Tascam Digital Mixing Console DM-24 Release Notes Manual

							DM-24
Digital Mixing Console
Version 2.0 — RELEASE NOTES
9101446901 
						

							Table of Contents
2  TASCAM DM-24 Reference Manual
IMPORTANT NOTE on upgrading ...............3
New snapshots ............................................3
48-CH MIXING (snapshot 000) ....................... 3
New mixing (snapshot 001) ........................... 4
Overdub 17-24 (snapshot 002) ...................... 4
Recording 1-16 (snapshot 003) ...................... 4
I/O-OUTPUT selection..................................4
Module screens............................................5
On-screen fader adjustment .......................... 5
Phase ............................................................... 5
Use of module setup screen .......................... 5
Channel selection following solo .................. 6
Muting pre-fader sends ................................. 6
I/O setup changes........................................7
New output assignment options .................. 7
24-track simultaneous recording  .............. 7
Six analog effect sends  .............................. 7
Stereo mix output via TDIF ........................ 8
Support of TDIF optional slot card ................ 8
New input options ......................................... 8
MTR return metering ..................................... 9
MU-24 operation  ........................................ 9
Direct assignment to the stereo buss ........... 9
Direct out post-ADC ....................................... 10
No assignment to a channel .......................... 11
Group switching ............................................. 11
Mic/line routing to Aux 1-2 ........................... 11
Digital outputs and Aux sends ...................... 12
Assignable inserts .......................................... 13
Surround mode............................................13
LPF on the Boom channel .............................. 13
Center channel percentage  ....................... 13
Circle and square patterns (using the dial) .. 14
Using the cursor keys ..................................... 14
Jumping using the keypad ............................ 14
Effects (TC Works reverb) ...........................15
Effects (tap delay) .......................................... 15
Library.......................................................... 15
Deleting library entries...................................15
Library safe ......................................................15
Undo/redo ...................................................15
Snapshot recall ................................................16
External machine control ........................... 16
Play (MMC)  ..................................................16
Track arming  ...............................................16
Transport Lock  ............................................16
Internal MIDI Time Code generator ...........16
GPI functionality ......................................... 17
Using GPI  .....................................................17
Faders ..........................................................18
Time events  .................................................18
MIDI fader layer ..............................................19
HUI emulation .................................................20
Automation ................................................. 22
Touch function ................................................22
UNDO (static)...................................................22
KEEP operations ..............................................23
Single control mix move erase.......................23
TRIM ALL function...........................................23
Other automation improvements..................23
Rehearsal .....................................................23
Undo (Write to End)  ...................................23
Auto Fade  ....................................................23
Motorized faders  ........................................23
Miscellaneous changes ............................... 24
High-speed digital format restored ...............24
Flattening an EQ band ....................................24
External switch (footswitch) functionality ...24
Block diagram (normal) .............................. 25
Block diagram (high-speed) ....................... 26
Level diagram.............................................. 27
Acknowledgements .................................... 28 
						

