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).

Aux 1 through Aux 6 insert When these are
selected as effect input sources (AUXx INS SEND), the effect becomes an insert-type effect. This insert is made post aux send fader. The outputs of the effect are automatically assigned to the appropriate aux insert returns and shown as AUX INS RETURN.
Assignable inserts 1 through 4 When these
are selected as effect input sources (ASGN INSx SEND), the effect becomes an insert-type effect. For these to be effective, the assignable send/returns must be set to be inserts, not send/return loops (see Assignable sends and returns on page 43 of the main manual). If they have been set to send/return loops, a popup message appears informing you of the fact. Note that when an assignment is made to these inserts, the corresponding physical 1/4 jacks are no longer available (these settings override the physical jack insert assignments). The outputs from the effects are sent to the assignable insert return. This is shown in the output assignment section of the effect as ASGN INSx RTN CH y if a channel assignment has been made, or ASGN INSx RTN --- if no assignment has been made.
Buss 1 through buss 8 insert When these are selected as effect input sources (BUSSx INS SEND), the effect becomes an insert-type effect.
This insert is made post buss level fader. The outputs of the effect are automatically assigned to the appropriate buss insert returns and shown as BUSS INS RETURN.
Stereo L, R insert When these are selected as effect input sources (ST-L PRE SEND and ST-R PRE SEND), the effect becomes an insert-type effect. Effect 1-2 series
When the two effects units are selected to act in series, with effect 1 feeding effect 2, although both effect 1 and effect 2 are shown on the screen, only the inputs to effect 1 may be set. The output(s) from effect 1 are automatically routed to the input(s) of effect 2. If the source of effect 1 is an aux send, the effect 2 output is assigned to a channel (set using the I/O screen).
If the source of effect 1 is an insert, the output of effect 2 defaults to the insert return as shown in the output assignment section of effect 2. The outputs from effect 1 are shown as EFFECT2 IN L and EFFECT2 IN R, and the inputs to effect 2 are shown as EFFECT1 OUT L and EFFECT1 OUT R (if effect 2 is a dual-channel effect). If channel 2 is set to output only a single channel, the single output from effect 1 is labeled as EFFECT2 IN L and if there is a single input to effect 2, this is labeled EFFECT1 OUT L.

6 TASCAM DM-24 Effects

1 Internal Effects on the DM-24Setting up the effects units
Setting up the effects units
To use one of the internal effect units, press the EFFECT key and then soft key 2 or soft key 3 (EFFECT 1 or EFFECT 2). The second holds preset TASCAM effect settings (Preset effect settings on page 27). Use the library screen to scroll through the list of different library entries in the selected bank. See Library functions on page 99 of the main manual for full details regarding library functions.

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).

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.

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.
Since omnidirectional microphones do not exhibit the proximity effect, if the model microphone is omnidirectional or has its pattern set to omnidirectional, this setting will have no effect.
Low-cut filter If the modeled microphone is fitted
with a low-cut filter, this is also available on the

Preserve source settings

These settings allow you to make a hybrid microphone, dividing the microphones (both source and model) into their treble and bass components. In this way, the two halves of the microphones can be sandwiched together to produce unusual creative effects. Usually, however, you will want to keep the desirable characteristics of the source microphone (for example, a bass response) and eliminate the undesirable side (say, a poor treble response). First, make all the appropriate source microphone settings. Bypassing the system is not a good idea here, as it will not have any useful effects. Use the Preserve Source controls (PODs 1 and 2, second row) to select the portion of the source microphone that you want to keep (either the treble portion on the bass portion). Keeping the original shows PRESERVE, and sending the signal through the processor shows PROCESS. When a portion of the source microphone is preserved in this way, it overrides the corresponding portion of the model microphone. Obviously preserving the source for both the bass and treble portions of the source is not terribly useful (though the proximity settings for both the source and the model remain effective).

none none cardioid / omni cardioid / hypercardioid cardioid / hypercardioid / omni cardioid cardioid / hypercardioid /figure 8 / omni cardioid / omni cardioid / hypercardioid /figure 8 / omni cardioid / hypercardioid /figure 8 / omni none none none none none none none none cardioid / fugire8 / omni none none none none none none none none none none none none cardioid / hypercardioid / wide cardioid / figure 8 / omni none
Number Microphone Maker Microphone name Low cut Pattern
Coles Earthworks ElectroVoice Gefell Groove Lawson Manley
95Ni C400S Equitek E100 Equitek E200 Equitek E350 VSM1 (mod 1) 4038 TC-30K Z30X N D 357 PL20 UMT 800 Tubes MD-1 L47 Reference Gold KM 184 KM 184(w) M 149 TLM 103 TLM 193 U 47 U 87 GOLD U 87 MC 012 MK-319 BK-5A NT1 NT2 NT2(w) NTV R-121 E 609 E 835S MD 421 MD 441
none none off / on off / on off / on off / on none none none none off / on off / on none none none none none 20Hz / 40Hz / 80Hz / 160Hz none none none off / on off / on none off / on M (music) / V1 (voice) / V2 (voice) none off / on off / on none none none none M (music) / 3 / 2 / 1 / S (speech) M (music) / 3 / 2 / 1 / S (speech)

