop-up
message (Date change was applied).
The calendar in the DM-3200 takes account of the
different month lengths, including leap years (up to
and including the year 2096—you may want to consider an upgrade after that time!).
Figure 2.22: Setting the date and time
2 Move the cursor to the DATE UTILITY section of
the screen,
More seriously, the clock is backed up by the DM3200’s internal battery. This battery should last for
several years. In the event of the battery running low,
(you can use the OPTION/PREFERENCES screen to
check), consult your TASCAM supplier.
Creating a new project
When creating a new project, the project can be created from scratch, with manually selected sampling
frequency, surround mode and mixer settings, taking
the settings from a selected prior project that acts as a
template, from preset library settings, or from the
current settings.
1 With the ALT indicator lit, press PROJECT so
that the NEW PROJECT page is shown:
Use POD 4 to select an existing project on the
card to use as a template from which settings,
etc. can be copied to the new project.
3 You can use the current settings, preset settings or select the settings from the template
using the wheel. Press ENTER to confirm these
settings.
4 Use the cursor keys to select the options which
include using the current settings, the preset
settings, and the project selected at the right of
the screen that can be used a a template. Press
ENTER to confirm these settings as well.
TIP
To set all options as CURRENT, TEMPLATE or PRESET, use
the BATCH SETUP at the top left as a short cut.
5 Move the cursor to the on-screen CREATE button and press ENTER, following instructions
on screen until the project is created.
Using a template Alternatively, if you already
Figure 2.23: The NEW PROJECT page
2 To set up a new project from scratch: set the
current sampling frequency and surround
mode for the project in the top left sections of
the screen.
have projects stored on the card, you can select one
of these to be used as a template. This is useful if
your facility regularly handles a certain type of
project with similar settings, as it allows you to set up
the DM-3200 with known parameters and to maintain consistency between projects.
TASCAM DM-3200 Owner’s Manual 27
2 – Basic operational concepts : About projects and libraries
TIP
Use the radio buttons NAME and DATE to sort the available projects by their name (alphabetic order) or the
date of creation.
Managing projects
Projects may be deleted, renamed, etc. as well as
being copied (this last option allows you to keep different versions of the same basic project, with different EQ settings, library entries, etc.).
TIP
You can also use the software on a computer to read
the data stored on the CF card, back it up to the computer, and save it to another card. Consult the documentation of the software to find out how to do this.
Use the MANAGE PRJ. screen (press the PROJECT key
with the ALT indicator lit until this screen appears) to
manage the and card-stored projects:
NOTE
The default internal project when loaded does not
allow the storage of automation, or the storage or
recall of library entries—its main function is to serve as
a blank template for a card-stored library rather than as
a working project.
Copying a project This action takes the highlighted project and creates a new project based on it.
When the on-screen COPY button is pressed, the
rename popup appears with a name and comments
based on the source project. See “Naming library
entries” on page 32 for details of how to enter and
edit names.
Rename the project with a unique name (duplicate
names are not allowed, and a popup message will
inform you if you try to use an existing name) and
when you are finished, press the on-screen STORE button (CANCEL cancels the copying process).
Deleting a project Move the cursor to the
project to be deleted and press the on-screen DELETE
button.
A popup appears asking if you are sure you want to
delete the project. Press ENTER to delete, or a cursor
key to cancel the delete process.
Figure 2.24: The project management page
The currently-loaded project is indicated by an
inverted C character by its name.
Use the POD 4 encoder to scroll through the list of
available projects.
Loading a project Use the POD 4 key as a shortcut key (LOAD) to load the highlighted project, or use
the cursor keys to move the cursor to the on-screen
LOAD button and press ENTER.
A popup message briefly appears while loading the
project, and also when the load process is completed.
28 TASCAM DM-3200 Owner’s Manual
NOTE
Remember that deleting a project also deletes all the
custom library entries (snap shot, effect and dynamics
processor settings, etc.) associated with the project.
Only delete the project if you are certain that you do
not want any of the project data any more.
Renaming a project This is very similar to the
copy procedure (see above) where the on-screen
RENAME button is pressed to provide a new unique
name for the project (as described in “Naming library
entries” on page 32).
In addition to these facilities named above, there is
an on-screen button that allows a direct jump to the
CF card maintenance screen, allowing formatting of
a card, etc.
2 – Basic operational concepts : About projects and libraries
Saving project data
•
From the MANAGE PRJ. screen, move the cursor
to the on-screen STORE button.
Figure 2.25: Storing a project
•
TIP
Get into the habit of doing this at critical points in your
project.
You can also use the STORE AS button to bring up the
naming panel (see “Naming library entries” on
page 32), allowing the current project settings to be
stored under a different name (similar to Save As...
on many computer programs).
Press ENTER to store the current project settings. Appropriate popup messages appear,
finishing with “Completed” when all save operations are complete.
