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Surround panning, key is used to assign the module, or

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5 - Channel modules : Surround operations When pan mode is on, the channel settings in the BUSS ASSIGN screen look like all the channels in surround set 3 (surround matrix 3) and channels 25 through 30 in surround matrix 2 in Figure 5.26, Surround assignment. When pan mode is off, the channel settings in the BUSS ASSIGN screen look like all channels in surround set 1 (surround matrix 1), and channels 31 and 32 in surround matrix 2as shown in Figure 5.26, Surround assignment: The difference between these two modes is that when pan mode is off, the channels can be assigned individually to the surround channels (following Table 5.8, Buss assignments in surround mode). When pan mode is on, the channels can be assigned to the surround matrices as a whole (either 1, 2 or 3). • In both cases, the POD 3 encoder is used to set the modules displayed on screen (the SEL keys can also be used). • The POD 4 encoder is used to select the busses to which the module is assigned, and the ENTER key is used to assign the module, or release the module from the assignment. • The ASSIGN indicators also mirror the current assignment status, and the ASSIGN keys can also be used to make or break assignments. Note that when the pan mode is on, all the ASSIGN indicators of one buss group (surround matrix) are turned on with one key. Figure 5.26: Surround assignment Surround panning There are two ways of viewing and setting the pan position in the surround modes: an overview and a detailed channel view (the L-R balance can also be set in the FADER screen). In the overview screen, 24 modules' basic surround panning facilities are displayed: Figure 5.27: Surround overview • Use the POD 3 encoder to select surround matrix 1, 2 or 3 (SRND SET). • Use the POD 4 encoder to select the ﬁrst 24 channel module layer, the second 24 or the third 16 module layer (LAYER). Using the same assignments as in Figure 5.26, Surround assignment, the modules where the pan mode is off (channels 31 and 32 in matrix 2 in Figure 5.27, Surround overview) cannot have any parameters changed. However, for channels with the pan mode on (channels 25 through 30 in matrices 2 and 3 in Figure 5.26, Surround assignment), the following controls may be used: • POD 1 moves the channel position (shown as a dot in the square) around from left to right (LR), and POD 2 moves it from front to rear (FR). NOTE In this screen, and the module surround screen, settings are made independently for each channel, regardless of the current channel link status. TASCAM DM-4800 User's Manual 89

