and press to access Press and hold this key this key this function (KEEP)

Automation status

As explained in the automation manual, the automation engine can be turned on or off in the main automation screen. When the automation engine is enabled, the word
AUTO appears at the top of the screen, together with
any automation mode currently enabled.
The DM-24 provides a number of options which control the overall functionality of the console. These are accessed through the OPTION and DIGITAL screens. Within these screens, you can (in the OPTION screen): Set up various interface preferences Set up the way in which soloing works Set up timecode preferences for synchronization with other units and in the DIGITAL screen Set up the word sync clock Choose the digital input and output formats Define and make settings for the optional slot cards These options are described in detail below:

OPTION screen

To access the OPTION screen: Press the SHIFT key so that the indicator is lit. Press the AUX 1-2/OPTION key. The screen changes to show the OPTION screen. There are four screens available using the soft keys immediately below the display: SETUP, PREFERENCES, SOLO and SYNC/TC.
The following options are available from this screen:
ENCODER OPERATION MODE When using
the encoders (Rotary encoders (ring LEDs) on page 15), or the PODs, the parameter being edited may sometimes have too many values to allow easy setting using the encoder (for example, there are 127 different pan positions). Using the 1Step setting, one click of the encoders corresponds to one step in the parameter values. Using the Coarse option allows the changing of the parameter values to be accelerated, with fewer clicks of the encoder. Holding down the 2ND F. key while turning the POD or encoder reverses the usual acceleration mode (if 1Step is chosen, 2ND F. + POD/encoder = accelerated, and if Coarse is chosen, 2ND F. + POD/encoder = accelerated.
Use the and cursor keys (or dial) to move the cursor to the appropriate fields, and then press the ENTER key to change the value.
UPPER BAR DISPLAY This parameter has two options: TIMECODE and SYSTEM. When set to TIMECODE, the top right field of the display shows incoming timecode, and when set to SYSTEM, certain system parameters (clock source, solo mode, etc.) are displayed.
LIBRARY DIRECT KEY OPERATION This parameter controls the type of library accessed by the RECALL and STORE, and the + and keys in the LIBRARY section to the left of the screen. There are six choices: Snapshot refers to the overall mixer settings, Gate/Expand to the dynamics processor settings for gate and expander effects, Comp to the dynamics processor settings for compression effects, EQ to the equalization setting library, and Effect1 and Effect2 to the first and second internal effector settings, respectively.

f Talkback microphone This integral microphone can be used for studio talkback or slate output. g DIM key and indicator This smart key works in the same way as the STUDIO key above.
When on, the control room outputs are attenuated (the amount is set using the monitor screen).

,./! @

h MONO This outputs the selected signal in mono to the control room monitors and phones. i STUDIO key and indicator This smart
key latches on when pushed and released within a second, and is switched off by pushing it again in the same way. If pushed and held down for more than a second it is non-latching, that is, it turns off when released. When on, the control room outputs are attenuated, and the talkback microphone signal is routed to the studio outputs.

# $%^ &

b Meters These meters show the level of the
currently-monitored signal.
c SOLO control and indicator When the
indicator is lit, soloing is enabled and a channel has been selected for soloing. The level of the soloed signal is controlled by this knob.
j CR volume control This control adjusts
the level of the signal selected with the selection keys and sent to the control room outputs and PHONES outputs.
d PHONES control This control regulates the level of the signal sent to the phones outputs. e Monitor selection keys These keys are used to select the signal sent to the control room monitor outputs (and the phones outputs).
The STEREO key routes the stereo output signal to the monitor outputs. The SEL 1, SEL 2 and SEL 3 keys route the signals selected in the monitor screen to the monitor outputs.
k TO SLATE key and indicator This
smart key works in the same way as the STUDIO key above. When on, the control room outputs are attenuated and the talkback microphone signal is routed to the eight output busses, the stereo buss and the six aux busses.
l T/B volume control This control adjusts
the level of the signal from the talkback microphone, fed to the selected outputs (slate or studio).
32 TASCAM DM-24 Reference Manual
Module faders and selection, etc.
The module faders are arranged in layers (see Fader layers on page 18). Accordingly, the 16 module faders are used to control all 32 inputs, the six aux sends and the output buss sends as shown on the preprinted labels above and below each channel strip. functions. The indicators light to show which module has been selected.

* ( ) Q W

E R T Y
o MUTE keys These keys, with integral indicators, show the muting status of the modules. When used with the solo modes, they give instant indication of what module(s) are selected for soloing. p OL/STATUS indicators These indicators

the system.

5 MIDI IN, OUT and THRU These three 5pin DIN connectors correspond to the MIDI standard (MIDI IN receives MIDI data, MIDI OUT outputs MIDI data originated by the DM-24, and MIDI THRU echoes data received at MIDI IN).
The MIDI is used for MIDI Timecode, Program Change and Control Change messages, as well as for MIDI System Exclusive bulk data dumps, etc. The details of these are all given in the section on MIDI (MIDI on page 95).
The equipment draws nominal non-operating power from the AC outlet with its POWER switch in the OFF position.
B DIGITAL OUTPUT 1 and 2 Each of these
outputs has two connectors: an XLR-type and an RCA connector. The format of the output is determined by software. The function of these connectors (master stereo output, stereo aux send, etc.) is also determined by software settings.
C DIGITAL INPUT 1 and 2 Each of these
inputs has two connectors: an XLR-type and an RCA connector. Only one connector at a time can be used for the input (selected by software). The routing of these connectors is also determined by software settings.
6 EXT SW This 1/4 jack is used to connect a
footswitch (for example, the TASCAM RC-30P), which is selectable through software to provide a variety of functions.
7 TIME CODE This unbalanced RCA connector accepts SMPTE/EBU analog timecode.
D GPI This 9-pin D-sub connector is a General
Purpose Interface, used for remote control of devices attached to the DM-24.
8 DTRS REMOTE CONTROL This 15-pin
D-sub connector connects to the first unit in a chain of DTRS recorders, allowing the DM-24 to remotely control the recorders.
9 SLOT [1 and 2] These expansion slots allow
the fitting of optional cards, such as a cascade card, AES/EBU interfaces, additional lightpipe interfaces, or additional AD-DA conversion interfaces.
E RS-422 This 9-pin D-sub connector is a remote control interface, to the RS-422 standard, allowing remote control of devices attached to the DM-24.
Because the DM-24 is a soft digital mixing console, there are few of the hard-wired assignments that you find on an analog console. In addition, the DM-24 includes an internal patchbay, which allows routing and splitting of signals within the console, providing a high degree of flexibility, and easy re-configuration when the requirements within a project change. These routing and configuration settings can be stored in snapshot settings, allowing easy switching between the commonly-used routing patterns (for example, tracking, overdubbing and mixdown). The library facilities also allow the retention of I/O patches, etc. between snapshots, so that the I/O settings are not always overwritten by the recalled snapshot. See Protecting snapshot settings on page 102 for full details.

ENTER), the CENTER button described above will be

disabled (grayed out).