Neumann

Oktava RCA
none none none cardioid / figiue8 / omni cardioid / figure8 / omni none none none none none none cardioid / hypercardioid / wide cardioid / figure 8 / omni none none cardioid / figure 8 /omni none none cardioid / hypercardioid/wide cardioid / figure 8 / omni none none cardioid / omni cardioid / figure 8 /omni cardioid / omni cardioid / hypercardioid / omni none none none cardioid / omni cardioid / omni none none none none none none

Sennheiser

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).

Turn POD 1 to select from the following list (a small representation of the room shape appears on the left of the screen as you make these changes): HALLa hall-shaped room (basically a cube) H.SHOE(horseshoe) a room where one wall is flat, and the other walls curve round. PRISMa prism-shaped space with two parallel walls focusing down to a wedge (similar to many auditoria). FANeven more wedge-shaped than the prism setting.
SIZE The size of the space. Units are arbitrary, and may be set from 0.04 to 4.0 in the following steps: 0.04, 0.05, 0.06, 0.08, 0.10, 0.13, 0.16, 0.20, 0.25, 0.32, 0.40, 0.50, 0.63, 0.80, 1.0, 1.3, 1.6, 2.0, 2.5, 3.2, 4.0. W-DIFF Wall diffusionthe liveness of the room
space, and the amount that the sound is scattered. Set a value from 50% to +50% I 1% steps.
WIDTH Not, strictly speaking, the width of the simulated room, but the stereo width of the reverb signal (which is affected by the width of the room). Set from 0% (mono point source) to 100% (full width) in 1% steps.

Decay characteristics

The decay can be set for three bands independently, allowing, for example, the treble portion of the sound can continue to reverberate after the bass and mid sounds have decayed, giving a bright quality to the reverb. The crossover points for the three bands can be set independently. Use the four pods in row 4 and the two pods in row 5 (labeled DECAY) to set the band times, as well as a scale which allows fine-tuning of the times without having to turn the PODs an excessive number of times.
LOW, MID, HIGH Each of the three bands can be
set independently, in a range from 0.25 s to 9.99 s and from 10.0 s to 64 s (1024 steps in total).
RANGE The overall range for these three bands
(and therefore the number of times the PODs must be turned to set a value) an be set to one of three values: 4 s, 16 s and 64 s.
X-over The two crossover frequencies to divide the
sound spectrum into three bands can be set. Each of these frequencies can be set between values of 20 Hz and 16 kHz. Use PODs 1 and 3 on row 5 to set these values.
5 TC Works ReverbPre-delay settings

Pre-delay settings

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)

Preset effect settings

Please bear in mind that the descriptions here are very subjective. When a sound is recommended for use with bass, for example, this is not a rulesimply a recommendation.
Effect type Preset No. Title Guitar Compressor Distortion LCD indication
Feel free to play with the different sounds and experiment, using these preset sounds as the basis for your own effects.

Comments

Guitar Comp. Classic Comp. Sustain Fat Comp. Deep Comp. Rhythm Comp. Fast Attack Slow Attack Slap Comp. Percussive
Guitar Comp. Classic Comp. Sustain Fat Comp. Deep Comp. Rhythm Comp. Fast Attack Slow Attack Slap Comp. Percussive Distortion Over Drive Blues 1 Blues 2 Vocal Dist Rock 1 Rock 2 Rhythm 1
Basic compressor A classic compressor sound Compressor setting for guitar sustain A rather deeper, fatter type of compression. Deep compressor sound. A cutting compression setting for percussion. A fast attack setting. A rather slower attack setting. Suitable for slap bass A clean sound, suitable for percussive guitar work, etc.
Distortion Over Drive Blues 1 Blues 2 Vocal Dist Rock 1 Rock 2 Rhythm 1
A basic distortion sound. A basic overdrive sound. Suitable for a front pickup blues guitar style. A rather stronger sound than the previous Blues 1 sound. Useful if you need distorted vocals. Suitable for 70s rock music. Another kind of rock-type distortion. A sweet-sounding distortion for backing work.
Effect type Preset No. Title 34 Compressor Exciter 47 De-esser 48 Phaser 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. Use this distortion with bass. Use this with solo instruments to fill out the sound. Distortion used for a smooth, sweet fusion style. A fat classic single-coil distortion. A rather heavy fuzz distortion. A single-coil overdrive sound. A rather sweet, rear pickup-type solo sound. Mellow distortion. Try with the front pickup. A cheap and cheerful distortion sound. A lead solo distortion sound. Somewhat bass-heavy driving sound. A powerful driving sound. Driving sound with a lot of treble. "Humbucker solo sound. Crunch A thick, fat sound

Tremolo Flange Tremolo Flange Deep Flanger Metallic Tone

30 TASCAM DM-24 Effects

TEAC CORPORATION

Phone: (0422) 52-5082

3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan 7733 Telegraph Road, Montebello, California Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada

TEAC AMERICA, INC.

