tascam TM-D4000 User Guide
9101413400
»
TM-D4000
Digital Mixing Console
OWNER’S MANUAL
Important Safety Precautions
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER
Ü
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert
ÿ
Ÿ
This appliance has a serial number
located on the rear panel. Please record
the model number and serial number
and retain them for your records.
Model number
Serial number
IMPORTANT (for U.K. Customers)
the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure
that may be of sufficient magnitude to constitute a risk of electric shock to persons..
The exclamation point within an equilateral triangle is intended to alert the user to the presence
of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING: TO PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.
For U.S.A
TO THE USER
DO NOT cut off the mains plug from this equipment.
If the plug fitted is not suitable for the power points in your home
or the cable is too short to reach a power point, then obtain an
appropriate safety approved extension lead or consult your
dealer.
If nonetheless the mains plug is cut off, remove the
fuse and dispose of the plug immediately, to avoid
a possible shock hazard by inadvertent connection to the mains
supply.
If this product is not provided with a mains plug, or one has to be
fitted, then follow the instructions given below:
IMPORTANT:
accordance with the following code:
GREEN-AND-YELLOW :
BLUE :
BROWN :
WARNING:
As the colours of the wires in the mains lead of this apparatus may
not correspond with the coloured markings identifying the
terminals in your plug proceed as follows:
The wire which is coloured GREEN-and-YELLOW must be
connected to the terminal in the plug which is marked by the letter
E or by the safety earth symbol ç or coloured GREEN or
GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the
terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the
terminal which is marked with the letter L or coloured RED.
When replacing the fuse only a correctly rated approved type
should be used and be sure to re-fit the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT
ELECTRICIAN.
The wires in this mains lead are coloured in
EARTH
NEUTRAL
LIVE
This apparatus must be earthed.
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. This equipment generates,
uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the
instruction manual, may cause harmful interference to
radio communications.
Operation of this equipment in a residental area is
likely to cause harmful interference in which case the
user will be required to correct the interference at his
own expense.
CAUTION
Changes or modifications to this equipment not
expressly approved by TEAC CORPORATION for
compliance could void the user’s authority to operate
this equipment.
For the consumers in Europe
WARNING
This is a Class A product. In a domestic environment, this
product may cause radio interference in which case the user
may be required to take adequate measures.
Pour les utilisateurs en Europe
AVERTISSEMENT
Il s’agit d’un produit de Classe A. Dans un environnement
domestique, cet appareil peut provoquer des interférences
radio, dans ce cas l’utilisateur peut être amené à prendre des
mesures appropriées.
Für Kunden in Europa
Warnung
Dies is eine Einrichtung, welche die Funk-Entstörung nach
Klasse A besitzt. Diese Einrichtung kann im Wohnbereich
Funkstörungen versursachen ; in diesem Fall kann vom
Betrieber verlang werden, angemessene Maßnahmen
durchzuführen und dafür aufzukommen.
2
IMPORTANT SAFETY INSTRUCTIONS
ANTENNA
LEAD IN
WIRE
ANTENNA
DISCHARGE UNIT
(NEC SECTION 810-20)
GROUNDING CONDUCTORS
(NEC SECTION 810-21)
GROUND CLAMPS
POWER SERVICE GROUNDING
ELECTRODE SYSTEM
(NEC ART 250. PART H)
NEC - NATIONAL ELECTRICAL CODE
ELECTRIC
SERVICE
EQUIPMENT
Example of Antenna Grounding as per
National Electrical Code, ANSI/NFPA 70
GROUND
CLAMP
CAUTION:
…
Read all of these Instructions.
…
Save these Instructions for later use.
…
Follow all Warnings and Instructions marked on the audio
equipment.
1) Read Instructions
should be read before the product is operated.
2) Retain Instructions
should be retained for future reference.
3) Heed Warnings
instructions should be adhered to.
4) Follow Instructions
followed.
5) Cleaning
— Unplug this product from the wall outlet before cleaning. Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for
cleaning.
6) Attachments
product manufacturer as they may cause hazards.
7) Water and Moisture
example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a
wet basement; or near a swimming pool; and the like.
8) Accessories
tripod, bracket, or table. The product may fall, causing serious injury to a
child or adult, and serious damage to the product. Use only with a cart,
stand, tripod, bracket, or table recommended by the manufacturer, or sold
with the product. Any mounting of the product should follow the manufacturer’s instructions, and should use a mounting accessory recommended by the manufacturer.
9)
A product and cart combination should be moved with care. Quick
stops, excessive force, and uneven surfaces may cause the product and
cart combination to overturn.
10) Ventilation
ventilation and to ensure reliable operation of the product and to protect
it from overheating, and these openings must not be blocked or covered.
The openings should never be blocked by placing the product on a bed,
sofa, rug, or other similar surface. This product should not be placed in a
built-in installation such as a bookcase or rack unless proper ventilation
is provided or the manufacturer’s instructions have been adhered to.
11) Power Sources
type of power source indicated on the marking label. If you are not sure
of the type of power supply to your home, consult your product dealer or
local power company. For products intended to operate from battery
power, or other sources, refer to the operating instructions.
12) Grounding or Polarization
with a polarized alternating-current line plug (a plug having one blade
wider than the other). This plug will fit into the power outlet only one
way. This is a safety feature. If you are unable to insert the plug fully into
the outlet, try reversing the plug. If the plug should still fail to fit, contact
your electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the polarized plug.
13) Power-Cord Protection
so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the product.
14) Outdoor Antenna Grounding
system is connected to the product, be sure the antenna or cable system
is grounded so as to provide some protection against voltage surges and
built-up static charges. Article 810 of the National Electrical Code,
ANSI/NFPA 70, provides information with regard to proper grounding
of the mast and supporting structure, grounding of the lead-in wire to an
antenna discharge unit, size of grounding conductors, location of
antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode.
— All the safety and operating instructions
— The safety and operating instructions
— All warnings on the product and in the operating
— All operating and use instructions should be
— Do not use attachments not recommended by the
— Do not use this product near water — for
— Do not place this product on an unstable cart, stand,
— Slots and openings in the cabinet are provided for
— This product should be operated only from the
— This product may be equipped
— Power-supply cords should be routed
— If an outside antenna or cable
"Note to CATV system installer:
This reminder is provided to call the CATV system installer’s attention
to Section 820-40 of the NEC which provides guidelines for proper
grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of
cable entry as practical.
15) Lightning
— For added protection for this product during a lightning storm, or when it is left unattended and unused for long periods of
time, unplug it from the wall outlet and disconnect the antenna or cable
system. This will prevent damage to the product due to lightning and
power-line surges.
16) Power Lines
— An outside antenna system should not be located
in the vicinity of overhead power lines or other electric light or power
circuits, or where it can fall into such power lines or circuits. When
installing an outside antenna system, extreme care should be taken to
keep from touching such power lines or circuits as contact with them
might be fatal.
17) Overloading
— Do not overload wall outlets, extension cords, or
integral convenience receptacles as this can result in risk of fire or electric shock.
18) Object and Liquid Entry
— Never push objects of any kind into
this product through openings as they may touch dangerous voltage
points or short-out parts that could result in a fire or electric shock. Never
spill liquid of any kind on the product.
19) Servicing
— Do not attempt to service this product yourself as
opening or removing covers may expose you to dangerous voltage or
other hazards. Refer all servicing to qualified service personnel.
20) Damage Requiring Service
— Unplug this product from the
wall outlet and refer servicing to qualified service personnel under the
following conditions:
a)
when the power-supply cord or plug is damaged.
b)
if liquid has been spilled, or objects have fallen into the product.
c)
if the product has been exposed to rain or water.
d)
if the product does not operate normally by following the operating
instructions. Adjust only those controls that are covered by the operating
instructions as an improper adjustment of other controls may result in
damage and will often require extensive work by a qualified technician to
restore the product to its normal operation.
e)
if the product has been dropped or damaged in any way.
f )
when the product exhibits a distinct change in performance – this
indicates a need for service.
21) Replacement Parts
— When replacement parts are required, be
sure the service technician has used replacement parts specified by the
manufacturer or have the same characteristics as the original part.
Unauthorized substitutions may result in fire, electric shock, or other
hazards.
22) Safety Check
— Upon completion of any service or repairs to this
product, ask the service technician to perform safety checks to determine
that the product is in proper operating condition.
23) Wall or Ceiling Mounting
— The product should be mounted to a
wall or ceiling only as recommended by the manufacturer.
24) Heat
— The product should be situated away from heat sources
such as radiators, heat registers, stoves, or other products (including
amplifiers) that produce heat.
