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 ...