Balance controls for stereo linked pair
See Linked modules on page 60 for details of linked modules. The balance controls in for linked modules are all on the bottom row of the MODULE screen. Move the cursor to the bottom row and use the PODs to change these parameters. In the case of a stereo linked pair of modules, the PAN is replaced by a BAL control. Ganging is not possible, but a CENTER button is available, which centers the stereo signal. POD 2 is used to select the source. Either the left (odd-numbered) channelL MONO or right (evennumbered) channelR MONO or both together STEREO can be selected. This allows the previewing of either channel individually, without having to unlink the channels POD 3 is used as an image width (IMAGE) control. This controls the width of the stereo spread of the two channels. The center position is labeled as L+R MONO and provides a pinpoint mixture of the two channels. Turning the control fully counterclockwise provides a full stereo (STEREO) image. Turning the control clockwise from the center reverses the left and right channels in the stereo image. Turning the control fully clockwise shows REVERSE on the screen.
In the Options screen (Balance Level CENTER: 0dB on page 21), the way in which the balance control level is modified at the center position can be changed between 0dB and a 3dB cut. Make this setting to reflect your preferred way of working.

Global pan

As well as individual pan settings, it is also possible to view and make the pan settings on a global basis. With the SHIFT indicator unlit, press the PAN/BAL SURROUND key. Continue to press the PAN/BAL SURROUND key until the following screen appears (or use soft key 2):
Ganging Note that ganged channels are displayed as ganged, but this setting cannot be changed at this position.
Move to the lower right of the screen and use POD 1 to select a pair of channels to be ganged (linked channels cannot be selected here). Use ENTER to make the gang setting (or break it if it has already been made).
Setup It is possible to apply the same pan/balance
setting to groups of channels. Move the cursor to the lower left of the screen, and use POD 1 to set the master pan/balance setting. The scope of the setting is determined using POD 2: choose between ALL, EVEN (even-numbered channels), ODD (odd-numbered channels), 1-8, 9-16, 17-24 or 25-32. Press ENTER to apply the POD 1 setting and press ENTER again to confirm this when the popup appears (cancel with the cursor keys). Use the cursor keys (and channel SEL keys) to navigate around the screen and set the pan or balance positions.

52 TASCAM DM-24 Reference Manual
7 Module operationsDynamics screen

Dynamics screen

In this screen, the dynamics processor functions of the modules can be controlled. There are three different types of dynamics processor that can be assigned: noise gates, expanders and compressors. To recall one of these settings stored in the library: 1 Move the cursor to either of the LIB -> buttons on the display (either GATE (gate/expander) or COMP (compressor)). Press the ENTER key. This jumps to the library where the appropriate dynamics processor (either compressor or gate/expander) is stored. Use POD 4 or the dial to scroll through the list of stored settings. Use the fourth soft key (RECALL) to recall the highlighted setting. Only gates or expanders can be recalled to the GATE section, and compressors to the COMP section. The type of dynamics processor cannot be changed.
Gate and expander settings may not be made for input modules 17 through 32, as shown here.
Particular settings for these processors are stored in the DM-24 libraries and are recalled as necessary. See Library functions on page 99 for full details of how settings are stored.
The same procedure can be used to store the current settings to a library entry, using the STORE soft key rather than the RECALL key. These procedures are explained in more detail in Library functions on page 99.

Noise gate (GATE)

The purpose of a noise gate is to keep the input closed while the signal is below a threshold level, and open it when the signal rises above that level. In this way, the bad effects of hum, hiss, background noise etc. can be reduced effectively in quiet passages. Full details of the parameters are given in Gate on page 66.

Compressor

The compressors prevent loud transients from putting too much signal through the system. Full details of the parameters are given in Compressors on page 67.

Expander

The expander expands the dynamic range of the input signal. Full details of the parameters are given in Expander on page 66.

7 Module operationsEQ

The principles of the EQ interface using the encoders are also explained in the section on User interface on page 12. The EQ parameters are as following:
On/off (all bands) Each band can be turned on
or off individually using the on-screen button beside the gain control (ENTER key). If a band is turned off in this way, the gain of the band is automatically set to zero. If the band is turned off, turning the gain encoder or gain POD for the band will automatically turn the band on again.
Gain (all bands) The maximum cut and boost
(gain) on all bands is 18dB. Gain control is not possible when an EQ band type is set to notch filter, or high- or low-pass filter. In this instance, all LEDs of the appropriate encoder are turned off.
Briefly, when the module is selected, and the EQ screen is visible, the rotary encoders and PODs can be used to set up to four parameters of the selected EQ bands (gain, frequency, Q and type). The EQ band to be edited in this way is selected using the EQUALIZER keys G. The LEDs surrounding the encoders show the current status of the parameters, as explained in Rotary encoders (ring LEDs) on page 15. See Cursor follows EQ Band Key on page 22 for details of setting up the DM-24 so that the on-screen cursor automatically follows the band selected using the EQUALIZER keys. Alternatively, if the encoder function key K is pressed so that the EQ GAIN setting is selected (the indicator is lit), the gain of the four EQ bands of the selected modules can be changed using the encoders. Again, the relative gain is shown using the LEDs surrounding the encoders. The PODs may also be used to make EQ settings, in conjunction with the cursor keys. When a row is highlighted on screen, the PODs control the parameters in that row (in the screen above, the HI band is highlighted). In addition, the cursor keys and data dial can also be used to make changes. The response graph at the top of the screen changes as changes are made to the parameters. If the EQ is turned off for the module, this graph is grayed out (and of course, any changes made to the EQ cannot be heard!).

See also UTILITY copying on page 62.
Source (pre/post and SOURCE) settings
As the tabs at the bottom of the display show, there are four screens available through the soft keys (or repeated presses of the appropriate AUX key. The two LEVEL screens are identical. The SOURCE screens (aux 1 and 2) and AUXx PRE/PST (other aux sends) appear like this:
Using the cursor keys to move a cursor consisting of a box highlighting four on-screen controls around the screen. Alternatively, press the SEL key for a given channel to jump the cursor to the appropriate position on the screen. The four controls correspond to the four PODs. If two channels are linked (as with channels 9&10 and 11&12 on this screen), only PODs 1 and 3 are active.
The rotary encoders, if selected to control aux send levels, are also valid controls for the selected channel or pair of channels.
Fader control At the top of the screen is a button which allows the faders to be used for setting the aux levels (as described in Using the faders to change values on page 14). Setup A master level can be applied to selected
channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing ENTER. The scope of the setting is determined using POD 2: either ALL, EVEN (even-numbered channels), ODD (odd-numbered channels), 1-8, 9-16, 17-24 or 25-32. When ENTER is pressed, a popup message appears (Ch parameters setup?). Press ENTER again to confirm, or a cursor key to cancel.
Use the cursor to navigate around the screen and the PODs to select either PRE or POST (pre-fader or postfader aux sends). For aux sends 1 and 2, the RETURN source is also available for channels 1 through 16.
Setup A master pre-post setting can be applied to
selected channels by moving the cursor to the bottom left position setting the desired value with POD 1 and pressing ENTER. The scope of the setting is determined using POD 2: either ALL, EVEN (even-numbered channels), ODD (odd-numbered channels), 1-8, 9-16, 17-24 or 25-32.
Linked aux sends Two aux sends are linked in
the same way as for channelswith the MASTER fader layer active press and hold the SEL key of one aux channel and press the SEL key of an adjacent send. Aux sends 1&2, 3&4, and 5&6 can be linked in this way. No other linking is possible. When they are linked in this way, naturally they share the same level (the faders are linked) and any input to the linked aux send is panned.
Copy It is possible to copy the fader settings to the
aux levels, or the other way round (aux levels to fader). This can be used as a starting point for mixes, setting up an initial monitor mix to mirror the stereo output, for example, which can then be adjusted as necessary.
56 TASCAM DM-24 Reference Manual
7 Module operationsSetup screen

This does not clear the group settings.
Copying mute settings to the faders
At the right of the display, about halfway down the screen, there is an on-screen LINK button. When this button is off, it is labeled MUTE>FADER. Moving the cursor to this button and pressing
ENTER brings up a popup asking whether a link should be made: Grouping link(Mute -> Fader) (ENTER
This transfers the mute groupings to the fader groupings (that is, the fader group settings become identical to the mute group settings). This is a live link when changes are made to the mute groups, they are echoed in the fader groups and the other way round. The button is now labeled MUTE=FADER and is shown in inverse, showing that the link is active. Pressing the LINK button in either the mute or the fader group screens deactivates the link.
for yes, cursor keys for no).

