Tascam Digital Mixer TM-D1000 Tutorial Manual

							TM-D1000
Digital Mixer Tutorial
January 1999
Section I
Section II
Section III
Section IV
Section V
Section VI
Section VII
Section VIII
Section IX
Section X
Section XI
Section XII
Section XIII
Section XIV
Section XV
Overview of the TM-D1000
Crash Course in Digital Audio
Recording Hook-up Instructions
Navigating the TM-D1000
Buss+Aux=4
Effect Set-ups
Buss Out vs. Direct Out
AES/EBU and SPDIF in/out
Live Sound Applications
Recording Applications
TM-D1000 QuickStart
MIDI Implementation
What the Heck is That?
Optional Accessories for the TM-D1000
Troubleshooting the TM-D1000
TASCAMTM-D1000
The Purpose of this Tutorial:
The TM-D1000 Digital Mixer Tutorial is designed to help you become famil\
iar with the normal
operations of this digital mixer in a reasonably short time.  Its conten\
t was based on the
training and trouble shooting experience of our Product Specialists.  Th\
is guide does not cover
every feature; its purpose is to get you up and running quickly.  We rec\
ommend you start out
with this manual, but remember to at least scan the other manuals later \
on so you will
be aware of their contents.  Enjoy! 
						

							EQIn/Out
Freq
Freq
Freq
Gain
Gain
Que
GainLOW-fLOW-GHI-fHI-G81Hz012.3kHz0
PadMID-fMID-GMID-Q0dB1.0k01.71
EQ
Aux 2
Aux 4
Aux 1
Aux 3Pre/Post
Pre/Post
Pre/Post
Pre/Post
AUX
1-2 Pan-Level34CTR000
1-234PostPostPost
2-01Concert HallIn:100Dir: 0Eff:100
TypeRev-THall52ms98P-DlyDiff2.8sEffects/Dynamics
SNAPSHOT*000TM-D1000 Preset
S-001 [Transition Time]4.7s?Snapshot
Recall
On the next page, we have shown the TM-D1000 with a familiar analog mixe\
r layout.  You can refer
to this if you are looking for specific features.
The TM-D1000 is a 16 channel digital mixer.  The first 8 channels have a\
nalog inputs, the last 8 have
digital inputs.  When recording, the first 8 channels will probably be u\
sed for bringing signal into the
mixer and sending it to the multitrack.  The last 8 will probably be use\
d for monitoring multitrack returns.
On mixdown and for live situations, you can use all 16 channels simultan\
eously.
Each channel has a 3 band EQ.  The mid band is parametric,
and the highs and lows are sweepable.  (If you are unfamiliar
with these terms, look up “EQ ” in Section XIII - What The Heck
is That?)  All three bands are totally overlappable from 41Hz to
16kHz.  While the names of the bands are high/mid/low, they
can all be assigned virtually anywhere in the audible frequency
spectrum.
auxiliary sends.  Each one is individually selectable pre or
post fader.  They can be used as mono sends or you can
take two and gang them in stereo.  That way, youve got
either 4 mono sends, or one stereo and two mono sends.
The TM-D1000
also offers up to 4
Built in effects
also come
standard on the TM-D1000.  The built in card offers 4 slots of
processing.  Dynamics (i.e. compressors and expanders) take
one slot.  Stereo effects (i.e. reverb, flange, delay, etc.) take two
slots.
After youve slaved over your mix and gotten everything set just
the way you like it, you can save the mix.  There are 128
scenes of snapshot memory, which will store your levels,
EQ, aux, routing, and effects.  You can name your scenes,
with up to a 16 character name.  We have included upper
and lower case letters, numbers, and everything you need
for proper punctuation in your scene name.  (Your English
teacher will be proud.)
One unique feature and great advantage to the scene
memory in this mixer is the transition time.  This allows
you to create a crossfade from one scene into the next.
The transition time is adjustable from 0 to 10 seconds in 1/10 of a seco\
nd intervals.  This is very useful
for setting up separate mixes of the verse, chorus, or bridge, and simpl\
y recalling the scene to smoothly
fade from one section to the next.  It can also be used to give a beauti\
ful fade-out at the end of the
song.  These scenes are recallable via MIDI with a standard program numb\
er message.  (Note:
Channel and master volumes are the only parameters that will crossfade. \
 The EQ, aux, etc. all snap
instantaneously with the scene change.)
