Tascam Digital Mixing Console DM-24 Owners Manual

							7 – Module operations—Common area indicators and controls
 TASCAM DM-24 Reference Manual 51
Other common controls and displays
Digital trim and pan There are also two other 
controls visible at the bottom of the screen—the digi-
tal trim and pan—above the soft key labels. These are 
dealt with below (“Digital trim control” on page 51 
and “Pan control” on page 51.
Phase switch This on-screen switch reverses the 
phase of the input signal (use the 
ENTER key to tog-
gle on and off).
In the case of linked pairs, each channel’s phase is 
independently reversible.
Assignable inserts If one of the assignable sends 
and returns has been assigned to this channel (two 
send/return pairs in the case of a linked pair), the 
insert can be turned on or off.
The status of the insert (pre- or post) is shown by the 
small “cutout” on the left of the on-screen button.
Input/return assignments The current assign-
ments for this module, depending on whether it is 
being used as an input or return module, are shown. 
They cannot be changed from this screen. Use the 
fourth module (
SETUP) screen (“Setup screen” on 
page 57) or the dedicated I/O setup to change these 
settings (“Setting up the I/O” on page 36).
Meter The on-screen meter gives a reading taken 
from the defined metering point, which is switchable 
here between the input, pre-fader and post-fader.
EQ and buss assignments These buss assign-
ments, together with the status of the EQ (on or off) 
are shown at the right of the screen.
In addition, the EQ response curve is shown at the 
top of the screen. If the EQ is disabled, this is 
“grayed out”, and is solid if the EQ is enabled.
NOTE
It is not possible to change the buss assignments or the 
EQ switching from here. Use the dedicated keys (to the 
left of the display screen) for this. Full details are in 
“Channel-to-buss assignments by channel” on page 41.
Fader section The current fader position (which 
will almost always correspond to the physical fader 
position, except when automation motor control is 
turned off) as well as the mute status, is provided on-
screen, as is the mute status of the module.
The exact numerical value of the level is also dis-
played here. This allows the fader to be “normalized” 
easily, as when the fader is at the zero position, the 
on-screen fader knob is reversed.
Mute and fader groups Any assignments to 
mute and fader groups are shown to the right of the 
screen.
These cannot be changed here (see “Grouping” on 
page 69 for full details).
Digital trim control
The digital trim control (POD 1 of the bottom row) 
allows the adjustment of the module level between
–50dB and +10dB in 61 0.5 dB steps.See also “Global digital trim” on page 59.
Pan control
The pan control is on the bottom row of the PODs 
(that is, move the cursor to the bottom row and use 
the PODs).
The pan control is controlled by POD 4. Hard left is 
represented by 
L, and hard right by R. The center 
position is represented by 
C, and there are 201 possi-
ble pan positions available.To center the pan position easily, move the cursor to 
the 
CENTER on-screen button, and press ENTER.
If the channel is odd-numbered and is not part of a 
stereo linked pair, it can be ganged to the module to 
the right (even-numbered channels can be linked to 
odd-numbered channels to the left). If this 
GANG con-
trol is enabled (move the cursor to it and press 
Pre-fader Post-fader
On Off On Off 
						

							7 – Module operations—Common area indicators and controls
52 TASCAM DM-24 Reference Manual
ENTER), the CENTER button described above will be 
disabled (grayed out).
Balance controls for stereo linked pair
See “Linked modules” on page 60 for details of 
linked modules.
The balance controls in for linked modules are all on 
the bottom row of the 
MODULE screen. Move the cur-
sor to the bottom row and use the PODs to change 
these parameters.
In the case of a stereo linked pair of modules, the 
PAN 
is replaced by a 
BAL control. Ganging is not possible, 
but a 
CENTER button is available, which centers the 
stereo signal.
POD 2 is used to select the source. Either the left 
(odd-numbered) channel—
L MONO or right (even-
numbered) channel—
R MONO or both together—
STEREO can be selected. This allows the previewing 
of either channel individually, without having to 
unlink the channelsPOD 3 is used as an image width (
IMAGE) control. 
This controls the width of the stereo spread of the 
two channels. The center position is labeled as 
L+R 
MONO
 and provides a pinpoint mixture of the two 
channels. Turning the control fully counterclockwise 
provides a full stereo (
STEREO) image. Turning the 
control clockwise from the center reverses the left 
and right channels in the stereo image. Turning the 
control fully clockwise shows 
REVERSE on the screen.
