User manual TASCAM DM-24 EFFECTS

DM-24 Digital Mixing Console to EFFECTS MANUAL Table of Contents 1 ­ Internal Effects on the DM-24 Patching and setting up effects .................. 3 Mono and stereo inputs ......................................... 4 Example 1 (Loop/insert setting with 1=mono input and 2=stereo input .......................4 Example 2 (Loop/insert setting with 1 & 2 both = stereo input) .....................................4 Example 3: (Loop/insert setting with 1 & 2 both = mono input) ......................................5 Example 4: 1/2 series (1=mono input, 2=stereo input) .......................................................5 4 ­ Antares speaker modeling Selecting the speaker modeler .............................18 General parameters ...............................................18 INTYPE ..................................................................... 18 INPUT ....................................................................... 18 BYPASS .................................................................... 18 Source speaker types .................................18 Target speaker types .................................19 A few limitations ...................................................19 5 ­ TC Works Reverb General parameters ...................................20 INTYPE ..................................................................... 20 INPUT ....................................................................... 20 OUTPUT ................................................................... 20 MIX ........................................................................... 20 Effect send sources ...................................... 5 Aux 1 through 6 ........................................................5 Aux 1 through Aux 6 insert ......................................6 Buss 1 through buss 8 insert ....................................6 Stereo L, R insert .......................................................6 Assignable inserts 1 through 4 ................................6 Balance controls .........................................20 I/R ............................................................................. 20 TAIL .......................................................................... 20 Effect 1-2 series ....................................................... 6 Setting up the effects units ........................ 7 Changing parameters .................................. 7 Storing your settings .............................................. 8 High-cut filter .............................................21 HICUT ....................................................................... 21 ATT ........................................................................... 21 2 ­ Notes on using effects Default snapshot settings ........................... 9 Using the internal effects as inserts (i) ...... 9 Using the internal effects as inserts (ii) ... 10 Space editor ................................................21 SHAPE ...................................................................... 21 SIZE .......................................................................... 21 W-DIFF ..................................................................... 21 WIDTH ...................................................................... 21 3 ­ Antares microphone modeling Limitations ................................................. 11 Selecting the microphone modeler ...................... 12 Decay characteristics ..................................21 LOW, MID, HIGH ..................................................... 21 RANGE ..................................................................... 21 X-over ...................................................................... 21 Overall settings .......................................... 12 Input gain ................................................................12 Output level .............................................................12 Bypass ......................................................................12 Pre-delay settings .......................................22 INLEV ........................................................................ 22 REVLEV ..................................................................... 22 PREDLY .................................................................... 22 REVFEED .................................................................. 22 Selecting the source microphone ............. 12 The bypass microphone model ............................ 13 Source microphone settings ................................. 13 Proximity ..................................................................13 Pattern .....................................................................13 Low-cut filter ...........................................................13 Conclusion ..............................................................22 Preset reverb settings ................................22 Ambience ................................................................. 22 Box ........................................................................... 22 Chamber .................................................................. 22 FX ............................................................................. 22 Tunnel ...................................................................... 22 Hall ........................................................................... 22 Drum ........................................................................ 22 Perc .......................................................................... 22 Plate ......................................................................... 22 Room ........................................................................ 22 Selecting a model for output .................... 13 Model microphone parameters ............................ 14 Proximity ..................................................................14 Low-cut filter ...........................................................14 Response pattern ....................................................14 Preserve source settings ....................................... 