For more advanced automation options, all mixing functions have been ass\
igned to MIDI parameters for
real-time automation with a MIDI sequencer.  Simply put the sequencer in\
to record and start mixing.
MIDI messages will be sent out, and received.
Also, if you have a recorder that can receive MIDI Machine Control, the \
TM-D1000 can act as the
remote control with Play, Stop, Fast Forward, Rewind, Record, 16 locate \
points, and track arming.
Section I
Overview of the TM-D1000
Section I, page 1TASCAM TM-D1000 Tutorial1/99 
						

							FreqFreqFreq
FreqFreqFreq
FreqFreqFreq
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4Direct
Trim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
FreqFreqFreq
FreqFreqFreq
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/OutGainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/OutGainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/OutGainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4Direct
Trim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
EQIn/Out
FreqFreqFreq
GainGain
Cue
GainMUTEPanL-R1-23-4DirectTrim
Pad
Aux 2Aux 4Aux 1Aux 3
Pre/PostPre/PostPre/PostPre/Post
MUTEEffectReturn
AuxReturnMUTE
HeadphonesExt InMonoL / R1 / 23 / 4
1
2
3
4
5
6
7
8
9
0
STORE
RECALL
Control Room
Aux SendMaster 1
Aux SendMaster  2
Aux SendMaster  4
Aux SendMaster  3
TASCAM TM-D1000 
						

							Whether your studio is digital or analog, there are a few things you nee\
d to know before really getting
into any recording.  When digital audio devices are linked together, it \
is imperative that the user
understand terms like word clock, sample rate, and bit rate.  So, here’s a crash course in digital audio.
Recovering
Sample Data
0000000000000000
----- OVER -----
1000000000000000
00010000000000000010000000000000001100000000000001000000000000000101000000000000011000000000000001110000000000001001000000000000101000000000000010110000000000001100000000000000110100000000000011100000000000001111000000000000
123456789101112131415161718192021222324252627282930313233343536373839404142434445464748
Sampling 1/1000th
Second of Audio
Reconstructing
Waveform
The first thing we need to explain is what this
squiggly line that everyone always draws
actually represents.  For the physics buffs, this
displays force over time.  For the rest of the
world, think of this line as the path the speaker
diaphragm will take to reproduce the sound.  If
you put a ruler vertically across the wave, and
drag the paper across underneath the ruler
horizontally, the waveform line tells you where
the speaker moves when making that sound.
Digital audio converters are kind of like a
movie projector on 15 cups of Starbucks
coffee.  In a movie, the moving picture is made up of a series of still \
images flashed by you at a rate of
24 to 30 frames a second.  But remember, each picture is a still image. \
 In audio, we are examining the
waveform at a rate of 44,100 times per second (44.1kHz) or 48,000 time\
s per second (48kHz.)  The
number of times per second we are examining the sound wave is our sample\
 rate.
Each time the waveform is examined, the position of the
waveform is recorded with a binary number, called a
word.  The number of digits in the word is your bit rate.
(Each digit is one  “bit ”.)  For instance,
0100110100111001 is a 16 bit word, because it has 16
digits in it.  011010001011110100110010 is a 24 bit
word, because it has 24 digits in it.
When it comes time to convert the digital signal back into
analog, the sample data must be reconstructed.  The
data itself is simply storing the location of the sound
wave at a given interval.
Once the data is recovered, the waveform is reconstructed.  This is a bi\
g game of dot-to-dot, except the
converters are typically armed with some fancy mathematical symbols that\
 round out the edges.  Once
that ’s done, you ’ve got your sound back!
So, the two main aspects of a digital signal are the sample
rate, and the word length AKA bit rate.  The word length of
each device can vary because most digital devices can
truncate extra digits out, or fill blank spaces in with more
zeros. But, the sample rate must remain the same when the
connection is made digitally.  In fact, the sample rate not
only needs to be the same, but the sample rate needs to be
synchronized between all the units.
