User manual TASCAM TM-D1000 TUTORIAL

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 IN TDIF I/O MONITOR OUTPUT 1) Connect a TDIF cable from the TDIF1-A port of the TM-D1000 to the IFTAD. 2) Connect optical cables from the optical in of the IF-TAD to the out of the ADAT, and from the out of the IF-TAD to the in of the ADAT. 3) Connect a BNC to RCA cable from the Word Clock out of the IF-TAD to the Word Sync in of the TMD1000. WORD SYNC IN DIGITAL I/O OUTPUT A TDIF-1 A EXT IN MIDI OUT MIDI IN TASCAM TM-D1000 6) If you have a mixdown deck with a digital input, connect your mixdown deck to Digital Output A. Both SPDIF and AES/EBU connections are available. Be sure to set your digital format to the appropriate format.. (For instructions, see Section VIII AES/EBU and SPDIF in/out.) 7) 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. 4) Select the digital input on your multitrack. For an ADAT, push "Digital In" or "Digital Input" (depending on the vintage) of your ADAT. For other lightpipe machines, consult that machine's manual for settings. 5) Connect a balanced cable from your monitor outputs (not your stereo outputs) to the power amplifier for your monitor speakers. 8) The mixdown deck will return through EXT INPUTS. Both balanced and unbalanced connections are provided. 9) If you have an MMC to ADAT sync box, consult that unit's manual for hook-up instructions and settings. 1/99 Section III, page 2 TASCAM TM-D1000 Tutorial AMP INPUT Section III, Continued Master Word Clock Set-up If you are using a DA-38 or DA-98, your master word clock should be set to TDIF1 A. This makes your Multitrack machine the word clock master. The DA-38 and DA-98 can both transmit word clock information through the TDIF1 line, and the TM-D1000 will follow that. NOTE: The TDIF cable must be connected from the DA-38 or DA-98 to the TM-D1000 before setting the Master Word Clock. Otherwise, the TM-D1000 display will read "Error! No Signal TDIF-1 A". This means there is no word clock information at the TDIF port. The TM-D1000 then resets the Master Word clock to the internal clock. If you are using a DA-88, your master word clock should be set to Word Sync In [44.1k] or Word Sync In [48k] depending on what sample rate you are using. If you formatted your tape at 44.1kHz, then use Word Sync In [44.1k]. If you formatted your tape at 48kHz, then use Word Sync In [48k]. If you don't know which sample rate you selected for your machine, there are two indicator lights on the DA-88 just to the right of the "tape eject" button labelled 44.1k and 48k. NOTE: The BNC to RCA cable must be connected from the DA-88 to the TM-D1000 before setting the master word clock. Otherwise, the TMD1000 display will read "Error! Fs Clock Error>Internal". This means there is no word clock information at the Word Sync In port. The TM-D1000 then resets the master word clock to the internal clock. If you are using an ADAT or another lightpipe unit with an IF-TAD, your master word clock should be set to Word Sync In [44.1k] or Word Sync In [48k] depending on what sample rate you are using. If you formatted your tape at 44.1kHz, then use Word Sync In [44.1k]. If you formatted your tape at 48kHz, then use Word Sync In [48k]. NOTE: The BNC to RCA cable must be connected from the IF-TAD to the TM-D1000 before setting the master word clock. Otherwise, the TM-D1000 display will read "Error! Fs Clock Error>Internal". This means there is no word clock information at the Word Sync In port. The TMD1000 then resets the master word clock to the internal clock. To set the master clock on the TM-D1000: 1) Press SHIFT and PARAM SEL simultaneously. 2) Rotate the DATA ENTRY dial to SYSTEM. Press ENTER. Option System ? TASCAM TM-D1000 3) Rotate the DATA ENTRY dial to Master Clock Select. Press ENTER. System Master Clock Select ? 