TASCAM DM-3200 Owner’s Manual 29
2 – Basic operational concepts : Library management
Library management
The following libraries are available within each
project on the DM-3200 for storing and recalling
commonly-used settings:
it—see “Formatting a new card” on page 24) and
press the LIBRARY key:
• Snapshots (scene memories)
• EQ settings
• Compressor/expander settings
• Gate settings
• Effect settings (for internal effects 1 and 2)
Up to four card-stored banks of each library type are
available in each project. These banks are independent of each other and independent of the banks in
other projects.
It is, of course, possible to copy library entries (or
entire banks) between projects, as well as using existing projects as templates, allowing favorite effect settings, for example, to be used throughout a group of
projects.
There is also an internal bank, containing read-only
preset settings, which can be accessed by all projects.
In each bank, there may be up to 128 entries. The
entries in the internal banks comprise read-only presets, which may be used unchanged, or recalled and
used as the basis for original settings.
Library entries may be named and are automatically
time-stamped, to provide a reference for just when
and why a particular effect or setting was created.
Management of the library banks and the library
entries contained in them is done from within a special utility screen accessed from a pull-up menu.
Note that all libraries are very similar in their basic
operation, and differ only in details. If there are any
specific differences relating to an individual library,
they are described in the appropriate section of the
manual.
To enter the library management screen, insert a formatted CF card (or insert a blank card and format
Figure 2.26: Library management (gate library
shown as example)
Use the POD 1 key to pull up the menu which allows
a jump to the appropriate library.
Figure 2.27: Library selection pull-up menu
Use the POD 1 dial to highlight the required option
in the menu, and the POD 1 key or ENTER key to
select the highlighted option.
In most library screens, a small graphical representation of the currently-loaded setting (snapshot, EQ
setting, etc.) occupies the top left of the screen, while
the top right part of the screen is used to show a corresponding representation of the currently highlighted library entry.
Using library banks Select the bank within the
current project by using the cursor keys to highlight
the PRESET or CF BANK to be used, and pressing
ENTER.
This bank is used to recall a preset or previously
stored setting or to store the current settings.
• Current data is always stored on the left side of the
library screen, and the library data in the currentlyselected bank and slot is shown on the right.
Bank selection can also be done by pressing the +
and – keys to the left of the display in the LIBRARY
section with the SHIFT key pressed, when the current
banks is selected for this purpose in the OPTION
screen.
30 TASCAM DM-3200 Owner’s Manual
2 – Basic operational concepts : Library management
Viewing library entries POD 4 is used to scroll
through and highlight the library entries in the currently-selected bank. The on-screen representation
changes as the entries are highlighted. POD 4’s key
can be used as a “soft key” here to bring up a popup
with the properties of the highlighted entry.
POD 2 brings up an edit screen, allowing the title,
etc. of the library entry to be edited (see “Naming
library entries” on page 32).
Recalling library entries When a library entry
is highlighted, using the RECALL key to the left of
the display recalls the entry. Settings change to that
of the entry. POD 3 switch or the the on-screen
RECALL button may also be used for this purpose (navigate to it and press ENTER).
The + and – keys can also be used (without the
SHIFT key) to recall the library entries within the
bank in sequence.
TIP
By using the SHIFT key and the RECALL key, the
recall action can be undone. Pressing the SHIFT +
RECALL key combination after an undo operation will
redo the recall action.
Storing library entries The current settings can
be stored as a library entry by using the dedicated
STORE key to the left of the screen. They will be
stored to the slot in the library highlighted at the right
of the screen. The on-screen STORE button may also
be used for this purpose (navigate to it and press
ENTER).
If this action will overwrite an existing library entry,
this is shown as a popup message. Popup messages
are also shown if the settings cannot be stored
(maybe because there is no space on the card) or if
the destination slot contains a read-only preset.
Use the POD 2 switch as a STORE AS button. It
brings up the naming panel and the renamed entry
can then be stored.
TIP
You can copy library entries directly between banks (see
“Library utilities” on page 31), but you also can load a
library entry from one bank, thereby making it the current entry, select another bank, and store the current
entry to that bank.
Deleting library entries When a library entry is
highlighted on the right side of the screen, you can
delete it from memory, using the on-screen DELETE
button.
Navigate to the button, and press ENTER. A popup
message appears, asking you to confirm that the
library entry is to be deleted. Confirm the deletion
with ENTER, cancel it with a cursor key.
An error message pops up if you try to delete a readonly library entry.
Library utilities
These utilities allow batch operations, etc. to manage
library data and the CF cards.
Access this screen with the UTILITY option in the pullup menu:
Target area
This screen allows the bulk copying and management
of library data between libraries and banks, as well as
between projects.
The left side of the screen is used to show and set
details the “target” destination of the copying and
management process, and the right side is used for
the source of the data to be copied. Naturally, when
copying data from one library to another, both libraries must be of the same type—it is not possible to
copy EQ settings to an effect library, for example.