The sample rate is synchronized by utilizing a word clock
master.  One device in the chain will be designated the
master, and the others will follow.  Some digital lines
are internally clocked, meaning they carry word clock information within\
 the line.  Others will require
separate word clock lines.  On the next three pages you will find diagra\
ms for some common hook-ups
for the TM-D1000, as well as instructions for setting the word clock sta\
tus on your TM-D1000 mixer.
Section II
Crash Course in Digital Audio
TASCAM TM-D1000 Tutorial1/99Section II, page 1 
						

							Section III
Recording Hook-up Instructions
Section III, page 1TASCAM TM-D1000 Tutorial1/99
MMC-38
TASCAM DA-38
TASCAM PA-150 DUAL POWER AMPLIFIERTASCAM CDRW-5000
Connecting a TASCAM
DA-38, DA-88, or DA-98
TDIF-1 A
TDIF I/O
AES/EBUINPUTBALANCEDANALOGOUTPUT
EXT INDIGITAL I/OOUTPUT AMIDI INMIDI OUTMONITOR OUTPUT
AMP INPUT
MIDI INMIDI OUT
REMOTEOUT
SYNCIN
1) Connect a TDIF cable
from the TDIF port of the
DTRS Machine (i.e. DA-
38, DA-88, DA-98) to the
TDIF1-A port on the
TM-D1000.  (Part
#CUPW88D/CUPW88DL)
2) If you are using a DA-
88, a word clock line must
be connected from the
Word Clock Out of the DA-
88 to the Word Sync in of
the TM-D1000.
3) Select the digital input
on your multitrack by
pressing the “Digital In ”
button on the DTRS
machine.
4) Connect a balanced
cable from your monitor
outputs (not your stereo outputs) to the power
amplifier for your monitor speakers.
5) If you have a mixdown deck with a digital input,
connect your mixdown deck to Digital Output A on the
TM-D1000.  Both SPDIF and AES/EBU connections
are available.  Be sure to
set your digital format to
the appropriate format.
(For instructions, see
Section VIII - AES/EBU
and SPDIF in/out.)
6) If your mixdown deck
only has analog inputs,
connect the Stereo Output
of the TM-D1000 to the
input of your mixdown
deck.  Both balanced and
unbalanced connections
are provided.
7) The mixdown deck will
return through EXT
INPUTS.  Both balanced
and unbalanced
connections are provided.
8) If you have a TASCAM
MMC-38 or MMC-88, connect MIDI out of the TM-
D1000 to the MIDI in of the MMC-38/88, and the MIDI
in of the TM-D1000 to the MIDI out of the MMC-
38/88.  Then, plug the TASCAM Sync cable from the
Remote Output of the MMC-38/88 to the SYNC In of
the DA-38/88.
TASCAMTM-D1000 
						

							Section III, Continued
Section III, page 2TASCAM TM-D1000 Tutorial1/99
Connecting an ADAT
or other Lightpipe machine
TASCAM PA-150 DUAL POWER AMPLIFIERTASCAM DA-45HR
IF-TADMMC/SYNC
AES/EBUINPUT
BALANCEDANALOGOUTPUT
EXT INTDIF-1 A
TDIF I/OWORD SYNC
WORD SYNC INMONITOR OUTPUTMIDI IN
MIDI OUT
MIDI OUT
MIDI IN
DIGITAL I/OOUTPUT A
OPTICALOUT
OPTICALOUTOPTICAL
IN
OPTICALINSYNC OUT
SYNC INSYNC OUT
SYNC IN
AMP INPUT
1) Connect a TDIF cable
from the TDIF1-A port of
the TM-D1000 to the IF-
TAD.
2) Connect optical cables
from the optical in of the
IF-TAD to the out of the
ADAT, and from the out of
the IF-TAD to the in of the
ADAT.
3) Connect a BNC to RCA
cable from the Word Clock
out of the IF-TAD to the
Word Sync in of the TM-
D1000.
4) Select the digital input
on your multitrack.  For an
ADAT, push “Digital In ”  or
“Digital Input ” (depending
on the vintage) of your ADAT.  For other lightpipe
machines, consult that machine ’s manual for settings.
5) Connect a balanced cable from your monitor
outputs (not your stereo outputs) to the power
amplifier for your monitor speakers.
