TASCAM DM-24 Installation and Use DM-24 Basics v. 2.0 - Page 5

Aux sends, Tracking options, The RECORDING 1

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Aux sends The DM-24 has 6 aux sends, which can be configured Pre or Post fader. Any of them may be assigned to the two internal effect processors. Aux sends can be assigned (in pairs or mono) to the 2 channel AES/EBU and S/PDIF digital outputs for use with external effects processors with digital I/O. The returns of these external processors can be routed to the DM-24 via digital inputs 1 and 2 and can be assigned to any channels or directly to the stereo buss. Aux sends can also be used with the assignable send outputs. There are 4 assigable sends on balanced TRS jacks. "Assignable" means aux 6 can be assigned to assignable output 1 or aux 5 to assignable output 3, etc. There are also 4 balanced assignable returns on TRS jacks. These can be used as two stereo effects returns or simply as balanced inputs that can be assigned to any channel. Assignable sends and returns can also be configured as assignable "inserts." Route assignable send 1 to a compressor's input. Route the compressor's output to assignable return 1 and assign that insert to any channel or the left or right side of the stereo buss. This makes it possible to use outboard dynamics processors on the tape return path. This is an extremely valuable feature! Using these inserts on the stereo buss makes it possible to "monitor" the compressed signal before it leaves the mixer and it allows you to use the S/PDIF or AES/EBU digital outputs to send your compressed mix to a 2-track digital recorder. Tracking options The DM-24 has 32 channels. The first 16 channels have direct outputs that are normally "post" fader (See post ADC direct out preference.) There are 16 mic/line inputs. With a signal feeding into each of them, the signal goes all the way to the fader and then out to tape. Channel 1 goes to track 1, channel 2 goes to track 2, etc. The 16 tracks will then need to return to the console for monitoring. Channels 17-32 can be used for this purpose. The "RECORDING 116" snapshot can be recalled for this scenario. This allows 6 mono or 3 stereo cue mixes using aux sends 1-6. The only limitation to this set up is that there is no way to monitor with effects such as reverb in the cue mixes. This is because 5

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5
Aux sends
The DM-24 has 6 aux sends, which can be configured Pre or Post fader.
Any of
them may be assigned to the two internal effect processors.
Aux sends can be
assigned (in pairs or mono) to the 2 channel AES/EBU and S/PDIF digital
outputs for use with external effects processors with digital I/O.
The returns of
these external processors can be routed to the DM-24 via digital inputs 1 and 2
and can be assigned to any channels or directly to the stereo buss.
Aux sends
can also be used with the assignable send outputs.
There are 4 assigable sends
on balanced TRS jacks.
“Assignable” means aux 6 can be assigned to
assignable output 1 or aux 5 to assignable output 3, etc.
There are also 4
balanced assignable returns on TRS jacks.
These can be used as two stereo
effects returns or simply as balanced inputs that can be assigned to any channel.
Assignable sends and returns can also be configured as assignable “inserts.”
Route assignable send 1 to a compressor’s input.
Route the compressor’s
output to assignable return 1 and assign that insert to any channel or the left or
right side of the stereo buss.
This makes it possible to use outboard dynamics
processors on the tape return path.
This is an extremely valuable feature!
Using
these inserts on the stereo buss makes it possible to “monitor” the compressed
signal before it leaves the mixer and it allows you to use the S/PDIF or AES/EBU
digital outputs to send your compressed mix to a 2-track digital recorder.
Tracking options
The DM-24 has 32 channels.
The first 16 channels have direct outputs that are
normally “post” fader (See
post ADC direct out
preference
.)
There are 16
mic/line inputs.
With a signal feeding into each of them, the signal goes all the
way to the fader and then out to tape.
Channel 1 goes to track 1, channel 2 goes
to track 2, etc.
The 16 tracks will then need to return to the console for
monitoring.
Channels 17-32 can be used for this purpose.
The “RECORDING 1-
16” snapshot can be recalled for this scenario.
This allows 6 mono or 3 stereo
cue mixes using aux sends 1-6.
The only limitation to this set up is that there is
no way to monitor with effects such as reverb in the cue mixes.
This is because