» DM-4800 Digital Mixing Console OWNER’S MANUAL D00936910B
SAFETY PRECAUTIONS –IMPORTANT : For U.S.A For the consumers in Europe TO THE USER This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment.
IMPORTANT SAFETY INSTRUCTIONS 1 2 3 4 5 6 7 Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8 Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Contents 1 : Introduction Computer (DAW) integration ............................... 10 Other key points ...................................................... 10 Please read this manual ......................................... 10 About the DM-4800 ........................................... 11 Inputs ..................................................................... 11 Channel modules .................................................. 11 Channel destinations ...........................................
Contents Options.......................................................................42 SETUP screen .............................................................42 UPPER BAR DISPLAY ..............................................42 LOCATE DISPLAY mode.........................................42 ENCODER OPERATION mode ................................42 LIBRARY DIRECT KEY OPERATION........................42 OL/STATUS LED TYPE.............................................42 FADER SENSITIVITY...................
Contents Channel-to-buss assignment ........................ 63 Assignment using the front panel....................... 63 Using the assignment screens .............................. 63 Pan switch.............................................................. 64 Surround assignments .......................................... 65 Non-channel assignments..................................... 65 Bulk assignment .................................................... 65 Buss panning ..................................
Contents Surround operations ..........................................88 Changing surround mode ......................................88 Buss assignments ...................................................88 Assigning channels to surround busses..............88 Surround panning ....................................................89 Module screen .......................................................90 Pattern panning.....................................................90 Using the cursor keys.............
List of Figures and Tables 1 : Introduction Fig. 1.1: Basic logical components of the DM-4800 ............................................................ 11 Fig. 1.2: Overview of the DM-4800 .................... 15 2 : Basic operational concepts Fig. 2.1: Screen mode selection keys .................. 17 Fig. 2.2: Cursor and data wheel keys ................. 17 Fig. 2.3: Explanation of the top line of screen displays .............................................................. 18 Fig. 2.
List of Figures and Tables 5 : Channel modules Fig. 5.1: Assign parameters screen (first 48 channel modules) ..............................................71 Fig. 5.2: Assign parameters screen (channel modules 49–64 + master modules) ...................71 Fig. 5.3: Common “global” module settings .....72 Table 5.1: Available metering points .................72 Fig. 5.4: Channel fader screen .............................73 Fig. 5.5: Master fader screen ...............................74 Fig. 5.
1 – Introduction This section provides an overview of the features and facilities provided by the DM-4800. It also includes an overview of the operational procedures involved when using the unit. It is important to read this section to gain a basic understanding of the way that the DM-4800 works before proceeding with setting up and using the unit. The DM-4800 provides you with a new and flexible approach to mixing and recording.
1 – Introduction : About the DM-4800 About the DM-4800 Inputs For analog input, the DM-4800 provides twenty-four balanced inputs, with both high-quality mic amps, and balanced line connections as well as analog insert points (both mic and line connections may be made to the same channel at the same time, but only one may be used at a time). There are also eight assignable send outputs and inputs for external loop effects.
1 – Introduction : Unpacking the DM-4800 Channel destinations There are 24 busses, 12 aux busses, and 16 assignable inserts (not to be confused with the “hard-wired” analog inserts on the input pre-amps) as well as the stereo buss module. Outputs from the channels can be assigned to these. Furthermore, even when working at a sampling frequency of 88.2kHz or 96kHz, the DM-4800 retains the same number of channels and facilities as when operating at “conventional” sampling frequencies.
1 – Introduction : About the manual About the manual Pushed controls on the DM-4800 are referred to as “keys”. Their virtual equivalents displayed on screen are referred to as “buttons”. Within this manual, the following typographic conventions are used: • The name of a control or connector on the unit is written in the following way: LINE/MIC. • Messages and text shown on the display of the DM-4800 are shown as follows: DIGITAL IN 1.
1 – Introduction : Before you start Before you start The DM-4800 organizes your settings in projects. Projects include snapshot data, effect settings, dynamics processing and EQ settings, as well as automation data, and are stored on the CF card. Create a project before you first start work with the DM-4800, so that you can make full use of the library and automation functions. Until you create your first project, you cannot store your own settings.
1 – Introduction : The features of the DM-4800 The features of the DM-4800 This section describes the different areas of the DM4800 as well as providing a guide to hooking up other equipment for use in your studio setup. The front surface of the DM-4800 may seem a little intimidating at first, but it is actually remarkably simple, considering the functionality built into the unit.
1 – Introduction : The features of the DM-4800 Control section This section contains the screen, the dedicated function keys, and the PODs, as well as the cursor keys and the data wheel. The operation of this section is described in more detail in “Basic operational concepts” on page 17, which you should read in order to gain an understanding of how the PODs, etc. are used.
2 – Basic operational concepts This section introduces the basic ways in which you should use the controls of the DM-4800 to achieve your desired goals. NOTE Please take the time to read and understand this section, so that you understand how basic navigation and parameter editing operations are performed. Dedicated screen mode selection keys provide access to the different screens shown on the LCD display: Many screens accessed with these keys include subscreens or “pages”.
2 – Basic operational concepts : What’s on the screen? What’s on the screen? For almost all the screens displayed by the DM4800, there are two common areas. The first is at the top, and we explain that area here (the second is the row of labels which identify the POD functions (described in “Special controls” on page 20)). These top and bottom areas are for display, and their contents are automatically determined (they cannot be edited).
2 – Basic operational concepts : Fader layers Setting a USER screen 1 Bring up the screen to which you want to make a shortcut, 2 Press and hold the SHIFT and CTRL keys (to the left of the unit). 4 Release all the keys. Next time you press that USER key (without the SHIFT and CTRL keys), the display shows the screen you set previously. 3 While holding down these keys, press one of the USER keys. A popup telling you that the screen is assigned to the user key appears.
2 – Basic operational concepts : Other global modifier keys Other global modifier keys There are two other global “modifier” keys which are used to add additional functions to other keys outside the key area. These are the CTRL and SHIFT keys located at the left of the top panel. These are used to change the function of certain keys located outside the screen mode selection key block as well as for other specialized functions (for example, see “Setting a USER screen” on page 19).