3
Table of Contents
1 - Introduction
1.1 Features ............................................. 1–1
1.2 About this manual ............................ 1–1
1.2.1 How this manual is arranged .......................1–2
1, “Introduction” ..................................................1–2
2, “Principles of operation” .................................1–2
3, “System setup” ............................................... 1–2
4, “Module operations” .......................................1–2
5, “Monitoring” .................................................... 1–2
6, “Surround modes” ..........................................1–2
7, “Internal effect processor” ..............................1–2
8, “Library functions” ...........................................1–2
9, “Machine Control” ........................................... 1–2
10, “MIDI” ...........................................................1–2
11, “Cascade” ..................................................... 1–2
12, “Front panel” ................................................. 1–2
13, “Rear panel & connections” .......................... 1–2
14, “Specifications, etc.” .....................................1–2
“Tutorial–Simple recording session” ................... 1–2
1.3 Expansion cards ............................... 1–2
IF-TD4000 .......................................................... 1–3
IF-AE4000 .......................................................... 1–3
IF-LP4000 ...........................................................1–3
IF-AD4000 .......................................................... 1–3
1.3.1 Fitting the interface cards .............................1–3
1.3.2 Input channel numbering .............................1–4
1.3.3 Output busses .............................................. 1–4
1.3.4 Direct out ......................................................1–4
1.4 Word clock issues ............................ 1–5
1.5 Effects and monitoring ..................... 1–5
2 - Principles of operation
2.1 User interface .................................... 2–1
2.2 Road map .......................................... 2–1
2.3 Using the PODs ................................. 2–2
2.3.1 Selecting screens .........................................2–2
2.3.2 Navigation in screens ...................................2–3
2.3.3 Using the JOG dial ....................................... 2–3
2.3.4 One channel or one parameter? ..................2–3
2.3.5 Selecting channels ....................................... 2–4
2.4 Fader layers ....................................... 2–4
2.4.1 Turning fader motors on and off ...................2–5
2.4.2 Physical and logical faders ..........................2–5
3 - System setup
3.1 I/O setup ............................................ 3–1
3.1.1 STEREO OUT settings ................................ 3–1
3.1.2 Consumer options ........................................ 3–2
3.1.3 Word length and dithering ............................ 3–2
3.2 CLOCK setup .................................... 3–2
3.2.1 Selecting clock frequencies .........................3–3
3.2.2 Clock check ..................................................3–4
3.2.3 Clock settings (other) ...................................3–4
3.2.4 Clock tolerance ............................................ 3–4
3.3 Option setup ...................................... 3–4
3.3.1 Location display mode ................................. 3–5
3.3.2 Timecode source .........................................3–5
3.3.3 Preferences ..................................................3–5
3.3.4 Fader select .................................................3–5
3.3.5 Select MODULE return ................................ 3–5
3.3.6 Select link .....................................................3–5
3.3.7 Dial edit ........................................................3–5
3.3.8 Automation fader inhibit ................................3–5
3.3.9 Balance level ................................................3–5
3.3.10 Oscillator ......................................................3–5
3.3.11 Meter ballistics ..............................................3–5
4 - Module operations
4.1 Module features and control ............4–1
4.1.1 Stereo out module ........................................4–1
4.1.2 Control of module parameters ......................4–1
4.2 Stereo linking .....................................4–2
4.2.1 Using the ST LINK key to link channels .......4–2
4.2.2 Using the SEL keys to link channels ............4–2
4.3 Equalization .......................................4–3
4.4 Channel-to-buss assignments .........4–3
4.4.1 Using the MODULE screen for buss
assignment ................................................... 4–3
4.4.2 Using the ASSIGN key for buss assignment 4–4
4.5 Aux sends ..........................................4–4
4.5.1 Using the MODULE screen to set send
levels ............................................................4–4
4.5.2 Using AUX keys to set send levels ...............4–4
AUX Fader control ..............................................4–5
Stereo linking and AUX sends ............................4–5
4.6 Dynamics processor settings ..........4–5
4.6.1 Assigning a processor to a module ..............4–6
4.6.2 Using the MODULE key to make dynamics
processor settings ........................................4–6
4.6.3 Using the DYNAMICS key to make dynamics
processor settings ........................................4–6
4.6.4 Compressor/limiter settings ..........................4–6
4.6.5 Gate settings ................................................4–7
4.6.6 Linked channels ...........................................4–7
4.7 Pan and balance ................................4–7
4.7.1 Using the MODULE key to set pan and
balance ......................................................... 4–7
Mono modules ....................................................4–7
Stereo modules ..................................................4–7
4.7.2 Using the PAN/BAL key ...............................4–8
4.8 Pad and phase( Φ ) .............................. 4–8
4.8.1 Using the MODULE screen ..........................4–8
4.8.2 Using the PAD/phase key ............................4–8
4.9 Fader and cut groups ........................4–9
4.9.1 Making group settings ..................................4–9
4.9.2 Clearing group settings ................................4–9
4.10 Checking fader and cut status .........4–9
4.10.1 Resetting faders to 0 dB ...............................4–10
4.10.2 Buss and Aux send metering .......................4–10
4.11 Buss delay .........................................4–10
4.11.1 Global delay setting ......................................4–11
4.12 MODULE screen (miscellaneous) ....4–11
4.12.1 Meter pickoff point ........................................4–11
4.12.2 Other information ..........................................4–11
4.13 Soloing ...............................................4–11
5 - Monitoring
5.1 CR and STUDIO .................................5–13
5.1.1 Monitor sources ............................................5–13
5.1.2 Adjusting volume ..........................................5–13
5.1.3 Talkback .......................................................5–13
5.1.4 Near-field monitors .......................................5–13
Table of Contents–i
Table of Contents
5.2 Meters ................................................ 5–13
5.3 2-track monitoring ............................ 5–14
5.4 SOLO .................................................. 5–14
5.4.1 Inplace solo defeat .......................................5–14
5.4.2 Solo mode ....................................................5–14
5.4.3 PFL level ......................................................5–15
5.4.4 To clear all soloed channels .........................5–15
6 - Surround modes
6.1 Selecting a surround mode .............. 6–1
6.1.1 Selecting a buss pattern ...............................6–1
6.2 Monitoring issues ............................. 6–2
6.3 Buss delay ......................................... 6–2
6.4 Modules in the surround mix ........... 6–2
6.4.1 Assigning modules .......................................6–2
6.4.2 “Pan” controls ...............................................6–3
7 - Internal effect processor
7.1 Routing the processor ...................... 7–1
7.1.1 Effect processor feed ...................................7–1
7.1.2 Processor input mode ..................................7–1
7.1.3 Effect processor input level ..........................7–1
7.1.4 Effect processor return .................................7–1
7.2 Effect types ....................................... 7–2
7.2.1 Selecting a basic effect type .........................7–2
7.2.2 Editing a recalled effect ................................7–2
7.2.3 Storing an edited effect ................................7–3
7.3 Preset effects .................................... 7–4
8 - Library functions
8.1 Snapshot memories ......................... 8–1
8.1.1 Snapshot 00 .................................................8–1
8.1.2 Recalling a snapshot ....................................8–2
8.1.3 Storing a snapshot .......................................8–2
8.1.4 Copying a snapshot ......................................8–2
8.1.5 Naming a snapshot ......................................8–2
8.1.6 MIDI dumping and loading of snapshot
library entries ................................................8–3
8.2 Other libraries ................................... 8–4
8.2.1 Effect type abbreviations ..............................8–5
8.2.2 Recalling a library entry ................................8–6
8.2.3 Storing a library entry ...................................8–6
8.2.4 Copying a library entry .................................8–6
8.2.5 Naming a library entry ..................................8–6
8.2.6 Storing and recalling library entries using
MIDI ..............................................................8–6
8.3 Preset library entries ........................ 8–7
8.3.1 EQ presets ...................................................8–7
8.3.2 Dynamics processor presets ........................8–8
9 - Machine Control
9.1 Selecting devices for control ........... 9–1
9.1.1 Deleting devices from the list .......................9–1
9.1.2 Auto-detection of devices .............................9–1
9.1.3 Selecting the control type for the devices .....9–2
PORT ..................................................................9–2
DEVICE ..............................................................9–2
ID ........................................................................9–2
CHASE ...............................................................9–2
SCR ....................................................................9–2
TRA and REC .....................................................9–2
9.1.4 Machine Control mapping memories ............9–3
9.1.5 Showing current Machine Control
mappings ......................................................9–4
9.1.6 Automatically creating a list of machine
control mapping memories ...........................9–4
9.2 General parameters ...........................9–4
9.2.1 Edit Frames ..................................................9–4
9.2.2 Play Mode .....................................................9–5
AUTO ..................................................................9–5
DEFERRED ........................................................9–5
IMMEDIATE ........................................................9–5
9.2.3 Cueing Mode ................................................9–5
9.2.4 Locate Preroll ...............................................9–5
9.3 Location memories ............................9–5
9.3.1 Selecting the location point display ..............9–5
9.3.2 Storing a location memory “on the fly” ..........9–6
9.3.3 Manually entering and editing a location
memory .........................................................9–6
9.3.4 Location to a location memory ......................9–6
9.3.5 Viewing a list of location memories ..............9–6
9.3.6 Manual location ............................................9–7
9.3.7 Repeat play ..................................................9–7
9.3.8 Auto punch operations ..................................9–7
9.3.9 ALL INPUT and AUTO MON ........................9–7
9.4 Notes on individual devices .............9–7
9.4.1 MIDI timecode generator ..............................9–7
9.4.2 DTRS devices ...............................................9–8
9.4.3 8mm DTRS ...................................................9–8
9.4.4 ADAT devices ...............................................9–8
9.4.5 MIDI Controllers and MIDI Faders ................9–8
9.4.6 JLC BB3 .......................................................9–9
9.4.7 MMC devices ................................................9–9
9.4.8 Cascade slave ..............................................9–9
10 - MIDI
10.1 MIDI settings ....................................10–1
Basic Channel ...................................................10–1
OMNI Receive ...................................................10–1
RESET ..............................................................10–1
Output Active Sensing ......................................10–1
Output MTC when slaved .................................10–1
Merge In Æ Out ................................................10–1
10.2 MIDI data dumps ..............................10–2
10.2.1 Receiving bulk data ....................................10–2
10.2.2 Transferring data between two
TM-D4000 units ..........................................10–2
10.3 Program Change commands ..........10–2
10.3.1 Setting the Program Change tables ...........10–3
10.4 MIDI controllers ...............................10–3
10.5 MIDI Faders ......................................10–4
10.6 Sequenced mixing ...........................10–4
10.7 MIDI System Exclusive data
formats .............................................10–4
10.7.1 Device Inquiry .............................................10–4
10.7.2 Master Volume ...........................................10–5
10.7.3 Other System Exclusive messages ............10–5
10.8 Updating the system software .......10–5
10.8.1 Viewing the current version number ...........10–5
10.8.2 Equipment needed .....................................10–5
10.8.3 Connections ................................................10–5
10.8.4 Preparing to upgrade ..................................10–6
Table of Contents–ii
Table of Contents
10.8.5 Upgrading ..................................................10–6
10.8.6 Notes on the upgrade process ................... 10–6
10.8.7 A note on using sequencer programs ........10–6
10.9 MIDI Implementation Chart ............ 10–6
11 - Cascade
11.1 Cascade connections ..................... 11–1
11.1.1 Selecting busses for cascade ....................11–2
11.1.2 Word sync in a cascade .............................11–3
11.2 Using the cascade .......................... 11–3
11.2.1 Level settings .............................................11–3
11.2.2 Option settings ...........................................11–3
11.2.3 Automation settings ...................................11–3
11.2.4 Monitoring .................................................. 11–3
11.2.5 Soloing (PFL) .............................................11–3
11.2.6 Soloing (IPS) ..............................................11–4
11.2.7 SOLO all clear ............................................11–4
11.2.8 Snapshot library functions ..........................11–4
11.2.9 Talkback in the cascade ............................11–4
12 - Front panel
12.1 System controls, etc. ...................... 12–1
[1] Clock and Fs indicators ..............................12–1
[2] Automation control .....................................12–1
[3] LAYER STATUS keys and indicators ........12–1
[4] Library ........................................................ 12–1
[5] Configuration keys .....................................12–2
12.2 Mixing keys ..................................... 12–2
[6] FADER POSITION key ..............................12–2
[7] AUX 1 through AUX 6 keys ........................12–2
[8] PAN/BAL–SURROUND key ......................12–2
[9] MODULE key .............................................12–2
[10] ASSIGN key ...............................................12–3
[11] DYNAMICS key .........................................12–3
[12] PAD/
[13] EFFECT key ..............................................12–3
12.3 Display and POD s .......................... 12–3
[14] Display screen ...........................................12–3
[15] PODs .........................................................12–3
[16] ROW CURSOR keys .................................12–3
[17] Contrast control () ......................................12–3
12.4 Module control keys ....................... 12–3
[18] EQ key .......................................................12–3
[19] DYNAMICS key .........................................12–3
[20] BUSS ASSIGN keys ..................................12–3
12.5 Monitor control keys and meters .. 12–3
[21] Meters ........................................................ 12–3
[22] Monitor select keys and indicators ............. 12–4
[23] PFL and IN PLACE indicators ....................12–4
[24] TO SLATE and TO AUX 1-2 keys and
12.6 Chs 1–16, 17–32, Aux & buss send masters
12–4
[25] REC key and indicator (modules 1–16) .....12–4
[26] SEL key and indicator ................................12–4
[27] SOLO key and indicator (mono input
[28] CUT key and indicator ...............................12–4
[29] READ. WRITE, UPDATE indicators ..........12–5
[30] Layered faders ...........................................12–5
Φ ........................................................12∠3
indicators ....................................................12–4
modules and ST IN modules) ....................12–4
12.7 Stereo input and stereo masters ...12–5
[31] ST IN & 2 faders .........................................12–5
[32] STEREO OUT fader ...................................12–5
[33] ALL SAFE key ............................................12–5
12.8 Machine control ...............................12–5
[34] TC/LOC indicators ......................................12–5
[35] MDM LOCK indicators and time counter ....12–6
[36] Punch keys and indicators .........................12–6
[37] ALL INPUT key ...........................................12–6
[38] AUTO MON ................................................12–6
[39] MACHINE SELECT ....................................12–6
[40] REPEAT 8-9 key and indicator ...................12–6
[41] MEMO, MANUAL LOCATE, EDIT, DIRECT
LOCATE, CLR keys and indicators and
numeric keypad ..........................................12–6
[42] ENT key ......................................................12–6
[43] Transport keys and indicators ....................12–6
12.9 Data entry section ...........................12–6
[44] JOG/SHUTTLE key, indicator, dial
and wheel ...................................................12–6
[45] ENTER key .................................................12–6
[46] Cursor keys ................................................12–6
13 - Rear panel & connections
13.1 Analog inputs ..................................13–1
[47] MIC input (channels 1–8) ...........................13–1
[48] LINE IN (BAL) input (channels 1–8) ...........13–1
[49] INSERT connector (channels 1–8) .............13–1
[50] LINE switch (channels 1–8) ........................13–1
[51] PAD switch (channels 1–8) ........................13–1
[52] TRIM control (channels 1–8 and ST RTN
1 and 2) ......................................................13–1
[53] O/L indicator (channels 1–8) ......................13–1
[54] PHANTOM (+48V) 1–4 & 5–8 switches .....13–2
[55] L (MONO) & R inputs (ST IN 1 & 2) ...........13–2
13.2 Analog outputs, etc. ........................13–2
[56] AUX OUTPUTS ..........................................13–2
[57] 2TR RTN (BALANCED) .............................13–2
[58] 2TR RTN (UNBALANCED) ........................13–2
[59] STEREO OUTPUTS (UNBALANCED) ......13–2
[60] STEREO OUTPUTS (BALANCED) ............13–2
[61] MONITOR OUTPUTS (CR and STUDIO) ..13–2
13.3 Talkback ...........................................13–2
[62] 2TR RTN 1/2 switch ...................................13–3
[63] CR level ......................................................13–3
[64] DIM key and indicator .................................13–3
[65] STUDIO/PHONE Slevel .............................13–3
[66] MONO key ..................................................13–3
[67] TB LEVEL control .......................................13–3
[68] STUDIO key ...............................................13–3
[69] PHONES jack .............................................13–3
[70] Talkback microphone (unlabeled) ..............13–3
13.4 Digital I/O ..........................................13–3
[71] DIGITAL OUTPUT (XLR-type) ...................13–3
[72] DIGITAL OUTPUT (RCA) ...........................13–3
[73] D IN 2 (RCA) ..............................................13–3
[74] D IN 1(XLR-type) ........................................13–3
13.5 Other connections ...........................13–4
[75] POWER switch ...........................................13–4
[76] WORD SYNC OUT connector ....................13–4
[77] WORD SYNC IN connector and switch ......13–4
[78] CASCADE IN and CASCADE OUT ..........13–4
Table of Contents–iii
Table of Contents
[79] TO METER .................................................13–4
[80] RS-422 .......................................................13–4
[81] TO HOST ...................................................13–4
[82] MIDI IN, OUT and THRU ............................13–4
[83] TC IN ..........................................................13–4
14 - Specifications, etc.