Section	Page
1 - Introduction	10
Computer (DAW) integration	10
Other key points	10
Please read this manual	10
About the DM-4800	11
Inputs	11
Channel modules	11
Channel destinations	12
Outputs	12
Effects	12
Unpacking the DM-4800	12
About the manual	13
What’s in the manual	13
1, “Introduction” (page 10)	13
2, “Basic operational concepts” (page 17)	13
3, “Connections” (page 48)	13
4, “Routing & assignment” (page 58)	13
5, “Channel modules” (page 71)	13
6, “Effects” (page 94)	13
7, “MIDI” (page 96)	13
8, “Remote operation” (page 105)	13
9, “Specifications” (page 118)	13
Notes and warnings	13
Before you start	14
Special notes for touch-sensitive faders	14
Copyright, etc.	14
The features of the DM-4800	15
Control section	16
Monitoring section	16
Module & fader layer control section	16
Encoder section	16
Modifier section (SHIFT & CTRL keys)	16
Library section and CF card slot	16
Machine control section	16
Analog input section	16
2 - Basic operational concepts	17
What’s on the screen?	18
Jumping to commonly-used screens	18
Setting a USER screen	19
Fader layers	19
Smart keys	19
Other global modifier keys	20
Special controls	20
The PODs	20
Encoders	22
Flipping the encoders	22
Encoder mappings	23
Reading the encoder indicators	24
Pan settings	24
EQ settings	24
Module levels and AUX sends	25
Dynamics settings	25
Other settings	25
Encoder behavior (fine and coarse)	26
“Fat channel”	27
Dynamics processors	27
EQ controls	28
Aux send levels	28
Pan control	28
Copy and paste of parameters	29
To copy channel parameters	29
To paste channel parameters	29
To paste only the gate parameters	29
To paste only the compressor/expander parameters	29
To paste only the EQ parameters	29
The SCREEN key	29
UTILITY copying	30
Copying within a module	30
Copying between modules	31
Protecting parameters	31
CF cards	32
Formatting a new card	32
Shutting down the DM-4800	33
IMPORTANT CAUTION!!!	33
How to shut down the DM-4800	33
Starting up the DM-4800	33
About projects and libraries	34
Setting the date and time	35
Naming the DM-4800	35
Creating a new project	35
To set up a new project from scratch	36
Using a template	36
Managing projects	36
Loading a project	36
Copying a project	36
Deleting a project	36
Renaming a project	37
Protecting a project	37
Saving project data	37
Library management	38
Using library banks	38
Viewing library entries	39
Recalling library entries	39
Storing library entries	39
Deleting library entries	39
Library utilities	39
Target parameters	40
Source parameters	40
Naming library entries	41
Options	42
SETUP screen	42
UPPER BAR DISPLAY	42
LOCATE DISPLAY mode	42
ENCODER OPERATION mode	42
LIBRARY DIRECT KEY OPERATION	42
OL/STATUS LED TYPE	42
FADER SENSITIVITY	43
PREFERENCES	43
Fader Auto MODULE Select	43
CH SOLO Key Auto MODULE Select	43
Select MODULE Return	43
ST Link by SEL key	43
SEL Key Follows Fader Layer Status	43
Meter Follows SEL key	43
Automation fader OFF	44
Balance Level CENTER:0dB	44
AUX Mute follows CH Mute	44
Encoder Mode Follows Current Screen	44
Current Screen Follows Encoder Mode	44
BUSS PAN Follows ST PAN	44
BUSS Link/BUSS PAN Mode are Linked	44
SOLO	44
MODE SELECT	44
SOLO LINK	44
SOLO TYPE	44
INPLACE SOLO DEFEAT	44
Utilities	45
SWITCH utility	45
Talkback	45
Machine Control	45
Other functions	45
Polarity	45
GPI settings	45
Making connections	46
Setting the GPI	46
GPI CONFIG section	46
Selecting the type	46
ON/OFF setting	47
TIME EVENT section	47
Selecting the port	47
Setting the time	47
Setting the type	47
ON/OFF setting	47
Editing the GPI EVENT LIST	47
3 - Connections	48
Analog connections	49
Mic/line connections	49
Channel inserts	49
2 TR IN	49
ASSIGNABLE RETURNS	49
Analog outputs	50
STEREO OUT	50
ASSIGNABLE SENDS	50
Monitoring (LARGE (BAL) & SMALL (BAL))	50
Monitoring (STUDIO (BAL))	50
Digital connections	50
Digital audio I/O	50
TDIF I/O	50
ADAT “lightpipe” OUT & IN	50
CASCADE	50
Digital inputs and outputs	50
Digital I/O setup	51
Digital inputs	51
Mute Defeat	51
Stereo output	51
Slot card configuration	52
IF-AN/DM	52
IF-AE/DM	52
IF-TD/DM	52
IF AD/DM	52
IF-FW/DM	52
IF-SW/DM	52
Cascade configuration	53
Master/slave setting	53
Making the cascade connection	53
Setting up the cascade	53
Using the cascade	54
Interlocked settings	54
Interlocked operations	54
Other connections	55
MIDI connections (IN, OUT and THRU)	55
RS-422 serial control terminal	55
GPI terminal	55
TIME CODE	55
WORD SYNC (IN and OUT/THRU)	55
TO METER	55
FOOT SW	55
USB	55
Power input	55
Clock setting	56
Fs MODE	56
Checking the clock	56
Varispeed clocking	56
Clock change action	56
Changing the clock	57
Clock phase	57
OUT SPEED	57