Phone: (323) 726-0303

TEAC CANADA LTD.

Phone: 905-890-8008 Facsimile: 905-890-9888

TEAC MEXICO, S.A. De C.V

Phone: 5-851-5500 Campesinos No. 184, Colonia Granjes Esmeralda, Delegaacion Iztapalapa CP 09810, Mexico DF 5 Marlin House, Croxley Business Park, Watford, Hertfordshire. WD1 8TE, U.K. Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany 17 Rue Alexis-de-Tocqueville, CE Antony Cedex, France Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands Oeverkruid 15, NL-4941 VV Raamsdonksveer, Netherlands 280 William Street, Port Melbourne, Victoria 3000, Australia Via C. Cant 11, 20092 Cinisello Balsamo, Milano, Italy

Printed in U.S.A.

TEAC UK LIMITED

Phone: 01923-819699

TEAC DEUTSCHLAND GmbH

Phone: 0611-71580

TEAC FRANCE S. A.

Phone: 01.42.37.01.02

TEAC BELGIUM NV/SA

Phone: 0031-162-510210

TEAC NEDERLAND BV

Phone: 0162-510210

TEAC AUSTRALIA PTY.,LTD. A.B.N. 408 462
Phone: (03) 9672-2400 Facsimile: (03)9672-2249

TEAC ITALIANA S.p.A.

Phone: 02-66010500

Grouping layers... 71

10 Monitoring
Control room monitoring. 73
Control room outputs.. 73 Control room signal selection.. 73 2-track input... 74

Studio monitoring.. 74

Studio monitoring volume.. 75

External control..87

Moving between screens..88

Soloing.. 75

MODE SELECT... 75 SOLO LINK.. 75 SOLO TYPE... 75
PFL...75 AFL...75 INPLACE SOLO..75

DTRS devices..88

DA-98HR...89
DIGITAL INPUT.. 89 INPUT PATCH... 89 OUTPUT PATCH.. 89 INPUT MONITOR... 89 TRACK DELAY... 89 TIME MODE... 89 TC REC... 89 TC Generator... 89 Machine Offset.. 89 PUNCH IN/OUT... 89 DITHER... 89 VARI SPEED.. 89 CLOCK... 89
Inplace solo defeat.. 76 SOLO level... 76 Turning soloing on and off.. 76
Dimming and talkback.. 76 Slate settings.. 77

Lineup oscillator.. 77

Meters and faders.. 77
Master meters.. 78 Channel faders.. 79 Meter and fader setup.. 79
Fader level...79 Meter ballistics (METER SETUP)..79
11 Machine Control/Location
Selecting devices for control.. 80
Deleting devices from the list.. 81 Auto-detection of devices. 81 Selecting the control type for the devices.. 81
STATE...81 DEVICE...81 ID...81 CHASE...81 TRA...82 REC...82
DTRS mixer...90 DA-78HR...91 DA-98...91 DA-38...92 DA-88...92
MIDI controllers..93 MIDI faders..93

12 MIDI

Bulk dumps..95
Bulk transfer of data from the DM-24..95 Bulk transfer of data to the DM-24..96
Machine Control mapping memories. 82 To use a machine control mapping.. 83 Viewing the transport mappings.. 83 Editing a mapping.. 83
Updating the system software..96 Control Change messages to and from the DM-24..96 MIDI Implementation Chart..98

13 Library functions

Library concepts...99

6 TASCAM DM-24

Managing library entries..99
Storing active library entries..99 Storing entries in a non-active library..100 Loading entries from an active library.100 Loading entries from a non-active library.100 Library undo/redo..101 Setting and editing titles.101
Aux sends.. 115 Channel stereo linking.. 115 Grouping... 116 Trim and delay... 116 Libraries.. 116 Other screens.. 117

Librariessnapshots..102

Protecting snapshot settings..102
I/O SEL / BUSS ASSIGN... 102 GROUPING... 102 OTHER... 102

