TASCAM TEAC Professional Division DM-24 Digital Mixing console The DM-24 Basics DM-24 SIGNAL FLOW ........................................................................................ 3 INPUTS ...................................................................................................................................................... 3 RETURNS .................................................................................................................................................. 3 OPTIONS ............................................................................................................. 4 OUTPUTS ............................................................................................................ 5 AUX SENDS ........................................................................................................ 5 TRACKING OPTIONS ......................................................................................... 5 Using AUX 1&2 as the tape return path ..................................................................................................... 6 Using the inserts to track analog and return digital..................................................................................... 6 Tracking with channels 25-32..................................................................................................................... 7 EFFECTS............................................................................................................. 7 AUTOMATION..................................................................................................... 8 MACHINE CONTROL.......................................................................................... 9 MIDI ..................................................................................................................... 9 CASCADING TWO DM-24S .............................................................................. 10 OPERATING AT 96KHZ.................................................................................... 11 RECORDING AND MIXING SNAPSHOTS........................................................ 12 DM-24 SIGNAL FLOW The first 24 channels of the DM-24 can accept "INPUTS" or "RETURNS." These assignments are made on the I/O page. Use the cursor keys to highlight the virtual patch cable then use the data wheel to make the proper assignment. In this example M/L 1 is an "input" and TDIF1-1 is a "return." Channels 25-32 are Input-only channels. They cannot have "RETURNS" assigned to them. TDIF I/O, ADAT lightpipe I/O and any option slot I/O are not available to channels 25-32. In mixdown mode channels 25-32 would normally be used for internal effects returns and assignable returns. There is a "Mixdown" snapshot in ROM where channels 25-32 are assigned in just this manner. INPUTS "Inputs" include: mic/Line inputs, digital inputs 1 and 2 (2 CH. AES/EBU and S/PDIF inputs), internal effects returns and assignable returns. All of these inputs can be assigned to any of the 32 channels. For instance, mic/line input #2 can be assigned to channel 23, digital input #1 can be assigned to channel 2 and so on. RETURNS "Returns" include TDIF I/O, ADAT lightpipe I/O and any option slot I/O that might be added to the DM-24. "Return" is named such because it is short for "tape return." Technically a "tape return" is an "input", but understanding the idiosyncrasies of the DM-24 are necessary if one wishes to operate the DM-24 properly. An analog option card might be used to add more analog "inputs" to the DM-24. Even though the benefit for the user is more "inputs", the DM-24 thinks of the option cards as "returns." Keeping these terms clear is the key to understanding the signal flow of the DM-24. When channels 1-24 are used for "returns", there are options as to which "return" interfaces are to be used. There are 24 channels of TDIF I/O and 8 channels of ADAT lightpipe I/O built in, but there are also two option slots available to expand your I/O capabilities. All of these "returns" cannot be used simultaneously because there are only 24 channels available to them. "Return" interface choices must be made in the following manner: TDIF 1 or SLOT 1 TDIF 2 or SLOT 2 TDIF 3 or ADAT Once the preferred "return" interfaces have been selected, they can be assigned to channels 1-24 in groups of eight. For instance: Slot 1 to channels 17-24 TDIF 2 to channels 1-8 ADAT to channels 9-16 OPTIONS · · · · · · · · IF-TD/DM (TDIF I/O) $249 (supported in version 2.0) IF-AD/DM (ADAT lightpipe I/O w/ ADAT Sync (ADAT sync will be supported in future frimware.) $249 IF-AE/DM (AES/EBU I/O on a D-25 connection) $299 IF-AN/DM (Analog I/O on two D-25 connections) $499 IF-CS/DM (Cascade card w/ cascade cable) $299 MU-24 (Meter bridge plus cable) $949 Each of the optional interface cards has 8 channels of I/O. The IF-TD/DM TDIF option card will be supported with version 2.0. This card does NOT add 8 TDIF inputs. The DM-24 only supports 24 channels of digital "RETURNS." When mixing 24 channels of TDIF "RETURNS" in 5.1 surround, the IF-TD/DM can be used to send the 6 buss outputs to a TDIF stem recorder like a DTRS machine. This is the only use for this card with a DM-24. The IF-TD/DM is also compatible with the TASCAM SX-1 and future TASCAM products. Mixing 24 tracks of ADAT or any other lightpipe device requires two optional IF-AD/DM ADAT I/O cards. The IF-AD/DM does NOT support 96kHz. ADAT sync is not yet functional and will be supported in a future version of firmware. Adding two IF-AE/DM AES/EBU cards provides a total of 20 channels of AES/EBU I/O (four channels come standard on the DM-24.) The IFAE/DM AES/EBU card supports 4 channels of DUAL LINE or HI SPEED I/O. Two IF-AN/DM analog cards are necessary if 32 channels of analog input are required. This configuration requires specific settings on the DM-24. Assign SLOT 1 to channels 1-8, SLOT 2 to channels 9-16, Mic/Line inputs 1-8 to channels 17-24 and Mic/Line inputs 9-16 to channels 25-32. Many people use the DM-24 as a live mixer this way. You can also use this analog I/O for aux sends and returns, leaving your assignable sends and returns for use as assignable "inserts." The IF-AN/DM does not offer mic preamps, only balanced analog I/O on 2 D-25 jacks. Adding one IFAN/DM to the DM-24 does NOT allow you to record 24 tracks simultaneously. This is a bussing issue that will be addressed in a future version of firmware. · · · · · The