Tascam DM-24 User guide

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TASCAM
TEAC Professional Division
DM-24
Digital Mixing console
The DM-24 Basics V 2.0

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INPUTS................................................................................................................ 3
RETURNS............................................................................................................ 3
OPTIONS............................................................................................................. 4
OUTPUTS............................................................................................................ 4
AUX SENDS........................................................................................................ 5
TRACKING OPTIONS......................................................................................... 5
OVERDUBBING TRACKS 17-24........................................................................ 6
POST ADC DIRECT OUT PREFERENCE .......................................................... 6
POST ADC DIRECT OUT IN THE STUDIO......................................................... 7
USING THE INSERTS TO TRACK ANALOG AND RETURN DIGITAL ............. 7
SPECIAL AUX 1-2 FUNCTIONS......................................................................... 8
EFFECTS............................................................................................................. 9
MACHINE CONTROL........................................................................................ 10
MIDI ................................................................................................................... 11
HUI EMULATION............................................................................................... 13
AUTOMATION................................................................................................... 14
CASCADING TWO DM-24S.............................................................................. 16
OPERATING @ 96KHZ..................................................................................... 19
SNAPSHOTS..................................................................................................... 19

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DM-24 Version 2.0
The DM-24 was originally released in October of 2001 with version 1.11
firmware. At that time it was the most powerful, low cost digital mixer in the
world. In March of 2002 we released version 1.60 which added many new
features including 16 extra channels making the DM-24 a 48-channel mixer.
With the release of version 2.0 the DM-24 can now route 60 input signals to the
stereo buss at mixdown! With new features like HUI emulation and some of the
most powerful 5.1 surround panning found in any digital mixer, the DM-24 is even
more powerful then other digital mixers costing two and three times more then
the price of the DM-24. Two things haven’t changed since October of 2001. The
DM-24 is still the most powerful, low cost digital mixer in the world and the list
price is still only $2999.
Inputs
“Inputs” can be assigned to any or all 32 channels. For instance Mic/line input #1
can be assigned to all 32 channels simultaneously. There are many times when
you may wish to assign the same input signal to two different channels and
manipulate them differently. Perhaps compress one channel, but not the other,
etc.
Returns
“Returns” include TDIF I/O, ADAT lightpipe I/O and any option slot I/O that might
be added to the DM-24. There are 24 channels of TDIF I/O and 8 channels of
ADAT lightpipe I/O built in to the DM-24, but there are also two option slots
available to expand your I/O capabilities. You can use any “3” of these returns
simultaneously. For example, Return A might be used with TDIF1, Return B
might be used with an analog card in SLOT 1 and Return C might be used with
an AES/EBU option card in SLOT 2. You can choose what channels these
returns are assigned to with out ever having to re-patch a cable. Returns are
usually used to feed the signal from your recorder(s) in to the board for mixing,
but they can also be used for other purposes like expanding your mic pres with
external devices. For example Presonus makes an 8 channel mic pre with a
ADAT lightpipe output called a Digimax LT. This could be used with the internal
ADAT lightpipe connection on the DM-24 or multiple Digimax LTs could be used
if multiple IF-AD/DM lightpipe option cards were installed.
Once your 3 banks of returns have been assigned, you can assign “any” of these
24 signals to any of those 24 channels. In other words, track 1 can be assigned
to channel 1, 2 and 3. Track 17 can be assigned to channels 8, 9 and 10. This
is probably one of the most powerful features added to version 2.0. This means I
can assign my snare drum track to channel 2 and 3, compress channel 2 very
hard and roll off the low frequency on channel 3 below 200Hz for a complex
snare sound. Or I can take one guitar track and assign it to four different
channels. Then I can pan and EQ them differently resulting in the ever popular
“wall of guitars” sound.

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Options
•IF-TD/DM (TDIF I/O) $249
•IF-AD/DM (ADAT lightpipe I/O w/ ADAT Sync) $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 (Meterbridge plus cable) $949
•Each of the optional interface cards has 8 channels of I/O.
•Mixing 24 tracks of ADAT or any other lightpipe device requires two
optional ADAT I/O cards.
•Adding two AES/EBU cards provides a total of 20 channels of AES/EBU
I/O (four channels come standard on the DM-24 on two standard XLR
connectors.)
•Two analog cards are necessary if 32 channels of analog; +4 line level
inputs are required.
•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 MU-
24 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 return signal to
channels, 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.

