Tascam Digital Mixer TM-D1000 Tutorial Manual

							Our wonderful artistic musical world has been flooded with acronym alpha\
bet soup in the last 10 years or
so.  Here’s a guide to help you better understand what all those techie terms mean\
.
AES/EBU - The digital communication format standard developed by the Audio Engi\
neering Society and
European Broadcast Union.  It puts 2 channels of digital audio through a\
n XLR connector.  (Obviously, it
must connect to another AES/EBU port... don ’t expect any great results plugging it into your mic pre.)  If
you are copying DAT tapes or CDs, this might not be the format to use si\
nce it does not transmit track
data (whereas SPDIF does).  However, the good news is that there is no\
 SCMS code on the signal.
bit rate - Each time that digital audio records the amplitude of a signal, it is\
 done with a binary number
(in 0 ’s and 1 ’s.)  Each 0 or 1 is a bit.  The bit rate simply lets you know how many \
0 ’s and 1 ’s are used to
record the signal.  The widely accepted standard in digital audio is the\
 CD quality 16 bit.
CD - Acronym for Compact Disc.  Perhaps you ’ve heard of it.
CD-R - Acronym for Compact Disc Recordable.  This is a CD that you can recor\
d to only once.  CD-R
discs will work in the majority of CD players and CD-ROMs.  There are st\
andard CD-R media, and
“ music ” CD-R media.  Instead of (or sometimes in addition to) SCMS code, some\
 manufacturers have
made CD-R devices require  “music ” CD media which are significantly (as much as 6 times) more
expensive than regular CD-R media to prevent or help offset the cost of \
piracy.  However, TASCAM
units are designed for professionals and people making their own music, \
so they work with the standard,
inexpensive CD-R media and override or ignore SCMS code.  (i.e. CD-RW50\
00, CD-D4000, CD-R400)
CD-RW - Acronym for Compact Disc ReWriteable.  This is a CD you can write, er\
ase and rewrite over
and over again.  The only catch is that CD-RW does not work in many stan\
dard CD players or CD-
ROMs.  However, these are still great for experimentation or assembly of\
 a master.  Almost all CD-RW
drives can also read/record CD-R discs as well.  (i.e. CD-RW5000)
coaxial - In the audio industry, this is a fancy way of saying  “SPDIF signal down an RCA cable. ”
Typically, a coaxial port is an RCA connector that is set up to carry SP\
DIF signal.  However, be aware
that some devices allow you to transmit AES/EBU out the coax port also.
DAT - Acronym for Digital Audio Tape.  DAT recorders work like a cross betw\
een CD and cassette.  The
tape stores stereo digital information and can utilize track ID numbers \
just like a CD.  DAT uses the
familiar cassette transport controls, and can be written and re-written \
many times.  (i.e. TASCAM DA-
20mkII, DA-40, DA-45HR, DAP-1)
DTRS - Acronym for Digital Tape Recording System.  This refers to TASCAM ’s MDM recording system
which uses Hi8 tapes.  (i.e. DA-38, DA-88, DA-98)
EQ - Acronym for Equalizer.  Most people are pretty familiar with EQ; it o\
perates on a mixer just like it
does on a home stereo.  However, most people are not familiar with the d\
ifferent types of EQ.  (i.e.
parametric, sweepable, shelf, peak, etc.)  Below are some basic explana\
tions of the different types.
Boost/Cut - Boost/cut is the type of EQ found on most home stereos.  It simply bo\
osts or cuts the
frequency response around a center frequency in a Bell curve fashion.  T\
he amount of boost or cut
is controlled by the  “Gain ” dial, and the frequency given is the center frequency.
Shelf - Similar to the boost/cut, a shelf EQ is fixed in location and is a si\
mple boost or cut.
However, instead of the band-width building and falling around a center \
frequency, it boosts up to it,
and continues boosting at the desired level until it reaches the end of \
our hearing potential. So, a
low shelf EQ gain pattern could slope up to 80Hz, and continue at that a\
mount of gain all the way
down to the frequency response of the mixer.  The High Shelf may slope u\
p to 12kHz, and continue
at that boost until it reaches the highest frequency response of the mix\
er.  The amount of boost or
cut is controlled by the  “Gain ” dial, and the frequency given is usually the frequency where the EQ
first reaches its maximum level.
Section XIII
What the Heck is That?
Section XIII, page 1TASCAM TM-D1000 Tutorial1/99 
						

							Section XIII, Continued
Section XIII, page 2
I/O - This is a real cool way of saying “input and output. ”  Also, it is the last two letters of  “Old MacDonald
had a farm, E-I-E-I/O ”.  No one knows what the E-I-E part stands for, or why there are 5 space\
s and only
3 of the 5 vowels on that song.
insert - An insert is also known as a  “send and return ”.  Both names aptly describe what it does.
