D001865710A Digital Mixing Console OWNER’S MANUAL
IMPORTANT SAFETY PRECAUTIONS 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 ...................................... 9 Other key points .......................................................... 9 Please read this manual ............................................... 9 About the DM-3200 ....................................... 10 Inputs ....................................................................... 10 Channel modules .................................................... 10 Channel destinations .............................
Contents 3 – Connections Analog connections ........................................39 Mic/line connections .................................................. 39 Channel inserts ........................................................39 2 TR IN ......................................................................39 ASSIGNABLE RETURNS ............................................39 Analog outputs ...........................................................40 STEREO OUT ........................................
Contents EQ .................................................................... 66 Encoders and EQ ..................................................... 66 EQ library .................................................................... 67 Aux and buss setup ....................................... 68 Aux send screens (unlinked) .................................. 68 Copying settings between aux sends and channel levels ..................................................................... 68 Batch setting ..
List of Figures 1 ––Introduction 4 ––Routing & assignment Figure 1.1: Basic logical components of the DM-3200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Figure 1.1: Overview of the DM-3200 . . . . . . . . . . . . 14 Figure 4.1: Module facilities on the DM-3200 . . . . . . 46 Figure 4.2: Routing inputs . . . . . . . . . . . . . . . . . . . . . 47 Figure 4.3: Routing outputs . . . . . . . . . . . . . . . . . . . . 49 Figure 4.4: Routing inserts . . . . . . . . . . . . . . . . . . . .
List of Figures 6 ––Effects Figure 6.1: Internal effect send and return routing . Figure 6.2: Effect library screen . . . . . . . . . . . . . . . . Figure 6.3: Effect setting . . . . . . . . . . . . . . . . . . . . . . Figure 6.4: Common effect parameters (Row 1) . . . . Table 6.5: TASCAM effect parameters . . . . . . . . . . . Table 6.6: TC Reverb effect parameters . . . . . . . . . . Table 6.7: Preset TC Reverb effects . . . . . . . . . . . . . Table 6.8: TASCAM effects . . . . . . . . . . . . . . . . . .
1 – Introduction This section provides an overview of the features and facilities provided by the DM-3200. 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-3200 works before proceeding with setting up and using the unit. The DM-3200 provides you with a new and flexible approach to mixing and recording.
1 – Introduction : About the DM-3200 About the DM-3200 Inputs For analog input, the DM-3200 provides sixteen 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 four assignable send outputs and inputs for external loop effects.
1 – Introduction : Unpacking the DM-3200 Channel destinations There are 16 busses, eight aux busses, 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 88.2 kHz or 96 kHz, the DM-3200 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-3200 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-3200 are shown as follows: DIGITAL IN 1.
1 – Introduction : Special notes for touch-sensitive faders Special notes for touch-sensitive faders The usual rules regarding precision electronic equipment naturally apply to the DM-3200. In addition, note the following that apply to the touch-sensitive faders: • The faders need a human finger to operate their touch-sensitivity. Do not use a pencil, ruler, etc. to operate them. Even using your fingernails may not activate the touch-sensitivity.
1 – Introduction : The features of the DM-3200 The features of the DM-3200 This section describes the different areas of the DM3200 as well as providing a guide to hooking up other equipment for use in your studio setup. The front surface of the DM-3200 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-3200 Control section This section contains the screen, the dedicated function keys, and the PODs, as well as the cursor keys and the data dial. The operation of this section is described in more detail in “Basic operational concepts” on page 16, which you should read in order to gain an understanding of how the PODs, etc. are used.
2 – Basic operational concepts NOTE Please take the time to read and understand this section, so that you understand how the basic navigation and parameter editing operations are performed. Dedicated screen mode selection keys provide access to the different screens shown on the LCD display: select the screen whose title is written in inverted characters above the key. For example, key 7 normally brings up the AUX 1-2 screen, but using this key with the ALT key brings up the OPTION screens.