14.1 Analog audio I/O ............................. 14–1
14.2 Digital audio I/O .............................. 14–1
14.2.1 Sampling frequency ....................................14–1
14.3 Other I/O .......................................... 14–1
14.4 Analog performance ....................... 14–2
14.4.1 MIC/LINE channel inputs (measured with
STEREO OUTPUTS) 14–2
14.4.2 STEREO IN 1 and 2 (measured with
STEREO OUTPUTS) ................................. 14–2
14.4.3 2TR RTN1 input .........................................14–2
14.4.4 2TR RTN2 input .........................................14–2
14.4.5 STEREO outputs (XLR) .............................14–2
14.4.6 STEREO outputs (RCA) .............................14–2
14.4.7 AUX 1–6 outputs ........................................ 14–2
14.4.8 CR outputs .................................................14–2
14.4.9 STUDIO outputs .........................................14–2
14.4.10 PHONES output .........................................14–2
14.4.11 Overall system performance ......................14–2
14.5 Physical specifications .................. 14–3
14.6 Error and warning messages ........ 14–3
14.6.1 Clock and synchronization .........................14–3
14.6.2 General .......................................................14–3
14.6.3 Automation setup .......................................14–4
14.6.4 Machine control ..........................................14–4
14.6.5 Snapshot library .........................................14–4
14.6.6 Dynamics library .........................................14–4
14.6.7 EQ library ...................................................14–5
14.6.8 Effect library ...............................................14–5
14.6.9 Stereo link (using SEL keys) ......................14–5
14.6.10 Computer communications (automation) ....14–5
14.6.11 MIDI ............................................................14–6
14.6.12 Fatal System Errors ....................................14–6
14.7 Block diagram ..................................14–7
14.8 Screen details ..................................14–8
Tutorial–Simple recording session
T1 Connections ....................................... T–1
T2 Setup T–2
T3 Basic Routing T–3
T4 Gain Structure T–4
T5 Adding Effects T–4
T6 Transport Control T–6
T7 Gain Structure Revisited T–6
T8 Snapshots T–7
T9 Data Backup T–8
..................................................
....................................
....................................
...................................
..............................
................
Adding Channel Dynamics & EQ ................ T–6
.........................................
......................................
Table of Contents–iv
1 - Introduction
The TM-D4000 digital mixing console is designed to
provide you with superlative audio quality in today’s
digital audio recording environment, as well as ease
of use and e xibility to meet changing needs.
This Reference Manual is not intended to be read
from cover to cover, but we do suggest that you make
yourself familiar with the contents of this section as
well as the structure of this manual, so that you can
find answers to questions when you need them.
If you learn a little about the key features and principles of operation now, before you start to use the
TM-D4000 it will save you time and trouble later on.
1.1 Features
The TM-D4000 includes many advanced features,
including:
• modular construction, allowing input and output
channels to be added in different congurations up
to 32 inputs and outputs
• the sixteen long-throw motorized “channel” faders
are “layered”, allowing control of up to 32 mono
inputs (which may be “ganged” in stereo pairs),
eight buss sends and six aux sends in a compact
package
• in addition to the sixteen faders mentioned above,
three dedicated motorized long-throw faders are
used for two pairs of stereo inputs and the stereo
out buss
• the TASCAM TDIF-1 digital audio format and
other popular digital audio formats, as well as
high-quality A/D and D/A conversion, are supported through modular expansion,
• all A/D and D/A convertors, including the nal stereo mix, work at up to 24-bit resolution
• digital I/O is also available at up to 24-bit
resolution
• eight output busses and six auxiliary sends
• all popular surround formats, as well as stereo, are
supported for nal mixdo wn
• expansion with other TM-D4000 consoles using
dedicated cascade cables for summing of busses
and Aux sends
• integral effects processor, allowing self-contained
operation when necessary
• both 44.1 kHz and 48 kHz sampling frequencies
are supported, with e xible clock conguration
• each input channel is equipped with 4-band fullyparametric equalization and a dynamics processor
• eight integral high-quality microphone ampliers,
with switchable phantom powering, as well as two
analog stereo inputs with dedicated faders
• eight fader groups and eight cut groups for e xibility and ease in the mixdown process
• the capability of acting as a remote controller for a
wide variety of devices
• synchronization and MIDI timecode generation
facilities, allowing location of connected recorders,
etc. and integration with the DTRS tape system
• full C-R and studio monitoring facilities are provided, along with an integral talkback microphone
and master bargraph meters
• graphical user interface featuring a backlit LCD
display with a flexible POD based interface
• library facilities for snapshot mix settings, frequently-used EQ settings, effect settings, dynamics
processor settings, etc.
• MIDI control allows dynamic control of parameters through MIDI messages, so mix events can be
recorded on MIDI for replay, as well as snapshot
recall being linked to Program Change messages
• personal computers connected to the TM-D4000
can run automation software, allowing full realtime control of almost all mix parameters
• an optional MU-4000 meter bridge unit provides
channel and master metering facilities through
LED bargraph displays which are switchable in
“layers”
1.2 About this manual
Please note the following typographical and other
conventions used in this manual:
• Physical “push” controls of the TM-D4000 are
referred to as “keys”.
• “Push” controls which are shown and used on the
screen are referred to as “buttons”.
• The names of keys and other connectors and controls of the TM-D4000 are given in the following
typeface:
• The names of on-screen buttons and other onscreen features, titles and prompts, etc. are given in
the following typeface:
• The names of any physical keys, connectors and
controls of other devices are given in the following
typeface: REMOTE IN .
• “Warnings” give advice regarding a possible hazard to equipment or personnel.
ROW CURSOR
.
SNAPSHOT LIB
.
1–1
1 - Introduction—Expansion cards
• “Notes” provide additional information which
requires special attention.
1.2.1How this manual is arranged
We feel that the first five sections of this manual are
"required reading". If you take the trouble to read
through these sections, you will have a good basic
understanding of the way in which you can get the
best out of the TM-D4000. Even if you are familiar
with the operation of mixers and digital mixers, and
even if you never usually read instruction manuals,
we suggest that you read these sections. They will
provide useful background information for you as
you use the TM-D4000.
The other sections are more in the nature of background reference, and contain information that you
may not need for everyday working.
Lastly, a tutorial section is provided that allows you
(or a new user of the TM-D4000) to become familiar
with the working of the TM-D4000.
1, “Intr oduction” :
overview of the TM-D4000, its operational features,
and the manual.
2, “Principles of operation” :
information on the layout and the special features of
the TM-D4000 (fader layers, user interface features,
etc.).
3, “System setup” :
D4000, there are certain issues concerned with word
(sync) clock timing, etc. This section should be read
before you start integrating the TM-D4000 into your
setup.
4, “Module operations” :
regarded as the "heart" of this manual—it contains
details of the everyday operations you perform with
any mixing console; for example, equalization, Aux
sends, buss routing, etc.
5, “Monitoring” :
monitoring durinng multitracking annd mixdown,
and solo operations, etc. using the TM-D4000.
6, “Surround modes” :
capable of mixing a a number of different surround
formats. This section explains how to use this mixer
for surround purposes.
7, “Internal effect processor” :
explains how to use and set the internal ef fect processor of the TM-D4000.
This section. It provides an
Contains basic
Before using the TM-
This may be
Explains the principles of
The TM-D4000 is
This section
8, “Library functions” :
processor settings, complete mixer snapshots, equalization settings, and dynamics processor settings can
be stored and recalled for convenience. These
"library" functions are described in this section.
9, “Machine Control” :
as a remote control unit for a wide variety of external
devices, and provides MIDI timecode synchronization facilities. This section provides a guide to these
facilities.
10, “MIDI” :
MIDI-related features of the TM-D4000.
11, “Cascade” :
in which a number of TM-D4000 units can be linked
together in a “cascade” to form a larger mixing unit.
This section gives a description of the
This section describes the way
12, “Front panel” :
of the front panel features of the TM-D4000.
13, “Rear panel & connections” :
a brief description of the rear panel connectors, etc.
and the connections to be made to and from the TMD4000 and other units.
