TASCAM TEAC Professional Division DM-24 Digital Mixing console The DM-24 Basics
DM-24 SIGNAL FLOW ........................................................................................ 3 INPUTS ...................................................................................................................................................... 3 RETURNS .................................................................................................................................................. 3 OPTIONS .............................................................................
DM-24 SIGNAL FLOW The first 24 channels of the DM-24 can accept “INPUTS” or “RETURNS.” These assignments are made on the I/O page. Use the cursor keys to highlight the virtual patch cable then use the data wheel to make the proper assignment. In this example M/L 1 is an “input” and TDIF1-1 is a “return.” Channels 25-32 are Input-only channels. They cannot have “RETURNS” assigned to them. TDIF I/O, ADAT lightpipe I/O and any option slot I/O are not available to channels 25-32.
TDIF 3 or ADAT Once the preferred “return” interfaces have been selected, they can be assigned to channels 1-24 in groups of eight. For instance: Slot 1 to channels 17-24 TDIF 2 to channels 1-8 ADAT to channels 9-16 OPTIONS • • • • • IF-TD/DM (TDIF I/O) $249 (supported in version 2.0) IF-AD/DM (ADAT lightpipe I/O w/ ADAT Sync (ADAT sync will be supported in future frimware.
• • The IF-CS/DM is a cascade card. To cascade two DM-24s, you must put one cascade card in “SLOT 1” of each DM-24. See the section on “cascading two DM-24s” for more info. The MU-24 has 26 meters (24 channels plus the stereo buss) and a large time code display. There is a meter menu in the DM-24 that provides access to all of the parameters for the meterbridge , such as meter ballistics and pre/post metering.
available to use as tape returns. This presents a problem. Here are a few ways to deal with this scenario: Using AUX 1&2 as the tape return path The DM-24 can use AUX 1&2 as the tape return path for the first 16 channels in a tracking situation for just this reason. The way to handle this is to link Aux 1 and Aux 2. This provides a level and a pan control for each tape return. On the Aux 1-2 page there is a “source” tab that would normally allow a setting of pre or post fader.
plugging this signal into the MX-2424 will register 6dB less then if a “balanced” signal were sent to it. To use this solution with other recorders we recommend that the manufacturer is consulted as to what cable to use with their product. For a DA-78HR or DA-38 use ¼” to RCA cables: CU/SU302 6ft. CU/SU303 10ft. CU/SU304 13ft. CU/SU305 16ft. CU/SU307 23ft. The DA-78HR and DA-38 have unbalanced inputs and we recommend that they are used for this solution.
AUTOMATION The DM-24 features very powerful, internal automation. No computer required. The internal automation of the DM-24 is actually more powerful and easier to use then many large frame consoles used in professional studios.
The idea behind the automation is “power without interference.” When you’re mixing, you want to be thinking about your mix not trying to remember the 28 steps it takes to make the automation function. With the DM-24, as soon as the basic mix settings are made, automation can be activated. When automation is enabled, all automatible parameters go into static mode. As soon as the DM-24 receives time code and WRITE is pressed, the DM-24 is ready to write dynamic automation. Move a fader and release it.
On channels 1-32 you can program a different MIDI channel and MIDI controller number for the fader, mute key and pan knob. On the master layer you can do this for faders and mutes only. This allows the DM-24 to control other devices or other devices to control the DM-24 via MIDI. Again, this uses the “audio faders.” There is also an external control page on the DM-24. This is where you can set up separate MIDI fader layers and controller pages.
output simultaneously. The control room and studio outputs on the cascade slave could be used to feed different monitors systems. Use the cascade master for your standard near field monitors and studio speakers, while the cascade slave could feed midfield speakers and small computer speakers. It is always nice to reference wide variety of different speakers when mixing. Cascading makes this easy.
• AES/EBU can be input or output in DUAL LINE (HI SPEED will be supported in a future version of firmware.) The IF-AE/DM AES/EBU option card supports HI SPEED in version 1.11. HIGH SPEED can send 2 channels of data at 96K on one AES/EBU cable. The DM-24 has two AES/EBU I/Os built in. DUAL LINE requires both jacks to send two channels. Some machines only use one format or the other. Some machines do not call these modes HIGH SPEED and DUAL LINE.