4) Rotate the DATA ENTRY dial to the appropriate source. Press ENTER. Master Clock Select TDIF-1 A? 1/99 Section III, page 3 TASCAM TM-D1000 Tutorial Navigating the TM-D1000 The faders, pan pots, and mute/solo buttons are all dedicated per channel giving you instant access to all of these parameters on all channels simultaneously. Bussing, EQ, and Aux are all handled one channel (or stereo pair) at a time. In other words, you select which channel you want to change and then start modifying the parameters. To select a channel, press the CH SEL button located on the channel strip. You can group channels together by simply pressing the adjacent CH SEL buttons at the same time. To ungroup the channels, press the two CH SEL keys together again. (You can only group an odd channel with the following even channel. In other words, channels 1 & 2 can be grouped, but not channel 2 & 3. Channels 3 & 4 can be grouped, but not 4 & 5...) Section IV ACCESSING BUSSES Press CH SEL of the channel you wish to route, then select your busses. The buttons will light up to indicate signal is routed. 1-2 3-4 L-R EQ DIRECT OUT TASCAM TM-D1000 Note: Busses are only active in some buss/aux configurations. For more information, see BUSS+AUX=4. Once you've selected a channel to work on, you can change the settings of the channel. The bussing groups are located just above the first 8 channel strips. (Not all of these are accessible right off the bat... we'll cover that soon.) ACCESSING EQ, AUX, and EFFECTS/DYNAMICS 1) Press CH SEL of the channel you wish to change. TASCAM 2) Press PARAM SEL to scroll through EQ, AUX, and EFFECTS. TM-D1000 CH SEL CH SEL CH SEL CH SEL CH SEL EQ AUX EFFECT/ DYNAMICS PARAM SEL OPTION The EQ and aux controls are accessed in the display window. Simply press the PARAM SEL button to scroll through the parameters and stop at the one you wish to change. The lights just above it will turn green to indicate which parameter is accessed. Inside the display screen, up to four parameters are available for adjustment. They can be changed with the four dials just underneath the screen. If there is an arrow in the upper right corner of the screen, that means there are more parameters on another screen. Simply turn the DATA ENTRY dial in the direction of the arrow to get to those parameters. If there is a down arrow, press the DATA ENTRY dial directly down. ---------- Walk through EQ ---------To access the EQ, press the CH SEL button on the channel you wish to change, then press PARAM SEL until the EQ light just above the PARAM SEL button turns green. Also, make sure the EQ ON/OFF button above channel 6 is lit. Otherwise, the EQ on that channel is defeated. 1/99 Section IV, page 1 TASCAM TM-D1000 Tutorial Section IV, Continued The digital pad is in the EQ screen just in case you boost the EQ to the point of distorting the channel. When you boost the gain on the EQ, you are actually increasing the volume of the signal. If the volume is boosted too much, the channel can overload. So, we put the digital pad into the channel in case you go hog wild with the EQ. The digital pad reduces the signal level before it enters the EQ section in increments of 6dB, allowing more headroom for heavy handed EQ curves. Pad 0dB MID-f MID-G MID-Q 1.0k 0 1.71 The other three parameters are the controls for the mid band of the EQ. This is the parametric band. You'll notice the right arrow in the upper right of the screen. So, turn the DATA ENTRY dial to the right, and we'll see the rest of the EQ section. The screen should look something like this: Here we have the two sweepable bands of EQ. As we mentioned in Section I - Mixer Overview, all of the bands of EQ sweep from 41Hz to 16kHz. So, they can be placed in any order you wish. Again, in the upper right hand side of the screen, there is an arrow. This time it points to the left. Turning the DATA ENTRY dial to the left will bring us back to the first screen of the EQ. LOW-f LOW-G HI-f HI-G 81Hz 0 12.3kHz 0 ---------- Walk through the Aux ---------Note: The following walk-through assumes you have not changed the mixer from the factory default configuration. To get to the Auxiliaries, press the CH SEL button on the channel you wish to change, then press PARAM SEL until the AUX light just above the PARAM SEL button turns green. The screen will look as follows: Currently, the first two auxiliaries are ganged in stereo. The third and fourth aux sends are each mono. Again, the four parameters are changed with the four dials located directly underneath them. Since the first two effects are ganged in stereo, the two controls become panning between the two sends, and level. Sends 3 and 4 each have simple level controls. Again, you'll notice there is an arrow in the upper right. 