Tascam Digital Mixer TM-D1000 Tutorial Manual

							The TM-D1000 comes with two stereo digital outputs and one stereo digita\
l input available on AES/EBU
and SPDIF.  These are assignable to different locations on the board, al\
lowing you to keep more signals
in the digital domain.
First of all, it is important to realize that you cannot use both the AE\
S/EBU and SPDIF of a single input or
output at the same time.  However, Digital Output A can operate with AES\
/EBU signal while Digital
Output B is operated with SPDIF signal.
TASCAMTM-D1000The lights above theMaster L-R fader willilluminate to indicate thatthe corresponding digitaloutput is formatted forAES/EBU signal.
L-R4321
DIGITAL OUTPUT
FORMAT INDICATORS
AES/EBUABDIGITAL OUT
If the digital output isformatted for SPDIF, thelight is not lit.
For convenience,
there are two LED
indicators located
just above the
master fader.
They will light to
let you know if
one of the digital
outputs is
configured with
AES/EBU signal.
The digital output
can be assigned
to the buss/aux
sends or to the L/R output.  The digital input can be assigned to any ch\
annel, the EFFECT RETURN or
the AUX INPUT.
User Tip:  If you are assigning the digital input to a pair of channels \
from 1-8, you can also assign the
analog channel inputs to the aux return.  For example, if you are routin\
g a keyboard with a digital output
to channels 7-8 through the digital input, the analog inputs on channels\
 7-8 aren’t going to be used.  It is
possible to assign those analog inputs to the AUX INPUT.  This really co\
mes in handy if you want to use
external effects with analog connections and you don ’t have any more channels available.
To configure the source of the digital output:
1) Press SHIFT and PARAM SEL simultaneously.
OptionSetup?
2) Rotate the DATA ENTRY dial to Setup.
Press ENTER.
OptionDigital Out A:B?
3) Rotate the DATA ENTRY dial to Digital Out A:B.
Press ENTER.
Digital OutL-R :  3-4A   :   B
4) Rotate the DATA ENTRY dial to select the
routing you wish to use.  Press ENTER.
Section VIII
AES/EBU and SPDIF in/out
Section VIII, page 1TASCAM TM-D1000 Tutorial1/99
TASCAMTM-D1000 
						

							Section VIII, Continued
Section VIII, page 2
---------- Routing Digital Input Targets ----------
To route your digital inputs to a channel, EFFECT RETURN or AUX RETURN:
OptionSetup?
Rotate the DATA ENTRY dial to Setup.
Press ENTER.
SetupCh1-8 Input?
Rotate the DATA ENTRY dial to Eff Rtn Input/Assign,
Aux Rtn Input/Assign, Ch1-8 Input, or Ch9-16 Input.
Press ENTER.
Ch1-8 InputCh1:Analog In
Rotate the DATA ENTRY dial to select which
digital format you wish to use.  Press ENTER.  In
the channel screens, pushing the DATA ENTRY
dial down accesses other channels.
Press SHIFT and PARAM SEL simultaneously.
OptionSetup?
Rotate the DATA ENTRY dial to Setup.
Press ENTER.
SetupDigital Input?
Rotate the DATA ENTRY dial to Digital Input.
Press ENTER.
Digital InputA:RCA
Rotate the DATA ENTRY dial to select which digital
format you wish to use.  Press ENTER. If you have
the optional IF-TD1000 installed, you can push the
DATA ENTRY dial down to reach Digital Input B.
To configure the digital input format:
Press SHIFT and PARAM SEL simultaneously.
OptionSetup?
Rotate the DATA ENTRY dial to Setup.
Press ENTER.
OptionDigital Out A/B Format?
Rotate the DATA ENTRY dial to Digital Out A/B Format.
Press ENTER.
Digital Out A/B FormatA:SPDIF
Rotate the DATA ENTRY dial to select which
digital format you wish to use.  Press ENTER.
(Press the DATA ENTRY dial down to reach
Digital Out B.)