Basically, an insert point allows you to put another device into the sig\
nal flow.  This way, if you have a
compressor, noise gate, fancy EQ, etc. you can insert it into the signal path.  This is usually
accomplished through a TRS plug (Tip-Ring-Sleeve), that utilizes the t\
wo channel signals as one path
going in, one going out (instead of left side and right side).  The si\
gnal then comes to the insert point, goes
out to the connected processor, and then returns to continue down the si\
gnal path just like normal.
jitter - Jitter is caused by multiple digital devices interconnected that can ’t synchronize themselves, and
samples are cut out or missing which causes audible pops or other anomal\
ies.  To prevent this, the
devices will use  “word clock ” to keep them all together.
MDM - Acronym for Modular Digital Multitrack.  Typically the units will eac\
h handle up to 8 tracks, and
have the capability of slaving multiple units together for larger record\
ing systems.  The two major formats
for this type of machine are the Hi8 format from TASCAM, or the SVHS for\
mat from Alesis.  (i.e.
TASCAM DA-38, DA-88 or DA-98, or Alesis ADAT)
MIDI - Acronym for Musical Instrument Digital Interface.  MIDI sends performance data that allows one
synthesizer to control another.  No audio is actually passed through MID\
I.  What MIDI sends and
receives is instructions like  “middle C was just played ” or  “the sustain pedal was pushed down ”.  In the
case of the TM-D1000, messages would be transmitted that  “fader 14 was moved up ” or  “aux 1 on
channel 12 was turned down. ”  This way, whatever you do, a sequencer can remember all of your
instructions in a mix, and play them back over and over again for you.  \
Plus, you can edit your moves in
the sequencer.  It is important to remember that MIDI is a digital commu\
nication system, but is not used
to transmit digital audio.
MMC - Acronym for MIDI Machine Control.  MMC is a standard that gives trans\
port control of MMC
compliant recorders/players through standard MIDI cables.  (Transport c\
ontrol includes things like play,
stop, fast forward, rewind, record, pause, locate, and track record enab\
ling.)
Lightpipe - The digital communication format standard developed by Alesis.  It pu\
ts eight channels of
digital audio through an optical cable  Don ’t get an optical SPDIF signal confused with the ADAT
lightpipe... they ’re not compatible.  When hooking up devices with Lightpipe ports, you wi\
ll need to use a
TASCAM IF-TAD conversion box to convert the Lightpipe format to TDIF for\
mat.
Sweepable - A sweepable EQ simply means the center frequency can be moved.  Sweep\
able EQs
can be either boost/cut or shelf EQs.  This is very handy because the EQ\
 may be focused on a
specific part of the audio where it may bring out more character of the \
signal.  For instance, a High
Sweep/Shelf EQ may be focused just above the primary bands of a singer ’s voice, giving them more
of a breathy quality.  A low sweepable boost/cut may be used to add more\
 of a pillow sound to a
kick drum, a little higher will make it punchy, and around 1kHz you migh\
t find more kick drum
beater.  On a sweepable EQ, the Gain will adjust the amount of boost/cut\
, and the Frequency will
select the center frequency of the band.
Parametric - A parametric EQ is a sweepable EQ that also gives you the ability to \
adjust the
bandwidth.  In other words, you can determine how wide an area around th\
e center frequency you
are affecting.  (1/10th octave, 1/3 octave, 3 octaves, etc.)  So, if y\
ou want to add a wide, smooth
sounding rise in response, you can.  If you want to slice out a specific\
 part, you can do that too.
This is particularly helpful to remove a 60Hz buzz, a ringing feedback f\
requency in a live show, or to
add a little more edge to the crack of a snare drum.  The controls for a\
 parametric EQ are Gain for
adjusting the amount of boost or cut, Frequency for selecting the locati\
on of boost or cut, and  “Q ” for
adjusting the width of boost or cut.
Notch - A notch filter is a term used for a narrow band of EQ, typically used\
 to  “notch out ” a
frequency.  As mentioned in the parametric EQ listing, it is typically u\
sed for removal of trouble
frequencies.
TASCAM TM-D1000 Tutorial1/99 
						

							Section XIII, Continued
Section XIII, page 3
optical - SPDIF and Lightpipe digital formats both travel through an optical ca\
ble (Only one at a time,
please.)  Remember, Lightpipe and SPDIF are not compatible formats, tho\
ugh.  Lightpipe is 8 channels,
SPDIF is 2 channels.
sample rate - The sample rate indicates how many times per second the amplitude of \
a sound is
recorded.  Current typical standards are the CD standard 44.1kHz (44,10\
0 samples/second) or the
higher resolution 48kHz (48,000 samples/second.)
sample rate converter - A sample rate converter simply allows you to change a digital signal \
from one
sample rate to another.  For instance, if a recording system is running \
at 48kHz and you need to bring a
CD in (which is always running at 44.1kHz) then the sample rate conver\
ter will make the adjustment in
real time.  The TM-D1000 does not come stock with a sample rate converte\
r.  However, there is an
optional one on the IF-TD1000 digital I/O expansion option.  TASCAM’s CD-RW5000 does come with
one, allowing sessions recorded at 48kHz to be digitally recorded to CD.\
SCMS - Acronym for Serial Copy Management System, the copy control system in\
 digital
communication.  Basically, SCMS only lets you make one digital copy of a\
 master.  It was introduced to
help control piracy on the consumer market.  (SCMS is typically found o\
n consumer grade equipment.)