NOTE
In the Options screen (“Balance Level CENTER: 0dB” on 
page 21), the way in which the balance control level is 
modified at the center position can be changed 
between 0 dB and a 3 dB cut. Make this setting to reflect 
your preferred way of working.
Global pan
As well as individual pan settings, it is also possible 
to view and make the pan settings on a global basis.
1With the 
SHIFT indicator unlit, press the 
PAN/BAL SURROUND key.
2Continue to press the 
PAN/BAL SURROUND 
key until the following screen appears (or use 
soft key 2):
Use the cursor keys (and channel 
SEL keys) to navi-
gate around the screen and set the pan or balance 
positions.
Ganging Note that ganged channels are displayed 
as ganged, but this setting cannot be changed at this 
position.
Move to the lower right of the screen and use POD 1 
to select a pair of channels to be ganged (linked chan-
nels cannot be selected here).
Use 
ENTER to make the gang setting (or break it if it 
has already been made).
Setup It is possible to apply the same pan/balance 
setting to groups of channels.
Move the cursor to the lower left of the screen, and 
use POD 1 to set the master pan/balance setting.
The scope of the setting is determined using POD 2: 
choose between 
ALL, EVEN (even-numbered chan-
nels), 
ODD (odd-numbered channels), 1-8, 9-16, 17-24 
or 
25-32.
Press 
ENTER to apply the POD 1 setting and press 
ENTER again to confirm this when the popup 
appears (cancel with the cursor keys). 
						

							7 – Module operations—Dynamics screen
 TASCAM DM-24 Reference Manual 53
Dynamics screen
In this screen, the dynamics processor functions of 
the modules can be controlled. There are three differ-
ent types of dynamics processor that can be assigned: 
noise gates, expanders and compressors.
NOTE
Gate and expander settings may not be made for input 
modules 17 through 32, as shown here. 
Particular settings for these processors are stored in 
the DM-24 libraries and are recalled as necessary.
See “Library functions” on page 99 for full details of 
how settings are stored.To recall one of these settings stored in the library:
1Move the cursor to either of the 
LIB -> buttons 
on the display (either 
GATE (gate/expander) 
or 
COMP (compressor)).
2Press the 
ENTER key.
3This jumps to the library where the appro-
priate dynamics processor (either compres-
sor or gate/expander) is stored.
4Use POD 4 or the dial to scroll through the 
list of stored settings.
5Use the fourth soft key (
RECALL) to recall the 
highlighted setting. 
Only gates or expanders can be recalled to 
the 
GATE section, and compressors to the 
COMP section. The type of dynamics proces-
sor cannot be changed.
NOTE
The same procedure can be used to store the current 
settings to a library entry, using the 
STORE soft key 
rather than the 
RECALL key.
These procedures are explained in more detail in 
“Library functions” on page 99.
Noise gate (GATE)
The purpose of a noise gate is to keep the input 
closed while the signal is below a threshold level, and 
open it when the signal rises above that level. In this way, the bad effects of hum, hiss, background noise 
etc. can be reduced effectively in quiet passages.
Full details of the parameters are given in “Gate” on 
page 66.
Compressor
The compressors prevent loud transients from putting 
too much signal through the system.Full details of the parameters are given in “Compres-
sors” on page 67.
Expander
The expander expands the dynamic range of the input 
signal.Full details of the parameters are given in 
“Expander” on page 66. 
						

							7 – Module operations—EQ
54 TASCAM DM-24 Reference Manual
EQ
The principles of the EQ interface using the encoders 
are also explained in the section on “User interface” 
on page 12.
Briefly, when the module is selected, and the EQ 
screen is visible, the rotary encoders and PODs can 
be used to set up to four parameters of the selected 
EQ bands (gain, frequency, Q and type).
The EQ band to be edited in this way is selected 
using the 
EQUALIZER keys G. The LEDs surround-
ing the encoders show the current status of the 
parameters, as explained in “Rotary encoders (ring 
LEDs)” on page 15.
See “Cursor follows EQ Band Key” on page 22 for 
details of setting up the DM-24 so that the on-screen 
cursor automatically follows the band selected using 
the 
EQUALIZER keys.
Alternatively, if the encoder function key 
K is 
pressed so that the 
EQ GAIN setting is selected (the 
indicator is lit), the gain of the four EQ bands of the 
selected modules can be changed using the encoders. 
Again, the relative gain is shown using the LEDs sur-
rounding the encoders.
The PODs may also be used to make EQ settings, in 
conjunction with the cursor keys.
