TM-D1000 Digital Mixer Tutorial January 1999 The Purpose of this Tutorial: The TM-D1000 Digital Mixer Tutorial is designed to help you become familiar with the normal operations of this digital mixer in a reasonably short time. Its content was based on the training and trouble shooting experience of our Product Specialists. This guide does not cover every feature; its purpose is to get you up and running quickly. We recommend you start out with this manual, but remember to at least scan the other manuals later on so you will be aware of their contents. Enjoy! TASCAM TM-D1000 Section I Section II Section III Section IV Section V Section VI Section VII Section VIII Section IX Section X Section XI Section XII Section XIII Section XIV Section XV Overview of the TM-D1000 Crash Course in Digital Audio Recording Hook-up Instructions Navigating the TM-D1000 Buss+Aux=4 Effect Set-ups Buss Out vs. Direct Out AES/EBU and SPDIF in/out Live Sound Applications Recording Applications TM-D1000 QuickStart MIDI Implementation What the Heck is That? Optional Accessories for the TM-D1000 Troubleshooting the TM-D1000 Overview of the TM-D1000 On the next page, we have shown the TM-D1000 with a familiar analog mixer layout. You can refer to this if you are looking for specific features. The TM-D1000 is a 16 channel digital mixer. The first 8 channels have analog inputs, the last 8 have digital inputs. When recording, the first 8 channels will probably be used for bringing signal into the mixer and sending it to the multitrack. The last 8 will probably be used for monitoring multitrack returns. On mixdown and for live situations, you can use all 16 channels simultaneously. Each channel has a 3 band EQ. The mid band is parametric, and the highs and lows are sweepable. (If you are unfamiliar with these terms, look up "EQ" in Section XIII - What The Heck is That?) All three bands are totally overlappable from 41Hz to 16kHz. While the names of the bands are high/mid/low, they can all be assigned virtually anywhere in the audible frequency spectrum. Aux 1 Pre/ Post Section I Freq Gain EQ Pad 0dB MID-f MID-G MID-Q 1.0k 0 1.71 Freq Gain Que Gain Freq EQ LOW-f LOW-G HI-f HI-G 81Hz 0 12.3kHz 0 The TM-D1000 also offers up to 4 auxiliary sends. Each one is individually selectable pre or post fader. They can be used as mono sends or you can take two and gang them in stereo. That way, you've got either 4 mono sends, or one stereo and two mono sends. In/Out AUX Aux 2 Pre/ Post 1-2 Pan-Level CTR 0 3 0 4 0 Aux 3 Pre/ Post Effects/ Dynamics 2-01 Concert Hall In:100 Dir: 0 Eff:100 Type Hall Rev-T P-Dly 2.8s 52ms Diff 98 Built in effects also come standard on the TM-D1000. The built in card offers 4 "slots" of processing. Dynamics (i.e. compressors and expanders) take one slot. Stereo effects (i.e. reverb, flange, delay, etc.) take two slots. Aux 4 Pre/ Post 1-2 Post 3 Post 4 Post Snapshot Recall After you've slaved over your mix and gotten everything set just the way you like it, you can save the mix. There are 128 scenes of snapshot memory, which will store your levels, EQ, aux, routing, and effects. You can name your scenes, SNAPSHOT*000 with up to a 16 character name. We have included upper TM-D1000 Preset and lower case letters, numbers, and everything you need for proper punctuation in your scene name. (Your English teacher will be proud.) S-001 [Transition Time] One unique feature and great advantage to the scene memory in this mixer is the "transition time". This allows you to create a crossfade from one scene into the next. The transition time is adjustable from 0 to 10 seconds in 1/10 of a second intervals. This is very useful for setting up separate mixes of the verse, chorus, or bridge, and simply recalling the scene to smoothly fade from one section to the next. It can also be used to give a beautiful fade-out at the end of the song. These scenes are recallable via MIDI with a standard program number message. (Note: Channel and master volumes are the only parameters that will crossfade. The EQ, aux, etc. all snap instantaneously with the scene change.) For more advanced automation options, all mixing functions have been assigned to MIDI parameters for real-time automation with a MIDI sequencer. Simply put the sequencer into record and start mixing. MIDI messages will be sent out, and received. Also, if you have a recorder that can receive MIDI Machine Control, the TM-D1000 can act as the remote control with Play, Stop, Fast Forward, Rewind, Record, 16 locate points, and track arming. 