User manual TASCAM DM-24 annexe 1

[. . . ] TASCAM TEAC Professional Division DM-24 Digital Mixing console The DM-24 Basics DM-24 SIGNAL FLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 INPUTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 RETURNS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 OPTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] 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. 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. 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. 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. 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. 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 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. 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. 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. [. . . ] Because busses 1-8 can be shared, 5. 1 surround mixing is possible with two cascaded DM-24s. An AES/EBU option card could be added to the cascade master for sending the 5. 1 mix digitally to the stem recorder and an analog option card could be added to the cascade slave to send the 5. 1 mix to the surround monitoring system. When a mix snapshot is stored on the master, a mix snapshot is also stored on the slave simultaneously. However, when these files need to be cleared from the DM-24 to make room for new mixes, these files would have to be transferred individually from each DM-24 to an external MIDI device for storage. [. . . ]