Teac DS-M7.1 Applications Guide

DS-M7.1

Applications Guide

DS-M7.1 Digital Surround Monitor Controller

10/10/03

Page 1 of 4

˘ Up to 7.1-channel sur-

round monitor control
from nearly any console
or DAW

˘ Standard 8-channel TDIF,

AES/EBU and ADAT con­nections for a stem re­corder

˘ 8 input channels, 8 output

channels

˘ 44.1, 48, 88.2, or 96kHz

operation

˘ Pull up/down operation

via external master clock

˘ Flexible downmixing op-

tions

˘ Built-in Pink Noise gen-

erator for monitor calibra­tion

˘ Individual channel Mute/

Solo

˘ LED SPL display

˘ Individual channel delay

compensation

˘ Standard monitoring

controls like adjustable
Dim, Mono and Alternate
speakers

˘ Surround Bass Manage-

ment

˘ Integrates with your ex-

isting control room moni­tor output

esigned for the needs of surround

D

production studios, the DS-M7.1
is a complete monitor control solution
for tracking and mixing in surround.
With its 96kHz/24-bit digital process­ing and fl exible routing and downmix
capabilities, the DS-M7.1 is a powerful
yet affordable monitor solution for stu­dios ready for the future of surround
audio.

The DS-M7.1 supports nearly every
surround format, including mono, ste­reo, LCRS, 5.1, 6.1 and 7.1. Its downmix
feature allows you to hear the effect of

playing back your surround mix folded
down to stereo or mono for compat­ibility. Monitor outputs are provided in
balanced analog and AES/EBU output
formats for more options when wiring
your studio.

The DS-M7.1 has digital inputs for
your console, tracking recorder and
master recorder. These inputs not
only allow it to control your studio
monitoring, but also allows fl exible
signal routing options. For example,
you may have one session which uses
your console’s buss outputs to record to
a tracking recorder, followed by another
session using the console’s outputs to
mix in surround to a mixdown deck.
With the DS-M7.1 dedicated I/O and
front-panel buttons, you don’t need to
repatch as your session requirements
change.

Inputs and outputs for your console,

plus tracking and mixdown recorders
are provided in several digital formats,
from TDIF to AES/EBU and ADAT optical.
If you require a different digital format
than the one provided, optional card
slots allow you to specify the format
of your digital I/O, or even add analog
inputs and outputs. An AES/EBU in­sert jack is also provided, to hear the
results of digital encoding like Dolby
Digital® and DTS®, and its I/O can also
be changed to another digital or analog
format.

The front panel of the DS-M7.1 is

removable

for place-

ment on
a console,

while the
processor

sits in an
equipment rack or machine room. A
pair of balanced Stereo Control Room
outputs, selectable at the touch of a
button, allow you to check your mix in
stereo on another pair of monitors. The
Output Level control has an SPL refer-

ence display for consistent listening
levels. The DS-M7.1 also provides bass
management, and each output channel
has its own mute/solo button so that
individual channels can be checked for
noises or other problems. For surround
monitoring control in applications in­cluding post-production for fi lm and
video, surround production for music,
creation of audio for video games and

multimedia, theatrical production
and television broadcast, the DS-M7.1
represents a powerful yet affordable
solution.

DS-M7.1

DAW Monitoring

s the mixers built into Digital Audio Worksta-

A

tions become more capable, many professional
and project studios are recording and mixing all
of their audio on one computer workstation such
as Pro Tools® or Nuendo®.

With the DS-M7.1, the digital outputs of the DAW
can be connected directly to the Console Inputs of
the DS-M7.1. Since these are digital connections,
you don’t need to purchase extra D/A converters
in order to monitor your work in surround.

You can collapse your mix down to any surround
format – from 7.1 to stereo – to check how it will
sound on smaller systems. You can even monitor
an independent stereo feed at the touch of a button.
Your mix can easily be sent to an external dubber
for recording, or you can simply bounce the mix
internally. Between your DAW and the DS-M7.1,
you can mix without a console for a compact yet
incredibly powerful mixing system.

Applications Guide

10/10/03

Page 2 of 4

Digital Console Monitoring

n larger facilities, multitrack digital audio

I

recorders like the MX-2424 often supplement
DAWs to boost track count during mixdown. The
system pictured here shows a studio mixing down
a multitrack hard disk recorder through a digital
console. The audio is being mixed to a multitrack
tape recorder in discrete 7.1 surround.

In this application, the console can be connected
to the Console In of the DS-M7.1. The multitrack
hard disk is connected to the Track Recorder Inputs,
and the tape-based stem recorder is connected to
the Master Recorder I/O. If your equipment doesn’t
use the supplied TDIF, ADAT or AES/EBU digital
formats, you can install other analog or digital
interface cards into the rear-panel expansion
slots.

The DS-M7.1 allows you to monitor at resolu­tions up to 96kHz/24-bit for detailed, holophonic
surround mixes. You can monitor either the return
from your master mixdown recorder or the console

bus outputs by pressing the BUS/RTN button. Plus,
you can send the buss outputs directly to your track
recorder allowing you to record to your multitrack
without repatching. Just leave the DS-M7.1 con­nected and start mixing in surround at the touch
of a button.