2 – Basic operational concepts : Special controls TIP You can change between a white on black display and a black on white display by using the ALT + FLIP key combination. Other screens may use them as buttons which display a pull-up list of options. When the list is shown, the appropriate POD encoder, or the main wheel, is used to navigate through the list, and the POD key or ENTER key is used to confirm the entry. Figure 2.9: POD 1 used with a pull-up menu list Figure 2.
2 – Basic operational concepts : Encoders Encoders The 24 rotary encoders at the top of each channel can perform a variety of functions, selected using the twelve keys at the right of the top panel. The current setting of the encoders can be read from the ring of indicators surrounding each encoder; as explained in “Reading the encoder indicators” on page 24 Other settings are available through the OPTION ENCODER MODE screen: Figure 2.13: Setting the encoder mode Figure 2.
2 – Basic operational concepts : Encoder mappings Encoder mappings The following table provides a reference to the use of the encoders in the different modes (note that there Display Uses encoders Scope of mode -----LVL CH 1-24 LVL CH25-48 LVL CH49-64 BUS MSTR LVL AUX MSTR LVL AUX+AUX MSTR None 1 – 24 1 – 24 1 – 16 1 – 24 1 – 12 1 – 12 (AUX) 13 – 24 (master aux) Global Global Global Global Global Global Channel module Global DYN + EQ 1 – 11, 13 –24 Channel module 7– 11 Master module 1–24 Channel
2 – Basic operational concepts : Encoder mappings Reading the encoder indicators The encoder indicators change their pattern, depending on the parameter currently being controlled by the encoders. Hard left A little less hard left Pan settings When the encoders control the panning of the channels/busses associated with the fader (not in surround modes), the indicator patterns are as shown here. Centered A little to the right Figure 2.
2 – Basic operational concepts : Encoder mappings The Q encoders of each EQ band are used to control the Q (bandwidth), as shown here: High Q value (minimum bandwidth) A little wider Minimum Q (widest band) Figure 2.17: Encoders in frequency Q adjustment mode Module levels and AUX sends The level is displayed up to the nominal level, and the nominal level is marked by the lower indicator lighting with all indicators up to the nominal position half-lit.
2 – Basic operational concepts : Encoder mappings Encoder behavior (fine and coarse) Typi- With the ALT indicator lit, press key 7 (OPTION). cally, all encoders, as well as those in the “fat channel” and the PODs, change values several steps at a time. To change the resolution of these controls, so that they change only one step at a time, press and hold the SHIFT key (at the extreme left of the unit) while turning the encoder.
2 – Basic operational concepts : “Fat channel” “Fat channel” To the left of the display is an area containing a number of encoders and keys. These controls are dedicated to module functions, and are divided into three sections: dynamics, EQ, and Aux sends. When a channel module is selected, the appropriate screen can be shown, and the parameters adjusted using these controls. These controls also allow you to copy and paste settings between channels.
2 – Basic operational concepts : “Fat channel” EQ controls Figure 2.21: Equalization controls Press the SCREEN key to bring up the EQ screen for the currently-selected module. Turn the EQ on and off for the module using the ON key. Gain and frequency for the four EQ bands are adjusted with the top row of four encoders (GAIN) and bottom row (FREQ). To set the type of filter for a band, press and hold the CTRL key to the left of the unit, and turn the appropriate encoder in the top row (TYPE).
2 – Basic operational concepts : Copy and paste of parameters Copy and paste of parameters These operations can be carried out, whether or not the “fat channel” controls described above have been used to make the settings. To paste only the gate parameters Press and hold the PASTE key, and the GATE ON key together, and press the SEL key of the channel to which the gate parameters are to be copied. Press ENTER to confirm the operation, or a cursor key to cancel it.
2 – Basic operational concepts : UTILITY copying UTILITY copying This screen allows various parameters to be copied within and between channel modules. Press the UTILITY key (ALT + 9) to access this screen. It also allows the protection of various parameters to stop them being overwritten when they are copied and pasted between channels. Figure 2.25: UTILITY copy screen. TIP You can also use the PARAMETER EDIT SCREEN key (above the COPY and PASTE keys) to bring up this screen.
2 – Basic operational concepts : UTILITY copying Copying between modules The on-screen controls for these operations are in the lower part of the screen. This allows bulk copying of the following settings between modules: • Fader and mute settings • Buss assignment, pan and balance and surround settings • Aux send levels and pan balance settings • EQ parameters and switching • Compressor/expander settings • Gate settings In the copy section, there are two “radio buttons”.
2 – Basic operational concepts : CF cards CF cards Make sure that you have a CF card with sufficient space on it to hold the project (one with at least 32MB, such as the one supplied with the DM-4800, is recommended). NOTE The DM-4800 does not retain unsaved project data when the power is turned off. Always save project data before turning off the DM-4800. See “Shutting down the DM-4800” on page 33.
2 – Basic operational concepts : Shutting down the DM-4800 Shutting down the DM-4800 IMPORTANT CAUTION!!! Data associated with projects (automation, library entries, etc.) is not automatically stored on the card. If you turn off the DM4800 without having shut down the DM-4800 properly, YOU MAY LOSE ALL YOUR DATA NOT STORED TO A PROJECT SINCE THE LAST SAVE! 2 While holding down the key, press the ALT key of the number keypad.
2 – Basic operational concepts : About projects and libraries Pressing ENTER will reload the last data which was in the internal memory (the “resume data”), and pressing a cursor key will load the project, ignoring any changes since the last project save. About projects and libraries As mentioned earlier, the DM-4800 uses projects to store settings.
2 – Basic operational concepts : About projects and libraries Setting the date and time To set the date on the DM-4800, follow the steps below: 1 Enter the UTILITY screen, and jump to the SYSTEM page: 3 Use the cursor and wheel to set the date and time. Note that the month is a three-letter abbreviation of the English month name (JAN, FEB, MAR, APR, MAY, JUN, JUL, AUG, SEP, OCT, NOV, DEC) and the hours are set in 24-hour (“military”) format. 4 When you have set the values, press ENTER.
2 – Basic operational concepts : About projects and libraries To set up a new project from scratch This is how you use the screen to set up a new project. 2 Set the current sampling frequency and surround mode for the project in the top left sections of the screen. Use POD 4 to select an existing project on the card to use as a template from which settings, etc. can be copied to the new project.