Target parameters Within the “target” section
of the screen, you can edit the properties (use the onscreen EDIT button) of the library entry highlighted in
the scrolling list, in the selected bank.
Target area
SOURCE area
Figure 2.28: Library utility screen
Use the on-screen buttons at the bottom of the left
side of the screen to select the bank to be used as a
target.
Use the POD 2 encoder to scroll through the list of
entries in the selected bank.
TASCAM DM-3200 Owner’s Manual 31
2 – Basic operational concepts : Naming library entries
The on-screen DELETE button deletes the currentlyhighlighted library entry.
The target project is fixed as the currently-loaded
project and cannot be fixed—to copy data to a project
other than the one currently loaded, you must first
load the desired target project to make it active.
However, from this screen it is possible to change the
currently-loaded library type (this changes the library
type on both sides, of course).
Source parameters The source parameters are
similar to the target parameters described above.
You can select the library type (which changes both
the source and target types), as well as the banks
within the source library.
Also note that you can select another project from
internal memory or card from which to extract library
entries and copy them over to the target library bank.
Use the POD 4 encoder to scroll through the bank.
The actual copying is done by selecting either BANK
(the complete contents of the selected source bank)
or FILE (the highlighted entry in the source), moving
the cursor to the on-screen COPY button and pressing
ENTER.
Appropriate popup messages warn you about overwriting, failed copy operations, etc.
Also note the “fuel gauge” showing the used/free
space of the CF card and the “jump button” allowing
easy access to the CF card utility screen.
NOTE
Copying a whole bank overwrites the whole contents of
the target bank. For example, if the target bank contains 99 entries, but the source bank from which the
copy is made contains only one, after the copy the target bank will contain one entry only.
Naming library entries
When naming library entries, projects etc., the following method is used to enter new names, or edit
existing ones. Names and memos of up to 16 characters can be stored:
•
•
Figure 2.29: Setting and editing titles and memos
•
•
Use the cursor keys to move left and right
within a title.
Use the wheel to navigate around the character palette, and press ENTER to enter the highlighted character at the title’s cursor position.
•
The character palette also contains an INSERT
and a DELETE symbol. When the wheel is used
to highlight these, and ENTER is pressed, a
blank space is inserted, or the current character is deleted, respectively, at the title cursor
position.
Library naming screens also contain dNAME
and NAMEe fields (and sometimes also contain
dMEMO and MEMOe fields) which are used to
transfer the stored name to the edited name or
the edited name to the stored name respectively. Highlight the appropriate field and
press ENTER to perform the copy.
When the characters of the title have been
entered, press the on-screen STORE (POD 2) to
enter the name and store the library entry (or
project). POD 3 (CANCEL) cancels the naming
process.
Options
The OPTIONS screens allow you to set preferences to
suit your working style. There are three option
screens, all accessed through the OPTION key.
SETUP screen
Press the OPTION key until the SETUP screen appears.
Use the cursor to navigate around the checkbox and
32 TASCAM DM-3200 Owner’s Manual
The SETUP and PREFERENCES screens set general
parameters relating to the operation of the DM-3200,
while the SOLO screen, as its name suggests, is concerned with solo operations.
2 – Basic operational concepts : Options
radio button parameters, and the ENTER key to select
and de-select settings.
clicks of the encoder. See also “Encoder behavior”
on page 23.
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 to the gate libraries, Comp/Expand to the
dynamics processor settings for gate and expander
effects, EQ to the equalization setting library, and
Effect1 and Effect2 to the first and second internal
effector settings, respectively.
Figure 2.30: The SETUP option screen
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.
Figure 2.31: Display top line set to SYSTEM
The source of the timecode shown in this way is also
selectable between the timecode used for automation
sync (AUTOMATION Sync Source), timecode received at
the 9-pin serial port (RS-422 IN TC), and any other
timecode received.
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
(MIC/LINE or INPUT) is selected, they act as overload or
signal detection indicators (depending on the setting)
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.
The TASCAM Mixer Companion software can also display the timecode in a window on a personal computer.
Otherwise, if the AUTOMATION option is selected,
these indicators show the current automation status
of the channels, as explained in the separate Automation Manual.
LOCATE DISPLAY mode This parameter deter-
FADER SENSITIVITY This parameter allows you
mines 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).
to specify the sensitivity of the faders, as used in the
automation process.
TIP
ENCODER OPERATION mode When using the
encoders (“Encoder behavior” on page 23), 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
The DM-3200 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.
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.
TASCAM DM-3200 Owner’s Manual 33
2 – Basic operational concepts : Options
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 useful check for the sensitivity of the faders.
PREFERENCES
The following general working preference settings
are available from this screen:
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, no SEL key which is lit
remains lit when the fader layer is changed.
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 79). The modes are as follows:
Fader layer SEL keys
CH 1–16
CH 17–32
Figure 2.32: The PREFERENCES screen
Fader Auto MODULE Select When enabled,
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 some screens, when this
option is enabled, this may only mean that the module shown at the top left of the screen changes when
its fader is touched.