2 – Basic operational concepts : On the top row of the top section, the left side shows (on top) the current encoder mode (see “Encoders” on page 20) and immediately below that, the curAutomation status Screen display Encoder mode rently-selected module or modules. To the right of this, the current automation settings (on or off, or global mode) are shown. Current library entry selected by direct recall Current timecode value Currently-selected module Figure 2.
2 – Basic operational concepts : Special controls Fader layers The DM-3200 has sixteen channel faders and encoders, but is capable of controlling 48 channels, in addition to the master aux send and buss levels. these keys are pressed, the faders move to the appropriate positions, reflecting the new fader layer. The faders (and the encoders, when the encoders are associated with channels) are therefore arranged in layers, allowing different groups of faders to be accessed.
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 dial, is used to navigate through the list, and the POD key or ENTER key is used to confirm the entry. Figure 2.7: POD 1 used with a pull-up menu list Figure 2.
2 – Basic operational concepts : Encoders Encoders The 16 rotary encoders at the top of each channel have a number of functions, which are selectable using the four keys below the dial. There are three settings for each key, depending on whether the key is pressed alone, or with the SHIFT or CTRL key (at the left of the DM-3200, above module 1).
2 – Basic operational concepts : Encoders EQ The encoders form four groups of four encoders, each group controlling a different band, where 1–4 control the low band, 5–8 low-mid, 9–12 high-mid, and 13–16 high. Within each band, the first encoder (1, 5, 9, 13) controls gain; the second (2, 6, 10, 14) controls the frequency of the EQ band; the third (3, 7, 11, 15) controls the Q; and the fourth (4, 8, 12, 16) controls the band type.
2 – Basic operational concepts : Encoders EQ settings The EQ key assigns the 16 encoders to control the 4-band EQ for the module selected with the SEL keys. Each of the four bands may have its gain, frequency, Q and type controlled by the encoders as shown by the labels under the encoders. No cut or boost Slight boost (note lower indicator is now off) The first encoder in each band is used to control the gain, the indicators are used as below. “Half-steps” are indicated by dimmed indicators.
2 – Basic operational concepts : Encoders The fourth encoders of each band are used to set the type (peak, notch, shelf, etc. of the band. An EQ band Low shelf High shelf Peak may have various options relating to the type of filter, and the encoders reflect this: Notch HPF LPF Figure 2.
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-3200, is recommended). The DM-3200 does not retain unsaved project data when the power is turned off. Always save project data before turning off the DM-3200. See “Shutting down the DM-3200” on page 25.
2 – Basic operational concepts : Shutting down the DM-3200 Shutting down the DM-3200 IMPORTANT CAUTION!!! Data associated with projects (automation, library entries, etc.) is not automatically stored on the card. If you turn off the DM3200 without having shut down the DM-3200 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-3200 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-3200, follow the steps below: 1 Enter the UTILITY screen, and jump to the SYSTEM page: 3 Use the cursor and dial 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 TIP Use the radio buttons NAME and DATE to sort the available projects by their name (alphabetic order) or the date of creation. Managing projects Projects may be deleted, renamed, etc. as well as being copied (this last option allows you to keep different versions of the same basic project, with different EQ settings, library entries, etc.).
2 – Basic operational concepts : About projects and libraries Saving project data • From the MANAGE PRJ. screen, move the cursor to the on-screen STORE button. Figure 2.25: Storing a project • TIP Get into the habit of doing this at critical points in your project. You can also use the STORE AS button to bring up the naming panel (see “Naming library entries” on page 32), allowing the current project settings to be stored under a different name (similar to Save As... on many computer programs).
2 – Basic operational concepts : Library management Library management The following libraries are available within each project on the DM-3200 for storing and recalling commonly-used settings: it—see “Formatting a new card” on page 24) and press the LIBRARY key: • 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.
2 – Basic operational concepts : Library management Viewing library entries POD 4 is used to scroll through and highlight the library entries in the currently-selected bank. The on-screen 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. POD 2 brings up an edit screen, allowing the title, etc. of the library entry to be edited (see “Naming library entries” on page 32).