2 – Basic operational concepts : About projects and libraries NOTE Remember that deleting a project also deletes all the custom library entries (snapshot, effect and dynamics processor settings, etc. and the automation data) associated with the project. Only delete the project if you are certain that you do not want any of the project data any more.
2 – Basic operational concepts : Library management Library management Each project on the DM-4800 contains the following libraries for storing and recalling commonly-used settings: • Snapshots (scene memories) • EQ settings • Compressor/expander settings • Gate settings • Effect settings (for internal effects 1 and 2) Up to four card-stored banks of each library type are available in each project. These banks are independent of each other and independent of the banks in other projects.
2 – Basic operational concepts : Library management section with the SHIFT key pressed. This refers to the banks of the current library as selected for this purpose in the OPTION SETUP screen. Viewing library entries POD 4 or the wheel may be used to scroll through and highlight the library entries in the currently-selected bank. The onscreen representation changes as the entries are highlighted. POD 4’s key can be used as a “soft key” here to bring up a popup with the properties of the highlighted entry.
2 – Basic operational concepts : Library management Access this screen with the UTILITY option in the pullup menu: The on-screen DELETE button deletes the currentlyhighlighted library entry. The target project is fixed as the currently-loaded project and cannot be fixed—to copy data to a project other than the one currently loaded, you must first load the desired target project to make it active.
2 – Basic operational concepts : Naming library entries Naming library entries When naming library entries, projects etc., the following method is used to enter new names, or edit existing ones. Names and memos of up to 16 characters can be stored: • • Figure 2.37: Setting and editing titles and memos • • Use the cursor keys to move left and right within a title. Use the wheel to navigate around the character palette, and press ENTER to enter the highlighted character at the title’s cursor position.
2 – Basic operational concepts : Options Options The OPTIONS screens allow you to set preferences to suit your working style. There are four option screens, all accessed through the OPTION key. The SETUP and PREFERENCES screens set general parameters relating to the operation of the DM-4800, while the SOLO screen, as its name suggests, is concerned with solo operations. The ENCODER MODE screen has been described in “Encoder mappings” on page 23.
2 – Basic operational concepts : Options Otherwise, if the AUTOMATION option is selected, these indicators show the current automation status of the channels, as explained in the separate Automation Manual. FADER SENSITIVITY This parameter allows you to specify the sensitivity of the faders, as used in the automation process. The DM-4800 fader touch sensing capabilities are dependent on the ambient humidity and environment.
2 – Basic operational concepts : Options Automation fader OFF When this option is active (checked), in automation mode, when the automated mix is being read (played back), the faders do not move. Current Screen Follows Encoder Mode Balance Level CENTER:0dB When two chan- It is possible to have both this and the previous option active at the same time. nels are linked together as a stereo pair, the pan controls change to a balance control.
2 – Basic operational concepts : Utilities Utilities The first of these (PARAM COPY) provides a method of copying values between channel parameters. This is explained in “UTILITY copying” on page 30. The third (SYSTEM) allows CF card management and date setting. These have already been described in “Formatting a new card” on page 32 and “Setting the date and time” on page 35 and are not described again here. The second (EXT. SW) determines the function of the external footswitch.
2 – Basic operational concepts : Utilities Making connections The specifications of the KEY EVENT: The status of the transport keys, the F1-F12 keys, and the MUTE keys control the GPI ports on the rear panel are as follows: GPI port.
2 – Basic operational concepts : Utilities POD 4 knob to highlight a cell in the PORT column, then press the ENTER key to confirm the selection. You can select the same port for more than one time event. NOTE “When the fader starts” means when the fader level is brought up from the lowest level and “when the fader stops” means when the fader level is brought down to the lowest level.
3 – Connections This section describes how the DM-4800 connects to other equipment in your studio. Since the DM-4800 is extremely “soft” in terms of the internal routing and patching, it is unlikely that you will need to spend a lot of time connecting and disconnecting equipment once you have your setup in place. A patchbay is also probably less necessary with the DM-4800 than with many other mixers. See “Routing” on page 59 for full details of how the routing and assignment are managed.
3 – Connections : Analog connections Analog connections Mic/line connections All these connections (microphone and line) are balanced. The XLR connections follow the standard of pin 1 ground, pin 2 hot and pin 3 cold. The TSR 1/4" jacks are tip hot, sleeve ground, ring cold (this applies to all balanced 1/4" jacks on the DM-4800). Both the XLR mic connection and the 1/4" jack connection can be made at one time, but it is only possible to accept input signals from one source at a time.
3 – Connections : Digital connections Analog outputs The dedicated analog outputs are relatively few, since it is expected that most signals will remain in the digital domain after they have entered the DM4800. STEREO OUT Balanced XLR connections (1 ground, 2 hot, 3 cold), which output the stereo buss signals, which can be used to feed the analog inputs of a 2-track recorder, or a specialist chain of analog devices used for mastering. NOTE There are no dedicated stereo digital outputs.
3 – Connections : Digital connections Digital I/O setup After the connections have been made, the inputs and outputs can be set up for use. Press the DIGITAL key (AUTOMATION (2) with the ALT indicator lit) so that the FORMAT screen appears: The 24bit Fix checkbox allows the input of 16-bit data at these connectors and removes any inconsistencies associated with spurious status information, fixing the word length at 24 bits. Mute Defeat The Mute Defeat checkbox should normally be left unchecked.
3 – Connections : Slot card configuration Slot card configuration As mentioned, you can expand the capabilities of the DM-4800 with the optional slot cards available. The current status of the input and output channels is also shown on the screen. These cards are as follows: IF-AN/DM providing eight channels each of A/D and D/A conversion. Referred to on screen as AD/DA Card. Can be installed in any of the four slots. Figure 3.
3 – Connections : Cascade configuration Cascade configuration The cascade facility allows the connection of two DM-4800 units. This effectively gives you one double-sized DM-4800 mixing console. The following items are shared. • The Stereo buss, Busses 1–24, Aux busses 1–12, and the solo buss can be shared. • The audio clock is provided by the master to the slave. • Timecode is provided by the master to the slave over the cascade cable.
3 – Connections : Cascade configuration NOTE When the cascade connection is established, the slave unit’s clock source is automatically set to CASCADE and the settings of the slave unit become those of the master unit. Using the cascade Since the cascade function allows busses, aux sends, etc. to be shared, and controlled from the master unit, the two DM-4800s can be used as one large digital console with twice the number of inputs and channels, etc.