16 Options

Connection of microphone cables and microphones: to prevent hazard or damage, ensure that only microphone cables and microphones designed to the IEC 268-15A standard are connected. Connexions des microphones et de leurs cbles: pour viter tout endommagement, sassurer de brancher uniquement des microphones et des cbles de microphones conus selon la norme IEC 268-15A.
1 INSERT These TRS 1/4 connectors are used
to provide a post-TRIM insert (send at 2dBu), and the return (2dBu) occurring just pre-AD convertor.
2 LINE IN (BAL) These balanced 1/4 jacks
accept analog inputs at a nominal +4dBu input level, adjustable with the TRIM controls.
4 TRIM These controls allow the input levels
from the MIC and LINE inputs to be adjusted over a range of 56dB. Turning these controls clockwise increases the level of the signal fed to the channel AD convertors.
3 MIC These XLR connectors accept analog
inputs for balanced microphones. Phantom power is available (switchable in groups of 4 inputs). The input level is adjustable with the TRIM controls.
5 PHANTOM (+48V) These switches allow +48V phantom power to be provided to the MIC channel inputs. These switches are arranged so that one switch controls the phantom power for four input channels (1 through 4, 5 through 8, 9 through 12, and 13 through 16).
These inputs and outputs provide analog feeds to monitoring systems, etc.a balanced pair of stereo master outputs and an insert loop for these outputs. using the monitor select switches (+4dBu nominal level).

0q e w

7 STEREO OUTPUT This pair of balanced XLR connectors provides the analog stereo out signal at +4dBu. 8 MONITOR OUTPUTS [STUDIO] These
unbalanced RCA connectors provide unbalanced signals to the studio at a nominal output level of 10dBV.
9 2-TR IN These two RCA unbalanced inputs are typically used for monitoring the replay from an analog mastering device at a nominal input level of 10dBV.
There are also four assignable sends and returns, as explained in Setting up the I/O on page 36.
A STEREO OUTPUT [INSERT] These 1/4
TRS connectors provide insert facilities for the STEREO OUTPUTs. The send (level 2dBu) is post DA convertor and the return (level 2dBu) is immediately before outputs.
6 MONITOR OUTPUTS [CR (BAL)] These
1/4 balanced analog outputs are used to provide monitoring signals to the control room as selected
B ASSIGNABLE SENDS These balanced
1/4 jacks (2dBu) are used either as insert sends for the input channels or as aux sends (see Setting up the I/O on page 36). aux returns or as insert returns for the input channels (see Setting up the I/O on page 36).

D PHONES These two stereo 1/4 jacks provide

headphone outputs.

C ASSIGNABLE RETURNS (BAL) These
quasi-balanced returns (2dBu) are either used as

Module control section

This section is chiefly used for the control of the most commonly-used module parameters: ses (BUSS 1-2, BUSS 3-4, BUSS 5-6 and BUSS 7-8) or to the stereo outputs (STEREO) or to direct output (DIRECT). The legends in parentheses on the first three buss keys refer to surround assignments if a surround mode has been selected.
I EXT CLOCK indicator If this indicator is
lit, the DM-24 is referenced to externals word sync. If unlit, the DM-24 is acting as the master word sync source for the system. If flashing, the clock source is not connected, or is not otherwise available for use by the DM-24.
J MODULE key Pressing this key brings up
the module editing screen, allowing the different parameters of a module to be viewed and edited.
E FS indicators These indicators show the
current sampling frequency used by the system.
K Encoder function select key and indicators Successive presses of this key light, in
order: no indicator, EQ GAIN, AUX (1 through 4) and AUX (5 and 6), as explained in Rotary encoders (ring LEDs) on page 15. The indicators show the current function of the encoders.
F 2ND F. (MOVE) key This key is mainly
used in conjunction with the automation (purple) keys to access the secondary functions of these keys.
G EQUALIZER keys As explained in Rotary
encoders (ring LEDs) on page 15, four of these keys (HIGH, HI MID, LOW MID, LOW) are used to select the frequency band of the active module which will be affected by the rotary encoders. The ON key turns the EQ on and off for the selected module.
L TOUCH/MOVE [KEEP] key This key is
used in conjunction with the automation software, as explained in the automation guide.
H CH ASSIGN keys These keys are used to assign the selected module to the pairs of output busLibrary section
These keys are used for the storage and recall of commonly-used parameters in snapshots, EQ settings, effects and so on.
M Rotary encoders These are used to set parameters as explained in Rotary encoders (ring LEDs) on page 15.
N LIBRARY + and [BANK] keys These are used to change the selected active library entry (usually shown at the top of the screen). O RECALL [UNDO/REDO] key The
RECALL key is used to recall the settings of stored in
the currently-select active library entry. It can also be used for comparison between the new and previous settings.
30 TASCAM DM-24 Reference Manual
P STORE key This key stores the current settings to the currently-selected library entry. Parameter control section
This section is used to control the different parameters and to navigate through the different options available on the DM-24 h j kl; z x v b c

Dynamics controls

The exact controls and display vary, depending on what channel has been selected (see Dynamics processors on page 63 for full details of the availability of dynamics processors for the different modules of the DM-24):