14, “Specifications, etc.” :
a list of error messages, as well as all the configuration screens available, and a block diagram of the
TM-D4000.
In addition to effect
The TM-D4000 can act
Provides a brief description
Provides
Specifications, and
“Tutorial–Simple recording session” :
This provides a simple recording session using an
analog source (CD player) recording to a DTRS unit,
and mixing down to DAT. We suggest that you work
through this (about 1 hour) to familiarize yourself
with the way in which the TM-D4000 works. This
tutorial may be removed from the main manual
binder and stored seperately, if desired.
There is also an index, which should allow you to
find the answers to any questions relatively easily.
In addition to this manual, the documentation for the
automation software is provided seperately, as is the
documentation for the expansion cards (see below)
and the optional MU-4000 meter bridge unit.
1.3 Expansion cards
You must decide on the system that you will be using
with your TM-D4000 and configure it appropriately.
There are three slots available for expansion cards.
Without any expansion cards fitted in these slots, the
TM-D4000 is only capable of accepting analog sig-
1–2
1 - Introduction—Expansion cards
nals through the eight mono analog inputs, the two
stereo analog inputs and the two stereo digital inputs,
and outputting them to the stereo buss.
These interface cards are easy to install, and it is
therefore possible to keep a stock of different interface cards, allowing the TM-D4000 to be used in different ways as needs dictate on different occasions.
Without any interface cards tted, the TM-D4000
provides eight monaural analog inputs and two pairs
of stereo analog inputs. These may be mixed to a stereo pair of outputs, in either digital or analog format.
IF-TD4000 :
channels of digital input/output in TDIF-1 format,
allowing devices such as the DTRS series to be connected. In addition to the digital audio, this interface
card also provides a
allowing synchronization and control of the remote
DTRS recorder.
Note that when connecting a chain of DTRS units
using more than one IF-TD4000 card, etc. only one
of the DTRS units (the master unit) should be connected directly to the TM-D4000 with the
connection. The other units should be “daisychained” to the rst master unit.
This interface card provides eight
REMOTE
OUT
connection,
REMOTE
nection. The other units should be “daisy-chained” to
the master unit.
Also note than when an adat device is connected to
the IF-LP4000, both the IN and OUT connections
must be made, and they must be made to the same
unit to ensure clock stability across the system.
IF-AD4000 :
channels of balanced analog input/output at professional (+4 dBu) levels. All conversion is carried out
at 24 bits of resolution. The signals are connected
through a 25-pin connector, and a suitable cable will
be necessary to connect the external analog devices.
This interface card provides eight
1.3.1Fitting the interface cards
Turn off the TM-D4000 and disconnect it
1
from the power supply. Disconnect all other
equipment connected to it.
WARNING
The above step is most important. If you do
not do this, there is a risk that you may cause
damage to the TM-D4000 as well as other
equipment.
IF-AE4000 :
channels of digital audio input/output in 1992-3AES/
EBU professional format. The signals are connected
through a 25-pin ’D’-sub connector, and so a suitable
cable must be used in order to connect the AES/EBU
devices.
IF-LP4000 :
channels of digital audio input/output in adat™ format. The links to external devices are made through
optical “lightpipe” connections, allowing the TMD4000 to be connected to any device supporting such
a compatible interface. A 9-pin ’D’-sub
connector is also provided, allowing full remote control of and word clock synchronization to the adat
device.
Note that when connecting a chain of adat units using
more than one IF-LP4000 card, etc. only one of the
DTRS units (the master unit) should be connected
directly to the TM-D4000 with the
This interface card provides eight
This interface card provides eight
SYNC OUT
SYNC OUT
con-
2
Use the screwdriver to remove the blanking
panel from the slot into which you will t the
interface card. Keep the three retaining
screws in a safe place.
We suggest that you start from the top slot
(slot 1) and work downwards. Take care, if
you are removing a previously-tted inter face card, that you are removing the retaining screws, and not the smaller screws which
x the card to the r ear plate . Also, if you are
removing a previously-tted card, use the
binding posts on the rear plate to help
remove the card.
3
Remove the interface card from the antistatic protective bag.
1–3
1 - Introduction—Expansion cards
4
Hold the card by the edges, and insert it,
component side upwards, into the slot.
5
Locate the card into the connector inside the
TM-D4000. Push the card firmly, without
forcing, so that the connector grips the end of
the card. A new TM-D4000 and/or new card
may be a little stiff. Make sure that the card
is pushed as far as it will go (so that the card
rear connector plate touches the rear panel
of the TM-D4000).
6
Use the three blanking plate screws to attach
the rear panel of the interface card to the
rear panel of the TM-D4000.
Repeat this process for all the interface cards
that you are fitting.
When removing a card, unscrew the three retaining
screws and use the “pull posts” on the rear panel of
the card to remove it from the TM-D4000.
There are no rules governing which interface cards
may be fitted in any of the three slots—any interface
card may be fitted in any expansion slot. However,
the following points should be noted.
1.3.2Input channel numbering
Regardless of the type of interface card fitted, and the
expansion slots in which any cards are fitted, the
numbering of the input channels is always as follows:
Channel number Slot
1 – 8 Integral analog inputs
9 – 16 Slot 1 inputs
17 – 24 Slot 2 inputs
25 – 32 Slot 3 inputs
These assignments are fixed, and cannot be changed,
except that channels 5 through 8 and 13 through 16
can be assigned to the digital inputs (SPDIF or AES/
EBU).
It is important to note that there are no dedicated tape
return channels. Furthermore, because of this, every
channel, no matter what its current signal source, is
provided with the same full facilities of equalization,
dynamic processing, etc., and all channels may be
routed to the output busses in an identical manner
(direct outs are only possible for input channels 1
through 16, though).
1.3.3Output busses
All eight output busses are routed simultaneously in
parallel to the appropriately-numbered outputs of all
three slots (or as many as are filled with expansion
cards). If all three slots are filled, output buss 1 is
therefore output to output channel 1 of the cards in
slot 1, slot 2 and slot 3.
It is therefore possible to record up to 24 tracks
simultaneously, but when the output busses only are
used, only eight different signals are output. If, for
instance, a 24-track recorder is connected to the TMD4000 using three IF-AE4000 cards, the signal of
output buss 3 will be recorded on tracks 3, 11 and 19,
for example.
However, you can use the “direct out” function of
input channels 1 through 16, which will allow simultaneous recording of these sixteen inputs to output
busses 17 through 32 (slots 2 and 3), overriding any
signals which have been taken from the output busses.
At the same time, any inputs from slots 2 and 3
(channels 17 through 32) can be routed through the
output busses, which will be output through slot 1
(outputs 1 through 8).
Before you start recording, make sure that you have
the correct interface cards for your setup, so that you
can interface the TM-D4000 to the other equipment
in your setup.
1.3.4Direct out
As explained later in this manual, the signals from
input channels 1 through 8 (the integral analog
inputs) and channels 9 through 16 (the first expansion slot) can be assigned to be sent as direct out,
rather than to an output buss.
In this case, to determine the number of the output
channel, add 16 to the input channel. Input channel 1
is therefore routed to output channel 17 (the first
channel in the second interface slot), input channel 9
to output channel 25 (the first channel in the third
interface slot) etc. If no interface cards are fitted in
1–4
1 - Introduction—Word clock issues
the slots, the input signal selected for direct output
will not be output from the TM-D4000.
1.4 Word clock issues
The “word clock” in a digital audio system is the timing information that enables the digital audio samples in a system to be synchronized between the
different devices. It is completely unconnected with
timecode clocks, etc.
There must be one, and only one, word clock master
device in a digital audio system. The TM-D4000 is
capable of acting as a word clock master or as a
slave.
WARNING
There should be one, and only one, word
clock in a setup. Multiple word clocks in a
setup may result in noise. which can damage
monitoring equipment (speakers and
amplifiers).
Check with the other equipment that you are using to
see whether it can be a master or slave, and work out
which device will be your word clock master. If the
TM-D4000 is to be a word clock slave in your system, it can accept word clocks from the following
sources:
• Any of the slots which are occupied by a digital
interface card (either TDIF-1, adat, or AES/EBU).
In the latter case, any of the four stereo signal pairs
that make up the IF-AE4000 are individually
selectable as word clock sources).
• The digital inputs D-IN1 and D-IN2 .
• If more than one TM-D4000 is being cascaded, the
clock source on a cascaded TM-D4000 will always
be the cascade source. The “head” of the cascade
chain can select its clock from any available
source.
• A word clock signal, received at the dedicated
word clock input on the rear panel.
The clock can be at 44.1 kHz or 48 kHz, with some
variation possible for varispeed, etc. at ±6%. See 3,
“System setup” for details of word clock selection.
1.5 Effects and monitoring
The TM-D4000 has six auxiliary sends (Aux sends).
These may be used for cue purposes, for effect sends,
or a mixture of these purposes.
In addition, there is a high-quality stereo digital
effect processor built into the TM-D4000, and this
may be used in addition to external effects. The internal processor can be fed from either the first or last
pair of Aux sends, and the stereo output from the processor can be returned to the second stereo pair of
channels.
Typically, the six AUX OUTPUT 1/4-inch jacks are
used for feeding external effect units, etc. on mixdown, but some of them may be used as studio cue
feeds, allowing different sub-mixes to be built up for
different monitoring mixes. Since the built-in talkback microphone can be sent to the Aux 1 and 2 busses (as well as being slated), it is suggested that Aux
1 and 2 are used for cueing the in-studio talent.
Though there are no dedicated effect returns, any of
the analog inputs can be used for analog effect
returns, and the stereo inputs may also be used for
this purpose.
Additionally, the two digital stereo inputs can be
used as input sources for two of the following channel pairs: 5–6, 7–8, 13–14 or 15–16.
There are two sets of outputs suitable for feeding the
control room and studio monitoring systems (as well
as a headphone jack). Dimming, talkback, etc. facilities are provided, as well as the ability to monitor any
of the Aux sends, the digital inputs, or either of two
2-track recorders (as well as the stereo mix, naturally).
1–5
2 - Principles of operation
In fact, all the appropriate controls are present; they
2.1 User interface
The TM-D4000 is a 36-channel console with eight
output busses, 4-band fully parametric equalization
on each channel and six aux sends.
are software controls, and this section explains how
to access them, as well as providing a “road map” so
that you can find your way easily round the different
parts of the TM-D4000.
Howev er, when you look at the console and compare
it with an analog console of the same specifications,
it may appear that some controls are missing. For
example, there would be 408 EQ rotary controls
alone on an analog console (12 on each of 32 mono
channels and 12 on each of 2 stereo channels).
Analog inputs
Clock & Fs
indicators
Layer status
Automation
control
Library
Configuration
Mixing
2.2 Road map
The TM-D4000 can be divided into logical sections,
as shown below. It is worthwhile remembering where
each section belongs, so that you can find your way
around the console quickly and easily when you start
to use it.
Analog outputs, etc
Talkback
Display screen
and PODs
Module
control
keys
Monitor control
keys and meters
Machine control
8–9
Chs 1–16, 17–32,
AUX & buss send
masters
Stereo input
and stereo
masters
The majority of the settings are made using the display screen, using the PODs underneath the screen.
section
Data entry (some overlap
with machine control)
2–1
2 - Principles of operation—Using the PODs
2.3 Using the PODs
A POD consists of a continuous rotary encoder or
“knob”, with two keys (or “switches”) under it. There
are four PODs located directly under the display
screen.