14 Tube saturation ..................................................... 14 Microphone models ................................... 15 Updating microphone models .............................. 17 6 ­ TASCAM effects Common parameters .................................26 INPUT ....................................................................... 26 MIX ........................................................................... 26 OUTPUT ................................................................... 26 Effect parameters .......................................26 Preset effect settings .................................27 2 TASCAM DM-24 Effects 1 ­ Internal Effects on the DM-24 The DM-24 contains a number of high-quality effects that you can use within your project, either while recording, or on mixdown. The effects available include: · · · · · · · · · Microphone modelling (single-channel) Speaker modelling (two channels) Chorus (two channels) Delay (two channels) Distortion (single-channel) Guitar compression (single-channel) Soft compression (two channel) Phaser (two channels) Pitch shifter (two channels) · · · · Flanger (two channels) De-esser (two channels) Exciter (two channels) Reverb (two channels) Out of these, the two effects are available at any one time in 44.1k or 48k sampling frequency mode. In high sampling frequency modes (88.2k or 96k), only one effect is available. NOTE The following combinations cannot be used: reverb + reverb, reverb + speaker modeler. In high sampling frequency mode, the reverb, microphone modeler and speaker modeler are unavailable. Patching and setting up effects All effect settings are managed using the EFFECT key. This allows the assignment of sends and returns, as well as the selection and parameter setting for the effects. There are two primary options, to use the effects independently in loop or insert mode, or to use the two effects in series, with the output of effect 1 feeding the input of effect 2 (similar to some multi-effect units). The first of these modes is known as the Loop/Insert mode, and the second as the EFFECT1 EFFECT2 Series mode. Use the cursor keys to select the mode (either Loop/ Insert or EFFECT1 EFFECT2 Series), and the ENTER key to confirm the choice. The lower part of the screen contains a representation of the two internal effect inputs and outputs. An effect may have two inputs (L and R) and two outputs (L and R). See "Mono and stereo inputs" on page 4 for more information. However, this does not mean that there are two separate effect processors in each effect. It is possible to use the two inputs of the effect processor "creatively" (that is, have two completely separate feeds for the left and the right inputs of the effect), but this is not recommended. We strongly suggest that only pairs of inputs (e.g. stereo inserts, odd-even pair buss and aux inserts and odd/even pairs of aux sends) are selected as stereo inputs for the effects. Use this screen to select the input sources for the internal effects. The choices available are: Effect source Display shows Press the EFFECT key followed by soft key 1 (PATCH) to bring up the patch screen as shown here. NOTE Aux sends 1 through 6 Buss 1 through 8 insert Aux 1 through 6 insert Stereo L, R insert Assignable insert 1 through 4 When using the DM-24 in high sampling frequency mode, only one effect is available, and only one effect (EFFECT 1) is shown on this screen. AUXx BUSS1 INS SEND AUXx INS SEND ST-L PRESEND, STR-R PRE SEND ASGN INSx SEND Use the cursor keys, dial and ENTER key to set the value for each input. TASCAM DM-24 Effects 3 1 ­ Internal Effects on the DM-24--Patching and setting up effects WARNING NOTE Although it is theoretically possible to select both an aux send and an aux insert as input sources for an effect, a few seconds' thought will show that this will result in a feedback loop, resulting in possible damage to equipment (and ears!). You should therefore avoid making this type of setting. The same source cannot be selected twice to feed two different effect inputs (except for the aux sends). A popup message appears to warn of attempted duplicate assignments. Any send/return assignments made to the effects will override any assignments made to external send/return insert loops. The effect output destination cannot be selected here-- the destination of the effect outputs is determined by the choice of the input source, and in the case of the aux sends by the settings made in the I/O screens. A popup message appears to show that the assignment has been made. Mono and stereo inputs The DM-24 internal effects are either single-channel or two-channel, as listed at the start of this section. At the top of the input/output patch section for each effect, there is a field called INTYPE (input type). In the case of single-channel effects, the only option available is Mono. In the case of dual-channel effects, there is a pair of radio buttons: Stereo and Mono. Select one of these as appropriate, depending on whether one mono source, or a stereo pair of sources (e.g. a pair of aux sends) will be used to feed the effect. Once again, we recommend that only pairs of inputs (e.g. stereo inserts, odd-even pair buss and aux inserts and odd/even pairs of aux sends) are selected as stereo inputs for the effects. The number of outputs available for an effect depends on a number of factors: the type of effect currently selected, the mono/stereo input type currently selected, and the destination of the effect (for instance, if effect 1 is patched in series with a single-channel effect used in effect 2, only one channel is output from effect 1). Example 1 (Loop/insert setting with 1=mono input and 2=stereo input In this example, the delay line is fed by a mono signal source (for example a microphone) and the output is spread between the left and right outputs. The stereo inputs to the plate reverb maintain the image of the stereo source (for example, if a pair of overhead mics has been set up to record a drum kit). 