Fader groups

As the name suggests, fader groups allow the channels to be grouped together in such a way that moving the master fader of a group affects the fader level of all the other (slave) faders in the group. Slave faders may be moved independently of the other faders in the group. To assign a channel to a group, use the and cursor keys (or the dial) to move the cursor to the appropriate row. If any channels have previously been assigned to the group. the SEL key of the master channel flashes when the group is selected, and the SEL keys of any slave channels light.
Press the unlit SEL key of any channel to assign the channel to the group. If the channel is the first one to be assigned to the group, the symbol changes to a large bullet point, showing that it is the master channel of the group and the SEL indicator flashes. Groups are shown as horizontal rows in the matrix in the upper part of the screen. The 32 channels are shown as columns. If a row (group) has no check marks or large bullet dots in it, no channels have been assigned to that group. If the channel is assigned to a group and it is not the first channel in the group, it is shown with a check mark to show that it is a slave channel, and the SEL indicator lights. If a channel has already been assigned to a group as a slave and that group is currently selected, pressing the SEL key unassigns it from the group. If a channel has already been assigned to a group as a master and another group is currently selected, press-
70 TASCAM DM-24 Reference Manual
9 GroupingGrouping layers
ing the SEL key to turn the channel into a slave channel brings up a warning message (Re-assign fader grouping?), and pressing ENTER reassigns the group. Any of the cursor keys may be used as no or escape keys here. If a channel has already been assigned to a group as a master, pressing the SEL key clears the whole group. A popup message appears (Clear this fader grouping?), and pressing ENTER clears the group. Any of the cursor keys may be used as no or escape keys here.

76 TASCAM DM-24 Reference Manual
10 MonitoringSlate settings
pressed and released quickly, they are latching, but if pressed and held, they are non-latching. Indicators show the active status of these keys.

Slate settings

The DM-24 allows you to define the slatethe destination of the talkback microphone. From the MONITOR screen, press the third soft key (OSC/COM) to bring up the oscillator and slate setting screens. Use the SLATE panel in this screen to choose which aux sends, output busses and stereo channels will be included in the slate. Use the cursor keys to move along the row, and the
ENTER key to include and uninclude the busses,

Lineup oscillator

The DM-24 includes a lineup oscillator, which can be assigned in the same way as the slate output. In addition to being able to choose the outputs to which the oscillator is sent, POD 1 allows the oscillator frequency to be selected (100Hz, 440Hz, 1kHz or 10kHz). The level of the oscillator is also variable (POD 2) from 36.0dBFS to 0.0dBFS in 0.5dB steps. Use soft key 1 to turn the oscillator on (button is in inverse video) and off.

Meters and faders

As well as the stereo meters, the DM-24 provides onscreen metering for all modules in the console. With the SHIFT indicator unlit, press the METER/ FADER key. The following screen shows the metering for the input channels: The METERING POINT for channels 1 through 32 (CHANNEL) can be set as INPUT (before the digital trim and after the input selection), PRE (pre-fader and before any assignable send/return insert), or POST (post-fader, and post any assignable send/return insert). The MASTER (aux sends, busses, stereo) metering point can also be set: INPUT (buss level, before any compressor insertion), PRE (pre-fader and post any compressor insertion), and POST (post fader). Since only 24 channels can be shown on screen at once, there is a choice of what will be metered on screen at any one time: either the 24 track returns, the
10 MonitoringMeters and faders
24 channels or a screen with channels 25 through 32, aux sends 1 through 6 and busses 1 through 8: then selected, SEL key 3 (channel 19) is selected, and then fader layer 1-16 is then re-selected, SEL key 2 will be active. If the option is not active, any SEL key which is lit remains lit when the fader layer is changed. For example, if this option is not selected, and SEL key 2 is lit with fader layer 1-16 active, and fader layer 1724 is then selected, SEL key 2 will still be lit (that is, channel 18). When the Meter Follows SEL key option is checked, the meter layer automatically changes when an appropriate SEL key is pressed. The modes are as follows:

General parameters

When the SHIFT indicator is lit, press the MIDI/MC key. Use the first soft key to bring up this screen: This allows the setting of such items as MIDI channels, the flow of MIDI data (including MIDI timecode) through the system, and various machine control parameters.

Program Change channels

In order to allow independent remote changing of the mixer snapshots and the two internal effector settings using MIDI Program Change commands, these three libraries can be assigned to respond to Program Change commands received on different channels. Move the cursor to the MIDI Ch box by either SNAPSHOT, EFECT 1 or EFFECT 2 at the top left of the screen, use the dial to select the MIDI channel (from 1 through 16), and press ENTER.
Each of these libraries must use a separate MIDI channel. A popup message is displayed if an attempt is made to assign the same MIDI channel to more than one library.

Program Change values

This setting allows a given Program Change number to be associated with a particular library entry. This means that there does not have to be an exact match between, say, a particular synthesizer patch number and number of the effect setting that you always use with that patch. These settings are made at the bottom left of the screen. The three libraries mentioned above (snapshot and the two internal effects libraries) may have these settings made. The method is identical for each library. 1 Move the cursor to the library table to be edited (MIXER for snapshots, EFF1 for effector 1, and EFF2 for effector 2). Press ENTER. Use POD 3 to select the MIDI Program change number. Use POD 4 to select the library entry to be associated with the program change.
Continue this process until the library Program Change table is set up as you want.

General MIDI parameters

The following parameters may be set (consult a general reference work on MIDI if you are unsure of the operation of some of these MIDI functions): the input timecode when it is acting as a timecode slave.