To configure the digital output format:
---------- Setting Digital I/O Formats ----------
TASCAM TM-D1000 Tutorial1/99 
						

							The TM-D1000 is totally at home in a live situation, as well as the home\
 recording situation.  Below is a
diagram of a typical application (shown with optional accessories):
FX-D1000
TASCAMMA-AD8
Digital I/O 1(TDIF-1)
TDIF-1 A
FX-D1000(Installed)
CH  1: Lead VocalCH  2: B. Vocal 1CH  3: B. Vocal 2CH  4: GuitarCH  5: Keyboard 1 (L)CH  6: Keyboard 1 (R)CH  7: Keyboard 2 (L)CH  8: Keyboard 2 (R)CH  9: Bass DICH 10: Kick MicCH 11: Snare MicCH 12: Tom-Tom 1CH 13: Tom-Tom 2CH 14: Tom-Tom 3CH 15: Overhead Mic 1CH 16: Overhead Mic 2AUX SEND 1&2: ReverbAux SEND 3: Vocal MonitorAux Send 4: Band MonitorsCOMP/LIM 1: L VocalCOMP/LIM 2: Bass DICOMP/LIM 3: Kick MicCOMP/LIM 4: Snare MicMaster L-R: CompressorEFFECT RETURN: Reverb ReturnAUX RETURN: DAT for IntrosEXT INPUT: CD player for  music during breaks
Example of input, routing, and
effect set-up in for 5 piece band.
The TM-D1000’s
flexible and
transparent
routing, snapshot
automation, and
quick access to
the major mixing
features makes
this board a great
live mixer.
Scene snapshots
can do wonders
for live
productions.  Live
performers can
automatically
recall preset
scenes giving
each song, or
each section of a
song its own mix.
In churches,
often times the
tech who usually
runs sound can ’t
be there all the
time.  So, scenes
.could be set up for each portion of the service that anyone can recall w\
ith the push of a button.  Theaters
could even set snapshots for different scenes or different performers.  \
(This especially comes in handy when
multiple performers have to share use of a single mic.)  Also, since th\
e snapshots can be recalled through
MIDI program change messages, the TM-D1000 can be linked with MIDI equip\
ped lighting consoles or show
automation equipment.
Since the Auxiliaries are independently assignable to be pre or post fad\
er, you can set up great monitor mixes
from the same console that is running your house sound.  For instance, y\
ou use the first two aux for a reverb
effect, the third aux for the vocalist ’s monitor send, and the fourth aux for a band monitor send.  Obviously, \
the
first two aux will be set as post fader effect sends.  The vocalist will\
 be pre-fader in his/her monitor, while the
band may be post fader.  This way, as you make adjustments to the house \
level, you are also correcting the
level in the vocalist ’s monitor.  This becomes extremely important if you simply turn down the\
 channel for the
guitar while he tunes.  You don ’t want the sound of the guitar player tuning coming through the vocalist\
 ’s
monitor, right?!?
As always, in live performance, there is no take two.  So, you ’ve got to get everything right the first time.  That
is why the architecture of the mixing functions were laid out so simply.\
  You ’re only a button push or two away
from where you need to be.
If you need more inputs, TASCAM makes the MA-AD8... a high quality, 8 ch\
annel digital mic preamp.  This
way, all 16 channels can have analog inputs.  (For more information, se\
e Section XIV - Optional Accessories
for the TM-D1000.)
Another option that could help greatly is the FX-D1000.  This is a digit\
al effects card that doubles the internal
effect processing horsepower.  You can then use up to 8 compressors, or \
2 effects and 4 compressors, or 4
stereo effects.  The extra compressor options can really come in handy i\
n a live show situation.  (For more
information, see Section XIV - Optional Accessories for the TM-D1000.)
Section IX
Live Sound Applications
Section IX, page 1TASCAM TM-D1000 Tutorial1/99
TASCAMTM-D1000 
						

							Using a digital mixer like the TM-D1000 will dramatically improve the so\
und of your recordings.  In many
professional recording studios, microphones are fed to a mic pre-amp and\
 recorded immediately thereby
completely bypassing the board.  They do this to avoid any noise added b\
y extra analog circuitry.  In the
digital mixer, we’re taking that one step further.  As soon as the input is gain staged, t\
he signal is
converted to digital signal which can go directly to tape.  But what ’s really cool is that you still have the
capability of adding EQ or effects without adding more noise!