3 – Connections : Other connections Other connections MIDI connections (IN, OUT and THRU) Use these standard MIDI connectors to connect the DM4800 to other equipment. The THRU terminal also functions as a MIDI Timecode output terminal. The switch allows the OUT to act as a THRU when the DM-4800 is receiving word sync signals, as well as enabling and disabling 75Ω termination on the input. This MIDI functionality can be used to provide either open or closed MMC loop control of remote devices.
3 – Connections : Clock setting Clock setting When the connections have been made to the DM4800, you must select a clock source. The master clock source is also used to determine the sampling frequency for the whole project. After confirming that you want to do this, a popup appears, informing you of the status of all potential clock sources. Remember that the DM-4800 can act as a clock source or clock master, but there must be only one master clock source in your studio setup.
3 – Connections : Clock setting Changing the clock If the desired clock source has a frequency selection option, select the frequency. The stereo digital inputs (D-IN1 and D-IN2) can have their sampling frequency manually set here (but remember that if the frequency converter is turned on, they cannot act as clock sources).
4 – Routing & assignment This section deals with the routing of signals between the different sections of the mixing console, with the assignment of channels to busses, etc. and with metering and the monitoring of the signals in the control room and studio. The DM-4800 is equipped with two types of mixer channel modules, with the first 48 fully equipped with EQ and full dynamics processing, and modules 49 through 64 being more similar to the basic return channels on a traditional recording mixer.
4 – Routing & assignment : Routing • Assignment of modules to the 24 busses as well as to the stereo busses is carried out by dedicated keys (to the left of the display). • Assignment of physical hardware inputs to modules, and of internal components to physical hard- ware outputs, together with the internal patching between mixer sections, as well as the setting up of the “soft” inserts, is done in the ASSIGN screens (see “Routing” on page 59).
4 – Routing & assignment : Routing the input source (from the available sources within the selected source block). 4 You must then press ENTER to confirm the routing selection. TIP Note that linked modules allow you to select independent sources. Also note that while the same source may be routed to more than one destination layer (you might want to try recording a vocal line with different compression settings, for example), a channel destination can only accept one source (of course!).
4 – Routing & assignment : Routing Output routing The output routing screen allows you to tie the logical outputs from the different parts of the DM-4800 to the physical output ports. Use the POD 4 control to select the output source.
4 – Routing & assignment : Routing These “soft” inserts allow 16 different input and output pairs to be defined as inserts at definable points in the DM-4800 signal path.
4 – Routing & assignment : Channel-to-buss assignment Channel-to-buss assignment You may have noticed that the channel-to-buss assignment functions are not available from the routing screens. Because this is such a commonly-performed operation, it is most easily performed from the front panel, using dedicated controls, though it is also possible to use the display to view and set these assignments for many modules simultaneously.
4 – Routing & assignment : Channel-to-buss assignment sends to the appropriate destinations, in an easy graphical solution. Pan switch There is an invisible “pan switch” which links and unlinks pairs of busses (this also depends on the linked pan mode). When this switch is set, and busses are linked, they are also joined for panning and they are assigned in pairs. However, when this switch is not set, the buss pairs can be split for individual assignment. • Figure 4.
4 – Routing & assignment : Channel-to-buss assignment Surround assignments In surround mode with the pan switch on, the meaning is different—channel modules are assigned to the panned groups of surround channels for fine adjustment. Non-channel assignments Assignments from the busses may be made to the stereo buss as well as to the aux 1–2 send busses (which can therefore be used as studio monitors). Assignments from the aux sends can be made to the stereo buss only.
4 – Routing & assignment : Monitoring Monitoring The DM-4800 provides comprehensive monitoring and metering facilities allowing both control room (for both large and small speaker sets) and studio cue mixes to be produced. This section describes the monitoring procedures and setup when working in stereo. When working with surround mixes, there are obviously some important differences, and these are described in “Surround operations” on page 88. Figure 4.
4 – Routing & assignment : Monitoring However, these assignments can be changed using the MONITOR screen: When this checkbox is off, and an unlinked oddnumbered aux send or buss is selected as the monitor source, that source is output in mono from the monitor outputs.
4 – Routing & assignment : Monitoring Talkback, etc. The internal talkback microphone is located above the meters. The sensitivity of the microphone is adjusted using the T/B control next to the microphone. Select the talkback source (T/B SOURCE) in the MONITOR OSC/COM screen: The TO SLATE and TO STUDIO keys are both “smart keys”. When active, they route the talkback microphone to the busses and/or aux sends as selected below, and to the studio respectively, and dim the control room outputs.
4 – Routing & assignment : Monitoring Meters The main monitor meters provide a “pre-dim” and “pre-level control” reading of the source selected to feed the control room outputs. In every case, the stereo buss meters are visible at the lower right of the screen: The meters are set up so that the OVER indicator lights at over full-scale output (the exact level is set as described in “Meter ballistics” on page 69).
4 – Routing & assignment : Monitoring Soloing Dedicated SOLO keys for each module allow either mixed or in-place soloing. The type of solo (PFL, AFL, in-place) is determined by the settings made on the OPTION SOLO screen (“SOLO TYPE” on page 44). or is lit when one or more channels are soloed, to indicate that solo mode is active. Channels can be protected from muting during inplace soloing of other channels using the defeat function described in “INPLACE SOLO DEFEAT” on page 44.
5 – Channel modules The channel modules are the “heart” of the DM-4800, corresponding to the channel strips on an analog console. Because they are used so often, and settings have to be made frequently, there are a number of ways of viewing and making the settings for these modules, as explained in this section. General principles There are several ways of setting many of the channel parameters.
5 – Channel modules : Global module settings 1 Use POD 3 to switch between the two screens. 2 Use the POD 4 encoder to select phase, gate switching, compression, compressor/expander insert point position (pre or post) or EQ on/ off. 3 Use the left/right cursor keys, wheel or SEL keys to navigate around the screen and the ENTER key to turn the following on or off (see later in this section for details of these channel features).