CH SOLO Key Auto MODULE Select When
this is enabled, soloing a channel using the SOLO
key brings up the MODULE screen.
Select MODULE Return When checked, this
CH 33–48
BUSS 1–16
AUX 1–8
CH 1–16
CH 17–24
CH 25–32
CH 33–48
BUSS 1–16
AUX 1–8
Meter layer
CH 1–24
CH 1–24
CH 25–48
CH 25–48
BUSS 1–16
AUX 1–8
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.
Balance Level CENTER:0dB When two channels are linked together as a stereo pair, the pan controls change to a balance control. In the center
position, the level may either be set to 0dB (checked)
or a 3dB cut (unchecked).
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.
AUX Mute follows CH Mute When this is
ST Link by SEL key When checked, this option
Encoder Mode Follows Current Screen
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.
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.
For example, if this option is active, and SEL 2 key is
lit with fader layer 1-16 active, fader layer 17-32 is
34 TASCAM DM-3200 Owner’s Manual
checked, Aux sends from a channel are muted when
the channel is muted.
This option switches the encoder function automatically (see “Encoders” on page 20) when a relevant
screen (e.g. an aux send global screen) is selected.
Current Screen Follows Encoder Mode
The converse of the previous option; when the
encoder mode is changed, the appropriate screen is
shown.
BUSS PAN Follows ST PAN When checked,
and the BUSS PAN mode is ON, this option allows
the stereo pan channel control to control the balance
between the odd and even busses. No effect in surround mode.
2 – Basic operational concepts : Options
BUSS Link/BUSS PAN are Linked When
checked, this option links the buss panning when a
link is made between two busses.
SOLO
The solo modes on the DM-3200 can be set up in a
number of different ways using this screen:
selected, the solo status of only that slave module is
affected.
SOLO TYPE There are three options that may be
selected here: PFL (pre-fader listen), AFL (after- or
post-fader listen) and INPLACE SOLO. 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 the Inplace Solo mode
monitors the soloed signal(s) via the stereo and buss
outputs while all the other signals are cut from the
stereo and buss outputs.
Figure 2.33: SOLO options
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 SOLO 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 SOLO 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. 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
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).
TASCAM DM-3200 Owner’s Manual 35
2 – Basic operational concepts : Utilities
Utilities
There are three UTILITY screens, accessed with the
UTILITY key.
The first of these (PARAM COPY) provides a method of
copying values between channel parameters.
The second (EXT. SW) determines the function of the
external footswitch.
The last (SYSTEM) allows CF card management and
date setting. These have already been described in
“Formatting a new card” on page 24 and “Setting the
date and time” on page 27 and are not described
again here.
There is also a system update facility. See the
TMCompanion software and its documentation for
full details of how to update the DM-3200.
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.
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.
•
1 Press the UTILITY key.
•
•
•
Figure 2.34: UTILITY copy screen
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 other radio button (CH -> AUX for
level, but variable for pan/balance).
36 TASCAM DM-3200 Owner’s Manual
For pan/balance copying, the aux sends and
busses are available as linked pairs or an ALL
selection is also available. Individual sends
and busses are not available.
The STEREO buss is available as a destination.
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 33-40 and 41-48 and ALL. Individual channels cannot be selected. This
applies to both pan/balance and level copying.
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.
2 – Basic operational concepts : Utilities
SWITCH utility
When a footswitch is connected to the rear of the
unit, it can be set up using this screen in the following way:
Figure 2.35: UTILITY external switch settings
Talkback The footswitch can be set to act as a
hands-free talkback switch, with the destination
being set from the following options: TO STUDIO & TO
SLATE, TO STUDIO, and TO SLATE. In these cases, the
footswitch acts in “smart mode” (see “Smart keys”
on page 16).
Machine Control Especially in cases where the
operation” on page 93 for full details of how these
functions operate. In these cases, the footswitch
operates in the same way as the front panel keys.
Other functions The following functions duplicate commonly-used keys. SHIFT duplicates the use of
the SHIFT key (to the left of the unit). Automation KEEP
performs a keep operation (see the separate Automation Manual for details). Increment Direct Library Recall
and Decrement Direct Library Recall allow direct stepping
up or down through the current bank of the current
library (see also “Recalling library entries” on
page 31). Tap Tempo for Delay Effect allows the footswitch to be used for tapping in the tempo used for a
synchronized delay effect (useful if both hands are
busy playing an instrument!). Mute On/Off for Mute
Group [n] provides easy hands-free mute grouping for
a specified group, and the EQ On/Off for Current CH
allows easy A/B comparisons of EQ settings versus
flat response.