Link setting

Right channel acts as trigger Both channels act as triggers

Shown as

Gate/Expander An on-screen button allows the
gate/expander to be switched, with a gain reduction meter displayed.
Compressor insert point The compressor can
be inserted either pre- or post-EQ (channels). The master insert is pre-fader. Simply press the ENTER key when PRE EQ or POST EQ is highlighted, to toggle between the two positions (the dial key acts as a cursor here).
Compressor An on-screen button allows the compressor to be turned on and off (ENTER key), with a dynamics graph. The gain reduction meter also applies to the compressor. The appearance of this button changes, depending on what link option has been selected (see LINK L>R on page 64):
Link off Left channel acts as trigger
Dynamics meter This meter shows the post-compressor effect of the dynamics processor assigned to the module.
A graphical display of the settings is also provided (with attack, knee point, compression ratio, hysteresis, etc. displayed).
50 TASCAM DM-24 Reference Manual
Other common controls and displays Digital trim and pan There are also two other
controls visible at the bottom of the screenthe digital trim and panabove the soft key labels. These are dealt with below (Digital trim control on page 51 and Pan control on page 51.
EQ and buss assignments These buss assignments, together with the status of the EQ (on or off) are shown at the right of the screen. In addition, the EQ response curve is shown at the top of the screen. If the EQ is disabled, this is grayed out, and is solid if the EQ is enabled.
Phase switch This on-screen switch reverses the
phase of the input signal (use the ENTER key to toggle on and off). In the case of linked pairs, each channels phase is independently reversible.
It is not possible to change the buss assignments or the EQ switching from here. Use the dedicated keys (to the left of the display screen) for this. Full details are in Channel-to-buss assignments by channel on page 41.

Peak Shelf (low) Shelf (high) HPF LPF Notch

L.SHELF H.SHELF HPF

High band The high band can be set as either a
shelving (high shelf), peaking, or LPF type.
High-mid band The high-mid band can be set as either a peaking or a notch filter.
1. Q is defined as the width affected by a filter. The higher the Q value, the narrower the band affected by the filter.
54 TASCAM DM-24 Reference Manual
7 Module operationsAux sends
Low-mid band The low-mid band can be set as either a peaking or a notch filter. EQ library
Commonly-used EQ settings can be stored into and recalled from the library. Full details of the library operation are given in Library functions on page 99, but briefly, moving the cursor to the onscreen EQ LIB button above the high band and pressing ENTER will jump to the EQ library. Move the cursor to highlight the EQ LIB shown on the display. Press the ENTER key. 5 This jumps to the library where the EQ settings are 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.
Low band The low band can be set as either a shelving (low shelf), peaking, or HPF type.
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.

Aux sends

The aux sends are set using the screen accessed through the third soft key. In addition, as explained in the section on the user interface (Encoders used as aux send controls on page 17), the rotary encoders can also be used to set the send levels for the first four aux sends, and the last two aux sends for the selected channel. They can also be used to make the pan and balance settings when two aux sends are linked. Aux sends may be linked as a pair (1&2, 3&4, 5&6). See Linked modules on page 60 for details of how they are linked. The level of the aux sends is settable between dB and +10dB (relative to nominal) in 127 steps. Pan settings for stereo linked aux sends can be made from hard left (L) through center (C) to hard right (R)127 steps. The PODs can be used to adjust the gain of the aux sends (first and third rows), as well as the pre-post settings of the sends (second and fourth rows). In addition, if two aux sends have been linked together, the odd-numbered POD on the first and third rows of the screen is used to control the pan position of the signal sent to the stereo aux send. Pre-post settings are made by turning the POD counterclockwise (PRE), and clockwise (POST). Note that for aux sends 1 and 2, as well as pre-fader and post-fader selections, a RETURN setting is also available. This allows aux 1 and 2 to be used as the tape return path if channels 1 though 16 are being used as direct outputs.

Digital delay time (DELAY) The channel can
be delayed by up to 16,383 samples (the maximum in high sampling frequency is 32,767 samples). This is equivalent to 341.2 milliseconds at 48k or 96k sampling frequencies, or 371.5 milliseconds at 44.1k or 88.2k sampling frequencies.
Gate switch (GATE SW) This (POD 2) turns the
gate (if available) on (clockwise) or off (counterclockwise). Channels 1 through 16 only.
58 TASCAM DM-24 Reference Manual
7 Module operationsDigital trim and delay (global)
Channel delay is only possible on modules 1 through 24. See also Global digital delay on page 59.
Digital delay units (UNIT) Choose either samples (SAMPLE) or milliseconds (ms) as the unit in which channel digital delay is measured.
See also Global digital delay on page 59.
Digital trim and delay (global)
Two dedicated screens allow the viewing and setting of the digital trim and delay parameters.