The following Control Changes are not available for use with this function: 0, 6, 32, 38, and 96 through 127.
If the Master option is selected, the fader values and mute settings for the buss and for the aux sends are displayed, as well as the main STEREO fader value. Assign MIDI channels and Control Change numbers to these parameters.
12 MIDIMIDI Implementation Chart
MIDI Implementation Chart
TEAC [Digital Mixer] Model:DM-24 MIDI Implementation Chart DATE Version : 25 June, :2001 : 1.0

Function

Basic Channel Mode Default Changed Default Messages Altered True Voice Note On Note Off Keys Chs 1-5, 7-31, 64-95 0, 6, 32-63-96-119 1-2, 4-5, 7-8, 10-13, 16-19 64, 67, 84, 99, 101 0, 3, 6, 9, 14-15, 20-63 65-66, 68-83, 85-98, 100 102-119 0-119 Prog Change Common True # MTC Quarter Frame Song Pos Song Sel Tune Clock Commands Local ON/OFF All Notes OFF Active Sense Reset

Transmitted

1-16 1-16 x x ************ x ************ x x x x x O x O O x x x O O (1-127) ************ O O x x x x x x x O (*1) x

Recognized

1-16 1-16 x x x x x x x x x x O x O O x x x O O (1-127) ************ O O x x x x x x x O O (*1) *c Assignable, *1, *b *1, *3 *1 Assignable *1, *a *b Memorized

Remarks

Note Number Velocity After Touch Pitch Bend Control Change

System Exclusive

System Real Time Aux Messages
*a.Capable of being enabled or disabled *b.Snapshot, Effect1, Effect2 *c.Bulk Dump (MFD Header, MFD Data Packet, MFD EOF) MMC, MTC Full Message, Device Enquiry *a.Fader, mute, pan effect settings with the Control Change on the MIDI screen *b.Usable with the MIDI Controllers display *c: Usable with the MIDI Faders display
MODE 1: OMNI ON, POLY MODE 3: OMNI OFF, POLY MODE 2: OMNI ON, MONO MODE 4: OMNI OFF, MONO O:Yes x: No
98 TASCAM DM-24 Reference Manual
The DM-24 allows storage of commonly-used settings in libraries. The settings that can be stored are: Snapshots EQ settings Internal effector settings (separate groups for effectors 1 and 2) Internal dynamics processor settings (both compressor and gate/expander) Automation data The procedure for working with all of these libraries is very similar (except for the automation library, which has various different features and is explained in the automation manual). For all the libraries, practically all the administration can be carried out from a single screen. The dedicated LIBRARY keys (, +, RECALL and STORE) to the immediate left of the display do not work with the automation data. As explained in LIBRARY DIRECT KEY OPERATION on page 20, these keys can be set up to work with any of the libraries above except for the automation data. If we make reference to the library which is selected for use with the dedicated keys in this way, we refer to it as the active library.

Cascade card
This card allows the connection of two DM-24 units to increase the number of channels, etc. available. A cascade card must be fitted in slot 1 of each unit to be cascaded. In a cascade chain, one unit is designated as the master unit, and the other as a slave. The master unit must always act as the word sync master for the cascade chain (though it can act as a word sync slave in the overall audio system). There is one connection to be made between the two units. This connection must be made between the cascade cards with the power off on both units. It carries all appropriate audio signals as well as the sync signals and control signals. Only use a TASCAM cascade cable designed and produced for this purpose when making this connection. This effectively gives you one double-sized DM-24 mixing console, with the following features: 32 mic/line inputs 64 channels 48 TDIF I/O channels 16 lightpipe I/O channels 4 AES/EBU 2-channel I/O 4 SPDIF 2-channel I/O 8 assignable sends and returns 4 internal effect processors 33 touch-sensitive, motorized faders The ability to run a 24-track, 24-bit 96 kHz 5.1 automated mixing environment

Setting up the cascade

When the connection between the two cascade cards has been made, turn on the slave unit, followed by the master unit. Wait until the fader calibration is ended, and then go to the SLOT screen (soft key 3 in the DIGITAL screens) on the DM-24 which will be used as the slave. The cascade card is identified as CASCADE Card at the top of the slot 1 section of the screen: Set the unit up as the cascade slave (SLAVE) using the on-screen radio button. Now enter the same screen on the unit which will be used as the master, and set that one up as the cascade master (MASTER button). On the slave, set the CASCADE to ON. The display shows Scan Cascade Machine. Leave the cursor by the CASCADE button. Next, on the master, set CASCADE to ON. Leave the cursor by the CASCADE button. The master display shows Found DM-24 slave machine! and the slave display shows Found DM-24 master machine!. An error message is displayed if the cascade is established and subsequently becomes disconnected.

Use of the cascade

Since the cascade function allows busses, aux sends, etc. to be controlled from the master unit, and thereby be shared between the two cascaded units, the two DM-24s can be used as one large digital console. The ENABLE checkboxes allow the selection from the master unit of which busses and functions will be shared.

Confirm LIST Auto Detect? Press ENTER to confirm, or a cursor key to cancel. Confirm TRA Auto Detect? Press ENTER to confirm, or a curser key to cancel. Copy Ch Fader level->Aux level? Press ENTER to confirm, or a cursor key to cancel. Copy from Ch2 Automation config. Data Load Error. (sequence or checksum) MIDI Bulk Load canceled. Press ENTER to continue. Delete Automation Bank01? Press ENTER to confirm, or a cursor key to cancel. Device is not active.
Shown when requesting the deletion of an automation memory bank.
Shown if a device has been selected in the Machine Control List (Selecting devices for control on page 80), but is not switched on or connected or is otherwise unavailable.
130 TASCAM DM-24 Reference Manual
Digital input X: Fs convert On Cant select Master Clock. Press ENTER to continue. DIGITAL INPUT1(XLR) set to master clock Press ENTER to continue. Digital INx is not audio data. Press ENTER to continue. Effect P1-000 is Read Only!
An attempt has been made to use a digital input as a word sync clock source, but the sampling frequency conversion is turned on, preventing this input from being used as a clock source (CLOCK settings on page 24). Warning message sent when Digital input is set as master clock and then unassigned. The data received at digital input x is not being read as valid audio data by the DM-24. Check the source (CLOCK settings on page 24). An attempt is being made to overwrite a read-only effector library entry (Library functions on page 99). The preset library entry xxx for effect 1 has been successfully recalled (Library functions on page 99) An attempt is being made to overwrite a read-only EQ library entry (Library functions on page 99). The EQ library entry xxx has been successfully recalled, and the settings applied to channel y (Library functions on page 99) Shown when the external control list is full (limit of eight devices). See External control on page 87 The flash memory specified here has been used the number of times specified. Although you can continue to use the unit safely for some time to come, we recommend that you consult your TASCAM service center for advice (FLASH Info. on page 22). The message displayed when the automation flash memory usage is checked. The aaaa etc. values are replaced by real numbers (FLASH Info. on page 22).

Effect P1-xxx Recalled.

EQ Libraryxxx is Read Only!
EQ Libraryxxx Recalled to CHy External Control List Full. Press ENTER to continue. Flash Memory [Snapshot Area 0] has been written 99950 times. Please contact TASCAM service. Press ENTER to continue. Flash Write Count Automation Area 1: aaaa Area 2: bbbb Area 3: cccc Area 4: dddd Area 5: eeee Area 6: ffff Area 7: gggg Area 8: hhhh Press ENTER to continue. Found cascade slave Press ENTER to confirm, or a cursor key to cancel. GATE/EXP Libraryxxx Recalled to CHy. GATE/EXP Libraryxxx is Read Only!