4 - Routing & assignment	58
Routing	59
Input routing	59
Batch routing	60
Flipping the channels	60
Loopback options	60
Digital input selection	60
Output routing	61
Slot card outputs	61
Insert patching	61
Send/return linking	62
Channel-to-buss assignment	63
Assignment using the front panel	63
Using the assignment screens	63
Pan switch	64
Surround assignments	65
Non-channel assignments	65
Bulk assignment	65
Buss panning	65
Monitoring	66
Selecting the CR source	66
Studio cue source	67
Talkback, etc.	68
Talkback source	68
Slate definition	68
Oscillator and noise generator	68
Oscillator destination	68
Meters	69
Meter ballistics	69
On-screen meter selection	69
Metering points	69
Soloing	70
5 - Channel modules	71
General principles	71
ASSIGN PARAMETERS screen	71
Global module settings	72
Input and return display	72
EQ display and button	72
GATE display and button	72
COMP/EXP display and COMP button	72
Compressor/expander point button	72
Meters and pick-off point button	72
Fader	72
MUTE button	73
PAN (BALANCE) control	73
PAN follow button	73
INSERT button	73
Phase button	73
AUX1-2 button	73
STEREO button	73
Group assignment displays	73
Fader control	73
Setting levels in blocks	73
Master screen	73
Dynamics processors	75
LINK	75
Trigger mode (TRG MOD)	75
Trigger selection	75
Gates (input channels 1-48)	76
GATE	76
Threshold (THRESH)	76
Range (RANGE)	76
Gate attack time	76
Hysteresis (HYST)	76
Gate hold time (HOLD)	76
Gate decay time (DECAY)	76
Compressor/expanders	76
COMP/EXPAND	76
Insert point (INS PNT)	76
Threshold	76
Compression/expansion ratio	76
Attack time	76
Release time	76
Auto make-up	76
Output gain	77
Library jump buttons	77
Preset dynamics library entries	77
Compressor/expander library entries	77
Gate library entries	78
Trigger settings	78
EQ	79
Encoders and EQ	79
EQ library	80
Aux and buss setup	81
Aux send screens (unlinked)	81
Copying settings between aux sends and channel levels	81
Batch setting	81
Source selection	82
Aux send pan/balance screens (linked)	82
Using the encoders	82
Using the “fat channel”	82
Module setup	83
INPUT/RETURN selection	83
GATE switching	83
AUX 1-2 SOURCE	83
Dynamics insert point	83
Dynamics on/off	83
Assignable insert position	83
Phase control	83
Module delay	83
Digital trim	84
Dithering (stereo buss module only)	84
Pan and balance settings	84
Phase/trim/delay	84
Phase	84
Digital trim	85
Delay	85
Stereo linking	85
Balance	86
Linked dynamics	86
Mute groups	86
Clearing groups	87
Grouping groups	87
Linking fader groups to mute groups	87
Fader groups	87
Surround operations	88
Changing surround mode	88
Buss assignments	88
Assigning channels to surround busses	88
Surround panning	89
Module screen	90
Pattern panning	90
Using the cursor keys	90
Jump keys	90
Pan mode off	91
LFE level	91
Snapshots	92
Snapshot library management	92
Storing snapshots	93
Information about a snapshot	93
6 - Effects	94
Routing the effects	94
Setting up the effects	94
Effect libraries	95
7 - MIDI	96
MIDI port switching and filtering	96
Program Change messages and the DM-4800	97
Setting the MIDI channels	97
Batch setup	97
MIDI Implementation Charts	97
MIDI IN and OUT ports	98
MTC OUT port	99
USB MIDI Control Port (1)	100
USB MIDI Interface port (2)	101
USB MIDI MTC Port (3)	102
USB MIDI Program Change Port (4)	103
USB MIDI Remote Port (5, 6, 7)	104
8 - Remote operation	105
Selecting devices for transport control	105
Deleting devices from the list	106
Auto-detection of devices	106
Selecting the control type for the devices	106
STATE	106
DEVICE	106
ID	106
CHASE	107
TRA	107
REC	107
All safe	107
Transport mapping memories	107
To use a transport mapping	108
Viewing the transport mappings	108
Editing a mapping	108
Machine control setup	109
Edit Frames	109
Cueing mode	109
Play Mode	109
AUTO	109
DEFERRED	109
IMMEDIATE	109
Play Command Type	109
Record Command Type	110
Locate Preroll	110
MIDI Control by the DM-4800	111
MIDI controllers	111
MIDI faders	112
MIDI Mixer	112
DAW controllers	113
HUI	114
Sonar	114
Digital Performer	114
Logic	114
Steinberg	114
Location memories	115
Selecting the location point display	115
Storing a location memory “on the fly”	115
Manually entering and editing a location memory	115
Location to a location memory	116
Viewing a list of location memories	116
Manual location	116
Repeat play	116
Auto punch operations	117
ALL INPUT and AUTO MON	117
9 - Specifications	118
Analog audio I/O	118
Digital audio I/O	119
Miscellaneous I/O connections	119
Equalization	120
System performance	120
Physical characteristics	120
Dimensional drawing	121
Messages and troubleshooting	121
Block diagram	136