The TM-D1000 really shines in the recording environment by keeping the s\
ignal digital as often as
possible.  The digital input can be used for recording keyboards, import\
ing sounds from CD or DAT, or
for returning signals from effect processors.  The digital output can se\
nd signal to effect processors, DAT
players, CD burners, or even go to digital speakers.
The built-in effects and dynamics give you the ability to process the si\
gnal without ever having to leave
the digital domain, or even the mixer!  For even more processing capabil\
ities, the optional FX-D1000
doubles your processing capability.  For more information, see Section X\
IV - Optional Accessories for
the TM-D1000.
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 use the transition time w\
ith each snapshot to create a
smooth crossfade from one part to the next.
If you have a MIDI sequencer, you can trigger these scenes automatically\
 with the sequencer.  One step
better, you can also automate the entire mixer with a MIDI sequencer.  F\
or more information, see
Section XII - MIDI Implementation.
The TM-D1000 is also ready to grow with your studio.  You ’ve already got a TDIF port, two digital outs
and one digital in.  If your studio grows to 16 tracks, you can add the \
IF-TD1000.  That adds another
TDIF port for up to 16 tracks of multitrack sends and returns, an additi\
onal 2 digital inputs, and a sample
rate converter.  Also, if you need more mic inputs, the MA-AD8 offers 8 \
more mic preamps just like the
ones on the mixer.  Again, for more information, see Section XIV - Optio\
nal Accessories for the TM-
D1000.
While all of this probably seems real fascinating, you probably want to \
find out how to record right now!
The next section walks you through the recording process step by step.
Section X
Recording Applications
Section X, page 1TASCAM TM-D1000 Tutorial1/99 
						

							For directions on how to set everything up, see Section III - Recording \
Hook-up.  Once that’s done, the
instructions below will walk you through a really basic recording sessio\
n.  There are two different paths
for routing audio to your multitrack: direct out or buss.  This QuickSta\
rt session will walk you through
both types.
Step I - Initializing the TM-D1000
Initializing the mixer resets the mixer to the factory settings.  It era\
ses all snapshot scenes, custom
effects, and routing options selected.  We put this option at the top of\
 the QuickStart to make sure you
are starting from the same point we are.  If you have custom settings in\
 the mixer, either perform a data
dump to save the data to a sequencer (step-by-step directions can be fo\
und Section XII - MIDI
Implementation), or DO NOT DO THIS!  YOU WILL LOSE YOUR OLD DATA!!!
Step II - Direct Out Recording
When using a direct out, each channel is routed directly to a correspond\
ing track on the recorder.  In
other words, input channel 1 records DIRECTLY to track 1, input 7 record\
s directly to track 7, etc.  In
order to use this:
Basic recording settings
- Raise the master fader to  “0 ”
- Set the level control above the L-R fader to a comfortable level (pro\
bably around the 10 o ’clock
position.)
- Make sure the L-R button directly beneath the Phones control is pushed\
 down.
Getting signal into the channel
- Plug a microphone, guitar, keyboard, or another sound source into chan\
nel 1.
- Raise the fader of channel 1 to the  “0 ” on the channel strip.
- Raise the Trim control for channel 1.  You should hear signal.
Routing signal to the recorder
- Press CH SEL above channel 1 to access routing of channel 1.
- The L-R button just above channel 5 should be lit.  Press L-R to disen\
gage the routing of channel 1
directly to the main output, and the light will go out.  You should not \
be able to hear the input signal
anymore.  (Trust me, that ’s a good thing... you ’ll see!)
- Arm (record enable) track 1 of the multitrack recorder.  If your rec\
order is connected correctly, input
signal from channel 1 should be showing up on the meters of the recorder\
.
- Set the Trim of channel 1 so the meter is approaching the maximum leve\
l at its loudest point, but not
exceeding the maximum level.