							 TASCAM DM-24 2.0 release notes 3
DM-24 version 2.0—Release notes
The following notes explain the differences between 
the current (2.0) version of the DM-24 software and 
the earlier version as explained in the manual. You 
should keep this page together with the existing man-
ual for easy reference.Although some of these changes may seem relatively 
minor, many of them, especially those connected 
with the I/O settings, have important implications for 
the way you work.
IMPORTANT NOTE on upgrading
NOTE
If you want to upgrade your DM-24 firmware, and you 
do not have a good understanding of Microsoft Win-
dows or Mac OS, and a good understanding of MIDI, 
TASCAM recommends that you take your DM-24 to a 
TASCAM service center to be upgraded. If you are 
upgrading the firmware yourself, note that TASCAM 
supports only the following applications: Windows 
Media Player 7.1 (Windows) or MIDIGraphy 1.4.3 (Mac 
OS 8.8 or higher - not Mac OS X). Please see the detailed upgrade note obtainable from 
the TASCAM Web site for full details of how to install 
and configure the software and to update your DM-24.
http://www.tascam.com/products/digital_mixers/dm24/
index.php
NOTE
We suggest that you back up snapshots and other 
library settings, etc. before performing an upgrade. If 
you do this, in the unlikely event of data being lost dur-
ing an upgrade, you will not suffer a permanent loss of 
your settings.
New snapshots
The version 2.0 software replaces previous snapshots 
with the new snapshots described here. Because of 
the changes to the system described later in this doc-
ument, which make recording substantially easier, 
the recording snapshots are very different from their 
previous equivalents.Note that there are now no high sampling frequency 
snapshots.
48-CH MIXING (snapshot 000)
• TDIF 1, TDIF 2, and TDIF 3 assigned to chan-
nels 1 through 24 (return).
• Effects 1 and 2 (L and R) assigned to channels 25 
through 28 (input).
• Digital input 1 (XLR) assigned to channels 29 
and 30 (input).
• Assignable sends 1 and 2 set as inserts for chan-
nels 1 and 2 (pre) (but set to OFF).
• Assignable returns 3 and 4 set as returns, routed 
to channels 31 and 32 (input).
• All channel buss assignments off, and channels 
assigned to ST with direct off.• The Aux 1-2 source of channels 1 through 16 is 
set to Mic/Line 1 through 16. 
• Aux 1-2 is sent to the stereo buss.
This snapshot is the basis for a 48-channel mix, with 
24 of the 32 input channels used by the three TDIF 
returns. The additional 8 input channels are used by 
the two internal effects, a digital stereo pair, and an 
external send/return. However, the mic/line inputs 
can also be used, by their direct assignment to Aux 1-
2. This means that up to 16 channels of live MIDI 
sequenced instruments can be added to the 24 
recorded tracks, with three effect loops (two internal 
and one external) available.  
						

							4 TASCAM DM-24 2.0 release notes
 DM-24 version 2.0—Release notes—I/O-OUTPUT selection
New mixing (snapshot 001)
• TDIF 1, TDIF 2, and TDIF 3 assigned to chan-
nels 1 through 24 (return).
• MIC/LINE inputs 1-8 assigned to channels 25 
through 32 (input).
• Assignable send/returns 1 through 4 set as send/
returns for Aux 3 through 6. Assignable returns 
assigned directly to ST via the 
ASSIGN page.
• Effects (1, 2) returns assigned directly to ST via 
the 
ASSIGN page.
• All channel buss assignments off, and channels 
assigned to ST with direct off.• Aux 1-2 sent to the stereo buss, stereo linked, 
with all pans at center.
Similar to the previous mix snapshot, 24 returns are 
immediately available, but in this case, the full chan-
nel facilities, including EQ, are available for the 
eight mic/line inputs. Working this way also provides 
more external effect capabilities. Mic/line inputs 9-
16 are still sent to Aux 1-2 and the outputs of the 
internal effects as well as the assignable returns are 
assigned directly to the stereo buss.
Overdub 17-24 (snapshot 002)
• Channels 1-4 set as inputs (MIC/LINE 1 through 
4).
• Channels 1-2 assigned to buss 1-2, channels 3-4 
assigned to buss 3-4.
• Effects 1, 2 (L, R) returns assigned to channels 5 
through 8 (input).
• TDIF 3 assigned to channels 9-16. 
• TDIF 1 and TDIF 2 assigned to channels 17-32.
• Assignable send/returns 1 through 4 set as send/
return.• Channels 5 through 32 assigned only to ST and 
set to unity gain.
With TDIF tracks 1-16 assigned to the second fader 
layer (channels 17-32), the first fader layer (1-16) is 
used for four mic/line inputs, the returns from the 
two internal effects units, and the returns from the 
third return group (tracks 17-24). This is ideal for 
overdubbing solo parts, etc. to tracks 17-24 over the 
16 backing tracks. This snapshot also gives you the 
resources to record a vocal track dry, yet monitor the 
vocal with reverb in the cue mix.
Recording 1-16 (snapshot 003)
• Channels 1-16 set as MIC/LINE inputs.
• TDIF 1 and TDIF 2 assigned to channels 17 
through 32 as returns.
• Channels 17-32 assigned only to ST (minimum 
gain).
• Channels 1 through 16 assigned as direct outputs 
(ST off).
• Assignable send/returns 1 through 4 set as send/
return.This allows you to record and monitor the first 16 
tracks of a multitrack session, using the first and sec-
ond fader layers. Since the channel outputs are all 
direct-to-track, the second fader layer controls the 
levels of the tape returns to the stereo buss (and 
hence the monitoring). Aux 1-6 can be used as six 
mono, or three stereo, studio cue feeds.
I/O-OUTPUT selection 
• Buss 1-8/Direct out 1-8
• Buss 1-8/Direct out 9-16
• Buss 1-8
•Stereo
•Stereo 
						