4 TASCAM DM-24 Effects 1 ­ Internal Effects on the DM-24--Effect send sources Example 2 (Loop/insert setting with 1 & 2 both = stereo input) In this example, both effects are used in insert mode. Busses 1 and 2 use a effect 1 as a stereo phaser (this can be turned on or off as needed for a creative effect). Effect 2 (a chorus) is inserted into an input channel (for example, a fretless bass) in order to thicken the sound. In this example, because these effects are being used by only one channel each, there is no need to tie up the aux sends and returns, which can then be used for other purposes. Example 4: 1/2 series (1=mono input, 2=stereo input) In this example, the two effects are put in series, with effect 1 (echo) taking a mono mic signal and echoing it to the left and right channels. The stereo compressor assigned to effect 2 is inserted in the stereo output buss in order to limit the dynamic range of the stereo outputs. Example 3: (Loop/insert setting with 1 & 2 both = mono input) Here again, both effect 1 and effect 2 are used as inserts, but they both have mono inputs. Effect 1 (a distortion setting) is being used with a distortion effect, in order to achieve a distorted vocal sound. These echoes are then passed to the reverb, where they are processed "in-place" to provide an interesting stereo effect (note that reversing these two effects would produce echoed reverb--probably less desirable). Effect send sources Whether the effect (or in series mode, both effects together) is used as a loop or an insert depends on the source selected for the effect inputs. The effect output with this setting is assigned to a channel using the I/O screens (see "Signal sources" on page 36 of the main manual). If a channel has already been assigned to take its input from an internal effect, this channel is shown Aux 1 through 6 When these are selected as effect input sources, the effect is placed in a loop. TASCAM DM-24 Effects 5 1 ­ Internal Effects on the DM-24--Effect send sources on the OUT section of the screen when the loop assignment is made and is shown as Chxx (xx = 1 through 32). If no channel has been assigned, the display shows ---. If more than one channel has been assigned as a return, the display shows ****. This insert is made pre stereo master fader. The outputs are automatically assigned to the stereo insert returns are shown as ST-L PRE RETURN and ST-R PRE RETURN. Aux 1 through Aux 6 insert When these are selected as effect input sources (AUXx INS SEND), the effect becomes an insert-type effect. This insert is made post aux send fader. The outputs of the effect are automatically assigned to the appropriate aux insert returns and shown as AUX INS RETURN. Assignable inserts 1 through 4 When these are selected as effect input sources (ASGN INSx SEND), the effect becomes an insert-type effect. For these to be effective, the assignable send/returns must be set to be inserts, not send/return loops (see "Assignable sends and returns" on page 43 of the main manual). If they have been set to send/return loops, a popup message appears informing you of the fact. Note that when an assignment is made to these inserts, the corresponding physical 1/4" jacks are no longer available (these settings override the physical jack insert assignments). The outputs from the effects are sent to the assignable insert return. This is shown in the output assignment section of the effect as ASGN INSx RTN CH y if a channel assignment has been made, or ASGN INSx RTN --- if no assignment has been made. Buss 1 through buss 8 insert When these are selected as effect input sources (BUSSx INS SEND), the effect becomes an insert-type effect. This insert is made post buss level fader. The outputs of the effect are automatically assigned to the appropriate buss insert returns and shown as BUSS INS RETURN. Stereo L, R insert When these are selected as effect input sources (ST-L PRE SEND and ST-R PRE SEND), the effect becomes an insert-type effect. Effect 1-2 series When the two effects units are selected to act in series, with effect 1 feeding effect 2, although both effect 1 and effect 2 are shown on the screen, only the inputs to effect 1 may be set. The output(s) from effect 1 are automatically routed to the input(s) of effect 2. If the source of effect 1 is an aux send, the effect 2 output is assigned to a channel (set using the I/O screen). If the source of effect 1 is an insert, the output of effect 2 defaults to the insert return as shown in the output assignment section of effect 2. The outputs from effect 1 are shown as EFFECT2 IN L and EFFECT2 IN R, and the inputs to effect 2 are shown as EFFECT1 OUT L and EFFECT1 OUT R (if effect 2 is a dual-channel effect). If channel 2 is set to output only a single channel, the single output from effect 1 is labeled as EFFECT2 IN L and if there is a single input to effect 2, this is labeled EFFECT1 OUT L. 6 TASCAM DM-24 Effects 1 ­ Internal Effects on the DM-24--Setting up the effects units Setting up the effects units To use one of the internal effect units, press the EFFECT key and then soft key 2 or soft key 3 (EFFECT 1 or EFFECT 2). · The second holds preset TASCAM effect settings ("Preset effect settings" on page 27). Use the library screen to scroll through the list of different library entries in the selected bank. See "Library functions" on page 99 of the main manual for full details regarding library functions. NOTE Although the preset library banks are named 1 and 2, an effect from library bank 1 may be recalled for use with effect 2, etc., as well as the other way round. Remember, though, that when using effects in series, effect 1 always feeds effect 2. If the effect settings are recalled to the wrong effect, the sound may not be quite what you expect (echoed reverb is rather different from reverbed echo, for example). Next, use the EFF... LIB-> key (soft key 4) to enter the effects library. Use the cursor keys and ENTER key to select either one of the two effect preset banks or the user effect bank. There are two preset library banks: · The first