1-2 Pan-Level CTR 0 3 0 4 0 1-2 Post 3 Post 4 Post If you turn the DATA ENTRY dial to the right, you can change the aux to pre or post fader. Note that each aux on each channel is independently adjustable to pre or post fader; this screen is not a global change for the entire board. The black faders to the right of all your channel strips act as the aux send master. So, to get an aux send out, you need to mix the appropriate amount on each channel aux and raise the aux send master to the appropriate level. If we are using the aux for effect sends, then we will also need to return the effects somewhere. The board's default setting brings one of the built-in effects into EFFECT RETURN. So, if the board is set up in the default mode, the channel aux send, master aux send, and EFFECT RETURN all need to be raised. TASCAM TM-D1000 MASTER AUX SENDS AND AUX RETURNS The EFFECT RETURN and AUX RETURN can both be used as effect returns. The mute controls the effect returns, not the sends. The black faders at the bottom right are your master aux sends. EFFECT AUX RETURN RETURN MUTE MUTE SOLO 1 2 3 4 L-R 1/99 Section IV, page 2 TASCAM TM-D1000 Tutorial Section IV, Continued When you are ready to change the configuration of the mixer from the default settings, it is important to know that the busses (1-2, 3-4) share the routing with the auxiliaries. So, you can have 4 busses and no auxiliaries, 2 busses and 2 auxiliaries, or no busses and 4 auxiliaries. For more information on this, read Section V - Buss+Aux=4. --------- Walk through the Effects ---------Note: The following walk-through assumes you have not changed the mixer from the factory default configuration. For more information on effect configuration with the effects card, see Section VI - Effect Set-ups. To get to your built-in effects, press the PARAM SEL until the Eff:100 EFFECT/DYNAMICS light turns green. The first screen shows whether the effect is engaged or not, and where the input and output levels are set for that Thshd Att-T Rls-T Ratio 1-18 0dB Limit processor. In the upper right, there is In:100 Eff:Off -16dB 3ms 900ms 1/64 an arrow pointing to the right, as well as a down arrow. If you turn the DATA ENTRY dial to the right, you can edit the parameters of a particular effect. If you press the DATA ENTRY dial down, you can switch between two built-in processors. 2-01 Concert Hall In:100 Dir: 0 Type Hall Rev-T P-Dly 2.8s 52ms Diff 98 To change the type of effect, make sure the screen is showing the processor you wish to change, and press ESCAPE/RECALL. The screen will flash effect names. Rotate the DATA ENTRY dial to select the effect you wish to use. To make finding specific effects easier, the top line gives you the name of the effect, while the bottom line will tell you what the effect is (i.e. reverb, delay, flange, chorus, etc.) Once you've found the effect you wish to select, press Enter. Currently, there are two effect processors Processor 1 on L/R output - This processor is very useful for master mix compression, gating, enhancing EQ, or even adding some phase/flange/chorus for wild effects. Processor 2 on aux 1&2 - This processor allows reverb, delay, chorus, phasing, flanging etc. to be applied in different amounts to each channel. This will act just like an external effect processor which is fed by AUX SEND 1 and 2, and returns through EFFECT RETURN. These effect processors can be reassigned to many different configurations. For a detailed explanation of the options, see Section V - Buss+Aux=4, and Section VI - Effect Set-ups. ---------- Walk through Snapshots ---------The built-in snapshot capability can make mixing your song much easier. You can set up separate mixes for the intro, verse, chorus, etc. Then, you can use the transition time with each snapshot to create a smooth crossfade from one part to the next. To save a snapshot, press SHIFT and STORE. (You must do this while not in an effects screen, otherwise you will only store the effect.) The screen will show you your first available snapshot. In other words, if you have 8 snapshots already stored, the mixer will automatically offer to record the snapshot as number 9. This way, you do not have to worry about accidentally recording over any other scenes. If you are choosing to write a new snapshot, press ENTER. If you want to record over an old snapshot, rotate the DATA ENTRY dial until you reach the snapshot you want to overwrite and press ENTER. 