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5 – Channel modules : Surround operations

TASCAM DM-4800

User’s Manual

When pan mode is on, the channel settings in the

BUSS ASSIGN

screen look like all the channels in sur-

round set 3 (surround matrix 3) and channels 25

through 30 in surround matrix 2 in Figure 5.26,

Sur-

round assignment

When pan mode is off, the channel settings in the

BUSS ASSIGN

screen look like all channels in surround

set 1 (surround matrix 1), and channels 31 and 32 in

surround matrix 2as shown in Figure 5.26,

Surround

assignment

The difference between these two modes is that when

pan mode is off, the channels can be assigned indi-

vidually to the surround channels (following Table

5.8,

Buss assignments in surround mode

When pan mode is on, the channels can be assigned

to the surround matrices as a whole (either 1, 2 or 3).

•

In both cases, the POD 3 encoder is used to set

the modules displayed on screen (the

SEL

keys

can also be used).

•

The POD 4 encoder is used to select the busses

to which the module is assigned, and the

ENTER

key is used to assign the module, or

release the module from the assignment.

•

The

ASSIGN

indicators also mirror the cur-

rent assignment status, and the

ASSIGN

keys

can also be used to make or break assign-

ments.

Note that when the pan mode is on, all the

ASSIGN

indicators of one buss group (surround matrix) are

turned on with one key.

Surround panning

There are two ways of viewing and setting the pan

position in the surround modes: an overview and a

detailed channel view (the L-R balance can also be

set in the

FADER

screen).

In the overview screen, 24 modules’ basic surround

panning facilities are displayed:

•

Use the POD 3 encoder to select surround

matrix 1, 2 or 3 (

SRND SET

•

Use the POD 4 encoder to select the ﬁrst 24

channel module layer, the second 24 or the

third 16 module layer (

LAYER

Using the same assignments as in Figure 5.26,

Sur-

round assignment

, the modules where the pan mode

is off (channels 31 and 32 in matrix 2 in Figure 5.27,

Surround overview

) cannot have any parameters

changed.

However, for channels with the pan mode on (chan-

nels 25 through 30 in matrices 2 and 3 in Figure 5.26,

Surround assignment

), the following controls may be

used:

•

POD 1 moves the channel position (shown as a

dot in the square) around from left to right

(

), and POD 2 moves it from front to rear

(

NOTE

In this screen, and the module surround screen, settings

are made independently for each channel, regardless of

the current channel link status.

Figure 5.26: Surround assignment

Figure 5.27: Surround overview