DA-DA-78HR 90 DA-78HR mixer 90 DA-DA-DA-98HR 89 DA-98HR mixer 90 dial 31 digital audio I/O 125 digital connections 46 digital delay time 58

balance level CENTER

TASCAM DM-24 Index

Index E - G

units 59 digital input format 26 digital input parameters 26 digital inputs 35, 35, 35, 36, 36, 39, 39 digital inputs and outputs 47 digital outputs 26, 26, 35, 35, 35, 42, 122 word length 26 digital trim and delay (global) 59 digital trim control 51 dimming key and indicator 32 talkback 76 direct outputs 37, 40 display contrast 31 dither 89 DTRS control 80, 82, 85, 87, 88 DTRS recorder 23, 35, 81, 82, 88 ABS time 86 CHASE 81 connections 46 ejecting tapes 82 machine control 80, 88 punch operations 33, 87 word sync 25 DTRS REMOTE CONTROL 35 dual-wire (definition) 113 dynamics channels input channels master channels 65 dynamics controls 50 dynamics diagram 66 dynamics meter 50 dynamics processor 50, 53, 63 library entries 104, 116 dynamics processors trigger source 64 dynamics screen 53 EQ 54 buss assignments 51 in snapshot library 55 equalization 15, 16, 22, 30, 41, 50, 51, 52, 54, 105, 106 equalizer keys 30 expander 53, 66 EXT CLOCK indicator 30 external control 87 external dynamics processors and effectors 45
fader auto select 21 fader control 56, 5960 fader groups 22, 70, 116 in snapshot fader layers 12, 14, 18, 18, 21, 22, 33, 33, 40, 78, 113 fader level 79 fader position 51, 79 fader sensitivity 21 fader setup 79 Fader->Meter Follow (option) 22 faders as controls 14 changing values with the faders 14 in snapshot in surround mode 108 5.1 surround 107 FLASH Info. 22 frame resolution 84 frame resolution display 84 frequency range (EQ) 54 Fs indicators 30 see also sampling frequency status 25
editing mappings 83 editing values 14 effect loop 43, 45 effect processors 20, 22 library entries 103 effect returns 76 effect sends 18, 37, 42, 47, 55, 57, 62, 73, 77, 115 encoders 15, 30 as aux send controls 17 as EQ frequency controls 16 as EQ gain controls 16 as pan controls 17 as Q controls 16 function select key and indicators 30 operation mode 20 ENTER key 32 entering numbers 31
Gain (EQ) 54 ganging EQ 52 gate 53, 63, 66 attack time 66 decay time 66 hold time 66 switch 58 gate/expander 20, 41, 50, 50, 53, 58, 63, 64, 66, 66, 68, 104 general MIDI parameters 84 global digital delay 59 global digital trim 59 global pan 52 global screens 12 GPI 35 grouping 69, 102, 116 grouping layers 69, 71, 72

Index - 142 TASCAM DM-24

Index H - M
linking and unlinking modules 60 locate display mode 20 locate keys and indicators 31 locate preroll 85 location manual 87 manual location points 87 location memories 20, 85, 86 location to a location memory 86
headphones 30, 32 high sampling frequency 25, 25, 26, 112, 114, 121, 121, 122 high-speed (definition) 113 hysteresis (gate) 66

Effect source Display shows
Press the EFFECT key followed by soft key 1 (PATCH) to bring up the patch screen as shown here.
Aux sends 1 through 6 Buss 1 through 8 insert Aux 1 through 6 insert Stereo L, R insert Assignable insert 1 through 4
When using the DM-24 in high sampling frequency mode, only one effect is available, and only one effect (EFFECT 1) is shown on this screen.
AUXx BUSS1 INS SEND AUXx INS SEND ST-L PRESEND, STR-R PRE SEND ASGN INSx SEND
Use the cursor keys, dial and ENTER key to set the value for each input.

TASCAM DM-24 Effects 3

1 Internal Effects on the DM-24Patching and setting up effects

WARNING NOTE

Although it is theoretically possible to select both an aux send and an aux insert as input sources for an effect, a few seconds thought will show that this will result in a feedback loop, resulting in possible damage to equipment (and ears!). You should therefore avoid making this type of setting.
The same source cannot be selected twice to feed two different effect inputs (except for the aux sends). A popup message appears to warn of attempted duplicate assignments. Any send/return assignments made to the effects will override any assignments made to external send/return insert loops. The effect output destination cannot be selected here the destination of the effect outputs is determined by the choice of the input source, and in the case of the aux sends by the settings made in the I/O screens.
A popup message appears to show that the assignment has been made.

Mono and stereo inputs

The DM-24 internal effects are either single-channel or two-channel, as listed at the start of this section. At the top of the input/output patch section for each effect, there is a field called INTYPE (input type). In the case of single-channel effects, the only option available is Mono. In the case of dual-channel effects, there is a pair of radio buttons: Stereo and Mono. Select one of these as appropriate, depending on whether one mono source, or a stereo pair of sources (e.g. a pair of aux sends) will be used to feed the effect. Once again, we recommend that only pairs of inputs (e.g. stereo inserts, odd-even pair buss and aux inserts and odd/even pairs of aux sends) are selected as stereo inputs for the effects. The number of outputs available for an effect depends on a number of factors: the type of effect currently selected, the mono/stereo input type currently selected, and the destination of the effect (for instance, if effect 1 is patched in series with a single-channel effect used in effect 2, only one channel is output from effect 1).

Example 1 (Loop/insert setting with 1=mono input and 2=stereo input In this
example, the delay line is fed by a mono signal source (for example a microphone) and the output is spread between the left and right outputs.
The stereo inputs to the plate reverb maintain the image of the stereo source (for example, if a pair of overhead mics has been set up to record a drum kit).

4 TASCAM DM-24 Effects

1 Internal Effects on the DM-24Effect send sources
Example 2 (Loop/insert setting with 1 & 2 both = stereo input) In this example, both
effects are used in insert mode. Busses 1 and 2 use a effect 1 as a stereo phaser (this can be turned on or off as needed for a creative effect). Effect 2 (a chorus) is inserted into an input channel (for example, a fretless bass) in order to thicken the sound. In this example, because these effects are being used by only one channel each, there is no need to tie up the aux sends and returns, which can then be used for other purposes.
Example 4: 1/2 series (1=mono input, 2=stereo input) In this example, the two effects
are put in series, with effect 1 (echo) taking a mono mic signal and echoing it to the left and right channels.
The stereo compressor assigned to effect 2 is inserted in the stereo output buss in order to limit the dynamic range of the stereo outputs.
Example 3: (Loop/insert setting with 1 & 2 both = mono input) Here again, both effect 1
and effect 2 are used as inserts, but they both have mono inputs. Effect 1 (a distortion setting) is being used with a distortion effect, in order to achieve a distorted vocal sound. These echoes are then passed to the reverb, where they are processed in-place to provide an interesting stereo effect (note that reversing these two effects would produce echoed reverbprobably less desirable).

Effect send sources

Whether the effect (or in series mode, both effects together) is used as a loop or an insert depends on the source selected for the effect inputs. The effect output with this setting is assigned to a channel using the I/O screens (see Signal sources on page 36 of the main manual). If a channel has already been assigned to take its input from an internal effect, this channel is shown
Aux 1 through 6 When these are selected as
effect input sources, the effect is placed in a loop.

TASCAM DM-24 Effects

on the OUT section of the screen when the loop assignment is made and is shown as Chxx (xx = 1 through 32). If no channel has been assigned, the display shows ---. If more than one channel has been assigned as a return, the display shows ****. This insert is made pre stereo master fader. The outputs are automatically assigned to the stereo insert returns are shown as ST-L PRE RETURN and ST-R PRE RETURN.