2 – Basic operational concepts : Naming library entries 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. However, from this screen it is possible to change the currently-loaded library type (this changes the library type on both sides, of course).
2 – Basic operational concepts : Options radio button parameters, and the ENTER key to select and de-select settings. clicks of the encoder. See also “Encoder behavior” on page 23. LIBRARY DIRECT KEY OPERATION This parameter controls the type of library accessed by the RECALL and STORE, and the + and – keys in the LIBRARY section to the left of the screen.
2 – Basic operational concepts : Options While the FADER SENSITIVITY on-screen button is switched ON and this screen is visible, touching any of the faders with your fingers will illuminate the STATUS/OL indicator for as long as the fader is touched. This provides a useful check for the sensitivity of the faders.
2 – Basic operational concepts : Options BUSS Link/BUSS PAN are Linked When checked, this option links the buss panning when a link is made between two busses. SOLO The solo modes on the DM-3200 can be set up in a number of different ways using this screen: selected, the solo status of only that slave module is affected. SOLO TYPE There are three options that may be selected here: PFL (pre-fader listen), AFL (after- or post-fader listen) and INPLACE SOLO.
2 – Basic operational concepts : Utilities Utilities There are three UTILITY screens, accessed with the UTILITY key. The first of these (PARAM COPY) provides a method of copying values between channel parameters. The second (EXT. SW) determines the function of the external footswitch. The last (SYSTEM) allows CF card management and date setting. These have already been described in “Formatting a new card” on page 24 and “Setting the date and time” on page 27 and are not described again here.
2 – Basic operational concepts : Utilities SWITCH utility When a footswitch is connected to the rear of the unit, it can be set up using this screen in the following way: Figure 2.35: UTILITY external switch settings Talkback The footswitch can be set to act as a hands-free talkback switch, with the destination being set from the following options: TO STUDIO & TO SLATE, TO STUDIO, and TO SLATE. In these cases, the footswitch acts in “smart mode” (see “Smart keys” on page 16).
3 – Connections This section describes how the DM-3200 connects to other equipment in your studio. Since the DM-3200 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-3200 than with many other mixers. See “Routing” on page 47 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-3200). 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 DM-3200. 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 (ROUTING with the ALT indicator lit) so that the SETUP 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 : Other connections Slot card configuration As mentioned, you can expand the capabilities of the DM-3200 with the optional slot cards available. 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 slot 1 or slot 2. An on-screen DETAIL button allows the viewing of information related to each of the four stereo input and output channels (a popup appears on screen).
3 – Connections : Other connections WARNING More than one such word sync source can cause serious problems, including possible damage to monitoring equipment. The DM-3200 can act as a word sync master or slave (set up in software—see “Clock setting” on page 44). The switch allows the OUT to act as a THRU when the DM-3200 is receiving word sync signals, as well as enabling and disabling 75Ω termination on the input.
3 – Connections : Clock setting Clock setting When the connections have been made to the DM3200, 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-3200 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 if the frequency converter is turned on, they cannot act as clock sources). To enable the manual setup for both digital inputs, which overwrites the embedded C bit (channel status bit) information, check the checkbox, and select the sampling frequency.
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-3200 is equipped with two types of mixer channel modules, with the first 32 fully equipped with EQ and full dynamics processing, and modules 33 through 48 being more similar to the basic return channels on a traditional recording mixer.
4 – Routing & assignment : Routing • Assignment of modules to the 16 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 47).
4 – Routing & assignment : Routing 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 destination layer can only accept one source (of course!). Batch routing It may be a little troublesome at times to select eight consecutive inputs and then route them to eight separate consecutive destinations.
4 – Routing & assignment : Routing Output routing The output routing screen allows you to tie the logical outputs from the different parts of the DM-3200 to the physical output ports. Use the POD 4 control to select the output source.