bank holds the TC Works reverb preset settings, as well as blank templates for the Antares microphone and speaker modelers ("Preset reverb settings" on page 22). When you recall a library entry from the library, a popup message appears confirming the selection. When the EFFECT key is pressed, the effect screen showing the values and parameters appropriate for that particular type of effect is displayed. Once an entry has been recalled, there is no way of changing its type through the on-screen parameters. You must reload an entry of another type from the library in order to change the effect type. NOTE The points at which the effects are returned are set in the I/O screens and are selectable in the same way as for mic/line inputs, etc. Changing parameters The parameters of the entry are changed using the cursor keys and PODs, dial and ENTER key, in the same way as other parameters on the DM-24. These parameter settings take place immediately (that is, the effect of the change can be heard immediately after the parameter has been changed). See the appropriate sections of this manual for details of how the parameters change depending on the effect type selected. Essentially, there are two different types of effect: the in-line type of processor, typically used in an insert mode, and the send/return type, typically used in a loop mode (aux send to channel return). There are no hard and fast rules as to how these should be used, though. If you wish to use the guitar amplifier simulator to add an unusual sound to a string quartet, you are of course free to do so! Note how all effect screens have a pair of input meters and a pair of output meters at the top left of the screen so that the level can be properly adjusted. The microphone modeler has (in the top row of PODs) an input and an output level control. The speaker modeler has (in the top row of PODs) an input control. The reverb and the other (TASCAM) effects all have (in the top row of PODs) an input and output level control, as well as a mix (wet/dry) control. TASCAM DM-24 Effects 7 1 ­ Internal Effects on the DM-24--Changing parameters NOTE On account of unavoidable processing delays, it is recommended that the mix control be always set to 100% (fully wet), as the original and processed sound may be a few samples out of phase with each other, resulting in audio artifacts if the two signals are mixed. Storing your settings When you have set up the parameters of an effect, you can store it for further use in the user effects library. This saves you having to make the same settings every time for a commonly-used microphone model, for example. While in the effect parameters screen, press soft key 4 (the EFF...LIB key) to bring up the library screen. This allows you to scroll through the list of settings and either save to an unused library entry in the user effect bank, or to overwrite an existing setting stored in the library. Again, consult the main manual for details of how to name and manage library entries. 8 TASCAM DM-24 Effects 2 ­ Notes on using effects Because of the nature of the DM-24's routing, a little thought may be needed when assignments are made on the effect patch page, as the DM-24 allows the same signal to be routed to more than one channel simultaneously. Although this kind of versatility is often desirable, it is important to make sure that this kind of assignment does not happen accidentally, causing unexpected and unwanted results. This section provides some tips and pointers on how to best set up the DM-24 in order to avoid any such possible problems. Default snapshot settings The default mix snapshot returns the outputs from effect 1 and effect 2 to channels 25/26 and 27/28 respectively. In the same snapshot, assignable returns are assigned to channels 29 through 32. These settings are designed for the use of the internal sends with the aux sends and returns, and external effects with the hardware insert loops (assignable sends and returns). If you are making changes to use the internal effects or assignable sends and returns as inserts or assignable inserts, a little work must be done, using the assignment screens. Using the internal effects as inserts (i) In this example, effect 1 will be used as an insert on buss 2. To do this, the effects returns must first be removed (de-assigned) from channels 25 and 26. With the SHIFT indicator lit, press the I/O key until the screen allowing assignment of channels 17 through 32 appears (or use soft key 2 to access the screen). NOTE It is possible to assign the same source to more than one channel. There are obvious dangers associated with such an action, so we do not recommend that you do this. Next, return to the effect patch page (press the EFFECT key until the patch screen appears): You should set these inputs to some "harmless" setting which will not conflict with any other setting that is already in use. A useful source here might be one of the digital inputs (if you are not already using them). Select BUSS2 INS SEND as the input source for effect 1. When you do this, the output for effect 1 will automatically change (BUSS INS RETURN). If you had not removed the effect returns from channels 25 and 26 before assigning the buss insert send, the effect return would have been routed to these channels as well as to the buss insert return (as in the screen shot above). TASCAM DM-24 Effects 9 2 ­ Notes on using effects--Using the internal effects as inserts (ii) Using the internal effects as inserts (ii) In this section, we look at how you change the default settings to use effect 2 as a stereo input processor using assignable send/return inserts 1 and 2. The insert will be assigned with channels 1 and 2. Again, use the I/O key (the SHIFT indicator must be lit) to access the 17 through 32 screen (soft key 2), allowing the de-assignment of the assignable returns 1 and 2 from channels 29 and 30. Again, pick a "safe" or harmless option of an input that you are not using. Next, the assignable sends and returns have to be changed from their send/return loop setting to an insert setting. Press soft