1 Internal Effects on the DM-24Changing parameters
On account of unavoidable processing delays, it is recommended that the mix control be always set to 100%
(fully wet), as the original and processed sound may be a few samples out of phase with each other, resulting in audio artifacts if the two signals are mixed.

Storing your settings

When you have set up the parameters of an effect, you can store it for further use in the user effects library. This saves you having to make the same settings every time for a commonly-used microphone model, for example. While in the effect parameters screen, press soft key 4 (the EFF.LIB key) to bring up the library screen. This allows you to scroll through the list of settings and either save to an unused library entry in the user effect bank, or to overwrite an existing setting stored in the library.
Again, consult the main manual for details of how to name and manage library entries.

8 TASCAM DM-24 Effects

Because of the nature of the DM-24s routing, a little thought may be needed when assignments are made on the effect patch page, as the DM-24 allows the same signal to be routed to more than one channel simultaneously. Although this kind of versatility is often desirable, it is important to make sure that this kind of assignment does not happen accidentally, causing unexpected and unwanted results. This section provides some tips and pointers on how to best set up the DM-24 in order to avoid any such possible problems.
Default snapshot settings
The default mix snapshot returns the outputs from effect 1 and effect 2 to channels 25/26 and 27/28 respectively. In the same snapshot, assignable returns are assigned to channels 29 through 32. These settings are designed for the use of the internal sends with the aux sends and returns, and external effects with the hardware insert loops (assignable sends and returns). If you are making changes to use the internal effects or assignable sends and returns as inserts or assignable inserts, a little work must be done, using the assignment screens.
Using the internal effects as inserts (i)
In this example, effect 1 will be used as an insert on buss 2. To do this, the effects returns must first be removed (de-assigned) from channels 25 and 26. With the SHIFT indicator lit, press the I/O key until the screen allowing assignment of channels 17 through 32 appears (or use soft key 2 to access the screen).

It is possible to assign the same source to more than one channel. There are obvious dangers associated with such an action, so we do not recommend that you do this.
Next, return to the effect patch page (press the EFFECT key until the patch screen appears):
You should set these inputs to some harmless setting which will not conflict with any other setting that is already in use. A useful source here might be one of the digital inputs (if you are not already using them).
Select BUSS2 INS SEND as the input source for effect 1. When you do this, the output for effect 1 will automatically change (BUSS INS RETURN).
If you had not removed the effect returns from channels 25 and 26 before assigning the buss insert send, the effect return would have been routed to these channels as well as to the buss insert return (as in the screen shot above).

TASCAM DM-24 Effects 9

2 Notes on using effectsUsing the internal effects as inserts (ii)
Using the internal effects as inserts (ii)
In this section, we look at how you change the default settings to use effect 2 as a stereo input processor using assignable send/return inserts 1 and 2. The insert will be assigned with channels 1 and 2. Again, use the I/O key (the SHIFT indicator must be lit) to access the 17 through 32 screen (soft key 2), allowing the de-assignment of the assignable returns 1 and 2 from channels 29 and 30. Again, pick a safe or harmless option of an input that you are not using. Next, the assignable sends and returns have to be changed from their send/return loop setting to an insert setting. Press soft key 4 to access the assignable output screen: Assignable send/returns 1 and 2 should be set to the insert mode. The insert channels (that is, the channels on which the inserts will work) should be set to channels 1 and 2 (of course, you are free to change this if you want to use other channels with this effect. In the EFFECT patch page, select Stereo as the input type for effect 2. Change the input source to ASGN INS 1 SEND (CH 1) for the left input and ASGN INS 2 SEND (CH 2) for the right input.
It is important that these operations are carried out in the order here. If you try to route these assignable inserts to effect 2 (on the effect patch screen) without changing the assignable send/return mode first, a popup message appears telling you that the assignable insert is in the send/return mode. 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.

TASCAM DM-24 Effects 11

3 Antares microphone modelingOverall 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 models 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.
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.
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). There may also be a (m1) or (m2) following the microphone name. These refer to different examples of the same kind of microphone. Pick the one which is most appropriate for your particular microphone. If you do not have a microphone listed in the list of source microphones provided:

12 TASCAM DM-24 Effects

3 Antares microphone modelingSelecting a model for output
Use a different microphone which is listed, if you have one. Select a similar model of microphone from the same manufacturer; that is, one with similar characteristics to the one in use. Select another microphone of the same type (for example, another large condenser microphone, etc.). Select Bypass (that is, no microphone) as the source. Note that if you do select a microphone of a different type to the actual microphone, though you will probably obtain acceptable results, the resulting sound will not be 100% accurate.
The bypass microphone model
The bypass microphone model is equivalent to no microphone being used. This may be useful in the case of electric instruments which have been direct-injected (that is, with no microphone involved) and where the model microphone is to be used to provide a distinctive sound for these instruments. Although this may not produce an absolutely realistic model of the model microphone, it will almost certainly produce an interesting sound.
Source microphone settings
In addition to the type of microphone used as the source microphone, the modeler needs to know a few more things before it can achieve the best results:
Pattern The pattern of the source mic, if selectable,
should be echoed in this setting. If the source mic is fixed-pattern, no selection is possible here, and the display shows None here. Use POD 3 on row 3.
Proximity This is the average distance of the sound source from the microphone when the recording is made. The distance is measured in inches (1 inch = 2.54cm). If this is not set, then the proximity effect (an artificial boost in bass frequencies at close range) may not be properly compensated, and the sound will be unnatural. Note that microphones with an omnidirectional response do not exhibit this proximity effect, and any settings made here with an omni source microphone will have no effect.
Use pod 2 on row 3 for this setting.
Low-cut filter Many microphones have a bass cut
filter. If this filter has been set on the real physical source microphone, this setting should be made on the source microphone of the modeler as well. This is done using POD 4 on row 3. The actual name of this filter varies according to the actual name on the physical microphone, and will not exist at all if the mic does not actually have such a filter fitted (the display shows None).
As the source moves away from the microphone, an amount of ambient room tone is added to the recording. The microphone modeler cannot add the room tone, but a little reverb added to the signal may help here.

The modeler assumes that the source was recorded on-axis. Since there is no way to tell the modeler about the actual position of the source relative to the microphone, the modeler cannot compensate for frequency differences, etc. caused by off-axis placement of the source.
Selecting a model for output
In the same way as you selected a microphone as the source mic, move the cursor to the Model Microphone field (POD 1, bottom row), and select the model of the microphone to be modeled. As with the source microphone, a -w indicates that a windscreen has been added to the model. There may also be variants of the base model, as described for the source microphone. If the Bypass microphone is selected here, and a source microphone is selected, the effect will be that of the source microphones characteristics. If Bypass is selected both for the source and the model, the final result of the modeler will be the input source, with the addition of any tube saturation added by the modeler (see below).
Model microphone parameters
As with the source microphone, there are a number of different additional parameters available which can be set. model (if there is no filter available on the actual microphone being modeled, the model does not have a filter available, and shows None). Note that this filter is not a straight low-cut filterit is a representation of the actual filter incorporated on the physical microphone being modeled.
Proximity As with the source microphone, the
model can also have a proximity value set (in inches again). Use POD 2, bottom row. When used with the model, it will affect the final character of the sound, as if the source was the specified distance from the model microphone when the recording was made. Note that this setting cannot add room tone to a recording, even though the further away a real microphone is from a sound source, the more room tone is added to the final recording.
Although it is not a hard and fast rule, it is a good idea to include the low-cut filter on the model if the filter has been used on the source microphone.
Response pattern As with the source microphone, the model can also take different response patterns (if the actual physical microphone being modeled is capable of this kind of flexibilityotherwise None is displayed for this option). Pod 3, bottom row is used here. Remember that the modeler cannot spontaneously recreate missing data, so if a recording has been made with the source off-axis, this setting cannot be used to add the frequencies that were lost by the off-axis recording.