Polarity This is not a function assignment, but
allows the switch’s polarity to be reversed (the DM3200 expects a push-to-make momentary switch, but
by flipping the polarity to INVERT, a push-to-break
switch can be used instead).
artist is also the recording engineer, the following
hands-free transport operations can be very useful:
Punch In/Out, Direct Locate [n], Play/Stop. See “Remote
TASCAM DM-3200 Owner’s Manual 37
3 – Connections
This section describes how the DM-3200 connects to other equipment in your studio.
Since the DM-3200 is extremely “soft” in terms of the internal routing and patching, it is unlikely that you will
need to spend a lot of time connecting and disconnecting equipment once you have your setup in place.
A patchbay is also probably less necessary with the
DM-3200 than with many other mixers. See “Routing” on page 47 for full details of how the routing
and assignment are managed.
Stereo outs
2-track in
A i
Assignable
bl
rns
sends/returns
Mic/line inputs and inserts
MIDI, control and sync connections
ADAT I/O
2 x stereo digital I/O
Cascade TDIF I/O
connector
Figure 3.1: Overview of rear panel features
The illustration above provides an overview of the
way in which the top and rear panel connections are
arranged. Not highlighted are the power connector
38 TASCAM DM-3200 User’s Manual
and switch, and the two option slots, which may be
used to expand the capabilities of the DM-3200.
3 – Connections : Analog connections
Analog connections
Mic/line connections
All these connections (microphone and line) are balanced. The XLR connections follow the standard of
pin 1 ground, pin 2 hot and pin 3 cold. The TSR 1/4"
jacks are tip hot, sleeve ground, ring cold (this
applies to all balanced 1/4" jacks on the DM-3200).
Both the XLR mic connection and the 1/4" jack connection can be made at one time, but it is only possible to accept input signals from one source at a time.
The choice between the mic and line inputs is made
with the MIC/LINE selector switches for each input
channel
WARNING
To avoid damage to the microphones and/or the DM3200, do not connect or disconnect condenser microphones to and from the DM-3200 with the phantom
power to that input switched on. Always switch the
phantom power off before connecting or disconnecting
condenser microphones.
Do not use unbalanced dynamic microphones connected to the XLR connectors with the phantom power
turned on. This may cause damage to the microphones
and/or the DM-3200.
The 1/4" balanced input jacks accept +4 dBu connections, but you can use the TRIM controls to allow
them to accept –10dBV connections (from synthesizers, etc.).
Note that if additional analog inputs are required, the
optional IF-AN/DM slot card can be used to provide
such inputs.
TIP
Signal/overload indicators for the input channels are
selectable in the preferences screen. See “OL/STATUS
LED TYPE” on page 33 for full details.
Channel inserts The analog inserts for each analog input channel allow you to use your favorite analog compressors/gates, etc. before the sound gets
converted to the digital domain.
NOTE
These are not the same as the “soft” (assignable) insert
loops which are described in “Insert patching” on
page 50.
Figure 3.2: Analog channel inputs and controls
These 1/4” jacks are wired: tip send, ring return,
sleeve common ground. The nominal send and return
levels of these inserts is –2 dBu which allows them to
be used with a wide range of studio equipment.
Note that the switch also has a –20 position, providing a 20 dB pad for high-output microphones.
2 TR IN This pair of unbalanced RCA jacks pro-
The analog input signal level can be adjusted using
the analog TRIM controls (there is also an internal
software digital trim control for each input channel,
independent of these analog controls).
ASSIGNABLE RETURNS These are balanced
A +48V phantom power supply is provided for balanced condenser microphones. This is switchable in
groups of 4 (inputs 1–4, 5–8, 9–12 and 13–16).
vides a –10 dBV return for the analog outputs of a 2track recorder connected to the DM-3200.
1/4" TRS jacks at +4 dBu (wired as described above).
As the name suggests, they provide analog return
inputs which can be assigned to a variety of sources
(see “Routing” on page 47).
TASCAM DM-3200 User’s Manual
39
3 – Connections : Digital connections
Analog outputs
The dedicated analog outputs are relatively few since
it is expected that most signals will remain in the digital domain after they have entered the DM-3200.
STEREO OUT Balanced XLR connections (1
ground, 2 hot, 3 cold), which output the stereo buss
signals, which can be used to feed the analog inputs
of a 2-track recorder, or a specialist chain of analog
devices used for mastering.
NOTE
There are no dedicated stereo digital outputs. The stereo buss may be routed internally to a variety of digital
outputs in different formats. See “Output routing” on
page 49 for details.
ASSIGNABLE SENDS These are balanced 1/4"
TRS jacks at –2 dBu (wired as described above). As
the name suggests, they provide analog send outputs
which can be assigned from a variety of sources (see
“Routing” on page 47).
Monitoring (CR OUTPUTS) A pair of balanced
1/4" jacks provides the feed to the stereo control
room monitoring system (amp/speaker or powered
monitors) at +4 dBu levels. The level is adjusted
using the hardware CR control.
Monitoring (STUDIO OUTPUTS) These
unbalanced RCA jacks provide a –10 dBV feed to the
studio monitoring system. The level is controlled by
software.