4 – Routing & assignment : Routing Insert patching • NOTE It is important to note the difference between the hardware inserts and the software inserts described here on the DM-3200. The hardware inserts are completely in the analog domain and apply only to the mic/line inputs. The software inserts are available to many more internal modules.
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 Use the POD 3 encoder to select banks of eight channel modules at a time, and the display changes as these are selected. You can also select busses in groups of eight, as well as the aux sends (see below). • Pressing and holding the SHIFT key while pressing one of the ASSIGN keys operates a split or join function on a buss pair, allowing busses to be individually assigned when split.
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 one or both of the surround panners 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-3200 provides comprehensive monitoring and metering facilities allowing both control room 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 75. Figure 4.
4 – Routing & assignment : Monitoring However, these assignments can be changed using the MONITOR screen: TIP The three assignable monitoring buttons are provided with “scribble strips” allowing you to mark the current functions with an appropriate marker. The Follow LINK setting allows a stereo setting to be made from a mono source, by following the links between adjacent aux sends or busses.
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. A reading corresponding to –16 on the meters is equivalent to a nominal analog level (+4 dBU or –10 dBV). Meter ballistics The meter ballistics, etc.
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 35). Channels can be protected from muting during inplace soloing of other channels using the defeat function described in “INPLACE SOLO DEFEAT” on page 35.
5 – Channel modules The channel modules are the “heart” of the DM-3200, 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 Global module settings These settings are common to the four different module screens, and do not change when the module screen is changed. Compressor/expander point button Use this button to change the point at which the compressor/limiter is inserted in the channel between a preEQ (PRE EQ) or post-EQ (POST EQ) position (channels 1 through 32 only—busses, aux and the stereo buss are fixed at pre fader).
5 – Channel modules : Global module settings AUX1-2 button (on buss and stereo modules Group assignment displays Display, but do only), allowing the buss or stereo mix to be routed through to the aux 1-2 pair (typically for studio foldback purposes). not allow change on this screen, any fader or mute group assignments.
5 – Channel modules : Dynamics processors Dynamics processors This section covers the use of the DM-3200’s built-in compressor/expanders and gates. Compressor/expander dynamics processors are available in all modules except channel modules 33 through 48. Gates are available in channels 1 thorough 32 (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 1–32) GATE This is an on-screen button, allowing you to turn the channel gate (1 through 32, 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 1 dB steps. Range (RANGE) , controlled by the POD 2 knob, sets the gate range, from 60dB to 0dB in 1dB steps.
5 – Channel modules : Dynamics processors Auto make-up (AUTOmk-up), controlled by the Library jump buttons There are two such on- ENTER key. This is used if the compression settings screen library jump buttons on channels 1 through 32 (gate and compressor/expander). Other modules only have the compressor/expander jump keys. have resulted in gain reduction. Not shown if the processor is being used as an expander.
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 32 channel modules of the DM-3200 allows precise sound shaping, combined with flexibility, and repeatability, thanks to the library store and recall facilities. page 62), or by using the on-screen EQ button (circled in Figure 5.10, Module EQ screen) 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-3200 library, as well as storing your own settings to user areas of the library for further use (see “Library management” on page 30 for details of how library functions work with the DM-3200). 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 34). Note also the on-screen FLW button below the pan pot on the right of the screen, which links buss and stereo panning. NOTE Aux 1-2 have an extra option here.
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 Use the POD 4 encoder to switch between milliseconds and samples as the units in which the delay time is set and displayed. Digital trim Allows the module’s input to be adjusted. This is post-phase and pre-gate. It is entirely independent of the analog TRIM controls on the mic/line inputs. The value of this digital trim can be adjusted from a cut of –50 dB to a boost of +10 dB in 0.5 dB steps. Also see “Phase/trim/delay” on page 71 below.
5 – Channel modules : Module setup You can also set all, odd-numbered, even-numbered or blocks of eight channels to the same value using the BATCH SETUP facility at the bottom of the screen. Use the ENTER key to SET the value set with the POD 3 encoder to the channels chosen with POD 4. POD 3 and 4 and the ENTER key work in the same way as they do for the digital trim. Delay You can “slip” modules relative to each other in order to compensate for microphone placement, etc.