Setting monitor level and recording
- Raise the fader on channel 9 to hear the tape return of track 1.  You \
should be able to hear your signal
now.
- Press Record and Play on your multitrack, and record your track.  Pres\
s Stop when you ’re done.
- Disarm track 1 on the multitrack recorder.  Signal from channel 1 of t\
he TM-D1000 will no longer be
heard.
- Rewind the tape to the beginning, and listen to your new masterpiece.
That ’s it.  You ’ve just recorded your first track through the TM-D1000.  Pretty cool, eh\
?  Now, let ’s try
another method of recording: BUSSING!!!
Section XI
TM-D1000 QuickStart
Section XI, page 1TASCAM TM-D1000 Tutorial1/99 
						

							Section XI, Continued
Section XI, page 2
Step III - Buss out Recording
Setting up busses to be available
The TM-D1000 uses the same signal paths for both auxiliary sends and bus\
ses.  Since the default
setting of the board is with 4 auxiliaries, and we want to record using \
busses, we need to make some
busses available.  For detailed explanation of your options, read Sectio\
n V - Buss+Aux=4.  But for now,
to save you the page flipping and prevent information overload in this s\
ession, we’ve given you
instructions on basic switching between aux and busses.
- Press SHIFT and PARAM SEL together. The top line of the screen should \
read  “Option ”.  If it does not,
press ESCAPE until it does.
- Rotate the DATA ENTRY dial to the left until the bottom line of the sc\
reen reads  “MODE ”.  Press ENTER.
- Rotate the DATA ENTRY dial to the left until the bottom line of the sc\
reen reads  “MODE select ”.  Press
ENTER.
- Rotate the DATA ENTRY dial to the left until the bottom line of the sc\
reen reads  “REC ”.  Press ENTER.
You have just entered... Record mode.  (Cue  “Twilight Zone ” music.)  Record Mode and Mix Mode are a
simple way of keeping track of whether your four BUSS/AUX paths are all \
busses (Record Mode) or all
Auxiliaries (Mix Mode.)  There are other options available.  Again, th\
ey are explained in Section V -
Buss+Aux=4.
Setting up input signal
Just to make things easy, we can use the same input we used in Step II -\
 Direct Out Recording.  Or, if
you want to plug another source in, then go for it!  Just remember to se\
t the signal up just as we did in
“Step II - Direct Out Recording ” under  “Setting up and input signal ”.
Routing signal to the recorder
- Press CH SEL above your input channel, and disengage it ’s L-R routing by pressing the lit L-R button.
Again, the L-R button will turn off when you do this, and you will no lo\
nger be able to hear the signal
directly.  Of course, if the light is already out, then you can leave it\
 alone.
- Press the 3-4 button, just to the left of the L-R button.  The 3-4 but\
ton should now light up.  This
indicates that we have routed signal to busses 3 and 4.
- Raise the 3-4 buss level to  “0 ”.  (They ’re the right two black faders in the bottom right of the mixer.)
- Arm track 3 and 4 of your multitrack.
- Start playing signal into the mixer.  You will notice the signal feeds\
 both tracks.  If you rotate the pan
control to the left, the signal will only show up to track 3.  Rotating \
the pan to the right moves the signal
to track 4.  Basically, groups 3 and 4 are a stereo pair, and the pan co\
ntrol moves the signal between
them.  This is especially useful for live submixing or bouncing tracks. \
 (i.e. recording 4 drum mics, a bass
and rhythm guitar down to a stereo pair of tracks.)
- Rotate the pan to the far right.  We ’ll record this signal on track 4 only.  You can disengage track 3 if
you like... we don ’t need that.  We just used it to demonstrate panning in busses.
- Set the Trim of channel 4 so the meter is approaching the maximum leve\
l at it ’s loudest point, but not
exceeding the max level.
Setting monitor level and recording
- Raise the fader on channel 12 to hear the tape return of track 4.  You\
 should be able to hear your
signal again now.
- Press Record and Play on your multitrack, and record your track.  Pres\
s Stop when you ’re done.