IF-CS/DM is a cascade card. To cascade two DM-24s, you must put one cascade card in "SLOT 1" of each DM-24. See the section on "cascading two DM-24s" for more info. The MU-24 has 26 meters (24 channels plus the stereo buss) and a large time code display. There is a meter menu in the DM-24 that provides access to all of the parameters for the meterbridge , such as meter ballistics and pre/post metering. The mounting brackets allow the MU-24 to be moved in front of or behind the input jacks on the DM-24. The MU24 can also tilt backwards or forwards to achieve the best viewing angle for your needs. OUTPUTS Although only 3 "return" interfaces can be used to assign the tape return signal to channels 1-24, all of the TDIF, ADAT, AES/EBU, S/PDIF and Option card outputs are always active. For instance, 24 channels of TDIF can be mixed in 5.1 surround to the ADAT outputs. Those same 8 busses could also congruently be routed to the two Option Slot outputs. This is useful if the 5.1 mix must be bussed to 3 different formats (such as ADAT, DTRS and Pro Tools) simultaneously. AUX SENDS The DM-24 has 6 aux sends, which can be configured Pre or Post fader. Any of them may be assigned to the two internal effects processors. Aux sends can be assigned in pairs to the 2 channel AES/EBU and S/PDIF digital outputs for use with external effects processors with digital I/O. The returns of these external processors can be routed to the DM-24 via digital inputs 1 and 2 and can be assigned to any channels. Aux sends can also be used with the assignable send outputs. There are 4 assigable sends on balanced TRS jacks. "Assignable" means aux 6 can be bussed to assignable output 1 or aux 5 to assignable output 3, etc. There are also 4 balanced assignable returns on TRS jacks. These can be used as two stereo effects returns or simply as balanced inputs that can be assigned to any channel. Assignable sends and returns can also be configured as assignable "inserts." Route assignable send 1 to a compressor's input. Route the compressor's output to assignable return 1 and assign that insert to any channel. This makes it possible to use outboard dynamics processors on the tape return path. This is an extremely valuable feature! TRACKING OPTIONS As with any console, there are limitations to the amount of channels available as well as limitations in signal flow options. The DM-24 has 32 channels. The Direct outputs for each channel are Post fader. There are 16 mic pres. With a mic plugged into each of them, the signal goes all the way to the fader and then out to tape. The 16 tracks will then need to return to the console for monitoring. Because the first 16 channels are taken up with the microphone inputs and channels 25-32 don't access the "return" interfaces, only channels 17-24 are available to use as tape returns. This presents a problem. Here are a few ways to deal with this scenario: Using AUX 1&2 as the tape return path The DM-24 can use AUX 1&2 as the tape return path for the first 16 channels in a tracking situation for just this reason. The way to handle this is to link Aux 1 and Aux 2. This provides a level and a pan control for each tape return. On the Aux 1-2 page there is a "source" tab that would normally allow a setting of pre or post fader. The first 16 channels also provide the choice of "RETURN" specifically for this function. Faders can be used to control the aux levels making this procedure much easier. Choose Aux 1&2 in the control room section for monitoring. All of these parameters are instantly set when the "Recording" snapshot is recalled. Recording and monitoring tracks 17-24 requires different settings than tracks 1-16. Remember that AUX 1-2 is still the tape return path for tracks 1-16. This leaves channels 1-16 available to use as inputs. For this example, use channels 1-8 as the input channels and use busses 1-8 to buss those signals to tracks 1724. Channels 17-24 will be the tape return path for tracks 17-24; however, since AUX 1-2 is still the monitoring source it is necessary to set up pre fader aux 1-2 send levels for channels 17-24. This will allow the monitoring of all 24 tracks simultaneously. Channels 17-24 should not be assigned to the stereo buss until mixdown. Again, all of these parameters are instantly set when the "Recording" snapshot is recalled. Using the inserts to track analog and return digital Another way of dealing with this situation is to use the insert jacks to send an analog signal to your recorder and use the digital I/O to bring the tape returns back to the console. Realizing the insert is just before the A/D converter in the DM-24's signal chain, the following scenario is possible: A mic can be connected to the mic input, where the mic pre's level may be adjusted. The analog signal is then sent to the analog input on the digital recorder. The output of the recorder would then return to the DM-24 digitally. This scenario is just like having 16 outboard mic pres. The benefit is that channels 1-24 are always assigned as "returns" allowing you to bypass the whole "Aux 1-2 tape return idea." This simple solution makes recording 16 simultaneous tracks VERY easy. TASCAM offers a variety of cable snakes for the job. For an MX-2424 use ¼" to D-25 cables: CU/SU902 6ft. CU/SU903 10ft. CU/SU904 13ft. CU/SU905 16ft. CU/SU907 23ft. These cables are wired with the negative side shorted to ground, while the "tip" is the positive. The DM-24 will send an "unbalanced" signal from the insert jack, so plugging this signal into the MX-2424 will register 6dB less then if a "balanced" signal were sent to it. To use this solution with other recorders we recommend that the manufacturer is consulted as to what cable to use with their product. For a DA-78HR or DA-38 use ¼" to RCA cables: CU/SU302 6ft. CU/SU303 10ft. CU/SU304 13ft. CU/SU305 16ft. CU/SU307 23ft. The DA-78HR and DA-38 have unbalanced inputs and we recommend that they are used for this solution. Tracking with channels 25-32 If only 8 tracks of simultaneous recording are necessary, mic/line inputs 1-8 can be assigned to channels 25-32. Use busses 1-8 to buss the signal to tape digitally and use channels 1-24 as digital tape return channels. This is also a very easy way to work. EFFECTS The DM-24 has two internal effects processors. Processor #1 contains the TC Works reverb (over 100 presets) and the Antares Mic and Speaker modeler. TC works reverb and the Antares Speaker modeler cannot be used sim ...