The knob is used to set continuously variable parameters shown on the screen (for example, the amount
of signal sent to an Aux b uss), while the switches are
used for “on/off”-type screen parameters (e.g. pre-or
post-fader send).
A typical screen showing POD use is shown below
(the method of actually selecting screens is given
below):
To change the active row, use the
keys to the right of the PODs to move the heavy
blinking box indicating the active row.
In addition to the POD knobs, the POD switches can
also be used in a number of cases in this screen to set
various parameters.
In this way, comparatively few physical controls can
be made to adjust many parameters. Since these controls are centralized, this allows for very efficient
working with the TM-D4000.
ROW CURSOR
2.3.1Selecting screens
Display screens are selected using the group of keys
to the left of the display screen.
Sometimes a key will have tw o labels, one abov e and
one below. The function described by the lower label
is accessed by pressing the
SHIFT
indicator lights, and then pressing the appro-
priate key.
The screen shown below is a
screen, as shown by the title in the top right corner of
the screen. Accordingly, the (unshifted) key whose
upper label is
DIGITAL I/O
SHIFT
key so that the
DIGITAL I/O
should be pressed.
The controls on the screen are shown in rows, each
row corresponding to the four PODs.
The heavy blinking box surrounding a row sho ws the
currently-active row. Turning a POD knob will have
the effect of changing the corresponding parameter
in the active row (turning the left POD knob will
adjust the left parameter in the active row, etc.).
In the example above, the right on-screen control in
the active row is “grayed out”. This means that the
corresponding POD has no function when this row is
active.
Note that PODs which are enabled, but not in the currently active row, are shown as small dashed circles.
PODs which are disabled, and not in the currently
active row, are shown as small gray circles.
Where both switches of a POD are unused, they are
not displayed on screen. When only one switch of a
POD is used, the other is “grayed out”.
Note that this screen contains three “tabs” under the
title. This is because there are more parameters
which fall under the heading of “digital I/O” than can
fit on one screen.
Currently , the
it is these parameters which are available for editing.
To change to the next tab,
DIGITAL I/O
tor lit).
Another press of the
CASCADE
I/O SETUP
key once more (with the
DIGITAL I/O
tab to the front, and pressing it one
tab is at the top, and
CLOCK
, press the
SHIFT
key will bring the
indica-
2–2
2 - Principles of operation—Using the PODs
more time will bring
I/O SETUP
to the front
once more.
2.3.2Navigation in screens
In the screens above, there are no POD-selectable
parameters. In these cases, it is necessary to use
another method of working.
This is provided by the cursor keys and the
key beside the
JOG/SHUTTLE
dial.
ENTER
2.3.4One channel or one parameter?
The TM-D4000 provides two options for the setting
of module-based (as opposed to system-based)
parameters.
If one module (or stereo linked pair of modules) is to
have many parameters changed, at one time, the
channel is selected (see 2.3.5, “Selecting channels”
below) and the
below:
MODULE
screen is used, as shown
Use the cursor keys to move the cursor (
to field, and the
ENTER
key to select a value from
å
) from field
one of a number of options.
2.3.3Using the JOG dial
Sometimes there are numerical values to be set.
These can be entered using the
JOG/SHUTTLE
indicator is off and the Dial Edit
option is checked—see 3.3.7, “Dial edit”).
The
dial can also be used to change the values
JOG
of a highlighted item which can also be edited by a
POD (in the screen above, there are no such values,
but the
MODULE
screen in 2.3, “Using the PODs”
contains many such values). Note that the
can be used to control the values of a parameter that
is not in the currently active POD row.
In some screens, the
JOG
dial may be used instead of
the cursor keys to move the cursor around the screen.
The instances where this can be performed are usually obvious and therefore will not be described in
detail.
In certain special screens, the outer
is used to change the function of a screen (for
instance in library screens, it changes the function of
the
JOG
dial from a device selector to a character
selector.
The numeric keypad may also be used for the direct
entry of numeric values in certain cases.
dial (when the
JOG
SHUTTLE
JOG
dial
wheel
In fact, the
(
EQ/AUX/PAN
MODULE
processor)). Pressing the
“screen” is two screens
EQ/DYN
and
MODULE
(dynamics
key will change
between these two screens (see 2.3.1, “Selecting
screens” for more information on multiple screens).
Sometimes, though, it makes more sense to view and
adjust a single parameter on many modules simultaneously. For instance, here is the screen to adjust the
levels for Aux send 1, accessed by pressing the
AUX 1
key:
Note that again, this “screen” is actually two screens,
the first for the channels 1 through 16, and the second
for channels 17 through 32. Repeated presses of the
AUX 1 key will cycle between these two screens.
2–3
2 - Principles of operation—Fader layers
In addition, the
NOTE
Equalization is only available in the
MODULE
screen. There is no global equal-
ization screen.
2.3.5Selecting channels
In the case of the
MODULE
you to adjust the parameters of an individual channel
(or pair of linked channels), it is necessary to select
the channel whose parameters are to be edited. This
is usually done with the individual channels’
keys.
Pressing the
SEL
key of a channel (or either channel
of a stereo linked pair of channels) will change the
MODULE
screen (when a
already displayed) to allow viewing and setting of
that channel’s parameters.
If the
MODULE
screen is not already displayed,
pressing and holding the
about two seconds will bring up the
editing screen for that channel, if the appropriate
option is set (see 3.3.5, “Select MODULE return”).
screens, which allow
MODULE
key of a channel for
SEL
screen is
MODULE
SEL
around a screen quickly when a lot of channels are
displayed simultaneously, rather than using the cursor keys to select a channel.
The channel faders may also be used to select channels for editing, together with other optional preferences concerned with the interface, as described in
3.3.4, “Fader select”.
2.4 Fader layers
The TM-D4000 can handle up to 32 mono inputs,
together with two stereo inputs, and also has eight
busses and six aux sends. However, only 19 faders
are visible.
The way that faders are used is in “layers”—each
layer consisting of 16 faders.
The three right faders always control the two stereo
inputs and the stereo master buss, regardless of the
settings of the other faders, except in the Aux send
mode, where the mono and stereo input faders in the
1-16
and
MASTER
selected, all faders retain their settings.
keys may also be used to jump
SEL
17-32
layers act as Aux sends. In the
layer, even if the Aux send option is
Channel faders 1–32
Layer 1
(CH 1-16)
Layer 2
(CH 17-32)
1
2
3
10 26
AUX 2
(fader strip
label)
The three layers are selected using the
STATUS
keys (the appropriate indicator will light).
LAYER
These three keys are interlocking, i.e. only one can
be active at a time, and have the following meanings:
LAYER
STATUS
CH 1-16
Faders 1–8 control the inputs from the integral
analog inputs, and faders 9–16 control the
channel inputs from slot 1
Meaning
LAYER
STATUS
CH 17–32
MASTER
8 output busses 6 aux sends
Layer 3
(MASTER)
Meaning
Faders 1–8 control the channel inputs from slot
2, and faders 9–16 control the channel inputs
from slot 3
Faders 1–8 control the levels of the signals fed
to the eight output busses. Faders 9–14 control
the levels of the six aux sends. Faders 15 and
16 are unused in this fader layer.
2–4
2 - Principles of operation—Fader layers
Every time the fader layer is changed, the faders will
move to the positions corresponding to the new layer.
NOTE
In addition to the faders, the
and
CUT
keys, as well as the channel automa-
REC
,
SEL
,
SOLO
tion indicators above each fader all
change function to control the appropriate
input channel, buss or aux send. However, in
this manual we sometimes use the term
“fader” as a shorthand expression for all these
items.
Note that there are some modes where the fader controls do not act as channel, Aux or buss faders. These
are principally the Aux Fader Control mode (see 4,
“Module operations”) and MIDI Fader (10.5, “MIDI
Faders”) modes (some Machine Control settings may
also use the faders). If the current fader layer is not
controlling module (or Aux or buss) levels, the currently-selected indicator will ash.
NOTE
In the Aux Fader Control mode, the MASTER
layer functions do not change. Accordingly,
the
STEREO IN
faders act as channel faders in
the MASTER layer when the Aux Fader Con-
trol mode is selected, not as Aux sends for the
stereo channels.
2.4.1Turning fader motors on and off
The fader motorization can be turned on and off as n
described in 3.3.8, “Automation fader inhibit”..
This setting only takes effect in automation replay
(Read) mode. In all other cases such as fader layer
changes, snapshot recall, etc., the faders are always
motorized.
2.4.2Physical and logical faders
When automation operations are taking place, we
can speak of “physical” and “logical” faders.
The “physical” faders, as the name implies, are the
actual controls (the fader knobs). The “logical” faders, on the other hand are not visible, and are the
positions that the physical faders would occupy for
the current level.
NOTE
The positions of the physical and logical faders will always be the same when fader
motorization is turned on.
2–5
3 - System setup
This section describes the operations that should be
carried out to affect the operation of the TM-D4000
as a whole.
These include:
• Digital I/O setup
• Word clock setup
• System options
It is important to understand the basic principles
explained here. If you do not, it will be more difficult
to achieve satisfactory results with your TM-D4000.
NOTE
The Cascade setup (accessed through the
DIGITAL I/O key) is described in 11, “Cascade”, the Solo setup in 5, “Monitoring”, and
the Surround setup in 6, “Surround modes”.
3.1 I/O setup
1
With the
DIGITAL I/O
appears.
This screen allows the selection and assignment of
the digital inputs to channels. Note that the same digital input may appear as an input option for more
than one pair of channels. If a digital input is selected
as the source of more than one pair of channels, it
will appear at all these channels simultaneously.
SHIFT
indicator off, press the
key
until the screen below
[5]
The options available are:
Input
channels
5 & 6 Analog (integral
analog channels 5 and 6)
7 & 8 Analog (integral
analog channels 7 and 8)
13 & 14 Slot 1 CH13-14
(channels 7 and
8 of the card in
slot 1)
15 & 16 Slot 1 CH15–16)
channels 7 and
8 of the card in
slot 1)
ST-IN 1 ANALOG (inte-
gral stereo
inputs)
ST-IN 2 ANALOG (inte-
gral stereo analog inputs
a
EFFECT
AUX1/2 (Aux
busses 1 and 2)
Available sources
D-IN1 (XLRtype)
D-IN2 (RCA) —
D-IN1 (XLRtype9
D-IN2 (RCA) —
D-IN1 (XLRtype)
D-IN2 (RCA) INT
AUX5/6
(Aux busses 5 and 6)
—
—
—
EFFECT
(internal
effect processor)
—
a. The source of the internal effect processor
input
3.1.1STEREO OUT settings
In addition to these input sources, changes to parameters affecting the digital output of the
OUT
can be made.
Firstly , the
either professional (
(
CONS.
STEREO OUT
PRO.
) format.
can be selected as being in
) or consumer
Changing the setting made here will also affect the
format of the output from any IF-AE4000 interface
cards fitted in the expansion slots.
NOTE
The Consumer format, when output from the
unbalanced RCA STEREO OUT jack, corresponds to the IEC61958 (SPDIF) format.
STEREO
3–1
3 - System setup—CLOCK setup
If the Professional format is selected, the
resulting data output from the RCA STEREO
OUT jack will probably be unusable by most
domestic equipment.