- Disarm track 4 on the multitrack recorder.  Signal from your input cha\
nnel of the TM-D1000 will no
longer be heard.
- Rewind the tape to the beginning, and listen to your new masterpiece.
You just bussed a signal!  Feeling like a pro yet?  Well, let ’s take this a step further: ADDING EQ!!!
TASCAM TM-D1000 Tutorial1/99 
						

							Section XI, Continued
Section XI, page 3
STEP IV - Adding EQ
Recording enthusiasts want more bass in their bass and more sizzle in th\
eir cymbal.  The seasoned pro
wants to “bring out the character in the sound by enhancing its natural qualities.\
 ”  However you say it,
you ’re tweaking EQ.  Here ’s how you do it on the TM-D1000.  If some of the terms regarding different
types of EQs become intimidating, look up EQ in Section XIII - What the \
Heck is That?.  You will find
explanations of what the different types are and some potential applicat\
ions of each type.
- Press CH SEL above the channel you want to add EQ on.  If you followed\
 our QuickStart, that would
be channels 9 or 12... not channel 1 or 4.  Remember, we want to add it \
to our multitrack recorder
returns.
- To engage the EQ on the channel you ’ve selected, press the EQ ON/OFF switch just above channel 6.
- Press PARAM SEL until the EQ light turns green.  The screen should sho\
w you the digital pad and the
parametric mid EQ band.
- The arrow in the upper right corner of the screen indicates that there\
 are more parameters available.
Turn the DATA ENTRY dial to the right, and the screen should show you th\
e low and high sweepable
EQ bands.
- Tweak the parameters to your heart ’s content.
Now you ’re thinking this is pretty cool, but we thought you might like to kick i\
t up a notch!  Read on to
STEP V - Adding Effects.
STEP V - Adding Effects
In order to use effects, we need to have aux sends available.  If you we\
nt through  “Step III - Buss Out
Recording ”, then we ’ll need to switch the board back to MIX mode.  To do that:
- Press SHIFT and PARAM SEL together. The top line of the screen should \
read  “Option ”.  If it does not,
press ESCAPE until it does.
- Rotate the DATA ENTRY dial to the left until the bottom line of the sc\
reen reads  “MODE ”.  Press ENTER.
- Rotate the DATA ENTRY dial to the left until the bottom line of the sc\
reen reads  “MODE select ”.  Press
ENTER.
- Rotate the DATA ENTRY dial to the right until the bottom line of the s\
creen reads  “MIX ”.  Press ENTER.
Now that we ’re back in MIX mode, let ’s add some effects.
Raising the channel aux level
- Press CH SEL above the channel you want to add effects on.  If you fol\
lowed our QuickStart, that
would be channels 9 or 12... not channel 1 or 4.  Remember, we want to a\
dd it to our multitrack recorder
returns.
- Press PARAM SEL until the aux light turns green.  The screen should sh\
ow you the aux sends.  The
first two sends are ganged together in a stereo send.  The first dial is\
 panning between the two sides of
the send, and the second dial is the level.
- Turn the second dial up so the screen displays 80.
Raising the master aux send and return
- Raise the 1-2 aux send level to  “0 ”.  (They ’re the left two black faders in the bottom right of the mixer.)
- Rotate the Effect Return level to about the 3 o ’clock position.
You should hear a  “Concert Hall ” Reverb.  To change that to another type of effect:
Changing the effect type
- When the screen is showing the effect type, press ESCAPE/RECALL.  The \
screen will flash different
effects, indicating that you can select from the available effects.
- Rotate the DATA ENTRY dial to select the effect you wish to use
- Press ENTER to load that effect.  Or, if you decided not to change, pr\
ess ESCAPE again to leave the
settings the way they are.
TASCAM TM-D1000 Tutorial1/99 
						

							Section XI, Continued
Section XI, page 4
STEP VI - Storing/Recalling Snapshots
Now that you’ve slaved over your mix, you can save your mixer settings in a  “snapshot. ”  This way, you
can set up a mix, save it, set up another mix, save it, and recall eithe\
r at any time.  To do this:
Storing snapshots
- Exit the effects screen if you are in one.  (Otherwise, you will be s\
toring effects, not snapshots.)