							 TASCAM DM-24 2.0 release notes 5
 DM-24 version 2.0—Release notes—Module screens
Module screens
The following items refer to the basic module set-
tings (see “Module operations” on page 51 of the 
main manual).
On-screen fader adjustment
It is now possible to move the cursor to the on-screen 
fader representation in the module screen and use 
POD 4 to adjust the level of the fader. This allows 
you to make the smallest possible increments to the 
fader supported by the DM-24.
You may need to hold down the 
2ND F. key to make the most subtle changes to the fader value, depending 
on whether the single-step or coarse setting (“Fine 
value settings using the PODs” on page 15) is 
selected using the 
OPTION SETUP screen. This can be 
useful when you want to make very subtle changes to 
a mix.
Phase
In previous versions of the software, the phase set-
ting was shown on the screen with the phase symbol 
(Φ). See “Phase switch” on page 53 and “Phase” on 
page 63 of the manual.The screen now shows the word PHASE, rather than 
the symbol.
Use of module setup screen
The cursor moves in a more “natural” way between 
options on the 
MODULE screens.
If a row is highlighted, and the screen is switched 
from, say, the EQ settings screen to the dynamics 
screen, the highlighted row on a particular screen is 
memorized and highlighted the next time you return 
to that screen.Also, the layout of the 
SETUP screen has been slightly 
changed, as shown here: 
						

							6 TASCAM DM-24 2.0 release notes
 DM-24 version 2.0—Release notes—Module screens
Channel selection following solo
In the PREFERENCES page, it is now possible to set a 
new option (
CH SOLO Key Auto MODULE Select).When this option is set, soloing a channel will auto-
matically select that channel as well.
Muting pre-fader sends
The channel mute can now be changed so that pre-
fader Aux sends may be muted along with the rest of 
the channel.This is available from the OPTION PREFERENCES 
screen: 
						

							 TASCAM DM-24 2.0 release notes 7
 DM-24 version 2.0—Release notes—I/O setup changes
I/O setup changes
The following changes refer to the I/O setup screens 
as described in “Setting up the I/O” on page 38. Take 
careful note of these changes, as some of them may 
prove to be useful to you when setting up and using 
the DM-24 with other equipment.
New output assignment options
In the I/O OUTPUT screen (see “Output assignments” 
on page 44), it is now possible to select 
Buss 1-8, 
AUX1-6 and Stereo as options.
24-track simultaneous recording The 
Buss 1-8 option allows you to record 24 tracks simul-
taneously. To set up the DM-24 for 24-track simulta-
neous recording, the following output assignments 
should be made, as shown in the illustration above:
The DM-24 is only fitted with 16 mic/line inputs. 
You will have to fit an IF-AN/DM analog I/O slot 
card, with eight +4 dB balanced analog inputs and 
outputs on 25-pin D-sub connectors, and use an 
appropriate snake cable to separate XLR, TRS bal-
anced 1/4” or RCA connectors.
If you need eight more microphone inputs, you will 
need to use an outboard 8 x microphone pre system 
with the appropriate slot interface card.
An example of an 8-balanced analog output micro-
phone pre system is the PreSonus M80, which can be 
used with the IF-AN/DM card.The same maker also produces the DigiMAX unit, 
which provides the outputs from the mic pre-amps in 
ADAT “lightpipe” format and can be connected to 
the integral ADAT input on the DM-24.
When these connections have been made, assign 
these inputs to channels, and make the appropriate 
assignments for buss outs and direct outs.
• In high sampling frequency mode, only busses 1 
through 4 (
BUSS1-4), or 5 through 8 (BUSS5-8), can 
be selected.
NOTE
It is not possible to monitor all 24 tape returns simulta-
neously while recording 24 tracks at once. The aux 
sends can be used to monitor the 24 input channels, or 
you can monitor up to 16 tape returns using the AUX 1-
2 RETURN method.
Six analog effect sends It is now possible, 
with the 
AUX1-6 output setting, to route all six effect 
sends in analog format through an optional IF-AN/
DM analog I/O slot card. This leaves the assignable 
I/O free for insert purposes.
This could be used for six effect sends in analog for-
mat, or to drive headphone amplifiers, etc.
Note that only six of the outputs are used here (7 and 
8 are not used).
Output block 1BUSS1-8/DIRECT 1-8
Output block 2BUSS1-8/DIRECT 9-16
Output block 3BUSS1-8 
						