3.1.2Consumer options
If the chosen output is Consumer, hold down the
SHIFT
key and press the right switch of POD 4 to
change the SCMS (copy-protect) settings between
FREE
one-generation) and
(SCMS disabled),
NO COPY
ONCE
An appropriate message will appear on screen, and
these settings are stored in memory.
In addition, the category of consumer audio can be
set using the
SHIFT
key along with the left switch of
POD 4 to cycle through the following values:
General
CD
LD
MD
CODEC
MIXER
SRC
SAMPLER
DAT
DVTR
DCC
TV-J
TV-EUR
TV-USA
TV
Synth
Microphone
Pro A/D
A/D
RAM
General
CD
Laser (usually disc)
MD
PCM Codec
a
Mixer
SRC (Sample Rate Converter)
Sampler
DA T
DVTR
DCC
Japanese broadcast digital
European broadcast digital
American broadcast digital
Broadcast digital
Synthesizer
Microphone
Copy-free A/D converter
A/D converter
Solid state reproducer
(standard SCMS
((copy-prohibit).
If the selected word length is less than 24 bits, you
may choose to dither the resulting output. Dithering
helps to reduce quantization noise, but results in a
slightly lower signal-to-noise ratio. Choose either
OFF
, rectangular (
RECT
) or triangular (
TRI
)
dithering. The shape names refer to the probability
distribution of the noise which is used in the dithering process.
Typically, triangular dithering gives better quantization noise reduction than rectangular, but the signalto-noise ratio is not as good.
NOTE
The word length from the output busses is
always set to 24 bits.
3.2 CLOCK setup
WARNING
There should be one, and only one, word
clock source in a digital audio setup. Multiple
word clocks in a setup may result in noise
which can damage monitoring equipment
(speakers and amplifiers).
The word clock source is selected in the following
way:
With the
1
DIGITAL I/O
shown (note that the exact screen may differ
from that shown here, depending on the
number and the type of the interface cards
fitted in the expansion slots):
indicator unlit, press the
SHIFT
key until the screen below is
a. TM-D4000 default setting
This allows the TM-D4000 to pose as an alternative
audio source, for instance if an MD deck can only
accept signals from a CD or another MD deck, or in a
broadcast situation, a certain category may be necessary for use with other equipment.
If an attempt is made to set the category with the Professional format setting, an error message, “No Category for AES/EBU” will appear on screen.
3.1.3Word length and dithering
The word length can be selected as being either
20
or
24
bits in length.
16
3–2
Move the cursor to the box which contains
2
,
the description of the desired clock source.
3 - System setup—CLOCK setup
3
Select the clock source by pressing
The popup panel provides information about
the potential clock source. Press
select this source, or any one of the cursor
keys to dismiss the popup panel, and select
another source.
In the case of an IF-AE4000 (AES/EBU
interface card), there are four different
sources (the four AES/EBU inputs) which
may be selected as the word clock source for
the TM-D4000.
ENTER
ENTER
to
.
ADAT is to be a word clock slave, especially
if more than one AD AT is connected. See also
9.4.4, “ADAT devices”.
If more than one IF-LP4000 card is fitted,
there are three choices for each card, regardless of the actual connection of the ADAT
units to the TM-D4000. The last on-screen
button pressed (on any of the IF-LP4000
options) then determines the status of the
first ADAT in the chain.
4
If the clock source has been selected as INT,
the clock rate (sampling frequency) can be
selected. In all other cases, the sampling frequency is fixed and cannot be changed.
1
If the TM-D4000 has been cascaded from
another unit, the clock source is set as
CASCADE
“head” of the cascade chain can select the
clock from any source.
In the case of an IF-TD4000 (TDIF-1 interface card), the device attached to the card
source is shown as either a
DTRS recorder) or
of recorder connected through the TDIF-1
interface). If the indicator shows DA88, then
I/O data is truncated to 16 bits, otherwise I/O
is carried out at 24 bits.
In the case of an IF-LP4000 (ADAT “lightpipe” interface card), there are three
options:
than one IF-LP4000 is fitted, changing the
setting for one card will change the settings
for all the rest. The
ADAT to act as the clock master (this is not a
recommended setting). If
the ADAT receives its clock through the
SYNC cable, and if DIGI is selected, the
optical connection is used as the clock source
to the ADAT. We strongly suggest that
SYNC is used, rather than DIGI, if the
and cannot be changed. The
DA88 ( DA-88
OTHER (another type
INT, SYNC or DIGI. If more
INT setting allows the
SYNC is selected,
3.2.1Selecting clock frequencies
Word clock sources, except for WORD and ADAT
sources, include information regarding their sampling frequencies. If either
selected as a clock source, the procedure below
should be followed:
1
Decide what sampling frequency the project
will use.
2
Select INT as the clock source (this is a
temporary measure), and select the fre-
quency.
3
Select the final clock source (WORD or
ADAT). The TM-D4000 sampling fre-
quency will now match the incoming word
clock.
1. Note that the other ADAT units, “daisychained” to the first ADAT unit in the chain
with SYNC connections, will be automatically
set to take their clock from the SYNC connector, and their IDs will also be set automatically, regardless of setting made here.
WORD or ADAT is
3–3
3 - System setup—Option setup
3.2.2Clock check
The status of all possible clock sources currently
connected to the TM-D4000 can be checked by moving the cursor to the
ENTER. The console will mute, and a list of av ailable
clock sources will be shown.
ENTER to continue operations.
Press
CHECK box and pressing
3.2.3Clock settings (other)
indicator will flash, and a message will appear on the
display:
The TM-D4000 will report the out-of-range clock
frequency at a range of ±9.9% relative to the stated
frequency, but will mute at 7.0% or over.
Press the
change to the
condition (by selecting another clock source, or by
re-selecting the clock if it has come back into range).
ENTER key to dismiss the popup message,
CLOCK screen, and correct the error
The Fs STATUS box shows the status of the
currently selected clock source.
WORD POLARITY settings allow either
The
incoming or outgoing word clock information to be
inverted (
because some units either transmit or expect to
receive such signals in this inverted format.
REVERSE) relative to normal. This is
3.2.4Clock tolerance
When setting the clock, the sampling frequency
received can be ±6% of the stated nominal value.
When in use, the frequency can be ±7% of the stated
value. This allows a digital device which has a
varispeed feature to be used as the word clock source
for the TM-D4000.
If the selected clock source goes out of range, the
TM-D4000 will mute, the currently-selected clock
3.3 Option setup
In unshifted mode, this key is used to show the
OPTION screens. There are three of these
screens:
and they are accessed by repeated presses of the
OPTION key.
The solo operations are explained in 4, “Module
operations”, and the surround operations in 6, “Surround modes”.
The
(as well as displaying the current battery voltage,
used to power the memory holding library entries,
etc.) as shown and described below:
SETUP, SOLO and SURROUND,
SETUP screen provides the following options
3–4
These settings are generally made using the cursor
keys to move the cursor to the parameter to be
3 - System setup—Option setup
changed, and the ENTER key is then used to make
the setting.
3.3.1Location display mode
When using the TM-D4000’s location facilities to
control an external device, the value of the location
points (
be displayed either on the main time counter (
Seg LED) or as a “pop-up” panel on the main
display screen (
LOCATE DISPLAY MODE) can
7-
LCD Screen Pop-up).
These options are mutually exclusive, i.e. you can
only choose one.
3.3.2Timecode source
The timecode displayed on the time counter can be
taken from the timecode source used for automation
timing (
Source), directly from a DTRS recorder
through the
Absolute Time) or received at the
MIDI IN terminal as MIDI timecode (MIDI
IN MTC [MIDI Time Code]). This
Automation Sync
REMOTE IN terminal (MDR ABS
timecode source is also used when controlling external devices (see 9, “Machine Control”). Again, only
one of these options can be selected.
3.3.3Preferences
The PREFERENCES are as follows: Fader
Auto MODULE Select, Select
MODULE Return, Select Link
and
Dial Edit, Automation
Fader Motors Inhibit and
Balance Level CENTER 0dB.
Any number of these preferences can be selected, as
indicated by a check mark in the checkboxes (✔).
3.3.4Fader select
When checked, and the MODULE screen is currently displayed this option allows a module to be
selected whenever its fader is moved, in addition to
the usual method of pressing the
SEL key.
3.3.5Select MODULE return
When checked, this option allows the MODULE
screen of the appropriate module to appear (even if a
MODULE screen is not currently displayed) if the
SEL key of the module is pressed and held for about
two seconds.
3.3.6Select link
When checked, this option allows the stereo linking
of two adjacent modules (provided the left module is
odd-numbered) by pressing and holding the
SEL key
of one module and pressing the
SEL key of the other .
See 4.2.2, “Using the SEL keys to link channels”.
3.3.7Dial edit
When checked, this option allows the JOG dial to be
used as a data entry dial for the on-screen control
pointed to by the triangular cursor, which is usually
controlled by a POD knob. In effect, this provides
another POD. In addition to this option being
checked, the
when using the
JOG/SHUTTLE indicator must be off
JOG dial in this way, to prevent the
JOG dial being used as a transport control.
3.3.8Automation fader inhibit
The Automation Fader Motors
Inhibit setting allows the motorization of the
faders to be turned off or on for automation replay
(Read) purposes. See 2.4.1, “Turning fader motors on
and off”.
3.3.9Balance level
When two channels are linked together as a stereo
pair, the pan controls change to a balance control, as
mentioned earlier. In the center position, the level
may either be set to
0dB (checked) or a 3 dB cut
(unchecked).
3.3.10Oscillator
The integral line-up oscillator can be turned using the
left switch of POD 2 and the frequency adjusted with
the POD 1 control. It can be assigned to either the
left or right main output buss, (
R buss), Both of these, or neither using the
L Buss,
switches of POD 1. The left busses are the odd-numbered output busses (1, 3, 5, 7) and the left channel of
the stereo output buss. The right busses are the evennumbered output busses (2, 4, 6, 8) and the right
channel of the stereo output buss.
The POD 1 rotary control is used to change the level
of the oscillator, relative to full-scale.
3.3.11Meter ballistics
The release rate (“fall time”) and peak hold time of
the meters and can be adjusted using the knobs of
PODs 3 and 4.
The release rate can be set to
or
Slow.
The hold time can be set to
2sec, 4sec, 8sec or ß . The final (infinity)
setting will hold the peak value until a new setting is
made (or the TM-D4000 is turned off!).
Fast, Normal
0sec, 1sec,
3–5
4 - Module operations
The input modules of the TM-D4000 are of two
types: mono input and stereo inputs. There is no difference between a “tape return” channel, an “effects
return” and an input channel—all modules are
equipped with the same features.
The digital parts of the mono input modules are identical, regardless of what interface card is fitted. The
only difference between mono modules is that modules 1 through 8 use the integral mic amplifiers and
A/D convertors. These analog features (MIC/LINE
switch, phantom powering, analog pad and gain, etc.)
work in an identical way to similar features on a conventional analog console. If you are unsure about the
operation of these items, consult 13, “Rear panel &
connections”.