16 TASCAM DM-24 Effects
Beta 52 Beta 57A Beta 87A Beta 98D-S KSM32 SM57 SM58 SM7A SM81 SM98A VP88 (mono sim) C37P C48 C800G C800G(w) TELE U47

Telefunken

none none none none LC 0 / LC 1 / LC 2 none none LC off Mid off / LC off Mid on / LC on Mid off / LC on Mid on LC 0 / LC 1 / LC 2 off / on off / on M / M1 / V1 / V2 M (music) / V (voice) none none none
none none none none none none none none none w A98SPM MS (mono sim) none cardioid / figure 8 / omni cardioid / omni cardioid / omni cardioid / omni
Updating microphone models
The modeler provides up to 100 models of microphone. More may be made available in the future through the TASCAM Web site. Consult your dealer for availability.
In the same way that microphones can be modeled, the DM-24 allows for the modeling of speakers. Once again, it is important to remember that it is not possible to instantly transform a pair of low-end near-field monitors into a pair of expensive, top-of-the-line monster monitors (even modern technology has its limits), but it can be useful for simulating some of the speaker types on which your final project will be played, and for which you may not have space in your control room (or where it may be inconvenient to reproduce the soundfor example, not many people will wish to purchase a SUV merely for the acoustical properties of the interior!). The technique for using this is similar to the microphone modeler, but not so complex. Basically, you define a set of source speakers (the real speakers that you are listening to) and a set of target speakers (the ones that you wish to model).
This speaker modeler can be inserted anywhere in the signal chain, but obviously it is more useful if it is selected as an insert in the main stereo outputs.
Due to technical limitations, if the speaker modeler is selected as one effect, the reverb cannot be selected as the second effect. It is also not available in high sampling frequency mode.
Selecting the speaker modeler
Recall the preset library entry 1-101 in order to load the speaker modeler. See Setting up the effects units on page 7 for further details.

The bottom row of the screen allows different delay settings to be made. See the diagram above for details of exactly what these settings change. Use POD 2 to set this value from Off, through 140 dB to 0 dB.
PREDLY This is the pre-delay portion of the reverb.
It describes the time from the initial sound to the first of the initial reflections. Use POD 3 to set this value from 0 ms to 160 ms in 1 ms steps.
INLEV This is the initial level of the early reflections. Use POD 1 to set this value from Off, through

140 dB to 0 dB.

REVFEED This is the time separating the feed from
the initial reflections to the tail part of the reverb. Use POD 4 to set this value from 0 ms to 100 ms in 1 ms steps.
REVLEV This is the level at which the decay tail
portion of the reverb starts.

Conclusion

Although the array of parameters and options for this reverb may seem a little baffling at first, compared with some other units, a little experimentation will soon make it clear what the different parameters actually control in terms of the sound produced. The preset library entries provide useful starting points for your own experiments, allowing you to either simulate real reverb situations, or to invent imaginary spaces with their own, distinctive, reverberation characteristics.

Preset reverb settings

These settings are all stored in the first preset effects library. The English names give an idea of the kind of sound that can be obtained from these settings.
Hall settings give the sound of larger enclosed spaces. There is a range of hall settings provided, with different acoustical characteristics, including church and cathedral settings. Drum settings are specifically tailored for use with
drum instruments. Of course, they can be used with other instruments and sources, but they may not be so effective as when they are used with drum sources.
Ambience settings basically give a feeling of life,
without a definite reverb.
Box settings are smaller or and typically have a

rather live sound.

Perc settings are suitable (but not exclusively) for
use with percussion instruments and percussive sounds.
Chamber settings provide a sound a little like a

room type of reverb.

FX settings provide a special effect, which may not
sound totally natural, but may have a useful place in your project.
Plate Settings reproduce the sound of a vintage

plate reverb unit.

Room settings provide the effect of a smaller,
tighter space than a hall.jcASCAM effects
Tunnel settings provide the image of a long narrow

live space.

Number Name LCD indication
Ambience - Bright 1 Ambience - Bright 2 Ambience - Bright 3 Ambience - Dark
Ambi-Bright 1 Ambi-Bright 2 Ambi-Bright 3 Ambi-Dark

22 TASCAM DM-24 Effects

5 TC Works ReverbPreset reverb settings
Ambience - Midnight Ambience - Mornin' Vocal Ambience - Soft 1 Ambience - Soft 2 Ambience - Space Box - Bright Box - Dark Chamber - Large, Dark Chamber - Small Chamber - Small, Dark Chamber - Very Small FX - Big Barrel Space FX - Big Pre Delay Slap FX - Bright Cymbals FX - Drum Boom Slap FX - Dry After Taste FX - Icy Shower FX - Lost in Space FX - Neighbor (Hallway) FX - Neighbor 2 (Floor) FX - Not so Dry After Taste FX - Short Non-Lin Like FX - Slap Back FX - Steel Works FX - Steel Works 2 FX - Subtle Slapback FX - Take Off FX - Tight Bounce Around FX - Ultra Bright FX - Under The Surface FX - Wet After Taste FX - Wet After Taste w/Rain FX - Wood Floor Tunnel - Bright Tunnel - Dark Tunnel - Tube Hall - Big Bright Hall - Big Clear Hall - Big Predelayed Hall - Big Warm
Ambi-Midnight Ambi-MorninVocal Ambi-Soft 1 Ambi-Soft 2 Ambi-Space Box-Bright Box-Dark Chmb-Large,Dark Chmb-Small Chmb-Small,Dark Chmb-Very Small FX-BigBarrelSpce FX-BigPreDlySlap FX-BrightCymbals FX-DrumBoom Slap FX-DryAfterTaste FX-Icy Shower FX-Lost in Space FX-NeighborHallw FX-NeighborFloor FX-NotsoDryAfter FX-Short Non-Lin FX-Slap Back FX-Steel Works FX-Steel Works 2 FX-SubtleSlapbac FX-Take Off FX-Tight Bounce FX-Ultra Bright FX-Under Surface FX-WetAfterTaste FX-W.A.T w/Rain FX-Wood Floor Tunn-Bright Tunn-Dark Tunn-Tube Hall-Big Bright Hall-Big Clear Hall-BigPredelay Hall-Big Warm
Hall - Cathedral 12s Hall - Cathedral 7s Hall - Church Hall - Dome Hall - Huge Clear Hall - Huge Warm Hall - Last Row Stadium Con Hall - Lush Ballad Hall - Medium Bright Hall - Medium Clear Hall - Medium Warm Hall - Outside the Stadium Hall - Small Bright Hall - Small Clear Hall - Small Warm Hall - Stage Hall - Warm Vocal Hall Drum - Boom Room Drum - Drum Booth Drum - Huge Low Tubular Drum - Low Tubular Drum - Snare Hall Drum - Snare Room Drum - Subtle Kick Boom Perc - Big Bright Perc - Big Clear Perc - Big Warm Perc - Medium Bright Perc - Medium Clear Perc - Medium Warm Perc - Small Bright Perc - Small Clear Perc - Small Room Perc - Small Warm Plate - Big Bright Plate - Big Clear Plate - Big Warm Plate - Tight Room - Bathroom Room - CD Master