When a row is highlighted on screen, the PODs con-
trol the parameters in that row (in the screen above, 
the 
HI band is highlighted).
In addition, the cursor keys and data dial can also be 
used to make changes.
The response graph at the top of the screen changes 
as changes are made to the parameters. If the EQ is 
turned off for the module, this graph is grayed out 
(and of course, any changes made to the EQ cannot 
be heard!).The EQ parameters are as following:
On/off (all bands) Each band can be turned on 
or off individually using the on-screen button beside 
the gain control (
ENTER key).
If a band is turned off in this way, the gain of the 
band is automatically set to zero.
If the band is turned off, turning the gain encoder or 
gain POD for the band will automatically turn the 
band on again.
Gain (all bands) The maximum cut and boost 
(gain) on all bands is ±18 dB.
Gain control is not possible when an EQ band type is 
set to notch filter, or high- or low-pass filter. In this 
instance, all LEDs of the appropriate encoder are 
turned off.
Frequency range (all bands) The frequency 
range for all bands is between 31 Hz and 19 kHz. The 
adjustment is made in semitone steps, giving a total 
of 112 different frequency positions across the range.
Q (all bands) When a band is set as a peak-type 
band, there are 24 Q settings available
1: 8.65, 4.32, 
2.87, 2.14, 1.71, 1.41, 1.20, 1.04, 0.92, 0.82, 0.74, 
0.67, 0.61, 0.56, 0.51, 0.47, 0.44, 0.40, 0.38, 0.35, 
0.33, 0.30, 0.28, 0.27.
When a band is set to non-notch filter or shelf mode, 
the Q cannot be set (the on-screen Q control is 
grayed-out) and all LEDs of the appropriate encoder 
are turned off.
EQ band type The EQ band type is always set 
using the fourth POD. The setting for the band is dis-
played on screen using the following symbols:
High band The high band can be set as either a 
shelving (high shelf), peaking, or LPF type.
High-mid band The high-mid band can be set as 
either a peaking or a notch filter.
1. Q is defined as the width affected by a filter. 
The higher the Q value, the narrower the band 
affected by the filter.
PeakShelf 
(low)Shelf 
(high)HPF LPF Notch
PEAK L.SHELF H.SHELF HPF LPF NOTCH 
						

							7 – Module operations—Aux sends
 TASCAM DM-24 Reference Manual 55
Low-mid band The low-mid band can be set as 
either a peaking or a notch filter.Low band The low band can be set as either a 
shelving (low shelf), peaking, or HPF type.
EQ library
Commonly-used EQ settings can be stored into and 
recalled from the library. Full details of the library 
operation are given in “Library functions” on 
page 99, but briefly, moving the cursor to the on-
screen 
EQ LIB button above the high band and press-
ing 
ENTER will jump to the EQ library.
1Move the cursor to highlight the 
EQ LIB shown 
on the display.
2Press the 
ENTER key.3This jumps to the library where the EQ set-
tings are stored.
4Use POD 4 (or the dial) to scroll through the 
list of stored settings.
5Use the fourth soft key (
RECALL) to recall the 
highlighted setting.
NOTE
The same procedure can be used to store the current 
settings to a library entry, using the 
STORE soft key 
rather than the 
RECALL key.
Aux sends
The aux sends are set using the screen accessed 
through the third soft key.
The PODs can be used to adjust the gain of the aux 
sends (first and third rows), as well as the pre-post 
settings of the sends (second and fourth rows).
In addition, if two aux sends have been linked 
together, the odd-numbered POD on the first and 
third rows of the screen is used to control the pan 
position of the signal sent to the stereo aux send.In addition, as explained in the section on the user 
interface (“Encoders used as aux send controls” on 
page 17), the rotary encoders can also be used to set 
the send levels for the first four aux sends, and the 
last two aux sends for the selected channel. They can 
also be used to make the pan and balance settings 
when two aux sends are linked.
Aux sends may be linked as a pair (1&2, 3&4, 5&6). 
See “Linked modules” on page 60 for details of how 
they are linked.
The level of the aux sends is settable between –∞dB 
and +10 dB (relative to nominal) in 127 steps.
Pan settings for stereo linked aux sends can be made 
from hard left (
L) through center (C) to hard right 
(
R)—127 steps.
Pre-post settings are made by turning the POD coun-
terclockwise (
PRE), and clockwise (POST). 