Global digital trim

1 With the SHIFT indicator lit, press the DIGI. TRIM/DELAY key until the following screen appears: Use the PODs to set the amount of digital trim from 50.0dB to +10.0dB in 0.5dB steps.
Linked channels share the same digital trim setting.
Fader control At the top of the screen is a button which allows the faders to be used for setting the trim levels (as described in Using the faders to change values on page 14). Setup A master trim 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. Use the cursor keys and the SEL keys to navigate the cursor round the screen. When ENTER is pressed, a popup message appears (Ch parameters setup?). Press ENTER again to confirm, or a cursor key to cancel.

Global digital delay

1 With the SHIFT indicator lit, press the DIGI. TRIM/DELAY key until the following screen appears: Use the cursor keys and the SEL keys to navigate the cursor round the screen. Use the PODs to set the amount of digital delay up to 16,383 samples (the maximum in high sampling frequency is 32,767 samples). This is equivalent to 341.2 milliseconds at 48k or 96k sampling frequencies, or 371.5 milliseconds at 44.1k or 88.2k sampling frequencies. This delay can be used to compensate for signal processing, etc. and can be applied either before or after the fader. It is available for channels 1 through 24 only.
This is not a delay or echo effect as provided by the internal effectors.

For pan/balance settings, aux sends must be linked to be used as either sources or destinations. It is not possible to select individual aux sends here. The aux sends are selectable individually or as linked pairs as sources or destinations for level copying. Channels are divided into blocks of eight: 1-8, 9-16, 17-24, 25-32 and ALL. Individual channels cannot be selected. 5 The screen above allows these copies to be made from one screen. 1 With the SHIFT indicator lit, press the UTILITY key. 6 Move the cursor to the on-screen COPY button and press ENTER. A confirmation popup message appears. Press ENTER again to confirm the copy, or a cursor key to cancel.
There is only one screen, as shown here. 2 Check either of the two checkboxes (PAN/BAL and/or LEVEL) to select the settings to be copied.
If neither of the checkboxes is checked when you press the COPY button, an error message is displayed.
62 TASCAM DM-24 Reference Manual
The DM-24 includes dynamics processors, which may be assigned as required throughout the mixing chain. These high-quality processors are all digital and include compressors, gates and expanders. The processor list comprises: Sixteen gate or expander units available for the first 16 input channels Thirty-two compressor units for channels 1 through 32 Six assignable output compressors for the aux sends, the buss masters and the stereo outputs In addition, the placement of the compressors may be controlled so that they affect the signal at different points in the processing chain.
Turning the processors on and off
When there is more than one processor available for a module (that is, for channels 1 through 16), the module screen is used to select whether the gate or the expander is on or off. In all module screens, the compressor can be turned on and off (channels 1 through 16 also allow the independent turning on and off of the gate/expander). In the DYNAMICS screen (channels 1 through 16), the gate or expander can be turned on and off, and the compressor can also be turned on and off independently.
DYNAMICS (input channels 116)
The screen accessed by the DYNAMICS key shows the settings for the currently selected input channel (as shown by the SEL indicator). If the selected channel is linked as part of a stereo pair, the settings affect both channels. Pressing the SEL key of another channel (or channels) will bring up the dynamics settings for that channel.
Selecting a gate or an expander

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:

CH 116

The SEL Key Follows Fader Layer allows the setup of the automatic linking of the selected channel to the selected meter layer. When this option is selected, if a channel is selected, the fader layer is changed, and then the fader layer is changed back again, the originally-selected channel is automatically selected. For example, if this option is active, and SEL 2 key is lit with fader layer 1-16 active, fader layer 17-32 is

CH 1732 MASTER NOTE

If the FADER->METER Follow option is checked, and the SEL Key Follows Fader Layer is not checked, the meter follow option will not be enabled. These settings can also be made in the OPTION PREFERENCES sub-screen (PREFERENCES on page 21).

(LEVEL) between and 36dB in 128 steps. Use POD 2 to select the scope of the setting: groups of eight channels (CH18, CH916, CH1724, CH25
These settings refer to both the on-screen meters and to the optional meter bridge meters. Note that when the meter layer is changed using the optional meter bridge, the STEREO master meter peak hold is not cleared.
The DM-24 is capable of acting as a remote control unit for a wide variety of external devices. The exact functionality of the machine control depends, of course, on the device to be controlled. The device control is carried out through the DTRS control port, the MIDI connections (for MMC), or the serial port (RS-422). Different devices can be selected for simultaneous control by the DM-24, with different devices being controlled in different ways. For instance, it is possible to select one device to have its transport functions controlled by the DM-24, while the DM-24 controls the track arming functions of another device.
In this section, the term controller is used to refer to a part of the DM-24 software controlling an external device, rather than a hardware feature of the device or the DM-24.
Selecting devices for control
The EXT CTRL MIDI/MC key is used to set up the control of external devices. With the SHIFT indicator lit, press the EXT CTRL [MIDI/MC] key. Use the second soft key to bring up the machine control screen (MACHINE CTRL): At the bottom of the list is a key to the method used for controlling each item in the list:

Display Meaning I R M 4

Internal devices REMOTE (DTRS) MIDI Machine Control P2 (RS-422)
The current list of devices (at the time of writing) is:

Device

MIDI Timecode generator Cascade mastering

Screen display

Control type I I R R R R R M M 4
With the cursor pointing to either the <-ADD or INFO buttons, use the dial to scroll through the list of devices on the right of the screen that may be controlled by the DM-24 (SUPPORTED DEVICES). When a device to be controlled by the DM-24 is selected in the list, move the cursor to the <-ADD button, and press ENTER. The device will be added to the list.
MTC Generate CASCADE MSTR DA-88 DTRS recorder DA-88 DA-38 DTRS recorder DA-38 DA-98 DTRS recorder DA-98 DA-78HR DTRS recorder DA-78HR DA-98HR DTRS recorder DA-98HR MMC open-loop control MMC OPEN MMC closed-loop control MMC CLOSE VTR (playback only) VTR PLAYonly 2-track VTR with record supportVTR 2Trk REC 4-track VTR with record supportVTR 4Trk REC MMR-8 or MMP-16 TASCAM MMR8/MMR16
HD recorder DAT recorder with timecode track

TC DAT

To obtain more information regarding a particular item in the list of devices which may be controlled by the DM-24, highlight the item, move the cursor to the INFO button, and press ENTER. A popup screen provides information regarding the list item.
Other devices may be added to the list of supported devices in the future. If the list does not contain the name of a device that you wish to control, please contact your TASCAM dealer regarding the availability of a software upgrade which contains the control capability for your device. Up to 16 devices may be added to the Machine Control List. If more devices are connected and added to the list than can be shown on screen, arrow marks appear at the top and bottom of the list.

80 TASCAM DM-24 Reference Manual
11 Machine Control/LocationSelecting devices for control
When an entry in the Machine Control List is highlighted (that is, the cursor is on the left of the screen), the dial is used to scroll through the list, including those items which may not be visible on the screen.
Deleting devices from the list
If a device is added in error to the Machine Control List (or is no longer required), highlight the device, move the cursor to the on-screen DELETE button, and press ENTER. The last item in the list will be deleted. This process can be repeated to clear the list.
Auto-detection of devices
In addition to the manual addition of controlled devices, there are two auto-detect buttons. One is used is used for detecting all devices attached to the DM-24 (LIST AUTO DETECT) and the other is used for transport mapping (see Machine Control mapping memories on page 82 below). Move the cursor to the on-screen LIST AUTO DETECT button and press ENTER to scan the control ports and report on the detected devices, adding the controllers to the Machine Control list (see Machine Control mapping memories on page 82.
When attempting to identify a MIDI device, the DM24 first sends out an MMC Read Signature command. It adds a generic closed loop device for every device ID that responds to this command. It also sends out a MIDI Device Inquiry Message. If a remote device replies to this message, and an appropriate controller is available, this controller replaces the generic MMC closed-loop controller. After power has been applied, it may take between one and two minutes for the remote devices to be recognized. Even if they have been added to the memorized Machine Control list previously, it may not be possible to control them immediately the system is powered up.
Because not every device that may be controlled by the DM-24 is capable of reporting its presence accurately, some devices will not appear on the list, and must be added to the list manually.
Selecting the control type for the devices
The Machine Control list is composed of a number of columns. These are explained below:
STATE An icon shows the state of the controlled
device. A one-way arrow represents an open-loop device (that is, commands are sent from the DM-24 to the device, but no information is transmitted back from the device to the DM-24 along the same channelinformation is transmitted from the other device through a different channel, such as timecode or MIDI). A double-ended arrow represents a closed loop, where information flows both ways between the remote device and the DM-24 along the same channel. A cross indicates that the device is not being controlled by the DM-24. Two dashes (--) show that the type of control is not relevant here (for instance, the internal MIDI timecode generator).
DEVICE The name of the name of the device being controlled, together with its control type. These list items cannot be changed or edited. ID In the case of DTRS units, it refers to the unit ID,

Moving between screens

When an external screen is selected in this way, the bottom of the screen shows two buttons, accessed with soft keys 3 and 4. These keys allow jumping between the different pages of the devices selected for external control in the main EXTERNAL CONTROL setup screen.