5 – Channel modules : Module setup Only adjacent modules can be linked, with the oddnumbered module being the left channel of the pair (that is, 1 and 2 can be linked, but 2 and 3 cannot). It is also possible to use the ST LINK screen brought up using the ST LINK/GROUP key. To link modules: 1 Press and hold the SEL key of one module of the pair to be linked. 2 Press the SEL key of the second module. A popup message appears: Figure 5.
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 two 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 off, the channel settings in the BUSS ASSIGN screen look like channels 1 through 4 in Figure 5.30, Surround assignment. When pan mode is on, the channel settings in the BUSS ASSIGN screen look like channels 5 through 8 in Figure 5.30, Surround assignment: The difference between these is that when pan mode is off, the channels can be assigned individually to the surround channels (following Table 5.29, Buss assignments in surround mode).
5 – Channel modules : Surround operations In Figure 5.32, Module surround panning, pan mode is off for surround matrix 1, and so the pan controls are disabled for this matrix. The SURROUND screens (Figure 5.33, Surround panning (pan mode on)), showing the settings for individual modules with the pan mode provide more complete control over the surround settings (surround screens with pan mode off are shown in 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-3200 incorporates two internal effects: a TASCAM multi-purpose effect and a TC Works reverb. This section discusses the setup and use of these effects. Routing the effects As explained in “Routing” on page 47, 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 : Setting up the effects 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 PD 4 encoder to scroll through the entries and press the POD 3 switch to recall the entry to the effect loop. Figure 6.
6 – Effects : Setting up the effects POD 1 POD 2 POD3 POD 4 Exciter (EXCITER) — — Sense (SENSE) 0 – 42 Frequency (FREQUENCY) 1.0 kHz – 10.0 kHz Depth (DEPTH) 0% – 100% Resonance (RESONANCE) 0.00 – 1.00 Delay (DELAY) 0 ms – 500 ms — Ratio (RATIO) 0 – 42 Attack (ATTACK) 0.1 ms – 5.0 ms LFO rate (LFO RATE) 0.
6 – Effects : Effect libraries POD 1 POD 2 POD 3 POD 4 Reverb tail level (REVLEV) Initial reflection pre-delay time (IR DLY) 0 ms – 160 ms Reverb feed delay time (TAILDY) 0 ms – 100 ms PRE DELAYS Row 6 Initial reflection level (INILEV) Off, –140 dB – 0 dB Off, –140 dB – 0 dB Table 6.6: TC Reverb effect parameters Effect libraries The effect libraries allow the storage and recall of effects. They work in the same way as other libraries, allowing you to name settings and store them to card banks.
6 – Effects : Effect libraries Number Name LCD indication 024 FX - Not so Dry After Taste FX-NotsoDryAfter 025 FX - Short Non-Lin Like FX-Short Non-Lin 026 FX - Slap Back FX-Slap Back 027 FX - Steel Works FX-Steel Works 028 FX - Steel Works 2 FX-Steel Works 2 029 FX - Subtle Slapback FX-SubtleSlapbac 030 FX - Take Off FX-Take Off 031 FX - Tight Bounce Around FX-Tight Bounce 032 FX - Ultra Bright FX-Ultra Bright 033 FX - Under The Surface FX-Under Surface 034 FX - Wet After
6 – Effects : Effect libraries Number Name LCD indication 063 Drum - Huge Low Tubular Drum-HugeLowTubu 064 Drum - Low Tubular Drum-Low Tubular 065 Drum - Snare Hall Drum-Snare Hall 066 Drum - Snare Room Drum-Snare Room 067 Drum - Subtle Kick Boom Drum-SubtleKick 068 Perc - Big Bright Perc-Big Bright 069 Perc - Big Clear Perc-Big Clear 070 Perc - Big Warm Perc-Big Warm 071 Perc - Medium Bright Perc-Med.