Note that for aux sends 1 and 2, as well as pre-fader 
and post-fader selections, a 
RETURN setting is also 
available. This allows aux 1 and 2 to be used as the 
tape return path if channels 1 though 16 are being 
used as direct outputs.
Aux sends (global)
In addition to the module screen, it is also possible to 
display a global aux screen to allow the viewing and 
setting of aux levels for many channels together.1With the SHIFT indicator off, press either 
AUX  1- 2, AUX  3- 4 or AU X  5 - 6, for control of 
the appropriate aux sends.
The screen that appears depends on whether the 
selected aux sends have been linked together or not. 
						

							7 – Module operations—Aux sends
56 TASCAM DM-24 Reference Manual
If they are not linked, a screen similar to the follow-
ing appears:
Using the cursor keys to move a cursor consisting of 
a box highlighting four on-screen controls around the 
screen. Alternatively, press the 
SEL key for a given 
channel to jump the cursor to the appropriate position 
on the screen. 
The four controls correspond to the four PODs. If 
two channels are linked (as with channels 9&10 and 
11&12 on this screen), only PODs 1 and 3 are active.
NOTE
The rotary encoders, if selected to control aux send lev-
els, are also valid controls for the selected channel or 
pair of channels.
Fader control At the top of the screen is a button 
which allows the faders to be used for setting the aux 
levels (as described in “Using the faders to change 
values” on page 14).
Setup A master level can be applied to selected 
channels by moving the cursor to the bottom left 
position setting the desired value with POD 1 and 
pressing 
ENTER.
The scope of the setting is determined using POD 2: 
either 
ALL, EVEN (even-numbered channels), ODD 
(odd-numbered channels), 
1-8, 9-16, 17-24 or 25-32.
When 
ENTER is pressed, a popup message appears 
(
Ch parameters setup?). Press ENTER again to con-
firm, or a cursor key to cancel.
Copy It is possible to copy the fader settings to the 
aux levels, or the other way round (aux levels to 
fader). This can be used as a starting point for mixes, 
setting up an initial monitor mix to mirror the stereo 
output, for example, which can then be adjusted as 
necessary.Move the cursor to the bottom right of the screen, 
and use POD 1 to select the 
CH FADER LVL->AUXx LVL 
or the other way round (
AUXx LVL->CH FADER LVL).
Press 
ENTER when the source/destination selection 
has been made, and press 
ENTER again to confirm 
the copy (cursor keys cancel).
NOTE
See also “UTILITY copying” on page 62.
Source (pre/post and SOURCE) settings 
As the tabs at the bottom of the display show, there 
are four screens available through the soft keys (or 
repeated presses of the appropriate 
AU X key. The two 
LEVEL screens are identical. The SOURCE screens (aux 
1 and 2) and 
AUXx PRE/PST (other aux sends) appear 
like this:
Use the cursor to navigate around the screen and the 
PODs to select either 
PRE or POST (pre-fader or post-
fader aux sends). For aux sends 1 and 2, the 
RETURN 
source is also available for channels 1 through 16.
Setup A master pre-post setting can be applied to 
selected channels by moving the cursor to the bottom 
left position setting the desired value with POD 1 and 
pressing 
ENTER.
The scope of the setting is determined using POD 2: 
either 
ALL, EVEN (even-numbered channels), ODD 
(odd-numbered channels), 
1-8, 9-16, 17-24 or 25-32.
Linked aux sends Two aux sends are linked in 
the same way as for channels—with the MASTER 
fader layer active press and hold the 
SEL key of one 
aux channel and press the 
SEL key of an adjacent 
send. Aux sends 1&2, 3&4, and 5&6 can be linked in 
this way. No other linking is possible.
When they are linked in this way, naturally they share 
the same level (the faders are linked) and any input to 
the linked aux send is panned.  
						

							7 – Module operations—Setup screen
 TASCAM DM-24 Reference Manual 57
NOTE
The appropriate preference must be set for the SEL 
keys to be used in this way (“ST Link by SEL key” on 
page 21).
Instead of four screens shared between the two sepa-
rate aux sends, as described above, there are now 
three screens for the pair, as follows:
The linked level control screen is the same as for the 
mono (separate aux screens). Setup and copy facili-
ties are available in this screen for global setups.Note the 
AUX 1-2 (LINK) title at the top of the screen, 
though.
The linked aux pan screen allows the positioning of 
the pan position (or balance in the case of linked 
input channels) to the pair of aux sends.