- Press SHIFT and STORE together.  The screen will show the first unwrit\
ten snapshot.
- Press ENTER.  The screen will now allow you to name the scene.
- Rotate the DATA ENTRY dial to select a character.  To switch between u\
pper and lower case letters,
press SHIFT.  To get to another space, simultaneously press down and rot\
ate the DATA ENTRY dial.
When you ’re done naming your snapshot...
- Press ENTER.  The screen will now allow you to set the transition time\
 between scenes.  Rotate the
DATA ENTRY dial to determine the transition time.
- Press ENTER.
Recalling snapshots
- Exit the effects screen if you are in one.  (Otherwise, you will be r\
ecalling effects, not snapshots.)
- Press ESCAPE/RECALL.
- Rotate the DATA ENTRY dial to select the desired scene.
- Press ENTER to load that snapshot.
That ’s it!
Well, that ’s about it.  You just walked through most of the major recording functio\
ns of the TM-D1000.
We still encourage you to read the other parts of this guide to help you\
 understand these features in
more detail and to learn about some of the more advanced features.
TASCAM TM-D1000 Tutorial1/99 
						

							Section XII
MIDI Implementation
Section XII, page 1
MIDI Ch SelectMixer Ch:1
MIDI Ch SelectEffect1 Ch:2
OptionMIDI?
MIDIMIDI Ch Select?
- Press SHIFT and PARAM SEL simultaneously.  The top line of the screen
should read Option.  If it doesn’t, press ESCAPE until it does.
- Rotate the DATA ENTRY dial to MIDI.  Press ENTER.
- Rotate the DATA ENTRY dial to MIDI Ch Select.  Press ENTER.
- Rotate the DATA ENTRY dial to select the MIDI channel you wish to use.\
Press ENTER.
As a side note, you can also recall each effect processing program separ\
ately.
From the same screen you were in on the previous instruction:
- Press the DATA ENTRY dial down to access the processors ’ MIDI
assignment.
- Rotate the DATA ENTRY dial to select the MIDI channel you wish to use.\
Press ENTER.
---------- Automation ----------
From project to pro, MIDI has become a standard part of studios everywhe\
re.  On the back of the TM-
D1000 is a pair of MIDI jacks, extending the functionality of the mixer.\
Saved scenes can be recalled with a standard program change message, jus\
t like changing patches on a
synthesizer.  The crossfade transition time associated with that scene w\
ill engage, just as if you had
manually recalled the scene from the board.
To set the channel your mixer will receive the program change on:
For more in-depth automation, all of the mixer functions have been assig\
ned a MIDI parameter.  Parameter
change information is sent whenever you change something on the mixer.  \
(i.e. move a fader, sweep an EQ,
change the delay from multi-tap to stereo, etc.)  Simply have your sequ\
encer recording when you change
the parameter.  Be aware however that the mixer sends and receives infor\
mation across all 16 MIDI
channels, so you will want to use a sequencer and MIDI interface capable\
 of cabilization (using more than
16 channels.)  Consult your sequencer manual for more information on th\
at.  Also, you may want to make
sure your sequencer can record from more than one MIDI channel at a time\
 without merging the signals to
one channel.
MMC (MIDI Machine Control) --------------
The TM-D1000 can act as a remote control for multitracks, sequencers, et\
c.  The bussing function buttons,
CH SEL buttons and MUTE buttons can double as MIDI Machine Control butto\
ns.  Simply press SHIFT, and
the buss function keys become basic transport controls: play, stop, fast\
 forward, rewind, and record.  The
CH SEL buttons double to give you 16 locate points!!!  Plus, the MUTE bu\
ttons double as track record
arming/disarming.  (The SHIFT functions are listed in blue by the butto\
ns.)
