User manual TASCAM DM-24 EFFECTS

[. . . ] DM-24 Digital Mixing Console to EFFECTS MANUAL Table of Contents 1 ­ Internal Effects on the DM-24 Patching and setting up effects . . . . . . . . . . . . . . . . . . 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] If you then try to correct this by changing the send/ return mode to the insert mode, another message appears, informing you that return 1 is currently assigned to channel 29. 10 TASCAM DM-24 Effects 3 ­ Antares microphone modeling NOTE All names of microphone manufacturers and microphone model designations appearing in this manual and on the DM-24 are used solely to identify the microphones analyzed in the development of the digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. detailed notes of the microphone conditions which were used to make the original recording. Among other useful information which should be noted when the recording is made: · · · · Type of microphone Distance of source from microphone Any filter settings made on the microphone The response pattern used when recording This effect allows you to model the characteristics of a particular model of microphone and apply it to the microphone you are actually using. In addition to reproducing the sonic characteristics of the modeled microphones, this effect also allows for the reproduction of certain options on the modeled microphone (for example, low cut filters, etc. ). Typically, you will want to "re-record" already recorded tracks with another microphone model at the mixdown stage, as this allows you to experiment with settings. When you use the modeler at the mixdown stage, though, it is important that you have clear and Preserve source (bass and treble) Of course, it is also possible to record directly using one physical microphone and modelling another, but in this case, it is more difficult to experiment, and to make changes afterwards. Note that when we talk about the microphone modeler, we use the term source microphone to describe the actual physical device and the description of it in the modeler, and model to describe the target, virtual microphone. The diagram below gives an approximate idea of how the parameters available interact with each other (signal flow may be taken as being from left to right). Input level Source mic type Model mic type Tube saturation Output level Source mic proximity Model mic proximity Source mic low-cut Model mic low-cut Source mic response pattern Model mic response pattern Limitations Be aware, though, that while the microphone modelling will produce excellent effects, it is not capable of producing something from nothing. In other words, a poor recording made with a cheaper source microphone will not be magically transformed into a good recording, if an expensive microphone model is selected--it will still sound like a poor recording, but made with an expensive model. Nor can the microphone modeler magically restore missing parts of the signal which are missing because of the limitations of the source microphone. If a cheap microphone with limited bass response is used to record, using an expensive model with the microphone modeler will not put the missing bass back into the recording. TASCAM DM-24 Effects 11 3 ­ Antares microphone modeling--Overall settings Excessive frequency boosting can occur if processes intervening between the microphone and the modeler produce noise. This noise will be excessively boosted, especially if the filtering on the microphone and the recording process has accentuated this. Polar response patterns can be simulated, but cannot automatically change the pattern of the source microphone. For example, if a recording has been made using a microphone with a cardioid response pattern, setting the model's pattern to omnidirectional will not automatically turn the source microphone into an omnidirectional microphone (and add the room ambience that would be present if the microphone actually was an omnidirectional one). Likewise, if a source microphone has a particular off-axis response, this individuality will be retained even if a different model is selected. NOTE The microphone modeler can only be used with the L input and output of either effect 1 or effect 2. It is not possible to use the microphone modeler to process two channels at the same time using one effect. The microphone modeler is not available in high sampling frequency mode. Selecting the microphone modeler Recall the preset library entry 1-100 in order to load the microphone modeler. See "Setting up the effects units" on page 7 for further details. Overall settings These settings apply to the overall effect (not to the source or model microphones individually). ment in dynamic range that would result if this operation was to take place on an all-analog system. Input gain This (INPUT) allows you to set the relative gain for the input source (top row, POD 2). Start at 0dB, but you may want to increase the level slightly to increase the amount of saturation available to the processor. The signal may be cut by a value up to ­30 dB and boosted by up to 12 dB. NOTE Output level This (OUTPUT) allows the overall output gain from the modeler to be adjusted from 0 dB to ­12 dB. Bypass This allows the whole of the microphone modeler to be bypassed for A-B comparisons. It is not the same as selecting the bypass microphone model ("The bypass microphone model" on page 13), which is a "neutral" microphone model for either source or output (but it is the same as selecting it for source and output). Increasing this input level to obtain the highest possible non-clipping meter level does not result in the improve- Selecting the source microphone Move the cursor to the Source Microphone, selecting the model using POD 1. The manufacturer name is given at the top left of the box, and the model at the bottom right. There may be two listings for a particular source microphone model, one of them ending with a -w. This means that this is the model of microphone with a supplied windscreen (thereby affecting the acoustic characteristics of the microphone). [. . . ] Title 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 Compressor 35 36 37 38 39 40 41 42 Exciter 43 44 45 46 47 De-esser 48 Phaser 49 50 51 52 53 LCD indication Comments Rhythm 2 Bass Dist Fusion 1 Fusion 2 British Fuzzy Guts Sweet Mellow Cheap Lead Bottom Strong Trebly Solo Crunch Fat Drive Rhythm 2 Bass Dist Fusion 1 Fusion 2 British Fuzzy Guts Sweet Mellow Cheap Lead Bottom Strong Trebly Solo Crunch Fat Drive Comp Fast Attack Slow Attack Short Release Long Release Vocal Comp 1 Vocal Comp 2 Inst Exciter Edge Vocal EX Rhythm G Bass EX De-esser Phaser G Phaser 1 G Phaser 2 G Phaser 3 Bass Phaser 1 A lighter backing style distortion. "Crunch" A thick, fat sound Comp Fast Attack Slow Attack Short Release Long Release Vocal Comp 1 Vocal Comp 2 Inst Basic compressor sound A compressor with a fast attack A compressor with a slow attack. This setting is good with a rhythm box or drum machine. Exciter Edge Vocal EX Rhythm G Bass EX Helps the definition of musical sounds. Use with bass guitars and instruments. De-esser Use this to reduce sibilance. Phaser G Phaser 1 G Phaser 2 G Phaser 3 Bass Phaser 1 Basic phase sound. [. . . ]