4.7s? 1/99 Section I, page 1 TASCAM TM-D1000 Tutorial Pad Pad Trim Trim Trim Trim Trim Trim Trim Trim Trim Trim Trim Trim Pad Pad Pad Pad Pad Pad Pad Pad Pad Pad Pad Pad Pad Pad TASCAM TM-D1000 Trim Trim Trim Trim Freq Gain Freq Gain Cue Gain EQ In/Out In/Out In/Out In/Out In/Out In/Out In/Out In/Out In/Out In/Out In/Out In/Out Freq EQ Freq EQ Freq EQ Freq EQ Freq EQ Freq EQ Freq Freq EQ EQ EQ Freq EQ Freq EQ Freq Freq Freq Freq Freq EQ In/Out Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Cue Cue Cue Cue Cue Cue Cue Cue Cue Cue Cue Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Gain Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Freq Gain Gain Gain Freq Freq Freq Freq Gain Gain Gain Cue Cue Cue Cue Gain Gain Gain Freq EQ Freq EQ Freq EQ Freq In/Out In/Out In/Out Pre/ Post Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Aux 1 Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Aux 1 Pre/ Post Aux 1 Aux 1 Aux 1 Aux 1 7 Pre/ Post Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Aux 2 Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Aux 2 Pre/ Post Aux 2 Pre/ Post 8 4 Pre/ Post Pre/ Post 9 Headphones Pre/ Post Pre/ Post Pre/ Post Aux 2 Aux 2 Aux 2 Aux 2 5 1 2 6 3 Effect Return MUTE Aux Return MUTE L/R Pre/ Post Aux 3 Pre/ Post Pre/ Post Aux 3 Pre/ Post 1/2 STORE Pre/ Post Aux 3 Pre/ Post Aux 4 Aux 4 Aux 4 Aux 4 Aux 4 Aux 4 Aux 4 Aux 4 Aux 4 Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Aux 4 Aux 3 Aux 3 Aux 3 Aux 3 Aux 3 Aux 3 Aux 3 Aux 3 Aux 3 Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Pre/ Post Aux 3 Aux 3 Aux 3 Aux 3 0 Aux 4 Aux 4 Aux Send Master 1 RECALL Pre/ Post Pre/ Post Pre/ Post 3/4 Ext In Aux Send Master 2 Aux Send Master 3 Aux Send Master 4 Mono Aux 4 Aux 4 Aux 4 Aux 4 Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Pan Control Room MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE Direct 1-2 3-4 L-R L-R L-R L-R L-R L-R 3-4 3-4 3-4 3-4 3-4 3-4 L-R 1-2 1-2 1-2 1-2 1-2 1-2 Direct Direct Direct Direct Direct Direct Direct Direct Direct Direct 1-2 3-4 L-R Direct 1-2 3-4 L-R Direct 1-2 3-4 L-R Direct 1-2 3-4 L-R Direct 1-2 3-4 L-R Direct 1-2 3-4 L-R 1-2 1-2 1-2 3-4 3-4 3-4 L-R L-R L-R Crash Course in Digital Audio Whether your studio is digital or analog, there are a few things you need to know before really getting into any recording. When digital audio devices are linked together, it is imperative that the user understand terms like word clock, sample rate, and bit rate. So, here's a crash course in digital audio. The first thing we need to explain is what this squiggly line that everyone always draws actually represents. For the physics buffs, this displays force over time. For the rest of the world, think of this line as the path the speaker diaphragm will take to reproduce the sound. If you put a ruler vertically across the wave, and drag the paper across underneath the ruler horizontally, the waveform line tells you where the speaker moves when making that sound. Section II Sampling 1/1000th Second of Audio ----- OVER ----1111000000000000 1110000000000000 1101000000000000 1100000000000000 1011000000000000 1010000000000000 1001000000000000 1000000000000000 0111000000000000 0110000000000000 0101000000000000 0100000000000000 0011000000000000 0010000000000000 0001000000000000 0000000000000000 Digital audio converters are kind of like a movie projector on 15 cups of Starbucks coffee. In a movie, the moving picture is made up of a series of still images flashed by you at a rate of 24 to 30 frames a second. But remember, each picture is a still image. In audio, we are examining the waveform at a rate of 44,100 times