							8 TASCAM DM-24 2.0 release notes
 DM-24 version 2.0—Release notes—I/O setup changes
In high sampling frequency mode, only aux sends 1 
through 4 (
AUX1-4) can be selected here.
Stereo mix output via TDIF This allows a 
TDIF connection (
TDIF-3) to output the stereo mix. 
This can be useful when working with a DAW fitted 
with a TDIF interface.
Additionally, this stereo mix can also be output from 
the ADAT and SLOT 1 and SLOT 2 outputs.
Support of TDIF optional slot card
The TDIF optional slot card is now supported for use 
with the DM-24. However, this does not mean that 
32 channels of TDIF digital input are simultaneously 
available for mixing.
Instead, it means that you now have the ability to 
choose between different sets of TDIF inputs. For 
example, with a DTRS recorder and an MX-2424 
both connected, it is now possible to select either of 
these as the TDIF input source, using the DM-24 in 
effect as a digital patch bay.
The extra TDIF output channels can also be used if 
you already have 24 channels of TDIF input that you 
are mixing in 5.1 format, and you need surround 
monitoring fed by the extra channels.Note however, that in the above example, there is 
now a “Y”-splitter cable available (CU/PWSPLIT) 
which can be used to perform a similar function, 
splitting the TDIF signal into individual INPUT and 
OUTPUT. In this example, the INPUT comes from 
the MX-2424 and the OUTPUT is assigned to the 
DA-78HR.
NOTE
When a DTRS unit is connected to the DM-24 in this 
way, it may sometimes happen that the DM-24’s display 
is illuminated, even with the power turned off, because 
of power being fed through the connection from the 
DTRS units. If any difficulty is experienced when power-
ing up a system configured in this way, we recommend 
that the DM-24 is powered up first.
Also note that the DTRS remote terminal on the slot 
card is not operational. Use the DM-24’s built-in remote 
terminal for control of all DTRS units connected to the 
DM-24.
New input options
Previously, channels 25 through 32 were input-only, 
but from this version, they can be used either as input 
or as return channels.
However, you should note that this does not provide 
32-channel digital track mixing (although only 24 
returns can be assigned, you can now decide where 
they go).For example, channels 1 through 16 can be used as 
input channels whose direct outs are used for track-
ing, and channels 17 through 32 can be used as tape 
returns.
Also note that sources within a block do not neces-
sarily have to be assigned to channels in order (it is 
possible to “cross over” a pair of input sources, for 
example). A source may also be assigned to more 
than one channel.
In addition, if a block has been assigned as a return 
block, sources from this block may also be used 
within a channel block. For example, if TDIF 1 and 
TDIF 2 have both been selected as return blocks, 
channels 1 through 8 may now contain returns from 
both TDIF 1 and TDIF 2 (previously a group of eight 
channels could only accept sources from one block at 
a time). 
						