Digital connections
Digital audio I/O
TDIF I/O There are three 25-pin TDIF-1 connectors
each carrying eight channels of input and eight of
output. These can be used to connect DTRS recorders, etc. as well as other devices whose digital I/O
conforms to the TDIF-1 standard.
WARNING
Make connections to these terminals only using
approved TDIF cables. Use of any other cables will result
in signal degradation, and may even damage equipment.
ADAT “lightpipe” OUT & IN These TOSLINK
optical connectors carry eight output channels and
eight input channels of audio respectively.
Connect them to appropriately-equipped equipment
using standard optical digital audio cables.
CASCADE This is a special connector, used only to
connect another DM-3200 unit to extend the capabilities of the DM-3200. This facility is not available in
the first release of the software.
40 TASCAM DM-3200 User’s Manual
WARNING
Only use the special TASCAM cascade cable here. Use of
any other type of cable may result in damage to the
equipment.
Digital inputs and outputs There are two sets
of stereo digital inputs and two sets of stereo digital
outputs.
Each set comprises an unbalanced RCA connector
(typically for use with S/PDIF equipment), and an
XLR connector (typically for use with AES/EBU
equipment).
Though connections can be made to both the RCA
and XLR connectors together, only one can be used
for input at any one time (output from these jacks is
made in parallel). Selection is made in software.
We strongly recommend that to maintain signal quality, you only use cables designed for digital equipment.
3 – Connections : Digital connections
Digital I/O setup
After the connections have been made, the inputs and
outputs can be set up for use.
Press the DIGITAL key (ROUTING with the ALT indicator lit) so that the SETUP screen appears:
The 24bit Fix checkbox allows the input of 16-bit data
at these connectors and removes any inconsistencies
associated with spurious status information, fixing
the word length at 24 bits.
Mute Defeat The Mute Defeat checkbox should
normally be left unchecked. In the event of bad digital audio data being received (out of range, or corrupt, etc.), the DM-3200 will usually mute the input
to prevent possible damage to monitoring equipment.
However, this automatic muting can be turned off
with this checkbox. Some AES/EBU sources produce data which does not quite conform to the AES/
EBU standards, and will cause the DM-3200 to reject
these sources, and mute the input, even though such
data is actually valid.
Figure 3.3: DIGITAL SETUP screen
This screen allows the viewing and changing of the
parameters relating to the two digital audio inputs
and outputs as well as the three built-in TDIF connectors.
There are a number of on-screen DETAIL buttons
which, when pressed, show a popup with details of
the word length, sampling frequency data format, etc.
of the appropriate input or output.
Digital inputs The word length (16BIT or 24BIT)
and the input selected using the routing screens (XLR
or RCA) are automatically determined and displayed.
Also, in the case of a “double-speed” input (that is,
88.2 kHz or 96 kHz), the display shows HISPEED, otherwise it shows NORMAL.
The DM-3200 includes a frequency converter, which
is capable of taking an input frequency of 44.1, 48,
88.2 or 96 kHz (±6%) and converting it to the project
frequency. Use the on-screen FS CONVERT button to
turn the converter on and off.
NOTE
The signal from any input used with a sampling frequency converter cannot be used as a sync clock source
(see “Clock setting” on page 44).
Note that an appropriate popup appears if invalid
audio data is received, informing you of the type of
error and the input at which the bad data is received.
The output channels are determined automatically
(either as stereo or 2 x mono) according to the output
routing (see “Output routing” on page 49, but the format is set between AES/EBU and S/PDIF using the dial
and ENTER key.
The TDIF inputs automatically detect sampling frequency, etc. but you may want to set the word length
(16, 20 or 24 bits) using the dial and ENTER. Note
that the three TDIF terminals can take different word
lengths.
Stereo output Finally, the format of the output
from the stereo buss when it is routed to a digital output can be decided here. The word length can be set
at 24 bits, or reduced to 16 bits.
If the word length of the digital stereo buss is reduced
to 16 bits, there are three options available: Truncate,
Dither, and Noise Shape.
A full discussion of the principles involved here is
outside the scope of this manual. Many of the books
from Focal Press provide excellent background information on digital audio, timecode issues, etc.
TASCAM DM-3200 User’s Manual
41
3 – Connections : Other connections
Slot card configuration
As mentioned, you can expand the capabilities of the
DM-3200 with the optional slot cards available.
These cards are as follows:
IF-AN/DM providing eight channels each of A/D
and D/A conversion. Referred to on screen as AD/DA
Card. Can be installed in slot 1 or slot 2.
An on-screen DETAIL button allows the viewing of
information related to each of the four stereo input
and output channels (a popup appears on screen).
MUTE DEFEAT can be enabled or disabled for each of
the four channels (see above for details of this).
IF-TD/DM providing eight channels of digital I/O
in TDIF-1 format. Referred to on screen as TDIF-1
Card. Can be installed in slot 1 or slot 2.