6) If you have a mixdown
deck with a digital input,
connect your mixdown
deck to Digital Output A.
Both SPDIF and AES/EBU
connections are available.
Be sure to set your digital
format to the appropriate
format..  (For instructions,
see Section VIII -
AES/EBU and SPDIF
in/out.)
7) If your mixdown deck
only has analog inputs,
connect the Stereo Output
of the TM-D1000 to the
input of your mixdown
deck.  Both balanced and
unbalanced connections
are provided.
8) The mixdown deck will return through EXT
INPUTS.  Both balanced and unbalanced connections
are provided.
9) If you have an MMC to ADAT sync box, consult
that unit ’s manual for hook-up instructions and
settings.
TASCAMTM-D1000 
						

							1) Press SHIFT and PARAM SEL simultaneously.
OptionSystem?
2) Rotate the DATA ENTRY dial to SYSTEM.
Press ENTER.
SystemMaster Clock Select?
3) Rotate the DATA ENTRY dial to Master Clock Select.
Press ENTER.
Master Clock SelectTDIF-1 A?
4) Rotate the DATA ENTRY dial to the appropriate source.
Press ENTER.
TASCAMTM-D1000
If you are using a DA-38 or DA-98, your master word clock should be set to TDIF1 A.  This makes your
Multitrack machine the word clock master.  The DA-38 and DA-98 can both \
transmit word clock
information through the TDIF1 line, and the TM-D1000 will follow that. NOTE: The TDIF cable must be
connected from the DA-38 or DA-98 to the TM-D1000 before setting the Mas\
ter Word Clock.  Otherwise,
the TM-D1000 display will read “Error! No Signal TDIF-1 A ”. This means there is no word clock
information at the TDIF port.  The TM-D1000 then resets the Master Word \
clock to the internal clock.
If you are using a DA-88, your master word clock should be set to Word Sync In [44.1k] or Word S\
ync
In [48k] depending on what sample rate you are using.  If you formatted \
your tape at 44.1kHz, then use
Word Sync In [44.1k].  If you formatted your tape at 48kHz, then use Wor\
d Sync In [48k].  If you don ’t
know which sample rate you selected for your machine, there are two indi\
cator lights on the DA-88 just
to the right of the  “tape eject ” button labelled 44.1k and 48k.  NOTE: The BNC to RCA cable must be
connected from the DA-88 to the TM-D1000 before setting the master word \
clock.  Otherwise, the TM-
D1000 display will read  “Error! Fs Clock Error>Internal ”. This means there is no word clock information
at the Word Sync In port.  The TM-D1000 then resets the master word cloc\
k to the internal clock.
If you are using an ADAT or another lightpipe unit with an IF-TAD, your master word clock should
be set to Word Sync In [44.1k] or Word Sync In [48k] depending on what s\
ample rate you are using.  If
you formatted your tape at 44.1kHz, then use Word Sync In [44.1k].  If y\
ou formatted your tape at 48kHz,
then use Word Sync In [48k]. NOTE: The BNC to RCA cable must be connected from the IF-TAD to the
TM-D1000 before setting the master word clock.  Otherwise, the TM-D1000 \
display will read  “Error! Fs
Clock Error>Internal ”. This means there is no word clock information at the Word Sync In port\
.  The TM-
D1000 then resets the master word clock to the internal clock.
To set the master clock on the TM-D1000:
Section III, page 3
Master Word Clock Set-up
Section III, Continued
TASCAM TM-D1000 Tutorial1/99 
						

							The faders, pan pots, and mute/solo buttons are all dedicated per channe\
l giving you instant access to
all of these parameters on all channels simultaneously.  Bussing, EQ, an\
d Aux are all handled one
channel (or stereo pair) at a time.  In other words, you select which \
channel you want to change and
then start modifying the parameters.
To select a channel, press the
CH SEL button located on the
channel strip.  You can group
channels together by simply
pressing the adjacent CH SEL
buttons at the same time.  To
ungroup the channels, press
the two CH SEL keys together
again.  (You can only group an
odd channel with the following
even channel.  In other words,
channels 1 & 2 can be
grouped, but not channel 2 & 3.
Channels 3 & 4 can be
grouped, but not 4 & 5...)