6 – Effects : Effect libraries Preset TASCAM effects The preset TASCAM effects available from preset bank 2 are: Effect type Preset No. Title LCD indication Comments 0 Guitar Comp. Guitar Comp. Basic compressor 1 Classic Comp. Classic Comp. A classic compressor sound 2 Sustain Sustain Compressor setting for guitar sustain 3 Fat Comp. Fat Comp. A rather deeper, “fatter” type of compression 4 Deep Comp. Deep Comp. Deep compressor sound 5 Rhythm Comp. Rhythm Comp.
6 – Effects : Effect libraries Effect type Preset No.
6 – Effects : Effect libraries Effect type Preset No.
6 – Effects : Effect libraries Effect type Preset No.
7 – MIDI As well as the MIDI ports, the DM-3200 can pass MIDI to and from a PC connected using the USB connection (as well as through a FireWire connection if an optional FireWire interface card is fitted). 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.
7 – MIDI : Program Change messages and the DM-3200 Program Change messages and the DM-3200 The DM-3200 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.
8 – Remote operation The DM-3200 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-3200, while the DM-3200 controls the track arming functions of another device.
8 – Remote operation : Selecting devices for transport control 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. 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.
8 – Remote operation : Selecting devices for transport control CHASE This applies to DTRS units, and allows the NOTE CHASE mode of the selected unit to be turned on or off. Any unit which can have its chase mode controlled by the DM-3200 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 8.4: 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-3200’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 : Location memories Location memories The DM-3200 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 NOTE If a pre-roll time has been set (“Locate Preroll” on page 98), the controlled device will locate to the location memory point, minus the value set as the preroll time. Viewing a list of location memories To view a popup list of all the location memories which have been stored: • • Press the LOCATE LIST key. • The location memory source (timecode or MTC) is shown, along with the value of each location memory. The DIRECT indicator also lights.
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-3200 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-3200, together with a list of messages you may see on the display of the DM-3200 and instructions about how to respond to them. Analog audio I/O All specifications are given with the factory reference level of –16 dBFS.
9 – Specifications : Digital audio I/O Digital audio I/O DIGITAL INPUTS (1, 2) DIGITAL OUTPUTS (1, 2) TDIF-1(1, 2, 3) ADAT IN/OUT Sampling frequencies Signal delay 2 x XLR-type female connectors (input impedance 110 Ω) or 2 x RCA pin jacks (input impedance 75 Ω) (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 110 Ω) 2 x RCA pin jacks (output impedance 75 Ω) AES3-1
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 ±18 dB, 0.5 dB resolution 31 Hz to 19 kHz 0.27 to 8.65 Hi-shelving, Peak, LPF ±18 dB, 0.5 dB resolution 31 Hz to 19 kHz 0.27 to 8.65 Peak, Notch ±18 dB, 0.5 dB resolution 31 Hz to 19 kHz 0.27 to 8.65 Peak, Notch ±18 dB, 0.5 dB resolution 31 Hz to 19 kHz 0.27 to 8.