1/99 Section IV, page 3 TASCAM TM-D1000 Tutorial Section IV, Continued S-001 STORE ? S-001 [NAME] OK? Name Your Scene_ The TM-D1000 will then allow you to name the scene. Rotating the DATA ENTRY dial will select different characters. To change from upper to lower case (or visa versa), press the shift key. To move to another letter, press down on and rotate the DATA ENTRY dial. When you're finished naming the scene, press ENTER. Now, you can select the transition time for the scene. The transition time allows you to adjust the crossfade from one scene into the next. It should be noted that only the volumes crossfade. The panning, EQ, aux, etc. will all snap as soon as the next scene is recalled. Rotate the DATA ENTRY dial to determine the transition time between scenes, then press ENTER. The scene is now stored in memory. S-001 [Transition Time] 4.7s? To recall a snapshot, press ESCAPE/RECALL. The scenes available will flash in the screen. Rotate the DATA ENTRY dial to select from the scenes in memory, then press ENTER to load the snapshot. If you've got a MIDI sequencer, you can have the sequencer recall snapshots with standard program change messages. You can also dynamically automate any feature in the board. (For more information, see Section XII - MIDI Implementation.) 1/99 Section IV, page 4 TASCAM TM-D1000 Tutorial Buss+Aux=4 With the TM-D1000, the same routing path is used for both auxiliaries and busses (also called groups). So, you can have up to 4 auxiliaries -OR- 4 busses, but not both. If you look to the left of the screen, you will see two lights labeled REC and MIX. If you put the mixer into REC mode, all four paths are turned into busses; you will have no auxiliary sends in this mode. This is a quick way to assign all of your submix paths to busses so you can track your parts across any channel. In MIX mode, all four paths are assigned as auxiliary sends; you will have no busses in this mode. This way, you can have 4 aux sends to use as effect sends, monitor sends, or cue mixes. But what if you want to record tracks and/or inputs with effects? Here, you need busses to run multiple signals together and auxiliaries to send to effects. We thought of that, too. You can assign two paths as busses and two as auxiliaries. Basically the rule of thumb is: Section V BUSSES + AUXILIARIES = 4 Your different bussing/aux options are: BUSS Function Select MIX MODE:ST+4Grp - 4 groups/busses (Default REC mode) BUSS Function Select MIX MODE:ST+4Aux[1-2ST] - 4 aux sends with aux 1&2 ganged in stereo (Default MIX mode) BUSS Function Select MIX MODE:ST+2Aux+2Grp - 2 aux sends and 2 groups/busses (If you want to bounce tracks with effects, you'll need to use this. - 4 mono aux sends BUSS Function Select MIX MODE:ST+4AUX[Mono] To switch between Record Mode and Mix Mode: 1) Press SHIFT and PARAM SEL simultaneously. 2) Rotate the DATA ENTRY dial to MODE. Press ENTER. OPTION MODE TASCAM TM-D1000 ? 3) Rotate the DATA ENTRY dial to MODE SELECT. Press ENTER. MODE MODE Select ? 4) Rotate the DATA ENTRY dial to the desired Mode. Press ENTER. MODE Select MIX? 1/99 Section V, page 1 TASCAM TM-D1000 Tutorial Section V, Continued Once you are familiar with recording and mixing with Record Mode and Mix Mode, you may want to try some of the other buss/aux combinations. To more directly access these combinations: 1) Press SHIFT and PARAM SEL simultaneously. 2) Rotate the DATA ENTRY dial to MODE. . Press ENTER. Option MODE ? TASCAM TM-D1000 3) Rotate the DATA ENTRY dial to BUSS Function Select . Press ENTER. MODE BUSS Function Select ? 4) Rotate the DATA ENTRY dial to the desired BUSS/AUX Setup. Press ENTER . BUSS Function Select MIX mode: ST+ 4 AUX [1-2ST] 1/99 Section V, page 2 TASCAM TM-D1000 Tutorial