							 TASCAM DM-24 2.0 release notes 9
 DM-24 version 2.0—Release notes—I/O setup changes
When using cascaded DM-24s for recording 24 
simultaneous tracks, you now have access to full-fea-
tured EQ and dynamic channels for 24 track sends, 
the same for all 24 track returns, and many other 
channels for effects returns, cue mixes, etc.
MTR return metering
Because of the flexible return assignment described 
above, which means that tape return numbers are not 
automatically equal to channel numbers, the meter-
ing conventions have changed. Previously, channels 
1 through 24 were assumed to be the return channels, 
but since channels 25 through 32 can now also be 
return channels, this assumption is no longer valid.
Accordingly, a new option has been added to the 24-
channel meter display menu. This is the 
CH9-32 
option. Also, the way in which the 
METER Follows SEL 
Key
 option works has changed as described here:
There is a new option, called 
Prior Layer, as shown 
below.Use the dial and 
ENTER key to change between 
FOR 24TR and FOR 16TR (that is, the number of tape 
returns currently in use).
When this parameter is set to 
FOR 16TR, selecting 
channels 1 through 16 moves the meter layer to CH 
1-24, and selecting channels 17 through 32 moves 
the meter layer to CH 9-32.
When this parameter is set to 
FOR 24TR, selecting 
channels 1 through 24 moves the meter layer to CH 
1-24, and selecting channels 25 through 32 moves 
the meter layer to CH 25-32.
MU-24 operation If the optional MU-24 meter 
bridge is fitted, channels 9 through 32 (that is, 24-
tracks) can be selected for metering by pressing the 
CH1-24 and MASTER/CH25-32 keys (of the MU-24) 
at the same time (both these indicators light). The on-
screen metering mirrors that on the MU-24.
Direct assignment to the stereo buss
It is now possible to route the following directly to 
the stereo buss, without having to assign them to 
channels:
• Digital inputs 1 & 2
• Effects returns
• Assignable returns
This direct routing frees up a further twelve channels 
for inputs, etc. as well as providing a number of other 
uses.
For example, at mixdown, using an IF-AN/DM slot 
card, you could assign the eight buss outputs to the 
analog outputs provided by the card, and then route 
these back to channels 25-32, where you can use EQ and compression before routing these channels (com-
pressed and EQed buss outputs) directly to the stereo 
buss. You could even send the buss outputs digitally, 
convert them off-board, and then feed them back into 
the channels.
With the mic/line inputs also directly assignable to 
the stereo buss, you can now assign 60 input chan-
nels to the stereo buss at the mixdown stage (32 
channels, 16 cue tracks (provided by assigning track 
returns to Aux 1-2), 12 returns to stereo). This repre-
sents outstanding value!
Use the 
ASSIGN BUSS screen to make these assign-
ments.  
						

							10 TASCAM DM-24 2.0 release notes
 DM-24 version 2.0—Release notes—I/O setup changes
1Navigate to the bottom line of the screen, and 
select the appropriate effect return or assign-
able return.2Next, use POD 4 to select the ST button, and 
then press 
ENTER.
Direct out post-ADC
This new option allows the direct output signal to be 
immediately post the A-D converter.
Press the 
OPTIONS key and select the PREFERENCES 
screen:
The 
Direct Out Mode:Post ADC option allows you to set 
the pick-off point after the A-D converter.
An example of where this might be particularly use-
ful is when you are making a live recording. If a 
microphone is plugged into mic input 1, and you 
have selected the post ADC option you can split the 
recording and the live mix of this signal in the fol-
lowing way:
Press channel 1’s 
SEL key, followed by the on-screen 
DIRECT OUT button for channel 1. This sends the post-
ADC direct out signal to the multitrack recorder 
(assuming that all the patching, etc. is configured appropriately). For the live mix, channel 1 is set as an 
input fed by M/L 1, and assigned to the stereo buss. 
Now whatever changes you make to the channel do 
not affect what goes to multitrack.
Obviously, the signal feeding the multitrack is dry, 
and if you want to use any effects such as compres-
sor, reverb, etc. while recording, you will have to use 
an analog insert loop.
This feature is also useful in the studio, where the 
post ADC direct outputs can feed the multitrack, and 
the tape return signals return to the channels, which 
are set as returns, rather than as inputs. This saves the 
use of Aux 1-2 as a tape return path, and frees up the 
aux sends for use as multiple cue mixes and effect 
sends.