If the digital functions of the modules were “converted” to analog controls, a module would look similar to the following:
AUX 1
PHASE (Φ)
PAD
ON
HI
SHELF
F
Q
LPF
HI-MID
ON
F
Q
NOTCH
LO-MID
ON
F
Q
NOTCH
ON
LO
SHELF
F
Q
HPF
EQ
COMP/GATE
ATT
REL
THRSH
RATIO
OUT GAIN
AUTO
DYNAMICS
ON/OFF
TRIGGER
L R BOTH
L R
PHASE (Φ)
PAD
Stereo
inputs &
stereo
linked
pairs
G
G
G
G
COMP/GATE
THRSH
RANGE
HYST
ATT
HOLD
DECAY
Gate
selected
LINK
as
dynamic
processor
LINK
LINK
LINK
GANG*
PRE/POST
AUX 2
PRE/POST
AUX 3
AUX 4
AUX 5
AUX 6
PAN
OFF
1
2
3
4
5
6
7
8
1-2
3-4
5-6
7-8
L-R ST
DIRECT
OUT
FADER
GROUP
OFF
PAN
CUT
GROUP
1
2
3
4
5
6
7
8
*the GANG control is only available on odd-numbered modules
AUX 1-2
PRE/POST
UNLINK
PAN
AUX 3-4
PRE/POST
UNLINK
PAN
AUX 3-4
PRE/POST
UNLINK
PAN
IMAGE
BALANCE
LR
MONO
SOLOCUT
Stereo
linked Aux
sends
Stereo
inputs &
stereo linked
pairs
Dashed lines indicate options (e.g. the dynamics processor selected for each module can be a compressor/
limiter or a gate, but not both). Aux sends can be
optionally linked, providing a PAN control. When
channels are linked together in a stereo pair (see 4.2,
“Stereo linking”), the PAN controls are replaced by
an IMAGE control and a BALANCE control.
4.1 Module features and control
NOTE
This section contains the instructions for the
everyday module operations, as described
below. You should at least make yourself
familiar with the contents of this section, so
that you know which parts to use for reference
if you need information.
Very briefly, the typical signal path is:
• phase (4.8, “Pad and phase( Φ )”
• digital trim (4.8, “Pad and phase( Φ )”)
• 4-band EQ (4.3, “Equalization”)
• dynamics processor (comp/limiter or gate) (4.6,
“Dynamics processor settings”)
• fader (self-explanatory—for details of fader grouping, see 4.9, “Fader and cut groups”)
• Aux sends (4.5, “Aux sends”
• cut and solo (cut groups are described in 4.9,
“Fader and cut groups”, solo modes are described
in 5, “Monitoring”)
• panpot (4.7, “Pan and balance”)
• channel-to-buss assignment (4.4, “Channel-to-buss
assignments”)
4.1.1Stereo out module
This module includes 4-band EQ facilities and a
dynamics processor (identical to those provided on
the other modules).
4.1.2Control of module parameters
In many instances, there may be more than one way
of controlling module parameters: e.g. from the
MODULE
parameters for a single module (or linked pair) and
from a dedicated “global” screen, allowing the
adjustment of a single parameter for many modules.
These are described in 2.3.4, “One channel or one
parameter?”. In this section, the appropriate way(s)
of working are described for each parameter.
screen, allowing the control of many
4–1
4 - Module operations—Stereo linking
4.2 Stereo linking
In unshifted mode, the
GROUPING/ST LINK
allows the linking of channels as stereo pairs.
Only adjacent channels can be linked into stereo
pairs, and the lower channel must be odd-numbered.
In other words, while it is possible to link channels 1
and 2, it is not possible to link channels 1 and 3, nor
is it possible to link channels 2 and 3.
Stereo linked channels allow the simultaneous setting
and linking of the following module parameters:
• Input source
• Digital pad setting
• EQ settings
• Aux 1–6 send levels, on/off status and pre/post
status
• Dynamics processor settings
• Logical fader level
•
CUT
switch status
SOLO
•
switch status
• Buss assignment
• Fader group and cut group assignments
• Automation mode settings.
In addition to the stereo linking of channels, the TMD4000 also allows the stereo linking of output busses
1 through 8, and Aux send busses 1 through 6. Again,
only adjacent busses may be linked, and the lower
buss of each buss pair must be odd-numbered.
When a pair of output busses is linked, the buss send
levels and delay settings are linked.
When a pair of Aux sends is linked, the send levels
are linked.
In cases where pan controls were previously available (channels), the pan controls are changed to balance controls and an image width control is added.
When channels are linked, the pan “gang” feature is
no longer available.
key
4.2.1Using the ST LINK key to link channels
T o mak e a stereo link between two adjacent channels
or busses, make sure the
press the
ST LINK
Use the cursor keys or the
sor (upward-pointing arrow—
SHIFT
indicator is off, and
key to show the screen below.
dial to move the cur-
JOG
ø
) to the pair of chan-
nels or busses whose link status is to be changed.
Press the
ENTER
channel status (
LINK
) of the channels or busses.
key to change between separate
) and stereo linked status (
ªº
ST
4.2.2Using the SEL keys to link channels
See 3.3.6, “Select link” for details of the
Link
parameter. When this is set on, the
of channels may be used to create and remove stereo
links, rather than the screen described above.
Note that the
when the
GROUPING
keys have a different function
SEL
screen, described in 4.9,
“Fader and cut groups”, is showing, and therefore
stereo linking and unlinking cannot be carried out at
that time.
Pressing and holding the
SEL
key of one of a valid
pair of channels and busses and then pressing the
SEL
key of the other member of the pair will bring
up a pop-up panel asking for confirmation to form
the stereo link between the two channels or busses.
Press
ENTER
to confirm, or a cursor key to cancel.
Select
keys
SEL
NOTE
When a pair of channels or busses is linked, if
the physical faders are not in identical positions before the link process, the “child” fader
of the pair will rise to meet the other “parent”
fader. This may cause a sudden rise in monitoring, etc. levels.
4–2
If the two channels or busses already form a stereo
link, this procedure will bring up a pop-up panel asking for confirmation to break the link. Press
ENTER
to confirm, or a cursor key to cancel.
The status of stereo links between channels and bus-
ses can be verified at any time, using the screen
described above.
4.3 Equalization
4 - Module operations—Equalization
PODs will change the shape of the curve. When the
EQ is brought back, these changes will take effect.
The first three PODs in the first four POD rows of the
MODULE
screen control the equalization.
As the equalization settings are changed, the graphical representation of the EQ response also changes.
The four EQ bands are named
LM
mid),
LO
(low-mid) and
bands differ from the other two, as explained
HI
LO
(low). The
(high),
HM
HI
(high-
and
below.
The gain of the bands is between
-15 dB
in 62 steps.
+15dB
and
However, the high and low bands can be set to act as
lowpass and highpass filters, respectively, by turning
the gain to below the minimum
If the gain is turned below
-15dB
-15dB
setting.
on the HM and
LM bands, they change to notch-type filters.
Each of the four EQ bands covers the same frequency
range:
32Hz
19kHz
to
, selectable over a 112-
step range using POD 2.
The Q of each band (the frequency range over which
it operates) can be set from 8.65 to 0.27 in 25 steps.
The high and low bands can be set to provide shelving EQ, as opposed to peaking-type EQ.
Each band can be turned on and off using the left
switch of POD 1.
The gain of each band can be flattened using the right
switch of POD 1.
In order to bypass the equalization circuit for the
key to the right of the
module completely, the
EQ
display screen should be pressed. When the EQ is
bypassed, the response curve at the top of the display
is “grayed out” to show that EQ settings have no
audible effect, but making adjustments using the
When two channels have been linked into a stereo
pair, or when one of the two stereo inputs is selected,
the changes made to the equalization affect both
channels equally.
EQ settings, once made, may be stored in the EQ
library for further recall. The way in which this is
done is explained in the section of this manual dealing with the TM-D4000 libraries (8, “Library functions”).
4.4 Channel-to-buss assignments
There are two ways of assigning channels to the eight
output busses, the stereo busses, or for direct output:
using the dedicated
MODULE
screen.
ASSIGN
4.4.1Using the MODULE screen for buss assignment
The status of the keys to the right of the display
screen are shown:
reo assignment keys, and the direct out status (for
input channels 1 through 16).
The function of the
explained in the appropriate places (4.3, “Equalization” and 4.6, “Dynamics processor settings”).
The channel can be assigned to any combination of
the eight output busses and the stereo output buss.
Busses are selected in pairs (1–2, 3–4, 5–6, 7–8).
As with most analog consoles when a buss pair is
selected, the odd-numbered buss of the pair corresponds to a hard left pan, and the even-numbered
buss corresponds to a hard right pan. Anything in
between will balance the channel signal proportionately between the two busses.
Input channels 1 through 16 (the integral analog
inputs and the inputs of slot 1) can also be assigned
as direct outs (
DIR
They are sent from the outputs which correspond to
the input channel number, plus 16. In other words,
input channel 1, when selected for direct out, is output from channel 17 (the first output channel of slot
2), channel 9 is output from channel 25 (the first out-
put channel of slot 3), etc. If slots 2 and 3 are not fitted with interface cards, the
no effect.
,
EQ
EQ
on this screen).
key or from the
DYNAMICS
and
DYNAMICS
DIRECT
, the buss and ste-
keys are
key will have
4–3
4 - Module operations—Aux sends
NOTE
The direct out setting is availab le f or channels
1 through 16 only.
The direct out of channels 1 through 16 can also be
set in this screen (there are no on-screen representations of the direct out setting for channels 17 through
32, as this is not possible).
4.4.2Using the ASSIGN key for buss assignment
Press the
assignment screen.
The cursor keys are used to move the cursor to a particular channel and highlight the channel’s number at
the top of the column.
Alternatively, the channel’s
select a channel.
When a channel has been highlighted on this screen,
pressing any of the following keys to the right of the
display screen will change the assignment status of
the selected channel:
,
6
BUSS 7-8
As with most analog consoles when a buss pair is
selected, the odd-numbered buss of the pair corresponds to a hard left pan, and the even-numbered
buss corresponds to a hard right pan. Anything in
between will balance the channel signal proportionately between the two busses.
In addition, the
bypass the equalization and the dynamics processor
for each channel, respectively.
There are three “global” on-screen buttons. The first
of these (
clear all buss (but not stereo) assignments. This may
be used, either together with or independently from
the last (
starting the mixdown in a multitrack recording
session.
The second on-screen button, ALL STEREO
CLEAR, clears all channel-to-stereo assignments.
ASSIGN
ALL BUSS CLEAR) is used to
ALL STEREO ASSIGN) when
and
EQ
key
[10]
BUSS 1-2
STEREO
DYN
and
to bring up the channel
SEL
key may be used to
,
BUSS 3-4
.
keys can be used to
,
BUSS 5-
NOTE
When channels 1 through 16 are set to direct
out, the signal appears in the output channel
corresponding to the number of the input
channel plus 16, as described above.
4.5 Aux sends
The MODULE screen can also be used to set the
Aux send levels for a channel or pair of stereo linked
channels. In addition, there are six dedicated
keys which allow the viewing and setting of the six
Aux send levels of many channels from one screen.
4.5.1Using the MODULE screen to set send levels
The level of the signals sent from the channel to the
six Aux sends are set and displayed on the bottom
two rows of the
screen.
In an identical fashion to the dedicated Aux screens,
the levels of the Aux sends can be set from -ß dB to
10.0dB.