5 – Channel modules : Global module settings Also see “Fader control” on page 73 for details of how to view and make fader settings globally. TIP You can use the one-step mode for ultra-fine control here. See “Encoder behavior (fine and coarse)” on page 26. MUTE button Allows the module to be muted and un-muted (echoes the status of the hardware MUTE key). PAN (BALANCE) control Use POD 4 to change the value of this control (pan changes to balance when channels are linked).
5 – Channel modules : Global module settings selected by moving the cursor to METERING POINT, and using the wheel and ENTER to set the point). Buss and aux levels are selectable in groups of 4, and the levels can be adjusted as with the channels using the POD encoders.
5 – Channel modules : Dynamics processors Dynamics processors This section covers the use of the DM-4800’s built-in compressor/expanders and gates. Compressor/expander dynamics processors are available in all modules except channel modules 49 through 64. Gates are available in channels 1 thorough 48 (input only). The module screen accessed by the DYNAMICS key shows the settings for the currently selected input channel (as shown by the SEL indicator).
5 – Channel modules : Dynamics processors Gates (input channels 1–48) GATE This is an on-screen button, allowing you to turn the channel gate (1 through 48, inputs only) on and off. Duplicated in the global section at the right of the screen. Threshold (THRESH) , controlled by the POD 1 knob, allows the setting of the threshold at which the gate will open. Variable from -80dB to 0dB in 1dB steps. NOTE Hysteresis is a second threshold.
5 – Channel modules : Dynamics processors Output gain (OUTGAIN), controlled by the POD 4 knob on the last row (grayed out if the auto make-up above is on). Variable from -20dB to +20dB in 1 dB steps. Not shown if the processor is being used as an expander. Library jump buttons There are two such onscreen library jump buttons on channels 1 through 48 (gate and compressor/expander). Other (master) modules only have the compressor/expander jump keys. These buttons are labeled GATE... LIB→ and C/E...
5 – Channel modules : Dynamics processors Gate library entries These gate settings may be used as they are or used as jumping-off points for your own settings. Program Number 000 001 002 003 004 005 006 007 008 009 010 011 012 Name Comment Noise Gate1 Noise Gate2 Kick Gate1 Kick Gate2 Snare Gate1 Snare Gate2 Toms Gate Slow Gate Bass Gate1 Base Gate2 E Guitar Clean1 E Gt Distortion E Gt Heavy Dist.
5 – Channel modules : EQ EQ The four-band EQ provided on the first 48 channel modules of the DM-4800 allows precise sound shaping, combined with flexibility, and repeatability, thanks to the library store and recall facilities. It is also easy to copy and paste EQ settings from one module to another (see “Fat channel” on page 27. To view the EQ settings for a module, press the MODULE key until the EQ page is shown.
5 – Channel modules : EQ EQ library You can recall and use preset EQ settings from the DM-4800 library, as well as storing your own settings to user areas of the library for further use (see “Library management” on page 38 for details of how library functions work with the DM-4800). To access the EQ library, move the cursor to the onscreen EQ LIB button, and press ENTER.
5 – Channel modules : Aux and buss setup Aux and buss setup The third page of the MODULE screens provides a way to view and make the aux send settings and the buss panning between odd- and even-numbered busses (channel modules only in stereo mode, not surround mode when the buss pan follow mode is off—see “BUSS PAN Follows ST PAN” on page 44). Note also the on-screen FLW button below the pan pot on the right of the screen, which links buss and stereo panning.
5 – Channel modules : Aux and buss setup Source selection POD keys 3 and 4 select the aux send source screens. Select between pre-fader (PRE) or post-fader (POST). For aux 1 and 2 only, the RETURN input can also be selected as the send source (for studio cue monitoring). Linked channels are controlled together by the oddnumbered (left) POD of the pair.
5 – Channel modules : Module setup Module setup The fourth channel module screen is called the SETUP screen and allows the setting of general parameters affecting the use of the module. Note the block diagram at the top of this screen, showing the current configuration of the channel module, along with the enabled/disabled status of the components (dynamics processors, EQ, etc.).
5 – Channel modules : Module setup The maximum delay time is 16383 samples, at every sampling frequency. In milliseconds, this equates to: edited is linked to another channel, as well as to whether the project is a stereo or surround project. FS The POD 4 encoder is used to set the pan or balance. Beside the on-screen representation of this control is a CENTER button. Use this to center the pan or balance setting easily. Maximum delay (ms) 44.1 48 88.2 96 371.5 341.3 185.7 170.7 Table 5.
5 – Channel modules : Module setup Digital trim You can also set the digital trim value from a common screen. Press the DIGI. TRIM/DELAY key (ALT + key 0) to bring up the trim screen. in which delay is measured between samples and milliseconds. POD 3 and 4 and the ENTER key work in the same way as they do for the digital trim batch setup. Figure 5.16: Digital trim setting Use the cursor keys to select blocks of four channels and the PODs to set the values.
5 – Channel modules : Module setup • Automation status • Pan mode Where these settings are made using physical controls, moving one control of the pair will move the other control of the pair, and will affect the settings. • Unlink modules in the same way (press and hold one SEL key of the pair, and press the other SEL key to bring up a popup message). It is also possible to use the ST LINK screen brought up using the ST LINK/GROUP key.
5 – Channel modules : Module setup Use the cursor to highlight a group (numbered at the side of the screen) and use the channel SEL keys to add the channels to the group. Change fader layers if necessary, to add other channels to the group. The first channel added to the group becomes the master, marked by a solid “blob”. The SEL key flashes, when the group is highlighted on screen.
5 – Channel modules : Surround operations Surround operations There are several screens and functions which change from those described previously when a surround mode is selected. There are three surround matrices available, which can be assigned and mixed differently, but each matrix must be of the same format (for example, it is not possible to have an LCRS and 5.1 surround setup at the same time).
5 – Channel modules : Surround operations When pan mode is on, the channel settings in the BUSS ASSIGN screen look like all the channels in surround set 3 (surround matrix 3) and channels 25 through 30 in surround matrix 2 in Figure 5.26, Surround assignment. When pan mode is off, the channel settings in the BUSS ASSIGN screen look like all channels in surround set 1 (surround matrix 1), and channels 31 and 32 in surround matrix 2as shown in Figure 5.