key 4 to access the assignable output screen: Assignable send/returns 1 and 2 should be set to the insert mode. The insert channels (that is, the channels on which the inserts will work) should be set to channels 1 and 2 (of course, you are free to change this if you want to use other channels with this effect. In the EFFECT patch page, select Stereo as the input type for effect 2. Change the input source to ASGN INS 1 SEND (CH 1) for the left input and ASGN INS 2 SEND (CH 2) for the right input. NOTE It is important that these operations are carried out in the order here. If you try to route these assignable inserts to effect 2 (on the effect patch screen) without changing the assignable send/return mode first, a popup message appears telling you that the assignable insert is in the send/return mode. If you then try to correct this by changing the send/ return mode to the insert mode, another message appears, informing you that return 1 is currently assigned to channel 29. 10 TASCAM DM-24 Effects 3 ­ Antares microphone modeling NOTE All names of microphone manufacturers and microphone model designations appearing in this manual and on the DM-24 are used solely to identify the microphones analyzed in the development of the digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. detailed notes of the microphone conditions which were used to make the original recording. Among other useful information which should be noted when the recording is made: · · · · Type of microphone Distance of source from microphone Any filter settings made on the microphone The response pattern used when recording This effect allows you to model the characteristics of a particular model of microphone and apply it to the microphone you are actually using. In addition to reproducing the sonic characteristics of the modeled microphones, this effect also allows for the reproduction of certain options on the modeled microphone (for example, low cut filters, etc.). Typically, you will want to "re-record" already recorded tracks with another microphone model at the mixdown stage, as this allows you to experiment with settings. When you use the modeler at the mixdown stage, though, it is important that you have clear and Preserve source (bass and treble) Of course, it is also possible to record directly using one physical microphone and modelling another, but in this case, it is more difficult to experiment, and to make changes afterwards. Note that when we talk about the microphone modeler, we use the term source microphone to describe the actual physical device and the description of it in the modeler, and model to describe the target, virtual microphone. The diagram below gives an approximate idea of how the parameters available interact with each other (signal flow may be taken as being from left to right). Input level Source mic type Model mic type Tube saturation Output level Source mic proximity Model mic proximity Source mic low-cut Model mic low-cut Source mic response pattern Model mic response pattern Limitations Be aware, though, that while the microphone modelling will produce excellent effects, it is not capable of producing something from nothing. In other words, a poor recording made with a cheaper source microphone will not be magically transformed into a good recording, if an expensive microphone model is selected--it will still sound like a poor recording, but made with an expensive model. Nor can the microphone modeler magically restore missing parts of the signal which are missing because of the limitations of the source microphone. If a cheap microphone with limited bass response is used to record, using an expensive model with the microphone modeler will not put the missing bass back into the recording. TASCAM DM-24 Effects 11 3 ­ Antares microphone modeling--Overall settings Excessive frequency boosting can occur if processes intervening between the microphone and the modeler produce noise. This noise will be excessively boosted, especially if the filtering on the microphone and the recording process has accentuated this. Polar response patterns can be simulated, but cannot automatically change the pattern of the source microphone. For example, if a recording has been made using a microphone with a cardioid response pattern, setting the model's pattern to omnidirectional will not automatically turn the source microphone into an omnidirectional microphone (and add the room ambience that would be present if the microphone actually was an omnidirectional one). Likewise, if a source microphone has a particular off-axis response, this individuality will be retained even if a different model is selected. NOTE The microphone modeler can only be used with the L input and output of either effect 1 or effect 2. It is not possible to use the microphone modeler to process two channels at the same time using one effect. The microphone modeler is not available in high sampling frequency mode. Selecting the microphone modeler Recall the preset library entry 1-100 in order to load the microphone modeler. See "Setting up the effects units" on page 7 for further details. Overall settings These settings apply to the overall effect (not to the source or model microphones individually). ment in dynamic range that would result if this operation was to take place on an all-analog system. Input gain This (INPUT) allows you to set the relative gain for the input source (top row, POD 2). Start at 0dB, but you may want to increase the level slightly to increase the amount of saturation available to the processor. The signal may be cut by a value up to ­30 dB and boosted by up to 12 dB. NOTE Output level This (OUTPUT) allows the overall output gain from the modeler to be adjusted from 0 dB to ­12 dB. Bypass This allows the whole of the microphone modeler to be bypassed for A-B comparisons. It is not the same as selecting the bypass microphone model ("The bypass microphone model" on page 13), which is a "neutral" microphone model for either source or output (but it is the same as selecting it for source and output). Increasing this input