When you are in the heat of mixing, chances are you won ’t need to get to your bussing or EQ in/out
switches.  So, you can  “lock ” the shift key for those buttons.  Just double click the shift key, and \
the LOCK
light will turn on, indicating that the top row is locked as standard tr\
ansport functions.  To undo this, double
click the shift key again and the light will go out.
One thing you will need to determine is whether you have an  “Open Loop ” or  “Closed Loop ” for MIDI
Machine Control.  All that means is whether or not the communication bet\
ween the mixer and controlled
units is one-way or two-way.
TASCAM TM-D1000 Tutorial1/99 
						

							Section XII, Continued
Section XII, page 2
Closed loop (two-way communication) is generally considered better bec\
ause you have current
information in your mixer.  (Signals can be sent from the controlled de\
cks verifying the action requested.)
The play light will be solidly illuminated telling you that the unit is \
playing or recording.  Also, you can
stack commands.  For instance, you could press locate 1 and play right a\
way.  This way, when the
machine gets to locate point one, it immediately plays.
Open loop (one-way communication) is better than nothing, but you have\
 no verification that your
controlled unit is doing anything.  The lights on the mixer will constan\
tly flash, to help you know what
commands were last sent.  However, the mixer cannot confirm any mode wit\
hout the closed loop.  Also,
you might not be able to stack commands
To set the type of MMC communication loop:
- Press SHIFT and PARAM SEL simultaneously.  The top line of the screen should read OPTION.  If it
doesn’t, press ESCAPE until it does.
- Rotate the DATA ENTRY dial to MIDI.  Press ENTER.
- Rotate the DATA ENTRY dial to MMC Communication.  Press ENTER.
- Rotate the DATA ENTRY dial to select the type of MMC loop.  Press ENTER.
While the TM-D1000 cannot generate MTC (there is no reason for it to do\
 so,) it can receive MIDI Time
Code.  If you are using the remote control features of the mixer, you ca\
n capture locate points on the fly.
You will need to set the type of timecode coming into the mixer.  To do \
this:
- Press SHIFT and PARAM SEL simultaneously.  The top line of the screen should read OPTION.  If it
doesn ’t, press ESCAPE until it does.
- Rotate the DATA ENTRY dial to MIDI.  Press ENTER.
- Rotate the DATA ENTRY dial to MTC Type.  Press ENTER.
- Rotate the DATA ENTRY dial to select the MTC frame rate.  Press ENTER.
A simple way of backing up your mixer data is to perform a MIDI data dum\
p.  You can either transfer all
of the data to a MIDI sequencer, or from one mixer to another.  To dump \
the data:
- Press SHIFT and PARAM SEL simultaneously.  The top line of the screen should read OPTION.  If it
doesn ’t, press ESCAPE until it does.
- Rotate the DATA ENTRY dial to MIDI.  Press ENTER.
- Rotate the DATA ENTRY dial to Data Dump.  Press ENTER.
- You can select between dumping All the mixer data, just the SNAPSHOT D\
ata, or just the Effect Data.
Rotate the DATA ENTRY dial to make your selection and press ENTER.
- The screen will show  “OK? ”  Make sure your target is ready to receive, and Press ENTER.
- The screen will show  “Execute... ” while it is performing the data dump, and should display  “Complete
press ESCAPE.. ” when done.
To load saved data back into the mixer:
- Press SHIFT and PARAM SEL simultaneously.  The top line of the screen should read OPTION.  If it
doesn ’t, press ESCAPE until it does.
- Rotate the DATA ENTRY dial to MIDI.  Press ENTER.
- Rotate the DATA ENTRY dial to Data Load.  Press ENTER.
- You can select between loading All the mixer data, just the SNAPSHOT D\
ata, or just the Effect Data.
Rotate the DATA ENTRY dial to make your selection and press ENTER.
- The screen will display  “Ready... ”  Start dumping the data from your source.
- The screen will show  “Execute... ” while it is performing the data dump, and should display  “Complete
press ESCAPE.. ” when done.
---------- MTC (MIDI Time Code) ----------
---------- System Exclusive Data Dump/Load ----------
TASCAM TM-D1000 Tutorial1/99