5 – Channel modules : Surround operations Module screen When the pan mode is on, the left-right and front-rear pan settings can be made from the module AUX/BUSS screen: Figure 5.28: Module surround panning In Figure 5.28, Module surround panning, pan mode is off for surround matrices 1 and 2, and so the pan controls are disabled for these matrices. The SURROUND screens (Figure 5.
5 – Channel modules : Surround operations Pan mode off When pan mode is off, the screen is much simpler. No pan controls are available, and the only controls which may be set are the surround matrix selection and the individual speaker selection on-screen buttons. Figure 5.
5 – Channel modules : Snapshots Snapshots Mixer settings can be stored in a library and recalled, either manually from the control surface, or remotely through MIDI Program Change messages.
5 – Channel modules : Snapshots Storing snapshots Snapshots may be stored to any of the four banks on the CF card. • • The cursor keys are used on the right side of the screen to select the bank in which the snapshot is stored, and the POD 4 encoder is used to select the destination. Alternatively, the direct LIBRARY keys may be used for this purpose.
6 – Effects The DM-4800 incorporates two internal effectors: TASCAM FX2.0 and a TC Works reverb. This section discusses the setup and use of these effects. Routing the effects As explained in “Routing” on page 59, internal effect inputs and outputs are treated as sources and destinations for routing. In the OUTPUT routing screen, the Aux sends are selected as outputs, and the terminal destination is selected as one of the internal effects.
6 – Effects : Effect libraries Use the cursor keys and ENTER to select an effect from PRESET 1 (TC Works reverb), PRESET 2 (TASCAM effect) or any of the four memory banks on the CF card. Press the EFFECT key once more to return to the setting screen: Use the wheel or POD 4 encoder to scroll through the entries and press the POD 3 switch to recall the entry to the effect loop. Figure 6.
7 – MIDI As well as the MIDI ports, the DM-4800 can pass MIDI to and from a PC connected using the USB connection. This section explains some of the ways in which the card is used. MIDI port switching and filtering Press the MIDI key and navigate to the SETUP page to bring up the following screen: Figure 7.1: MIDI setup The three boxes to the left of the screen (MIDI IN, MIDI OUT and MIDI THRU/MTC) refer to the three physical MIDI connectors on the rear panel.
7 – MIDI : Program Change messages and the DM-4800 Program Change messages and the DM-4800 The DM-4800 can receive Program Change messages to recall snapshot settings, or settings from either of the two effect libraries. NOTE The effect libraries have two preset banks - these are labeled as P1 and P2 here.
7 – MIDI : MIDI Implementation Charts MIDI IN and OUT ports This refers to the physical MIDI IN and MIDI OUT ports. TEAC [Digital Mixer] Model:DM-4800 MIDI Implementation Chart Function... Basic Channel Mode Note Number Velocity After Touch Pitch Bend Control Change Date : 29.May.
7 – MIDI : MIDI Implementation Charts MTC OUT port This refers to the physical MIDI MTC port. TEAC [Digital Mixer] Model:DM-4800 MIDI Implementation Chart Function... Basic Channel Mode Note Number Velocity Date : 29.May.
7 – MIDI : MIDI Implementation Charts USB MIDI Control Port (1) This refers to the first virtual MIDI port carried over USB. TEAC [Digital Mixer] Date : 29.May.2006 Model:DM-4800 MIDI Implementation Chart Function...
7 – MIDI : MIDI Implementation Charts USB MIDI Interface port (2) This refers to the second virtual MIDI port carried over USB. TEAC [Digital Mixer] Model:DM-4800 MIDI Implementation Chart Function... Basic Channel Mode Note Number Velocity Date : 29.May.
7 – MIDI : MIDI Implementation Charts USB MIDI MTC Port (3) This refers to the third virtual MIDI port carried over USB, used for MIDI Time Code. TEAC [Digital Mixer] Date : 29.May.2006 Model:DM-4800 MIDI Implementation Chart Function...
7 – MIDI : MIDI Implementation Charts USB MIDI Program Change Port (4) This refers to the fourth virtual MIDI port carried over USB, used for Program Change messages. TEAC [Digital Mixer] Model:DM-4800 MIDI Implementation Chart Function... Basic Channel Mode Note Number Velocity Date : 29.May.
7 – MIDI : MIDI Implementation Charts USB MIDI Remote Port (5, 6, 7) This refers to the three remote virtual MIDI ports carried over USB for remote control. TEAC [Digital Mixer] Date : 29.May.2006 Model:DM-4800 MIDI Implementation Chart Function...
8 – Remote operation The DM-4800 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 MIDI connections, including the USB MIDI ports (for MMC), or the serial port via P2 protocol (RS-422). controlled by the DM-4800, while the DM-4800 controls the track arming functions of another device.
8 – Remote operation : Selecting devices for transport control name of a device that you wish to control, please contact your local TASCAM Web site 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.
8 – Remote operation : Selecting devices for transport control CHASE This applies to DTRS units, and allows the CHASE mode of the selected unit to be turned on or off. Any unit which can have its chase mode controlled by the DM-4800 has this item represented by a square box. Units whose CHASE mode cannot be remotely controlled have this item represented by two dashes (--).
8 – Remote operation : Selecting devices for transport control When the scan is complete, a pop-up screen appears, showing the detected devices and their assignments to the control maps. A message is shown if there are more devices connected than can be added to the list (that is, more than 10). Any selected devices that may be controlled are detected and a new map is created for each such device. If there are IDs associated with the devices, these are also shown.
8 – Remote operation : Machine control setup Machine control setup With the ALT indicator lit, press the REMOTE key. Use the first soft key to bring up this screen: This allows the setting of various machine control parameters. Figure 8.2: Machine control setup parameters Edit Frames When this is set on, location memories, etc. are edited to frame accuracy. When it is set to off, location settings are made to second accuracy.
8 – Remote operation : Machine control setup Record Command Type Use this option to make the record commands from the DM-4800’s MIDI Machine Control compatible with the unit being controlled. There are two options: True (40h) and Masked (41h). Consult the documentation of your other equipment for details of compatibility. Locate Preroll Move the cursor to the numeric field, which shows the pre-roll time when a location point is reached (displayed in minutes and seconds).
8 – Remote operation : MIDI Control by the DM-4800 MIDI Control by the DM-4800 In addition to MIDI Machine Control (MMC) by the DM-4800 (see “Remote operation” on page 105), it is also possible for the DM-4800 to act as a remote MIDI controller for MIDI devices. You can either create a looped MIDI system by connecting INs and OUTs, or simply connect the DM4800’s MIDI OUT to the MIDI IN of the remote device.