level to obtain the highest possible non-clipping meter level does not result in the improve- Selecting the source microphone Move the cursor to the Source Microphone, selecting the model using POD 1. The manufacturer name is given at the top left of the box, and the model at the bottom right. There may be two listings for a particular source microphone model, one of them ending with a -w. This means that this is the model of microphone with a supplied windscreen (thereby affecting the acoustic characteristics of the microphone). There may also be a (m1) or (m2) following the microphone name. These refer to different examples of the same kind of microphone. Pick the one which is most appropriate for your particular microphone. If you do not have a microphone listed in the list of source microphones provided: 12 TASCAM DM-24 Effects 3 ­ Antares microphone modeling--Selecting a model for output · Use a different microphone which is listed, if you have one. · Select a similar model of microphone from the same manufacturer; that is, one with similar characteristics to the one in use. · Select another microphone of the same type (for example, another large condenser microphone, etc.). · Select Bypass (that is, no microphone) as the source. Note that if you do select a microphone of a different type to the actual microphone, though you will probably obtain acceptable results, the resulting sound will not be 100% accurate. The bypass microphone model The bypass microphone model is equivalent to no microphone being used. This may be useful in the case of electric instruments which have been direct-injected (that is, with no microphone involved) and where the model microphone is to be used to provide a distinctive sound for these instruments. Although this may not produce an absolutely realistic model of the model microphone, it will almost certainly produce an interesting sound. Source microphone settings In addition to the type of microphone used as the source microphone, the modeler needs to know a few more things before it can achieve the best results: Pattern The pattern of the source mic, if selectable, should be echoed in this setting. If the source mic is fixed-pattern, no selection is possible here, and the display shows None here. Use POD 3 on row 3. Proximity This is the average distance of the sound source from the microphone when the recording is made. The distance is measured in inches (1 inch = 2.54cm). If this is not set, then the "proximity effect" (an artificial boost in bass frequencies at close range) may not be properly compensated, and the sound will be unnatural. Note that microphones with an omnidirectional response do not exhibit this proximity effect, and any settings made here with an omni source microphone will have no effect. Use pod 2 on row 3 for this setting. NOTE Low-cut filter Many microphones have a bass cut filter. If this filter has been set on the real physical source microphone, this setting should be made on the source microphone of the modeler as well. This is done using POD 4 on row 3. The actual name of this filter varies according to the actual name on the physical microphone, and will not exist at all if the mic does not actually have such a filter fitted (the display shows None). NOTE As the source moves away from the microphone, an amount of ambient room tone is added to the recording. The microphone modeler cannot add the room tone, but a little reverb added to the signal may help here. The modeler assumes that the source was recorded on-axis. Since there is no way to tell the modeler about the actual position of the source relative to the microphone, the modeler cannot compensate for frequency differences, etc. caused by off-axis placement of the source. Selecting a model for output In the same way as you selected a microphone as the source mic, move the cursor to the Model Microphone field (POD 1, bottom row), and select the model of the microphone to be modeled. As with the source microphone, a -w indicates that a windscreen has been added to the model. There may also be variants of the base model, as described for the source microphone. If the Bypass "microphone" is selected here, and a source microphone is selected, the effect will be that of the source microphone's characteristics. If Bypass is selected both for the source and the model, the final result of the modeler will be the input source, with the addition of any tube saturation added by the modeler (see below). TASCAM DM-24 Effects 13 3 ­ Antares microphone modeling--Selecting a model for output Model microphone parameters As with the source microphone, there are a number of different additional parameters available which can be set. model (if there is no filter available on the actual microphone being modeled, the model does not have a filter available, and shows None). Note that this filter is not a straight low-cut filter--it is a representation of the actual filter incorporated on the physical microphone being modeled. NOTE Proximity As with the source microphone, the model can also have a proximity value set (in inches again). Use POD 2, bottom row. When used with the model, it will affect the final character of the sound, as if the source was the specified distance from the model microphone when the recording was made. Note that this setting cannot add "room tone" to a recording, even though the further away a real microphone is from a sound source, the more room tone is added to the final recording. NOTE Although it is not a hard and fast rule, it is a good idea to include the low-cut filter on the model if the filter has been used on the source microphone. Response pattern As with the source microphone, the model can also take different response patterns (if the actual physical microphone being modeled is capable of this kind of flexibility--otherwise None is displayed for this option). Pod 3, bottom row is used here. Remember that the modeler cannot spontaneously recreate missing data, so if a recording has been made with the source off-axis, this setting cannot be used to add the frequencies that