1-23-4L-REQDIRECTOUT
Press CH SEL of thechannel you wish to route,then select your busses.The buttons will light up toindicate signal is routed.
Note: Busses are onlyactive in some buss/auxconfigurations.  For moreinformation, seeBUSS+AUX=4.
ACCESSING BUSSES
TASCAMTM-D1000
Once youve selected a channel to work on, you can change the settings o\
f the channel.  The bussing
groups are located just above the first 8 channel strips.  (Not all of \
these are accessible right off the bat...
well cover that soon.)
The EQ and aux
controls are
accessed in the
display window.
Simply press the
PARAM SEL
button to scroll
through the
parameters and
stop at the one
you wish to
change.  The
lights just above
it will turn green
to indicate which
parameter is
accessed.
CHSEL
1) Press CH SEL ofthe channel youwish to change.
2) Press PARAM SELto scroll through EQ,AUX, and EFFECTS.TASCAMTM-D1000
OPTION
CHSELCHSELCHSELCHSEL
ACCESSING EQ, AUX, and EFFECTS/DYNAMICS
Inside the display screen, up to four parameters are available for adjus\
tment.  They can be changed with
the four dials just underneath the screen.  If there is an arrow in the \
upper right corner of the screen, that
means there are more parameters on another screen.  Simply turn the DATA\
 ENTRY dial in the direction
of the arrow to get to those parameters.  If there is a down arrow, pres\
s the DATA ENTRY dial directly
down.
To access the EQ, press the CH SEL button on the channel you wish to cha\
nge, then press PARAM
SEL until the EQ light just above the PARAM SEL button turns green.  Als\
o, make sure the EQ ON/OFF
button above channel 6 is lit.  Otherwise, the EQ on that channel is def\
eated.
---------- Walk through EQ ----------
Section IV
Navigating the TM-D1000
Section IV, page 1TASCAM TM-D1000 Tutorial1/99
EFFECT/DYNAMICSAUXEQ
PARAMSEL 
						

							Section IV, Continued
Section IV, page 2
The digital pad is in the EQ screen just in case you boost the EQ to the\
point of distorting the channel.  When you boost the gain on the EQ, you\
are actually increasing the volume of the signal.  If the volume is boos\
ted
too much, the channel can overload.  So, we put the digital pad into the\
LOW-fLOW-GHI-fHI-G81Hz012.3kHz0
PadMID-fMID-GMID-Q0dB1.0k01.71
TASCAMTM-D1000
The black faders at thebottom right are yourmaster aux sends.
The EFFECT RETURN andAUX RETURN can both beused as effect returns.  Themute controls the effectreturns, not the sends.
EFFECTRETURNAUXRETURN
L-R4321MUTEMUTESOLO
MASTER AUX SENDS
AND AUX RETURNS
channel in case you go hog wild with the EQ.  The digital pad reduces th\
e signal level before it enters the
EQ section in increments of 6dB, allowing more headroom for heavy handed\
 EQ curves.
The other three parameters are the controls for the mid band of the EQ. \
 This is the parametric band.
Youll notice the right arrow in the upper right of the screen.  So, tur\
n the DATA ENTRY dial to the right,
and well see the rest of the EQ section.  The screen should look someth\
ing like this:
Here we have the two sweepable bands of EQ.  As we mentioned in
Section I - Mixer Overview, all of the bands of EQ sweep from 41Hz to
16kHz.  So, they can be placed in any order you wish.  Again, in the upp\
er
right hand side of the screen, there is an arrow.  This time it points t\
o the
left.  Turning the DATA ENTRY dial to the left will bring us back to the\
 first screen of the EQ.
Note:  The following walk-through assumes you have not changed the mixer\
 from the factory default
configuration.
To get to the Auxiliaries, press the CH SEL button on the channel you wi\
sh to change, then press
PARAM SEL until the AUX light just above the PARAM SEL button turns gree\
n.  The screen will look as
follows:
---------- Walk through the Aux ----------
1-2 Pan-Level34CTR000
1-234PostPostPost
Currently, the first two auxiliaries are ganged in stereo.  The third an\
d
fourth aux sends are each mono.  Again, the four parameters are
changed with the four dials located directly underneath them.  Since the\
first two effects are ganged in stereo, the two controls become
panning between the two sends, and level.  Sends 3 and 4 each have simpl\
e level controls.  Again, youll
notice there is an arrow in the upper right.