Hall-Cathdral12s Hall-Cathedral7s Hall-Church Hall-Dome Hall-Huge Clear Hall-Huge Warm Hall-LastRowStdm Hall-Lush Ballad Hall-Med.Bright Hall-MediumClear Hall-Medium Warm Hall-OutsideStdm Hall-SmallBright Hall-Small Clear Hall-Small Warm Hall-Stage Hall-Warm Vocal Drum-Boom Room Drum-Drum Booth Drum-HugeLowTubu Drum-Low Tubular Drum-Snare Hall Drum-Snare Room Drum-SubtleKick Perc-Big Bright Perc-Big Clear Perc-Big Warm Perc-Med.Bright Perc-MediumClear Perc-Medium Warm Perc-SmallBright Perc-Small Clear Perc-Small Room Perc-Small Warm Plat-Big Bright Plat-Big Clear Plat-Big Warm Plat-Tight Room-Bathroom Room-CD Master

24 TASCAM DM-24 Effects

Room - Dark & Mellow 5 sec Room - Dry House Room - Empty Garage Room - Empty Room Room - Empty Room, Small Room - Large Garage Room - Percussion Room Room - Small Room - Small Damped Room Room - Small Yet Big Room - Small Yet Big w/Pre Room - Stage Room - Vocal Booth Room - Vocal Dry Room - Vocal Room Room - Vocal Room 2
Room-Dark&Mellow Room-Dry House Room-EmptyGarage Room-EmptyRoom Room-EmptyRoom S Room-LargeGarage Room-Perc Room Room-Small Room-S Dmp Room Room-SmallYetBig Room-S.Y.B w/Pre Room-Stage Room-Vocal Booth Room-Vocal Dry Room-Vocal Room Room-Vocal Room2 Antares AMM-1 Antares SP Model
These are not reverb settings, but this is the way in which the microphone and speaker modelers are selected 100 101
Antares AMM-1 Antares SP modeler
The general effects provided within the DM-24 as described in Internal Effects on the DM-24 on page 3 may be used either as in-line inserted effects, or as part of an effect loop, using aux send and returns. There are no hard and fast rules as to how these effects can be used, but on the whole, any effect where there is a wet/dry level is suitable for use within effect loops, and the others are suitable for use as insert processors.

Common parameters

There are three parameters on the top row of the screen for all of these effects, using PODs 2, 3 and 4.
INPUT stands for input level. The input level of the
signal fed to the effect is adjusted using this control.
There is a slight unavoidable processing delay on some effects. If you are using the effect as an insert, you should probably keep this setting at 100%.
MIX is the wet/dry balance of the output. When set
to 0%, the output signal is composed totally of the original signal, and at 100%, it is completely the effect signal.
OUTPUT The output level from the effect can be
adjusted from Off, and then (in 5 dB steps): from 140 dB to 60 dB, (in 1 dB steps) from 60 dB to 20 dB and (in 0.1 dB steps) from 20 dB to 0 dB.

Effect parameters

The different parameters for use within these effects are as follows:

Chorus

Rate 0.1 Hz to 10 Hz (91 steps) Threshold level 40 dB to 1 dB (40 steps) Delay Time 0.05 ms to 650 ms (651 steps) Drive Ratio 0 to 42 (43 steps) Sense 0 to 42 (43 steps) Rate 0.1 Hz to 10 Hz (91 steps) Ratio Depth 0% to 100% (101 steps) Knee shape 0.50 to 1.00 (11 steps) Feedback Time 0.05 ms to 650 ms (651 steps) Drive Boost x 1 to x32 (32 steps) Pre- delay 0.05 ms to 500 ms (101 steps) Center Frequency 1.0 kHz to 10 kHz (91 steps) Feedback Level 0% to 90% (91 steps) Feedback 0% to 90% (91 steps) Output level 40 dB to _20 dB (61 steps) Feedback Type Stereo/ Ping-pong/ Multi-tap Output level 40 dB to +20 dB (61 steps) Bypass On/off Wet Mix Level 40 dB to 0 B (41 steps) Dry level 40 dB to +20 dB (61 steps) Wet Mix Level 40 dB to 0 B (41 steps) Bypass On/off Wet Mix Level 40 dB to 0 B (41 steps) Output level 40 dB to +20 dB (61 steps) Dry level 40 dB to +20 dB (61 steps)

Effect type Preset No. Title Pitch 112 Flanger 127 LCD indication Comments
Clean Chorus 1 Clean Chorus 1 Clean Chorus 2 Clean Chorus 2 Clean Chorus 3 Clean Chorus 3
A light chorus sound. Use this clean sound with vocals. A vibrato-type chorus effect.
Chorus Flange 1 Chorus Flange 1 A feedback chorus setting, almost like a flanger. Chorus Flange 2 Chorus Flange 2 A flanger-like setting for use with bass. Chorus Flange 3 Chorus Flange 3 Strong modulation setting.
Pitch shifter Ensemble 1 Ensemble 2 Ensemble 3 3th Harmony 1 3th Harmony 2 Octave 1 Octave 2 5th Harmony 1 5th Harmony 2 Pitch Chorus 1 Pitch Chorus Strings Glow up Mystery
Pitch shifter Ensemble 1 Ensemble 2 Ensemble 3 3th Harmony 1 3th Harmony 2 Octave 1 Octave 2 5th Harmony 1 5th Harmony 2 Pitch Chorus 1 Pitch Chorus Strings Glow up Mystery Flanger G Flanger 1 G Flanger 2 G Flanger 3 Bass Flanger 1 Bass Flanger 2 Vocal Flanger Funny Jet Flanger 1 Jet Flanger 2 Sweet Flanger Flanger Echo Deep Flanger Metallic Tone
Octave doubler. A repeat setting to give an ensemble effect. A short repeat provides a coming and going effect. Useful when used with chorus. Thirds-type harmony. Lower thirds harmony. Octave up pitch shift. Octave down pitch shift. Fifth up harmony. Fifth down harmony. Detune and echo gives a chorus effect. Strong pitch change effect provides a chorus-like feel. 12-string guitar emulation. Pitch shift and feedback for an interesting effect. A sound of mystery.
Flanger G Flanger 1 G Flanger 2 G Flanger 3 Bass Flanger 1 Bass Flanger 2 Vocal Flanger Funny Jet Flanger 1 Jet Flanger 2 Sweet Flanger Flanger Echo
A sparkling flanger setting. Use this flanger setting with guitars. A fast flange setting. A looser flange setting. Use this flanger with bass instruments. Another sound for use with bass instruments. This can be used to add life to vocals. Creatures from outer space? Resonance to simulate a jet takeoff. A spacious jet sound. A smoother, sweet flange setting. Repeat and flange together. Flanger used as a tremolo. A deep flanger setting. A flanger setting giving a metallic tone.
Tremolo Flange Tremolo Flange Deep Flanger Metallic Tone

30 TASCAM DM-24 Effects

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