were lost by the off-axis recording. Since omnidirectional microphones do not exhibit the proximity effect, if the model microphone is omnidirectional or has its pattern set to omnidirectional, this setting will have no effect. Low-cut filter If the modeled microphone is fitted with a low-cut filter, this is also available on the Preserve source settings These settings allow you to make a hybrid microphone, dividing the microphones (both source and model) into their treble and bass components. In this way, the two halves of the microphones can be "sandwiched" together to produce unusual creative effects. Usually, however, you will want to keep the desirable characteristics of the source microphone (for example, a bass response) and eliminate the undesirable side (say, a poor treble response). First, make all the appropriate source microphone settings. Bypassing the system is not a good idea here, as it will not have any useful effects. Use the Preserve Source controls (PODs 1 and 2, second row) to select the portion of the source microphone that you want to keep (either the treble portion on the bass portion). Keeping the original shows PRESERVE, and sending the signal through the processor shows PROCESS. When a portion of the source microphone is preserved in this way, it overrides the corresponding portion of the model microphone. Obviously preserving the source for both the bass and treble portions of the source is not terribly useful (though the proximity settings for both the source and the model remain effective). Tube saturation One of the more attractive aspects of older studio equipment is tube (valve) saturation. The microphone modeler provides you with a way to simulate this on the output side of the modeler. Pick a value of the GAIN which suits your ears. The maximum value which may be set here is +10dB (0.1 dB steps). The signal to be recorded must therefore be at a level which is at least greater than ­10dB for this to have any effect. Use POD 4, second row to set the amount of gain. However, you should take care that the input level is not increased to the point where digital distortion occurs. 14 TASCAM DM-24 Effects 3 ­ Antares microphone modeling--Microphone models You may need to "juggle" the values of the input level and the drive gain to achieve the most satisfactory results for this parameter. Microphone models The microphone models listed here are available for the DM-24 microphone modeler. In the display, typically parameters and names are shown as given here, but the spacing of words on screen may sometimes differ from those given in the table. Number Microphone Maker Microphone name The microphone response patterns are shown in uppercase, as follows: CARDIOID (cardioid), OMNI (omni-directional), HYPERCARDIOID (hyper-cardioid), FIGURE 8 (figure-of-8), WIDE CARDIOID (wide cardioid), w A98SPM (w A98SPM) and MS (MONO SIM) (MS (mono sim)). Low cut Pattern 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 bypass mic AKG Alesis Audio Technica Audix Beyer Brauner B&K C 1000S C 12A C 3000 C 4000 B C414 C 414B-ULS (mod1) C 414B-UHS (mod2) C 414B-UHS Gold C 414B-ULS Gold (w) C 460 B, CK 61-ULS D 122 (1) D 122 (2) D 790 AM61 3525 4033 4047 sv 4050 4055 4060 853Rx ATM11 ATM31 D4 OM2 OM3-xb OM5 CK-703 M-500 LE Classic MC-834 VM1 4007 none none none / -7 dB/oct / -12dB/oct off / on 0 Hz / 100Hz 0 Hz / 75Hz / 150Hz 0 Hz / 75Hz / 150Hz 0Hz / 75Hz / 150Hz 0Hz / 75Hz / 150Hz 0Hz / 75Hz / 150Hz 0Hz / 50Hz / 70Hz / 150Hz none none none off / on off / on off / on off / on off / on none none none none none none none none none off / on none LIN / 80Hz / 160Hz none none none none cardioid / omni cardioid / hypercardioid cardioid / hypercardioid / omni cardioid cardioid / hypercardioid /figure 8 / omni cardioid / omni cardioid / hypercardioid /figure 8 / omni cardioid / hypercardioid /figure 8 / omni none none none none none none none none cardioid / fugire8 / omni none none none none none none none none none none none none cardioid / hypercardioid / wide cardioid / figure 8 / omni none TASCAM DM-24 Effects 15 3 ­ Antares microphone modeling--Microphone models Number Microphone Maker Microphone name Low cut Pattern 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 CAD Coles Earthworks ElectroVoice Gefell Groove Lawson Manley 95Ni C400S Equitek E100 Equitek E200 Equitek E350 VSM1 (mod 1) 4038 TC-30K Z30X N D 357 PL20 UMT 800 Tubes MD-1 L47 Reference Gold KM 184 KM 184(w) M 149 TLM 103 TLM 193 U 47 U 87 GOLD U 87 MC 012 MK-319 BK-5A NT1 NT2 NT2(w) NTV R-121 E 609 E 835S MD 421 MD 441 none none off / on off / on off / on off / on none none none none off / on off / on none none none none none 20Hz / 40Hz / 80Hz / 160Hz none none none off / on off / on none off / on M (music) / V1 (voice) / V2 (voice) none off / on off / on none none none none M (music) / 3 / 2 / 1 / S (speech) M (music) / 3 / 2 / 1 / S (speech) Neumann Oktava RCA none none none cardioid / figiue8 / omni cardioid / figure8 / omni none none none none none none cardioid / hypercardioid / wide cardioid / figure 8 / omni none none cardioid / figure 8 /omni none none cardioid / hypercardioid/wide cardioid / figure 8 / omni none none cardioid / omni cardioid / figure 8 /omni cardioid / omni cardioid / hypercardioid / omni none none none cardioid / omni cardioid / omni none none none none none none Rode Royer Sennheiser 16 TASCAM DM-24 Effects 3 ­ Antares microphone modeling--Microphone models Number Microphone Maker Microphone name Low cut Pattern 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 Shure Beta 52 Beta 57A Beta 87A Beta 98D-S KSM32 SM57 SM58 SM7A SM81 SM98A VP88 (mono sim) C37P C48 C800G C800G(w) TELE U47 Sony Telefunken none none none none LC 0 / LC 1 / LC 2 none none LC off Mid off / LC off Mid on / LC on Mid off / LC on Mid on LC 0 / LC 1 / LC 2 off / on off / on M / M1 / V1 / V2 M (music) / V (voice) none none none none none none none none none none none none w A98SPM MS (mono sim) none cardioid / figure 8 / omni cardioid / omni cardioid / omni cardioid / omni Updating microphone models The modeler provides up to 100 