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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 effect processors. Aux sends can be
assigned (in pairs or mono) 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 or directly to the stereo buss. 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 assigned 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 or the left or
right side of the stereo buss. This makes it possible to use outboard dynamics
processors on the tape return path. This is an extremely valuable feature! Using
these inserts on the stereo buss makes it possible to “monitor” the compressed
signal before it leaves the mixer and it allows you to use the S/PDIF or AES/EBU
digital outputs to send your compressed mix to a 2-track digital recorder.
Tracking options
The DM-24 has 32 channels. The first 16 channels have direct outputs that are
normally “post” fader (See post ADC direct out preference.) There are 16
mic/line inputs. With a signal feeding into each of them, the signal goes all the
way to the fader and then out to tape. Channel 1 goes to track 1, channel 2 goes
to track 2, etc. The 16 tracks will then need to return to the console for
monitoring. Channels 17-32 can be used for this purpose. The “RECORDING 1-
16” snapshot can be recalled for this scenario. This allows 6 mono or 3 stereo
cue mixes using aux sends 1-6. The only limitation to this set up is that there is
no way to monitor with effects such as reverb in the cue mixes. This is because

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all of 32 channels are now being used so there are no free channels to assign
the effect return to that would have an aux send to get the signal to a cue mix.
TIP:The only way to monitor with effects while recording and monitoring 16 tracks requires
another small utility mixer like the Samson Mix Pad 4 ($179 street price.) Usually only the
vocalist requires reverb in their cue mix. Use Aux 3 as the vocalist’s cue mix. (The DM-24
default setting is TC Reverb on EFFECT 2 with aux send 2 feeding the effect input. Your DM-24
must be setup this way for these instructions to work.)
1. Use assignable sends 1-4 with aux sends 3-6 as four mono cue mixes.
2. Assign channels 17-32 to buss 1-2.
3. Monitor buss 1-2 in the Control Room section.
4. Assign the outputs of EFFECT 2 to the stereo buss on the ASSIGN page.
5. Route the stereo XLR outputs to ¼” inputs on stereo channel 3&4 on the Mix Pad 4. Bring
the channel to unity gain. Make sure the DM-24 stereo buss is also set to unity gain.
6. Route assignable send 1 to the channel 1 line input on the Mix Pad 4. Make sure the trim
control is set to line level. Bring the channel to unity gain.
7. Plug the vocalist’s headphones into the Mix Pad 4 headphone jack and adjust the volume to
taste.
Use aux send 2 to adjust the approximate wet/dry ratio for the reverb. Now the vocalist can
control the amount of reverb on their voice by manipulating the CH 3&4 volume knob on the Mix
Pad 4. Plus they have their own headphone volume control. A headphone amplifier will be
required for the other cue mixes. The Behringer HA-4600 is a great choice ($99 street price).
Overdubbing tracks 17-24
There is another recording snapshot called “overdub 17-24.” As you’ve already
been using channels 17-32 to monitor the tape return path of tracks 1-16, those
channels remain the same in this snapshot. Channels 9-16 are used to monitor
the tape return path of tracks 17-24. Mic/line inputs 1-4 are assigned to channels
1-4, Effect 1 L&R outputs are assigned to channels 5&6 and Effect 2 L&R
outputs are assigned to channels 7&8. Channels 5-32 are assigned to the stereo
buss for monitoring in the control room. Channels 1&2 are assigned to buss 1-2
and channels 3&4 are assigned to buss 3-4. This allows you to record 4 mic/line
inputs with separate cue mixes while monitoring with two separate effects. Use
Aux 3-4 as a stereo cue mix. Use Aux 1 and 2 on channels 9-16 (tape returns of
over dub tracks) to feed the internal effects. Send aux 3-4 on channels 5-8 to
send effects to the cue mix.
Post ADC direct out preference
In the OPTIONS-PREFERENCES page you can choose Post ADC direct out.
This changes the signal flow of the DM-24. Normally the direct outputs are “post”
fader. This option routes the direct output directly after the analog to digital
converter. This is perfect for when you use the DM-24 as a live “front of house”
mixer and you are also using the DM-24 to record the performance via TDIF to a
MX-2424 for instance. In this mode the only signal feeding the recorder is the
signal feeding the mic/line input. The signal then continues on to the channel for
front of house mixing. But now none of your mix moves are effecting the signal
going to the recorder.