If you turn the DATA ENTRY dial to the right, you can change the aux to
pre or post fader.  Note that each aux on each channel is independently
adjustable to pre or post fader; this screen is not a global change for \
the
entire board.
The black faders to the right of all your channel strips act as the aux \
send master.  So, to get an aux send
out, you need to mix the appropriate amount on each channel aux and rais\
e the aux send master to the
appropriate level.
If we are using the
aux for effect sends,
then we will also
need to return the
effects somewhere.
The board’s default
setting brings one of
the built-in effects
into EFFECT
RETURN.  So, if the
board is set up in the
default mode, the
channel aux send,
master aux send,
and EFFECT RETURN all need to be raised.
TASCAM TM-D1000 Tutorial1/99 
						

							Section IV, Continued
Section IV, page 3TASCAM TM-D1000 Tutorial1/99
When you are ready to change the configuration of the mixer from the def\
ault settings, it is important to
know that the busses (1-2, 3-4) share the routing with the auxiliaries\
.  So, you can have 4 busses and no
auxiliaries, 2 busses and 2 auxiliaries, or no busses and 4 auxiliaries.\
  For more information on this, read
Section V - Buss+Aux=4.
Note:  The following walk-through assumes you have not changed the mixer\
 from the factory default
configuration.  For more information on effect configuration with the ef\
fects card, see Section VI - Effect
Set-ups.
2-01Concert HallIn:100Dir: 0Eff:100TypeRev-THall52ms98P-DlyDiff2.8s
1-180dB LimitIn:100Eff:OffThshdAtt-T-16dB900ms1/64Rls-TRatio3ms
--------- Walk through the Effects ----------
To get to your built-in effects, press the
PARAM SEL until the
EFFECT/DYNAMICS light turns green.
The first screen shows whether the
effect is engaged or not, and where the
input and output levels are set for that
processor.  In the upper right, there is
an arrow pointing to the right, as well as
a down arrow.  If you turn the DATA
ENTRY dial to the right, you can edit
the parameters of a particular effect.  If you press the DATA ENTRY dial\
 down, you can switch between
two built-in processors.
To change the type of effect, make sure the screen is showing the proces\
sor you wish to change, and
press ESCAPE/RECALL.  The screen will flash effect names.  Rotate the DA\
TA ENTRY dial to select the
effect you wish to use.  To make finding specific effects easier, the to\
p line gives you the name of the
effect, while the bottom line will tell you what the effect is (i.e. re\
verb, delay, flange, chorus, etc.)  Once
you’ve found the effect you wish to select, press Enter.
Currently, there are two effect processors
Processor 1 on L/R output - This processor is very useful for master mix\
 compression, gating, enhancing
EQ, or even adding some phase/flange/chorus for wild effects.
Processor 2 on aux 1&2 - This processor allows reverb, delay, chorus, ph\
asing, flanging etc. to be
applied in different amounts to each channel.  This will act just like a\
n external effect processor which is
fed by AUX SEND 1 and 2, and returns through EFFECT RETURN.
These effect processors can be reassigned to many different configuratio\
ns.  For a detailed explanation
of the options, see Section V - Buss+Aux=4, and Section VI - Effect Set-\
ups.
The built-in snapshot capability can make mixing your song much easier. \
 You can set up separate mixes
for the intro, verse, chorus, etc.  Then, you can use the transition tim\
e with each snapshot to create a
smooth crossfade from one part to the next.
To save a snapshot, press SHIFT and STORE.  (You must do this while not\
 in an effects screen,
otherwise you will only store the effect.)  The screen will show you yo\
ur first available snapshot.  In other
words, if you have 8 snapshots already stored, the mixer will automatica\
lly offer to record the snapshot
as number 9.  This way, you do not have to worry about accidentally reco\
rding over any other scenes.  If
you are choosing to write a new snapshot, press ENTER.  If you want to r\
ecord over an old snapshot,
rotate the DATA ENTRY dial until you reach the snapshot you want to over\
write and press ENTER.
---------- Walk through Snapshots ----------