The current status of the input and output channels is
also shown on the screen.
Figure 3.4: IF-AN/DM (at left) and IF-AE/DM (at
right)
The parameters available allow the viewing (but not
the setting) of the word length (for input and output)
and the eight output tracks associated with the card.
IF-AE/DM providing eight channels of input and
output in AES/EBU format. Referred to on screen as
AES3 Card. Can be installed in slot 1 or slot 2.
The inputs and outputs can be set independently for
normal operation or double-speed operation.
Figure 3.5: IF-TD/DM (at left) and IF-AD/DM (at
right)
IF AD/DM providing eight channels of digital I/O
in ADAT “lightpipe”. Referred to on screen as ADAT
Card. Can be installed in slot 1 or slot 2.
Other connections
MIDI connections (IN, OUT and THRU) Use
these standard MIDI connectors to connect the DM3200 to other equipment. The THRU terminal also
functions as a MIDI Timecode output terminal.
RS-422 serial control terminal This 9-pin Dsub connector is used to provide control of suitablyequipped devices, using P2 protocol, etc. See
“Remote operation” on page 93 for details.
This MIDI functionality can be used to provide either
open or closed MMC loop control of remote devices,
as well as allowing the DM-3200 to control other
devices through its faders and encoders. See “MIDI”
on page 91 for details.
TIME CODE This 1/4" unbalanced jack accepts linear SMPTE/EBU timecode for synchronization with
other devices. Note that the DM-3200 does not generate linear timecode, and can neither accept nor generate vertical timecode.
NOTE
The USB connector provides MIDI to and from a host
computer for DAW control, etc. There is no need to
make a separate MIDI connection to and from such a
computer.
42 TASCAM DM-3200 User’s Manual
WORD SYNC (IN and OUT/THRU) In any
digital audio setup, it is important that there is one,
and only one, word sync source.
3 – Connections : Other connections
WARNING
More than one such word sync source can cause serious
problems, including possible damage to monitoring
equipment.
The DM-3200 can act as a word sync master or slave
(set up in software—see “Clock setting” on page 44).
The switch allows the OUT to act as a THRU when
the DM-3200 is receiving word sync signals, as well
as enabling and disabling 75Ω termination on the
input.
TO METER Use the cable provided with the
optional meter bridge (MU-1000) to connect the
meter bridge to this connector of the DM-3200.
FOOT SW Connect a standard momentary foot (or
other) switch to this 1/4" jack. It can either be pushto-make or push-to-break, as the polarity can be
changed in software.
For details of how to do this, as well as how to set up
the footswitch, see “SWITCH utility” on page 37.
USB This is used to connect the DM-3200 to a host
computer for bi-directional control. This is, the computer can control the DM-3200—see the documentation supplied with the TASCAM utility software—
and the DM-3200 can be set up as a DAW controller,
controlling the DAW software running on the host
computer.
We strongly suggest that you use only the USB cable
supplied with the DM-3200 to make the USB connection, and that this connection and disconnection
are made with the DAW software, or any other software communicating with the DM-3200, not
running.
Note that no drivers are necessary when using the
DM-3200 with OS X or Windows XP.
Power input As always, check to make sure that
the voltage requirements marked on the unit match
your power supply. Use a properly grounded power
supply, and connect the DM-3200 to it using a power
cord which provides grounding facilities (such as the
one provided with the DM-3200).
TASCAM DM-3200 User’s Manual
43
3 – Connections : Clock setting
Clock setting
When the connections have been made to the DM3200, you must select a clock source. The master
clock source is also used to determine the sampling
frequency for the whole project.
After confirming that you want to do this, a popup
appears, informing you of the status of all potential
clock sources.
Remember that the DM-3200 can act as a clock
source or clock master, but there must be only one
master clock source in your studio setup.
Press the PROJECT key until the CLOCK screen
appears:
Figure 3.7: Checking the clock sources
Varispeed clocking Note that the DM-3200 is
Figure 3.6: PROJECT CLOCK screen (high-speed)
Fs MODE The first item to be selected is the use of
the high-speed or normal clock. When the lower
88.2K/96K (high-speed) option is selected, many of the
44.1K and 48K legends on the screen change to 88.2K
and 96K respectively. In addition, in high-speed
mode, the digital inputs are also available, and the
number of available clock sources on the optional
AES/EBU interface card (if fitted) is reduced:
In both this and the normal speed clock screen, the
current clock status is displayed at the top of the
screen (as shown above).
Checking the clock You can make a check of the
system by moving the cursor down to the bottom of
the screen and pressing the CHECK [START] button.
able to accept audio data and clock signals from
“varispeed” devices, provided the playback speed
and hence the sampling frequency is within 6% of the
nominal frequency.
Of course, when the out-of-normal clock is to be retransmitted to other devices, it depends on the implementation of the other devicse as to whether the
clock can successfully be accepted by them.