per second (44.1kHz) or 48,000 times per second (48kHz.) The number of times per second we are examining the sound wave is our sample rate. Recovering Sample Data Each time the waveform is examined, the position of the waveform is recorded with a binary number, called a word. The number of digits in the word is your bit rate. (Each digit is one "bit".) For instance, 0100110100111001 is a 16 bit word, because it has 16 digits in it. 011010001011110100110010 is a 24 bit word, because it has 24 digits in it. When it comes time to convert the digital signal back into analog, the sample data must be reconstructed. The data itself is simply storing the location of the sound wave at a given interval. Once the data is recovered, the waveform is reconstructed. This is a big game of dot-to-dot, except the converters are typically armed with some fancy mathematical symbols that round out the edges. Once that's done, you've got your sound back! So, the two main aspects of a digital signal are the sample rate, and the word length AKA bit rate. The word length of each device can vary because most digital devices can truncate extra digits out, or fill blank spaces in with more zeros. But, the sample rate must remain the same when the connection is made digitally. In fact, the sample rate not only needs to be the same, but the sample rate needs to be synchronized between all the units. The sample rate is synchronized by utilizing a word clock master. One device in the chain will be designated the master, and the others will follow. Some digital lines are internally clocked, meaning they carry word clock information within the line. Others will require separate word clock lines. On the next three pages you will find diagrams for some common hook-ups for the TM-D1000, as well as instructions for setting the word clock status on your TM-D1000 mixer. 1/99 Section II, page 1 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 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Reconstructing Waveform TASCAM TM-D1000 Tutorial Recording Hook-up Instructions Connecting a TASCAM DA-38, DA-88, or DA-98 Section III TASCAM DA-38 TDIF I/O TASCAM CDRW-5000 REMOTE OUT SYNC IN TASCAM PA-150 DUAL POWER AMPLIFIER MMC-38 BALANCED ANALOG OUTPUT AMP INPUT MIDI OUT MIDI IN MONITOR OUTPUT MIDI OUT AES/EBU INPUT 1) Connect a TDIF cable from the TDIF port of the DTRS Machine (i.e. DA38, DA-88, DA-98) to the TDIF1-A port on the TM-D1000. (Part #CUPW88D/CUPW88DL) 2) If you are using a DA88, a word clock line must be connected from the Word Clock Out of the DA88 to the Word Sync in of the TM-D1000. 3) Select the digital input on your multitrack by pressing the "Digital In" button on the DTRS machine. 4) Connect a balanced cable from your monitor outputs (not your stereo outputs) to the power amplifier for your monitor speakers. TASCAM TM-D1000 are available. Be sure to set your digital format to the appropriate format. (For instructions, see Section VIII - AES/EBU and SPDIF in/out.) 6) If your mixdown deck only has analog inputs, connect the Stereo Output of the TM-D1000 to the input of your mixdown deck. Both balanced and unbalanced connections are provided. 7) The mixdown deck will return through EXT INPUTS. Both balanced and unbalanced connections are provided. DIGITAL I/O OUTPUT A TDIF-1 A EXT IN 5) If you have a mixdown deck with a digital input, connect your mixdown deck to Digital Output A on the TM-D1000. Both SPDIF and AES/EBU connections 8) If you have a TASCAM MMC-38 or MMC-88, connect MIDI out of the TMD1000 to the MIDI in of the MMC-38/88, and the MIDI in of the TM-D1000 to the MIDI out of the MMC38/88. Then, plug the TASCAM Sync cable from the Remote Output of the MMC-38/88 to the SYNC In of the DA-38/88. 1/99 Section III, page 1 MIDI IN TASCAM TM-D1000 Tutorial Section III, Continued Connecting an ADAT or other Lightpipe machine TASCAM DA-45HR SYNC OUT OPTICAL OUT OPTICAL IN SYNC IN TASCAM PA-150 DUAL POWER AMPLIFIER OPTICAL OUT OPTICAL IN SYNC OUT SYNC IN IF-TAD BALANCED ANALOG OUTPUT AES/EBU INPUT MMC/ SYNC WORD SYNC MIDI OUT MIDI I ...