The left switches of the Aux PODs are used to turn
the module’s Aux sends on and off.
Aux sends 1 and 2 can be selected as pre- or postfader, using the right switches of PODs 1 and 2
respectively.
When two modules have been linked into a stereo
pair, or one of the two stereo inputs is selected, the
Aux send levels apply to both channels in the pair.
When two Aux b usses ha ve been link ed together into
a stereo pair, the level control of the first (odd-numbered) Aux b uss is replaced by a pan control. The left
switch of the corresponding POD becomes a centering switch.
MODULE EQ/AUX/PAN
4.5.2Using AUX keys to set send levels
When one of the AUX keys is pressed and the Aux
buss selected has not been made into a stereo linked
pair with the adjacent Aux buss, two screens are
available, each controlling 16 input channels. The
AUX
4–4
4 - Module operations—Dynamics processor settings
first screen controls channels 1–16 and the second
controls channels 17–32.
Use the POD ROW CURSOR controls to move the
“box” up and down, highlighting the channels which
are to be edited.
The POD rotary controls adjust the level of the signal
sent to the Aux buss.
This level can be adjusted from
tive to nominal) to
in 128 steps.
The left POD switches control whether the Aux send
signal from the selected channel is on or off.
For Aux busses 1 and 2, the right POD switch functions as a pre/post selector, allo wing the pickoff point
for the Aux send to be pre-fader or post-fader.
-¢dB (minus infinity–full cut)
+10.0dB (rela-
NOTE
This is the only time that the
ST IN
faders
change function.
If two channels have been linked as a stereo pair (see
4.2, “Stereo linking”), only the left POD of the pair is
active.
Stereo linking and AUX sends : If two Aux
sends have been linked together as a stereo pair , there
are now four screens available when an
pressed.
As well as the level screens for the two sets of 16
channels (identical to the one described above), there
are also two pan screens; one for each set of 16
channels.
In these screens, the POD rotary controls are used to
adjust the relative level of the signal sent to the two
linked Aux busses.
The left switch of the PODs is used to center the pan
control for the channel.
In the case of a stereo linked pair of channels, the left
POD only is active. The pan control changes to a balance control. This can be centered using the left POD
switch in the same way as a mono channel.
AUX key is
The pre-fader point is also before the cut and solo
switches, as well as before the pan.
The bottom POD row of the screen provides controls
for the two stereo inputs, as well as a global control
control. Turn the fourth POD’s knob to select
between
OFF, AUX ON and (for Aux sends 1 and 2 only)
PRE and POST. Use the left POD switch to
SET the value selected using the knob for all
channels.
-¢dB (full cut), 0dB (nominal), AUX
AUX Fader control : There is also one impor-
tant on-screen button at the top of the screen: the
AUX FADER CONTROL button.
When this option is selected using the cursor and
ENTER keys, the faders will move to match the Aux
send levels of the currently-selected Aux buss, and
the currently-selected
(
[3]) will flash to show that the faders are no longer
controlling channel and module levels.
The PODs are also active, and moving a POD knob
will also move the appropriate fader to reflect the
new level.
LAYER STATUS indicator
The left switch of POD 4 in the last row is used to
copy the channel pan settings of all channels to the
pan settings for the selected Aux send pair. In this
way, the main “buss” image of the channels is preserved in the Aux sends.
4.6 Dynamics processor settings
These settings are accessed by pressing the MODULE
key for the selected channel until the
screen is shown, or alternatively by pressing the
EQ/DYN
4–5
4 - Module operations—Dynamics processor settings
DYNAMICS key to recall the DYNAMICS screen
for the selected module.
4.6.1Assigning a processor to a module
This is described in full in 8.2.2, “Recalling a library
entry”. Briefly, the module is selected, the dynamics
processor library screen is entered, and the desired
processor settings are recalled from the library.
4.6.2Using the MODULE key to make dynamics processor settings
The equalization controls on this screen are identical
to those on the other
MODULE screen.
4.6.3Using the DYNAMICS key to make dynamics processor settings
With the desired channel selected, press the mixer
DYNAMICS key (not the library DYNAMICS key).
The information at the upper left of the screen
includes:
• The dynamics processor’s gain reduction meter
• A graphical representation of the dynamics proces-
sor’s gain structure. An example of the way a pair
of stereo linked processors are shown on screen is
given here:
However, the two lowest POD rows are used to control the dynamics processor. The e xact assignment of
the PODs to controls depends on whether a gate or a
compressor (shown on the small on-screen level diagram as
GATE or COMP) has been recalled from
the library into this channel, as described below.
To enable and disable the selected channel’s dynam-
ics processor, use the DYNAMICS key to the right of
the display screen. The on-screen
DYN indicator in
the “button strip” at the lower left of the screen
changes to reflect the on/off status.
Stereo linked channels and stereo inputs may share
the same dynamics processor settings. However, see
the explanation of the
DYNAMICS key immediately
following this, for further information regarding stereo linking of dynamics processors.
Output
levels
Input levels
Gain
reduction
Compressor
“knee”
4.6.4Compressor/limiter settings
Both the MODULE and DYNAMICS screens
allow the same parameters to be set.
• Threshold (
knob, and variable from
1 dB steps.
• Compression ratio (
POD 2 knob, and variable from
(infinite compression) in 21 steps.
• Attack time (
3 knob, and variable from
1ms steps.
• Release time (
POD 4 knob, and variable from
in 100 steps.
• Output gain (
POD 4 knob on the last row. Variable from
-24dB to +24dB in 1 dB steps.
THRESH), controlled by the POD 1
-48dB to 0dB in 49
RATIO), controlled by the
1:1 to ß:1
ATTACK), controlled by the POD
0ms to 125ms in
RELEASE), controlled by the
5ms to 5.0s
OUTGAIN), controlled by the
4–6
4 - Module operations—Pan and balance
• Auto make-up (AUTO), controlled by the left
switch of POD 4 below the output gain. This is
used, together with the output gain setting for automatic optimum level control if the compression settings have resulted in gain reduction.
4.6.5Gate settings
Both the MODULE and DYNAMICS screens
allow the same parameters to be set.
• Threshold (
knob, allows the setting of the threshold at which
the gate will open. Variable from
0dB in 1 dB steps.
• Range (
sets the gate range, from
steps.
• Hysteresis (
knob, from
• Gate attack time (
POD 1 knob on the last row. Variable from
to
125ms in 1 ms steps.
• Gate hold time (
2 knob on the last row. Variable from
990ms in 100 steps.
• Gate decay time (
POD 3 knob on the last row . V ariable from
to
5.0s in 100 steps.
4.6.6Linked channels
LINK allows the linking of two processors
assigned to two adjacent channels (the “left” channel
of the pair must be odd-numbered).
This link is automatically made, and cannot be
turned off, when two modules have been stereo
linked (or for the stereo inputs or the stereo out).
Trigger source (TRIGGER) is only valid when
two processors are linked. This option (selected
using the
gering for both processors to be initiated by
(left channel),
(both channels act as triggers—in other words, the
first channel to be triggered will automatically activate the second channel’s processor).
The two ST IN channels and the stereo out
buss do not allow trigger selection, and are
fixed at the
THRESH), controlled by the POD 1
-80dB to
RANGE), controlled by the POD 2 knob,
0dB to 60dB in 1dB
HYST), controlled by the POD 3
0dB to 24dB in 1dB steps.
ATTACK), controlled by the
0ms
HOLD), controlled by the POD
0ms to
DECAY), controlled by the
50ms
ENTER key or JOG dial) allows the trig-
L-ch
R-ch (right channel) or BOTH
NOTE
BOTH
setting.
4.7 Pan and balance
As well as using the MODULE screen to adjust the
pan of a module (or the balance of a stereo pair of
modules), there is a dedicated
allowing the viewing and setting of many modules
simultaneously.
4.7.1Using the MODULE key to set pan and balance
Pan and balance controls are only available in the
EQ/AUX/PAN MODULE screen, not the
EQ/DYN module screen.
Mono modules : The fourth POD rotary control
on the fifth row is a pan control, when the module is a
mono module.
The pan settings are L45 (hard left), through C
(center) to
R45 (hard right).
The left switch of this POD is a centering switch.
For odd-numbered channels only, the right switch of
this POD is a gang switch, allowing this pan control
to be ganged with the pan control of the next channel.
Stereo modules : When two channels ha ve been
linked into a stereo pair, or when one of the stereo
inputs is selected, the pan control changes to a balance control.
The left switch of the POD is a centering switch.
The third POD becomes an “image” control, which
determines the width of the stereo image produced
by the two channels. T urning the knob to the “center”
allows “pinpointing” of the image (
full width (
full width, with the positions of the two linked channels reversed with respect to normal (
fully clockwise). Intermediate positions are represented as percentage figures preceded by
reo) or
immediately after
immediately after
The switches of the third POD allow either the left or
the right channel of the pair to be selected as a mono
source (the image control is then disabled).
If a surround mode, rather than the stereo mode, has
been selected, surround positioning control is not
possible from the
cated
modes” for details.
STEREO, fully counterclockwise) or
REV (reverse), with ST 98% following
STEREO, and REV 98%
REVERSE.
MODULE screen. Use the dedi-
PAN/BAL key instead. See 6, “Surround
PAN/BAL screen,
L+Rmono),
REVERSE,
ST (ste-
4–7
4 - Module operations—Pad and phase(Φ)
4.7.2Using the PAN/BAL key
Pressing the P AN/B AL k ey brings up a display screen
allowing the viewing and setting of a number of the
pan and balance parameters for a number of different
modules:
There are two screens, the first for the input modules
1 through 16, and the second for input modules 17
through 32. The stereo inputs are visible and their
parameters may be adjusted in both screens.
4.8.1Using the MODULE screen
In the EQ/AUX screen, the knob of the fourth POD
of the fourth row is used to adjust the digital pad. The
pad values are from 0 dB to –36 dB in 0.5 dB steps.
4.8.2Using the PAD/phase key
There are two screens available for control of the
input modules’ digital pads and phase settings. The
first screen controls channels 1 through 16, and the
second controls channels 17 through 32. Both control
the two stereo inputs and the stereo output.
Press the
these screens.
In the screen shown above, channels 1 and 2 are
linked into a stereo pair.
The left switch of each POD acts as a centering
switch, and the right switch of odd-numbered mono
modules allows “ganging” of two mono inputs.
The POD for the even-numbered switch of a stereo
linked pair is disabled—the odd-numbered pod must
be used here.
Note that the image control is not available from this
screen—this parameter can be set from the
MODULE screen only.
PAN/BAL key repeatedly to cycle between
4.8 Pad and phase(Φ)
The digital pad and phase of the input signal may be
adjusted from the
through a dedicated screen, allowing the viewing and
adjustment of the parameters for many modules.
MODULE screen, as well as
These settings are made using the POD knobs to control the digital pads, and the POD left switches to
control the input channel phase.
The possible pad parameter values are the same as
for the
The two stereo inputs, and any channels that have
been linked into a stereo pair, can have the phase set
independently for each channel of the pair, allowing
compensation for mis-wired microphone pairs, etc.
The phase of the stereo outputs cannot be changed,
though a pad is available for the stereo output.
MODULE screen.
NOTE
This digital pad is not related to the analog
pad which forms part of the analog input circuitry of channels 1 through 8.
4–8
Loading...