8 – Remote operation : MIDI Control by the DM-4800 MIDI faders In this mode, the first 16 faders are used to transmit a defined Control Change message when the REMOTE fader layer mode is selected and the MIDI FADERS screen is displayed, or was the last external control screen displayed. MIDI Faders setup screen) or in the ID field of the EXT. CTRL screen: 1 Select the MIDI FADERs option from the external control screen (Figure 8.3, External Control).
8 – Remote operation : MIDI Control by the DM-4800 2 Use the mixer using the MIDI CTRL.CHANGE setup screen (below at Figure 8.7, MIDI control change screen): Only one control can only be assigned to a given MIDI channel/controller combination. • There are 24 faders available in the REMOTE layer, 24 mute controls, and 24 pan controls. NOTE The following Control Change messages may be assigned to these controls: 1–5, 7–31, and 64–95.
8 – Remote operation : MIDI Control by the DM-4800 HUI This provides an emulation of the Mackie HUI control surface: Figure 8.9: HUI emulation Digital Performer This Mackie Control emulation is used with the MOTU Digital Performer DAW: Figure 8.11: DP control Sonar This Mackie Control emulation applies to the Sonar DAW: Logic This Mackie Control emulation is used with the Apple Logic DAW: Figure 8.10: Sonar control Figure 8.
8 – Remote operation : Location memories Location memories The DM-4800 allows the storage and recall of up to ten location memories, allowing easy location of the controlled devices to predetermined cue points.
8 – Remote operation : Location memories Location to a location memory What happens next depends on the PLAY MODE setting (see “Play Mode” on page 109). When the location memories have been entered, they are recalled in the following way: 1 Press the DIRECT key. The indicator lights. 2 Press any one of the numeric keys, corresponding to the ten location memories. 3 The controlled device locates to the memory stored in the location memory.
8 – Remote operation : Location memories Auto punch operations pre-roll point. Playback continues until the in point, when the unit drops into record (RECORD lights) until the out point, when the DM-4800 punches out. Repeat until you’re happy with the take. For units supporting auto punch, the three keys: RHSL, IN/OUT and CLEAR are used to set punch points and perform punch operations.
9 – Specifications This section provides technical and reference information about the DM-4800, together with a list of messages you may see on the display of the DM-4800 and instructions about how to respond to them. Analog audio I/O All specifications are given with the factory reference level of –16dBFS.
9 – Specifications : Digital audio I/O Digital audio I/O DIGITAL INPUTS (1, 2) DIGITAL OUTPUTS (1, 2) TDIF (1, 2, 3) ADAT IN/OUT Sampling frequencies Signal delay 2 x XLR-type female connectors (input impedance 110Ω) or 2 x RCA pin jacks (input impedance 75Ω) (selectable) AES3-1992 or IEC60958 data format (automatically detected) 24-bit word length Switchable sampling frequency conversion available 2 x XLR-type male connectors (output impedance 110Ω) 2 x RCA pin jacks (output impedance 75Ω) AES3-1992 o
9 – Specifications : Equalization Equalization EQ switch HIGH filter HI MID filter LO MID filter LOW filter On/Off Gain: Frequency: Q: Type: Gain: Frequency: Q: Type: Gain: Frequency: Q: Type: Gain: Frequency: Q: Type ±18dB, 0.5dB resolution 31Hz to 19kHz 0.27 to 8.65 Hi-shelving, Peak, LPF ±18dB, 0.5dB resolution 31Hz to 19kHz 0.27 to 8.65 Peak, Notch ±18dB, 0.5dB resolution 31Hz to 19kHz 0.27 to 8.65 Peak, Notch ±18dB, 0.5dB resolution 31Hz to 19kHz 0.27 to 8.
9 – Specifications : Dimensional drawing Dimensional drawing 40˚ 371 mm (14.6") 87 mm (3.4") 240 mm (9.5") 273 mm (10.75") 14 mm (0.6") 22 mm (0.9") 824 mm (32.4") 933 mm (36.7") Figure 9.1: Dimensional drawing (including optional MU-1000 meter bridge) Messages and troubleshooting This provides an alphabetical list of the messages that you may see on the DM-4800, which provide information on the operation that you are performing. Not all of these messages are error messages.
9 – Specifications : Messages and troubleshooting Action Message ✔ Automation Data is not modified, execute the KEEP? Press ENTER to confirm, or a cursor key to cancel. Confirmation that you want to store (keep) unmodified automation data. ● Automation data was recalled. The selected automation data has been recalled into memory. ● Automation data was stored. The current automation data has been stored to card.
9 – Specifications : Messages and troubleshooting Action ✖ Message Meaning Can’t recall Effect Bank a-bbb The named effect library item cannot be recalled. The data may be missing or corrupt. Can’t recall Effect Preset 1-bbb The named effect library preset cannot be recalled. The data may not exist or may be corrupt. Can’t recall EQ Library Bank a-bbb The named EQ library item cannot be recalled. The data may be missing or may be corrupt.
9 – Specifications : Messages and troubleshooting Action Message ● Can't Enter Initial Edit Mode during Stop Process. It’s not possible to enable the automation initial edit mode while stopped. ● Can't Enter Initial Edit Mode during Chase Process. It’s not possible to enable the automation initial edit mode while chasing. ● Can't Enter Initial Edit Mode during Writing. It’s not possible to enable the automation initial edit mode while writing. ✖ Can't load project. Press ENTER to continue.
9 – Specifications : Messages and troubleshooting Action ✖ Message Meaning CF card is not available Press ENTER to continue. An attempt has been made to read or write to a CF card that is not inserted, etc. Reinsert the card or retry with another card. CH DELAY Time Update setup? Press ENTER to confirm, or a cursor key to cancel Shown when performing bulk setup of the channel delay time.
9 – Specifications : Messages and troubleshooting Action ✔ Message Meaning Clock Check Results Current Fs: 48kHz Sources Word : 44.1kHz0.0% Digi IN 1 : Out of Range Digi IN 2 : Fs convert On TDIF 1 : 44.1kHz0.0% TDIF 2 : 44.1kHz0.0% TDIF 3 : Unusable ADAT : 44.1kHz+1.0% SLOT 1 : 48kHz+0.2% SLOT 2 : Unusable Press ENTER to continue. Results of performing a word sync check. Clock Info: Digital In1 C-bit : Illegal data. Press ENTER to continue.