There is a master setup at the bottom left, allowing 
all pan and balance settings (or a selected set) to be 
made identical, as well as a bidirectional copy facil-
ity, allowing channel-to-aux, as well as aux-to-chan-
nel, pan setting copying, as described earlier.
The faders can also be used to make the aux level set-
tings, as described in “Using the faders to change 
values” on page 14.
The pre-post settings (
SOURCE for 1-2, as this includes 
RETURN, and PRE/POST for 3-4, 5-6) are made in the 
same way as for unlinked aux sends.
Setup screen
The setup screen acts almost as a channel “patch-
bay”, allowing the configuration and readjustment of 
the components that make up a module.
At the top of the screen, a block diagram of the mod-
ule’s current configuration is shown. As changes are made, the block diagram is updated to reflect these 
changes 
The above screen is the 
SETUP screen for channels 1 
through 16. Channels 17 through 24, and 25 through  
						

							7 – Module operations—Setup screen
58 TASCAM DM-24 Reference Manual
32 have slightly different screens, reflecting the dif-
ferent configuration:
Channels 17 through 32 have no gate available.
The aux 1-2 sends are more limited in the choice of 
their source points (no return available)
Channels 25 through 32 have no channel digital 
delay available.
The controls available on these screens (through the 
PODs or through the cursor keys and data dial) are:
Channel source (CH SOURCE) This is a 2-way 
switch. Turning POD 1 (top row) counterclockwise 
selects the input (
INPUT) source, and turning it clock-
wise selects the return (
RETURN) source (channels 1 
through 24 only). Both of the actual sources (input 
and return) are defined in the I/O screen, not here.
The display at the top left of the screen is updated, as 
is the block diagram.
Gate switch (GATE SW) This (POD 2) turns the 
gate (if available) on (clockwise) or off (counter-
clockwise). Channels 1 through 16 only.
Aux 1 and 2 source (AUX 1-2 SOURCE) 
This (POD 4) selects the source for the Aux 1 and 2 
sends to be either pre-fader (
PRE), post-fader (POST) 
or the return associated with the module (
RETURN). 
This selection is available in this screen because 
these aux sends may be used effectively as studio 
monitor sends, and flexibility is therefore a useful 
feature here. 
For channels 17 through 32, only the pre and post 
options are available here.
NOTE
Note that even if aux sends1 and 2 are unlinked, the 
settings of both are modified together using this con-
trol.
Compression insert (COMP INSERT) This 
selects the position for the compressor insert (if 
assigned) to be either pre-EQ (
PRE EQ, counterclock-
wise) or post-EQ (
POST EQ, clockwise).
Compressor switch (COMP SW) This switch 
(POD 2) turns the compressor (if assigned) either off 
(
OFF, counterclockwise) or on (ON, clockwise).
Assignable insert position (ASSIGN 
INSERT) 
This (POD 3) allows the positioning of 
the assignable insert in the module chain. There are 
two positions, pre-fader (
PRE FADER) and post-fader 
(
POST FADER).
Assignable insert switch (ASSIGN INS 
SW) 
This switch (POD 4) allows the switching of 
the assignable insert loop (at the position determined 
by the previous switch) as either on (
ON, clockwise) 
or off (
OFF, counterclockwise). These controls are 
disabled if no assignable loop has been assigned to 
the channel.
Phase switch (Φ) This (POD 1) reverses the 
phase of the input when turned clockwise (
REVERSE), 
otherwise, the phase of the signal is normal 
(
NORMAL).
For stereo linked channels, PODs 1 and 2 are used 
for controlling the phase of the left (odd) and right 
(even) channels respectively.
Digital delay time (DELAY) The channel can 
be delayed by up to 16,383 samples (the maximum in 
high sampling frequency is 32,767 samples). This is 
equivalent to 341.2 milliseconds at 48k or 96k sam-
pling frequencies, or 371.5 milliseconds at 44.1k or 
88.2k sampling frequencies. 
						

							7 – Module operations—Digital trim and delay (global)
 TASCAM DM-24 Reference Manual 59
Channel delay is only possible on modules 1 through 
24. See also “Global digital delay” on page 59.Digital delay units (UNIT) Choose either sam-
ples (
SAMPLE) or milliseconds (ms) as the unit in 
which channel digital delay is measured.
See also “Global digital delay” on page 59.
Digital trim and delay (global)
Two dedicated screens allow the viewing and setting 
of the digital trim and delay parameters.
Global digital trim
1With the SHIFT indicator lit, press the DIGI. 