Clock change action When the clock is
changed, you have an option to reboot and keep
(KEEP) the existing mixer configuration (MIXER CONFIGURATION), or to initialize the settings (INITIALIZE)
the DM-3200.
When you make the change to the clock, an appropriate popup message appears, telling you what is about
to happen (either the mixer will reboot, or the data
will be initialized). Press ENTER to carry on with the
operation or a cursor key to cancel it.
WARNING
Whichever option you select here, remember that
changing the clock source and/or frequency may produce “thumps” and noise which may cause damage to
your hearing and the monitoring system, etc. Turn
down the levels of all such equipment before making
the change to the clock settings.
44 TASCAM DM-3200 User’s Manual
3 – Connections : Clock setting
Changing the clock If the desired clock source
has a frequency selection option, select the
frequency.
The stereo digital inputs (D-IN1 and D-IN2) can have
their sampling frequency manually set here (but if the
frequency converter is turned on, they cannot act as
clock sources). To enable the manual setup for both
digital inputs, which overwrites the embedded C bit
(channel status bit) information, check the checkbox,
and select the sampling frequency. Note also that if
the optional AES/EBU slot card is fitted, the settings
made here are applied to this card as well.
The following options relate to the different clock
sources available:
Normal
High-speed
Internal
48K/44.1K
96K/88.2K
Word (WORD SYNC) connection
48K/44.1K
96K/88.2K
Cascade
No options
Digital in 1/2
Manual setup, 48K/44.1K
TDIF 1/2/3
No options
ADAT
Manual setup, 96K/88.2K
48K/44.1K
96K/88.2K (note that this is dual-line input
at high speed)
1/2, 3/4, 5/6, 7/8
AES card
1/2, 3/4, 5/6, 7/8
TDIF card
No options
ADAT card
48K/44.1K
AD/DA card
No options—this card is not capable of acting as a clock source
FireWire card
TDM format (clock is transmitted on SLRCK)
When you have selected the appropriate option for
the clock source, move the cursor to the checkbox
and press ENTER.
A checkmark (✔) appears in the box if a valid clock
signal is present, a cross (✘) if it is not present, and a
question mark (?) if the clock signal is out of range.
An appropriate popup message is shown in the event
of an error in the selected clock signal.
If the clock signal is a valid one, and one which can
be used, an appropriate popup message (depending
on the action selected when the clock is changed
(“Clock change action” on page 44) is shown).
Press ENTER to change the clock, or a cursor key to
cancel the action.
Clock phase The phase of the clock signal
received at the WORD SYNC IN or transmitted or
passed through the WORD SYNC OUT/THRU terminal (see also “WORD SYNC (IN and OUT/THRU)”
on page 42) can be inverted using the on-screen
phase controls.
OUT SPEED Note that in high-speed mode, the
clock transmitted from the WORD SYNC OUT can be
either the high-speed (88.2/96) clock or the corresponding normal speed (44.1/48) clock.
TASCAM DM-3200 User’s Manual
45
4 – Routing & assignment
This section deals with the routing of signals between the different sections of the mixing console, with the
assignment of channels to busses, etc. and with metering and the monitoring of the signals in the control room
and studio.
The DM-3200 is equipped with two types of mixer
channel modules, with the first 32 fully equipped
with EQ and full dynamics processing, and modules
33 through 48 being more similar to the basic return
channels on a traditional recording mixer. See the
table below for an explanation of the facilities provided.
Note also that there are two modes for the first 32
channels—input and return modes—similar to the
channel modes found on many recording mixers,
allowing replay and mixing of recorded tracks without physical repatching. As with many such recording mixers, the “return” has fewer features than an
input source, and these are shown in the table below.
Modules
Channels 1–32
(input)
Channels 1–32
(return)
Channels
33–48
Aux modules
(1–8)
Buss modules
(1–16)
Stereo buss
module
Gate
Yes
—
—
—
—
—
Compressor/
expander
Yes
—
—
Yes
Yes
Yes
Phase switch
Yes
—
—
—
—
—
Digital trim
Yes
—
—
—
—
—
“Soft” inserts
Yes
—
—
Yes
Yes
Yes
4-band EQ
Yes
—
—
—
—
—
Channel delay
Yes
—
—
Yes
Yes
Yes
Pan / surround Yes
pana
—
Yes
—
—
—
Aux sends
Yes
Yesb
Yes
—
Yesb
Yesb
Mute
Yes
Yes
Yes
Yes
Yes
—
Solo
Yes
Yes
Yes
—
—
—
Direct
Yes
—
—
—
—
—
Buss outputs
Yes
Yes
Yes
—
—
—
Stereo outputs Yes
—
Yes
Yes
Yes
—
Figure 4.1: Module facilities on the DM-3200
a. Depending on current surround setting
b. Aux 1–2 only
The level of all modules is controllable via faders,
and adjacent odd-even pairs of all modules can be
linked (except for the stereo buss, of course).
The operation of all these modules is almost identical
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