models of microphone. More may be made available in the future through the TASCAM Web site. Consult your dealer for availability. TASCAM DM-24 Effects 17 4 ­ Antares speaker modeling In the same way that microphones can be modeled, the DM-24 allows for the modeling of speakers. Once again, it is important to remember that it is not possible to instantly transform a pair of low-end near-field monitors into a pair of expensive, top-of-the-line monster monitors (even modern technology has its limits), but it can be useful for simulating some of the speaker types on which your final project will be played, and for which you may not have space in your control room (or where it may be inconvenient to reproduce the sound--for example, not many people will wish to purchase a SUV merely for the acoustical properties of the interior!). The technique for using this is similar to the microphone modeler, but not so complex. Basically, you define a set of source speakers (the real speakers that you are listening to) and a set of target speakers (the ones that you wish to model). NOTE This speaker modeler can be inserted anywhere in the signal chain, but obviously it is more useful if it is selected as an insert in the main stereo outputs. Due to technical limitations, if the speaker modeler is selected as one effect, the reverb cannot be selected as the second effect. It is also not available in high sampling frequency mode. Selecting the speaker modeler Recall the preset library entry 1-101 in order to load the speaker modeler. See "Setting up the effects units" on page 7 for further details. General parameters There are three general settings which are all set using the top row of PODs. to a mono signal comprised of the L and R output signals added together. INTYPE stands for input type. There are four options here: Stereo, L mono, R mono and LR mono. The first three explain themselves, but the last refers INPUT the input level can be adjusted (in 1 dB steps) from ­30 dB to +6 dB. BYPASS the whole of the speaker modeler effect can be turned on and off with this parameter. Source speaker types The source speakers which may be selected are generic types of speaker, not individual models. The different selections available (pod 2, bottom row) are: · Bypass speaker (as if there was no output speaker connected to the DM-24) · Cheap Near Field (for "cheap", read "low-cost, but acceptable performance", but that is too long to fit on the display!) · Large Studio (dedicated studio monitors) · Mid Field Studio · Near Field (better quality than the "cheap" model) · Pro Near Field (more expensive than the other models here) Choose the setting which you feel comes closest to your set of speakers. You can test the source model by selecting the Bypass type for the target speaker and changing between the different models, making A-B comparisons with the whole effect bypassed in order to achieve the closest match. 18 TASCAM DM-24 Effects 4 ­ Antares speaker modeling--Target speaker types Target speaker types The speakers modeled here are generic, rather than reproducing a particular make or model of speaker. They represent a wide range of speaker types on which your material may eventually be played. · Bypass speaker (no model for the output speaker) · Boombox 1 (one type of "boombox") · Boombox 2 (another variation on the boombox theme) · Car Sedan (an average car sound system) · Car SUV (the kind of sound you might expect from an SUV sound system) · Compact Stereo (domestic stereo system, but small speakers) · Computer Speaker (useful for multimedia sound mixes) · Large Home Studio (good quality domestic/semi-pro speakers) · Mid Sound Reinforcement (not necessarily top-of-the-range, but good-quality sound reinforcement) · Small Home Studio (smaller speakers intended for the musician/home recordist) · TV (typical TV speaker sound) Use POD 4 on the bottom row to select the speaker type. A few limitations Once again, it is necessary to emphasize that you cannot turn a poor-quality set of speakers into an expensive pair of monitors. However, what you can do is to reproduce the tonal characteristics of a certain type of speaker and environment, allowing you to "field-test" your project for a particular purpose without even changing your speaker system. TASCAM DM-24 Effects 19 5 ­ TC Works Reverb The TC Works reverberation built into the DM-24 is a sophisticated reverb system, allowing you to simulate many different kinds of acoustic environment. Early reflections Most common (and a few less common) parameters can be edited, allowing fine control of the whole sound. Maximum decay time Initial level INLEV) Tail Reverb level (REVLEV) HIGH Pre-delay (PREDLY) NOTE MID LOW Reverb feed (REVFEED) Due to technical limitations, if reverb is selected as one effect, the reverb or speaker modeler cannot be selected as the second effect. It is also not available in high sampling frequency mode. General parameters There are three general settings which are all set using the top row of PODs. INTYPE stands for input type. There are four options here: Stereo, L mono, R mono and LR mono. The first three explain themselves, but the last refers to a mono signal comprised of the L and R output signals added together. INPUT the input level can be adjusted from Off, and then (in 5 dB steps) from ­140 dB to ­60 dB, (in 1 dB steps) from ­60 dB to ­20 dB and (in 0.1 dB steps) from ­20 dB to 0 dB. OUTPUT The output level can be adjusted from Off, and then (in 5 dB steps) from ­140 dB to ­60 dB, (in 1 dB steps) from ­60 dB to ­20 dB and (in 0.1 dB steps) from ­20 dB to 0 dB. MIX Adjust the wet/dry mix from 0% (dry) to 100% only reverb) in 101 1% steps. Balance controls There are two balance controls on the second POD row (BALANCE). right balance of these reflections from 50 through 0 to 50. I/R This stands for "Initial Reflections" (sometimes called Early Reflections"). POD 1 controls the left/ TAIL This stands for "reverb tail"--the final decay of the reverb sound. POD 2 controls the left/right balance of these sounds from 50 through 0 to 50. 20 TASCAM DM-24 Effects