DTRS devices

Depending on the functionality of the DTRS unit (DA-98HR, DA-78HR, DA-98, DA-88 or DA-38), different options, such as track delay, dither setting, etc. are available, allowing these menu operations to
88 TASCAM DM-24 Reference Manual
be carried out easily from the DM-24. Consult the documentation of your DTRS unit for full details of how these operations affect the unit. It is essential the unit connected directly using the DTRS REMOTE CONTROL connection from the DM-24 has an ID of 1 (0 in the case of DA-88s). It is suggested that the other units in the chain are numbered in order following this (but this is not essential). Remember that all chains of DTRS units should be terminated. If the DTRS units are to be word clock slaves of the DM-24, the dedicated word clock input of the DTRS unit connected directly to the DM-24 should be connected to the word clock sync output of the DM-24, and the clock source set to WORD. Subsequent units in the chain will receive their word clock information directly through the REMOTE connections, and do not require dedicated word clock connections. Some specific information concerning the individual models in the range is provided here.

DA-98HR

This screen (accessed using soft keys 3 and 4) allows the remote control of the following parameters.
TRACK DELAY Can be set individually, or
together. Move the cursor to the appropriate row and use the appropriate PODs to set the individual track or POD 3 to set all values together, and confirm with the on-screen SET button. Change between samples and milliseconds as the unit of measurement, using POD 4.
When the DA-98HR is set to any sampling frequency other than the eight base-frequency track setting (including dual-frequency or quad-frequency recording modes), the number of tracks shown on screen whose parameters are shown will differ from those shown here. In addition, some features are only available in the eight track mode. Consult your DA-98HR documentation for full details of some of these features.
TIME MODE Select between ABS and TC timing

reference.

TC REC Arm and unarm the timecode track using this on-screen button. TC Generator Start and stop the DA-98HR generator, as well as setting the start time. Individual hours, minutes, seconds and frames are set by navigating to the appropriate field.
Machine Offset Set this value here. Individual hours, minutes, seconds and frames are set by navigating to the appropriate field. PUNCH IN/OUT Set the preroll and postroll values.
DITHER Set the dither type to off, rectangular or DIGITAL INPUT Use this to change between the

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.

STEREO to Aux1-2 is assigned. Press ENTER to continue. Store to Automation Bank01. Stored to COMP Libraryxxx from CHy. Stored to Effect Libraryxxx.
Stored to EQ Libraryxxx from CHy. Stored to GATE/EXPAND Libraryxxx from CHy. Stored to Snapshotxxx.
SYSTEM update Ready _ Press a cursor key to cancel. There is no current data.
136 TASCAM DM-24 Reference Manual
There are no copy parameters Press ENTER to continue.
Shown when an attempt is made to copy parameters in the UTILITY PARAM. COPY screen (UTILITY copying on page 62) but no parameters have been set. Shown when the stored sampling frequency does not match the current sampling frequency (automation data recall)
Unmatched Fs. Do not show this message in the future? Press ENTER to confirm, or a cursor key to cancel. Unmatched timecode. Do not show this message in the future? Press ENTER to confirm, or a cursor key to cancel. Version information. Console Main : 1.00 Panel : 1.00 Remote : 1.00 Download: 1.00 Effecter: TC Works: 1.00 Antares : 1.00 TASCAM: 1.00 Press ENTER to continue.
Shown when the stored timecode type does not match the current timecode type (automation data recall)
Popup shown when version number request is made (Version Info. on page 22).

Analog INPUT 1-16

Delay Comp PAN D/A Comp LR toAUX1-2 D/A AUX1-2 to LR DIGITAL OUT SEL STEREO AUX1-2 AUX3-4 AUX5-6 C.ROOM INSERT POINT SEL AUX1-4 AUX5-6 PRE POST D/A 4 -2dBu Assignable SEND TONE AUX 4 OSC TO SLATE [CMP] AUX 5 TO STUDIO [CMP] AUX 6 A/D T/B D/A Comp to METER [INPUT] Comp PAN AUX 2 Comp [PRE] MUTE/ [POST] SOLO ASSIGN TRIM EQ 4Band EQ AFL/PFL/IPS AUX 3
+48V to METER [INPUT] [PRE] [INPUT] [PRE] [POST] MUTE/ [POST] SOLO IMAGE ASSIGN STEREO OUT L +4dBu TRIM EQ 4Band EQ -2dBu R +4dBu AFL/PFL/IPS

AUX1 RTN AUX2 AUX3

BUSS AUX L R 1. 8 1. 6 SOLO

to METER -2dBu INSERT

STEREO MASTER
MIC Gate /Exp Notes Assignable insert point

INST -2dBu

to METER [MTR]

-56dBu to -2dBu

LINE INPUT /RTN

-42dBu to +12dBu

RTN SEL 1-8 [CMP] (AES/EBU) (COAXIAL) DIGITAL OUT 2 (AES/EBU) (COAXIAL) 1 -2dBu BUSS MASTER BUSS 1 DIGITAL OUT 1

DIRECT

AUX4 AUX5
to METER [POST] [PRE] [CMP] BUSS 8 MUTE