9 – Specifications : Messages and troubleshooting Action ✔ Message Meaning Confirm LIST Auto Detect? Press ENTER to confirm, or a cursor key to cancel. Confirming the auto-detection of machine control list. Confirm TRA Auto Detect? Press ENTER to confirm, or a cursor key to cancel. Confirming the auto-detection of transport control mapping. ✔ Copy from Ch2 Automation configuration Confirmation when copying automation configuration. ● Copy Module parameters to CHn.
9 – Specifications : Messages and troubleshooting Action ✖ Message Meaning Digital INPUT1 : Fs convert On Can’t select master clock. Press ENTER to continue. It is not possible to use a source as a word clock when sampling frequency conversion is turned on. DIGITAL TRIM Update setup? Press ENTER to confirm, or a cursor key to cancel Confirmation that the digital trim values are to be updated. ✖ DSP DMA didn't done yet! or DSP DMA didn't done yet x100 times! An internal error has occurred.
9 – Specifications : Messages and troubleshooting Action ✔ Message Meaning Format CF Card? Press ENTER to confirm, or a cursor key to cancel. Confirmation before formatting a CF card. Format failed. Retry? Press ENTER to confirm, or a cursor key to cancel. A CF card format operation has failed. Formatting now. Please do not turn off power while formatting. Warning not to remove power while card is being formatted. Fs has changed. Mixer will reboot. Press ENTER to confirm or a cursor key to cancel.
9 – Specifications : Messages and troubleshooting Action ● ● ● ● ● ✔ ✔ ✖ ✖ ✖ ✔ ✔ ● ✖ Message Meaning Mackie Control Emulator optimized for Apple Logic Press ENTER to continue. Information on external control. Mackie Control Emulator optimized for Cakewalk Sonar Press ENTER to continue. Information on external control. Mackie Control Emulator optimized for MOTU Digital Performer Press ENTER to continue. Information on external control.
9 – Specifications : Messages and troubleshooting Action ● ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ Message Meaning Now copying... Do not disconnect CF card. A copy is being carried out. OK to Copy? From Project: TASCAM Project 2 xxxxxxxx BANK 1 To Project: TASCAM Project xxxxxxxxx BANK1 Press ENTER to confirm, or a cursor key to cancel. Conformation that a library bank (EQ, snapshot, etc.) can be copied from one project to another.
9 – Specifications : Messages and troubleshooting Action ✔ Message Meaning OK to Overwrite Snapshot Bank a-bbb Press ENTER to confirm, or a cursor key to cancel. Confirmation before overwriting a snapshot library entry. OK to Overwrite Transport Map? Press ENTER to confirm, or a cursor key to cancel. Confirmation shown when replacing the current transport control map. OK to Overwrite xxx Library BANK a-bbb from Cgy? Press ENTER to confirm, or a cursor key to cancel.
9 – Specifications : Messages and troubleshooting Action Message ● Renaming project. Do not remove the CF card. Shown while a project is being renamed on the CF card. ✖ Scanning for cascade slave... Press a cursor key to cancel. The master machine of a cascade is looking for a slave unit. SELECT xxxx MODE Press ENTER to confirm, or a cursor key to cancel Confirmation that the surround mode will change (to STEREO, 5.1, 6.1 or LRCS). Shut down? Press ENTER to confirm, or a cursor key to cancel.
9 – Specifications : Messages and troubleshooting Action ✔ Message Meaning Snapshot BANK Name Xtion Time Create data a-bbb : TASCAM DATA : 9.9ms : DEC/15/2004 20: 35: 45 Project Name : PROJECT ORCA Project FS : 44.1kHz Press ENTER to continue. Information on a snapshot. Snapshot Preset 1-bbb NAME : TASCAM DATA Press ENTER to continue. Information on a preset snapshot. ● Snapshot redo completed. A snapshot redo operation is complete. ● Snapshot undo completed.
9 – Specifications : Messages and troubleshooting Action Message ✖ The current project is protected. Press ENTER to continue. Trying to overwrite a protected project. The current project is changed. Store current project? ENTER key : Store and Create CURSOR key : Create Changes have been made to the current project before a project creation. The current project is not on the CF card. Store the current project?\ Cannot copy automation data and library data.
9 – Specifications : Block diagram Block diagram MIC LINE INSERT 2 1 MIC/LINE 1-24 3 P P -20dB +4dBu Balance PAIR CH ADC +48V MIC/LINE PRE AMPL. RTN SEND TRIM PHANTOM/4ch PAD 1 2 3 5 4 7 6 8 LEVEL DIR DIR ADC ADC ADC ADC ADC ADC ANALOG PROCESSING. ASSIGNABLE RETURNS ADAT_IN DIN-1 DIN-2 LEFT SOLO ST_L/R AUX1...12 BUSS1...
9 – Specifications : Level diagram Level diagram MIC PAD: -20dB +16dBu LINE +12dBu MIC PAD: 0dB -4dBu MIC PAD: -20dB -40dBu LINE -44dBu MIC PAD: 0dB -60dBu +14dBu MIN TRIM 56dB MAX BALANCE +20dBu Headroom 16dB Headroom 16dB Headroom 16dB MIC/LINE INPUTS 1-24 BALANCE MIC PAD: -20dB +32dBu LINE +28dBu +30 [dBu] +20 +10 0 -10 -20 -30 -40 -50 -60 -70 +4dBu Assginable Return1-8 +20 [dBu] +10 0 -10 -20 UNBALANCE -10dBV +6dBV 2TR INPUT [dBV] 0 +10 -10 -20 -30 +14dBu -2dBu
» DM-4800 TEAC CORPORATION Phone: +81-422-52-5082 www.tascam.com 3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan TEAC AMERICA, INC. Phone: +1-323-726-0303 7733 Telegraph Road, Montebello, California 90640 TEAC CANADA LTD. Phone: +1905-890-8008 Facsimile: +1905-890-9888 5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada TEAC MEXICO, S.A. De C.V Phone: +52-555-581-5500 Campesinos No.