9 – Specifications : Dimensional drawing Dimensional drawing MM v MM v MM v MM v MM v MM v Figure 9.1: Dimensional drawing Messages and troubleshooting This provides an alphabetical list of the messages that you may see on the DM-3200, which provide information on the operation that you are performing. “Confirm” messages, where a response may be necessary (usually confirm with the ENTER key or cancel with the cursor keys) are marked with a ✔.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ AUX1 Pan/Bal Copy Aux1-2Level -> Ch Fader Level? Press ENTER to confirm, or a cursor key to cancel. Copying the AUX 1-2 pan and balance settings to the channels. ✔ AUX1-2 Level Copy Aux 1-2Pan/Bal -> Ch Pan/Bal? Press ENTER to confirm, or a cursor key to cancel Copying the AUX 1-2 pan and balance settings to the channels. ✔ AUX1-2 to STEREO is assigned Press ENTER to continue.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✖ Can’t recall snapshot Preset 1-bbb The named snaphot preset cannot be recalled. The data may not exist or may be corrupt. ● Can’t recall to this Module. An attempt has been made to recall the wrong sort of data to the selected module (e.g. an effect to an Aux module) ✖ Can’t Store Automation data. This file is protected. An attempt has been made to store automation data to a file which has had protection applied.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ Clear this fader grouping? Press ENTER to confirm, or a cursor key to cancel. Shown when the currently selected fader grouping is to be cleared. ✔ 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.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ ✔ Copy from Ch2 Automation configuration Confirmation when copying automation configuration. Copy OK? Press ENTER to confirm, or a cursor key to cancel. Confirmation when performing a parameter copy operation. ✔ Copy to xxxx fader level Press ENTER to confirm, or a cursor key to cancel Confirmation when copying fader levels. xxxx may be ALL, ALL MASTER, Aux 18, groups of 8 busses, or groups of 8 channels.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ Effect BANK a-bbb Name : TASCAM DATA Effect Type: TASCAM Delay Create data: DEC/15/2004 20:35:45 Project Name: PROJECT ORCA Project FS: 44.1kHz Press ENTER to continue. Information about a library entry (compressor/expander) ● Effect Preset 1-bbb recalled To Effectx A library preset entry has been recalled (effect). ● Effectx redo completed. Shown when undoing or redoing effect library operations.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ GATE Library BANK a-bbb Name : TASCAM DATA Create data: DEC/15/2004 20: 35: 45 Project Name: PROJECT ORCA Project FS: 44.1kHz Press ENTER to continue. Information about a library entry (gate). ● Group x is not grouped. A group does not exist to be used as a grouping layer. ✔ Grouping Link (Mute ->Fader) Press ENTER to confirm, or a cursor key to cancel. Confirmation that mute groups should be linked to fader groups.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ 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. ✔ OK to Copy? From Project: TASCAM Project 2 Snapshot Bank a-bbb To Project: TASCAM Project Snapshot Bank c-ddd Press ENTER to confirm, or a cursor key to cancel.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✔ Paste Buffer data to Chx? Press ENTER to confirm, or a cursor key to cancel. Confirmation shown before pasting copied configuration data to a channel. ✔ Paste Ch2 Automation configuration. Confirmation shown before pasting copied automation configuration data to a channel. ✔ Program Change Table OK to perform Batch Setup? Press ENTER to confirm, or a cursor key to cancel.
9 – Specifications : Messages and troubleshooting Action Message Meaning ✖ Signal info : Digital In1 No signal Press ENTER to continue. No signal received at a digital input when detail is requested ✔ Signal info : TDIF1 Input Rx mode : Double-line Fs : 192kHz Word Length : 24bit Emphasis : None Output Tx mode : Normal FS : 44.1kHz Word Length : 24bit Emphasis : No Press ENTER to continue.
9 – Specifications : Messages and troubleshooting Action Message Meaning ● Stored to Snapshot Bank a-bbb Stored a snapshot. ✔ The last stored project cannot be found. Create project? Press ENTER to confirm, or a cursor key to cancel. At power-on, the last stored project cannot be found (maybe the card has been changed). ✔ 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.
9 – Specifications : Block diagram Block diagram Figure 9.
9 – Specifications : Level diagram Level diagram Figure 9.
Notes 118 TASCAM DM-3200 Owner’s Manual
Notes TASCAM DM-3200 Owner’s Manual 119
DM-3200 TEAC CORPORATION Phone: +81-422-52-5082 3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan www.tascam.com TEAC AMERICA, INC. Phone: +1-323-726-0303 7733 Telegraph Road, Montebello, California 90640 www.tascam.com TEAC CANADA LTD. Phone: +1905-890-8008 Facsimile: +1905-890-9888 5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada www.tascam.com TEAC MEXICO, S.A. De C.V Phone: +52-555-581-5500 Campesinos No.