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Post ADC direct out in the studio
This option can also be used in the studio environment. Instead of assigning the
mic/line inputs to channels 1-16 as you would in the “front of house” scenario,
you would now assign channels 1-16 as tape returns 1-16. This allows the most
direct path to the recorder. This way the input signal is not colored by the digital
compressor, gate or EQ. But now the tape return signal can be “monitored” with
digital compression, gates and EQ. Many people prefer to track this way. It is
referred to as “tracking dry.” Most recorders allow you to buss the signals
coming in to recorder inputs 1-8 to tracks 9-16 and/or tracks 17-24. (On the MX-
2424 you would set Menu 401 and 402 to: DIGITAL 1-8.) The “48 ch MIXING”
snapshot is set up perfectly for this scenario. But you do have to select the
POST ADC DIRECT OUT preference. Channels 17-24 are assigned as tape
returns for tracks 17-24. EFFECT 1 and 2 outputs as well as the assignable
returns are assigned to channels 25-32.
Using this method is almost like using external mic pres to feed the recorder and
only “monitoring” and mixing the tape returns with the DM-24. The benefit of
using this technique is that you have full access to cue mixes with effect
monitoring. Very cool.
Using the inserts to track analog and return digital
Many users are very particular about the analog to digital converters that they
use to record. If they choose not to use the converters on the DM-24, this does
not mean that they cannot still use the DM-24’s internal mic pres. Realizing the
analog 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 pres level may be
adjusted. The analog signal is then sent to the analog input on the outboard A/D
converter. The digital output of the converter is then routed to the digital input of
the recorder. The digital output of the recorder would then return to the DM-24
for monitoring and mixing. This scenario is just like having 16 outboard mic pres.
TASCAM has many cables and cable snakes available for this situation. Please
refer to our Cable Up catalog. Many of these cables are available directly from
the SHOP TASCAM section of www.tascam.com. This includes the new $20

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CU/PWSPLIT, our new TDIF splitter Y cable. This separates a standard TDIF
cable in to a separate TDIF IN and TDIF OUT.
Special Aux 1-2 functions
Aux 1-2 also have other special functions. They can be used as a separate
“input path” to the stereo buss for the RETURNS (TDIF, ADAT or option card
inputs) or the mic/line inputs instead of being a “send” path. When you link Aux
1-2 you have a level and pan control for these inputs. On the ASSIGN page you
can assign AUX 1-2 to the stereo buss.
Aux 1-2 Applications:
1. Using the “48 ch MIXING” snapshot you could use channels 1-24 as
digital tape returns, channels 25-32 for effect returns and mic/line
inputs 1-16 for the analog outputs of MIDI sound modules which can
be assigned to the Aux 1-2 path then to the stereo buss.
2. Using the “NEW MIXING” snapshot you could use channels 1-24 as
digital tape returns, channels 25-32 as mic/line inputs 1-8 for the
analog outputs of MIDI sound modules that you want to add
compression, EQ and effects to. Mic/line inputs 9-16 can be used for
the analog outputs of other MIDI sound modules and can be assigned
to the Aux 1-2 path then to the stereo buss. Here the outputs of the
internal effect processors, digital inputs 1&2 and the assignable returns
are also assigned directly to the stereo buss.
3. In the DM-24 busses 1-8 are used for recording. As such, they cannot
be assigned to the stereo buss. When mixing it is often desirable to
assign multiple channels to a buss, then manipulate that buss signal
with compression and EQ and send it to the stereo buss. Using the
“NEW MIXING” snapshot you could remove some signals on channels
1-24 from the stereo buss and assign them instead to buss 1-2.
Assign the buss outputs to the internal ADAT output. Route a lightpipe
cable from the DM-24 ADAT output to the ADAT input on a Alesis Ai3
(lightpipe to analog converter $399 street price), then take the analog outputs
from the Ai3 to line inputs 1-8. These inputs are assigned to channels
25-32. This allows you to compress and EQ the buss signals before
they are then assigned to the stereo buss. Very cool work around.
This can also be done with a MOTU 2408II with TDIF or lightpipe.

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Effects
The DM-24 has two internal effect 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 simultaneously.
Processor #2 contains TASCAM effects:
•Chorus
•Delay
•Pitch Shifting
•Phaser
•Flanger
•Compressor
•Guitar compressor
•Exciter
•De-esser
•Gate
•Distortion (with amp simulators)

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There are two locations called “Effect 1 and Effect 2” where these algorithms can
be loaded. The source of the inputs to Effects 1 and Effects 2 can be Aux sends
1-6. Effect returns can be assigned to any of the 32 channels or directly to the
stereo buss. Effects 1 and 2 can also be routed as “inserts” on busses 1-8; Aux
sends 1-6 or the stereo buss.
The internal effects can also be used with the “assignable” inserts. For instance,
if a fretless bass is on channel 2 and chorus needs to be added to it, assign the
chorus effect to assignable insert #1 and assign insert #1 to channel 2. Using
the assignable insert saves an aux send and two return channels.
Effect 1 and Effect 2 can also be run in series. This would allow you to run a
delay into a reverb, for instance.
Machine control
The DM-24 can control a wide variety of external devices via RS-422 ( P2 or 9-
pin), MIDI Machine Control or the DTRS remote jack. There is a list of supported
devices on the machine control page.
The DM-24 can control multiple devices simultaneously. A standard example
would be controlling the transports of a VTR, while arming tracks on a DTRS
machine.