TRIM/DELAY
 key until the following screen 
appears:
Use the cursor keys and the 
SEL keys to navigate the 
cursor round the screen.Use the PODs to set the amount of digital trim from 
-
50.0dB
 to +10.0dB in 0.5 dB steps.
Linked channels share the same digital trim setting.
Fader control At the top of the screen is a button 
which allows the faders to be used for setting the trim 
levels (as described in “Using the faders to change 
values” on page 14).
Setup A master trim can be applied to selected 
channels by moving the cursor to the bottom left 
position setting the desired value with POD 1 and 
pressing 
ENTER.
The scope of the setting is determined using POD 2: 
either 
ALL, EVEN (even-numbered channels), ODD 
(odd-numbered channels), 
1-8, 9-16, 17-24 or 25-32.
When 
ENTER is pressed, a popup message appears 
(
Ch parameters setup?). Press ENTER again to con-
firm, or a cursor key to cancel.
Global digital delay
1With the SHIFT indicator lit, press the DIGI. 
TRIM/DELAY
 key until the following screen 
appears:Use the cursor keys and the 
SEL keys to navigate the 
cursor round the screen.
Use the PODs to set the amount of digital delay up to 
16,383 samples (the maximum in high sampling fre-
quency is 32,767 samples). This is equivalent to 
341.2 milliseconds at 48k or 96k sampling frequen-
cies, or 371.5 milliseconds at 44.1k or 88.2k sam-
pling frequencies.
This delay can be used to compensate for signal pro-
cessing, etc. and can be applied either before or after 
the fader. It is available for channels 1 through 24 
only.
NOTE
This is not a delay or echo effect as provided by the 
internal effectors.
Linked channels share the same digital delay setting. 
						

							7 – Module operations—Linked modules
60 TASCAM DM-24 Reference Manual
Unit Change the delay units between samples (SP) 
and milliseconds (
ms) using POD 3 at the bottom left 
of the screen.
Fader control At the top of the screen is a button 
which allows the faders to be used for setting the 
delay (as described in “Using the faders to change 
values” on page 14).
Setup A master delay setting can be applied to 
selected channels by moving the cursor to the bottom 
left position setting the desired value with POD 1 and 
pressing 
ENTER.The scope of the setting is determined using POD 2: 
either 
ALL, EVEN (even-numbered channels), ODD 
(odd-numbered channels), 
1-8, 9-16 or 17-24.
When 
ENTER is pressed, a popup message appears 
(
Ch parameters setup?). Press ENTER again to con-
firm, or a cursor key to cancel.
PRE/POST The delay can be applied pre-or post-
fader. This setting is made globally, for all 24 chan-
nels and cannot be made individually.
Move the cursor to the bottom right of the screen, 
and turn POD 4 to select between 
PRE and POST fader 
operation.
Linked modules
Modules which may be linked in stereo pairs must be 
adjacent to each other, with the odd-numbered mod-
ule of the pair being the lower-numbered. That is, 
modules 3 and 4 may be linked, but modules 4 and 5 
may not.
When modules have been linked, pressing the 
SEL 
key of one module of the pair selects the pair.
The parameters and settings which are shared by the 
pair are:
Channels Digital Trim, Gate (only Ch1-16), Com-
pressor, EQ, Aux1-6 (Pre/Post, Level), Mute, Fader 
Level, Assign, Delay, Solo (On/Off, Defeat setup), 
Input select, Aux1-2 select, Compressor insert point, 
Assignable send/return, Grouping.
Master modules Compressor, Mute (except Ste-
reo), Fader Level, Assign.
Linking and unlinking modules
Modules may be linked either by means of the link-
ing screen (see the section on groups for details) or 
by means of the 
SEL keys if the option has been set 
(“ST Link by SEL key” on page 21).
1Press and hold down the 
SEL key of one of 
the pair of modules to be linked.
2Press the 
SEL key of the other module in the 
pair to be linked.
To unlink modules, repeat the process (press and 
hold down one 
SEL key of the pair, and press the 
other 
SEL key).
NOTE
When two faders are linked, you may find that moving 
both faders together produces a feeling of stiffness in 
the controls, as each fader is constantly attempting to 
keep up with the other. We suggest that in the case of 
two linked faders, you only move one fader. Even if the 
movement of a fader may seem a little rough or jerky 
when you are moving the other fader of the pair, it is 
only the physical control that exhibits this symptom. 
The change in the actual signal level of the second 
channel will be as smooth as the fader movement that 
you are making.