However, professionals in the audio industry need to make copies of thin\
gs for many different reasons.
So, most TASCAM pro equipment can either override or ignore SCMS code, a\
llowing you to distribute
your masterpiece without restriction.
snapshot - Once a mix is set up on the mixer, all of the settings can be stored \
in a  “snapshot. ”  The term
came from simply taking a picture of the mixer settings.  On the TM-D100\
0, up to 128 snapshots can be
stored and recalled.
SPDIF - The digital communication format standard developed by Sony and Phili\
ps.  (SPDIF stands for
Sony/Philips Digital Interface.)  It puts 2 channels of digital audio t\
hrough an RCA connector (coaxial) or
an optical cable.  Yes, this one has two different cables that can carry\
 it.  (Obviously, it must connect to
another SPDIF port... don ’t expect any great results plugging it into your vintage 1973 8 track.)\
  Don ’t get
an optical SPDIF signal confused with the ADAT lightpipe either... they ’re not compatible.  When working
with consumer digital players/recorders, SPDIF sometimes carries SCMS co\
de on it.  SPDIF can also
carry track number data for DAT players and CD players/recorders which i\
s one advantage to SPDIF
over AES/EBU.
TDIF - Acronym for TASCAM Digital Interface.  The digital communication form\
at standard developed by
TASCAM.  TDIF provides for 2 way communication of 8 channels of audio th\
rough a DB25 plug.  A TDIFcable is not the same as a SCSI, parallel, or any other 25 pin cable.  U\
se only approved TDIF cables to ensure proper operation.
transition time - The TM-D1000 has the capability of crossfading into a scene or betwee\
n scenes.  (The
only thing that crossfades is volume.  Everything else snaps upon recall\
ing the scene.)  The duration of
that crossfade is called the transition time.  On the TM-D1000, the tran\
sition time is adjustable from 0 to
10 seconds in 1/10th of a second intervals.
word clock - (If you don ’t have a firm grasp on sample rates and bit rates, see Section II - Cras\
h Course
in Digital Audio.)  When multiple devices are connected digitally, they\
 need to synchronize their sample
rates.  Each digital sample makes up one  “word ”.  So, the word clock basically makes sure that all the
devices are transmitting their digital information at the same time to p\
revent  “jitter ” problems.
Remember, you ’ll probably be needing to synchronize 44,100 or 48,000 samples every sec\
ond from
EACH source channel.  It is important to realize that only one device ca\
n be the master, and all of the
others will follow that master.
TASCAM TM-D1000 Tutorial1/99 
						

							RM-D1000 - Rack Ears for TM-D1000
Rack ears for the TM-D1000.  FYI - The black wrist rest can come off of \
the TM-D1000 to save space.
FX-D1000 - Digital Effects Card
This card essentially doubles the internal effects capability of the TM-\
D1000, adding 4 more processing
slots (making it a total of 8.)  You will need version 1.18 or later t\
o install and use the card.  If you need a
system update, it is available free of charge from TASCAM.
IF-TD1000 - Digital I/O Expansion Card
This card adds a second TDIF port, a digital in and out on both SPDIF an\
d AES/EBU, and a sample rate
converter.  With this card, you can feed every channel with digital info\
rmation, using 16 channels on
TDIF, three stereo digital outs and two stereo digital ins.  The IF-TD10\
00 makes the TM-D1000 more
than just a great multitrack board... it also becomes an amazing digital\
 router! You will need version 1.18
or later to install and use the card.  If you don’t have that system, it is available free of charge from
TASCAM.
MA-AD8 - 8 Channel Digital Mic Preamp
The MA-AD8 has 8 high quality mic pre-amps with digital audio converters\
.  Each mic pre has gain
control, phantom power and a pad.  All the signals are converted to digi\
tal, and sent through a TDIF line.
There are 2 TDIF ports on the unit, allowing cascading of units.
The MA-AD8 has a multitude of applications.  One is to simply add more a\
nalog inputs to the TM-D1000.
With this, it becomes a powerful 16 channel live mixer.  In the recordin\
g environment, it can add more
analog ins for large scale recording without losing the TDIF port for th\
e multi-track.  (The multitrack
cascades through the MA-AD8 ’s second TDIF port.)  For the club gigs, you can record 8 tracks of liv\
e
audio for 1 hour and 48 minutes in 4 rack spaces with the DA-38 and MA-A\
D8!
CUPW88D and CUPW88DL - TDIF Dubbing Cables
These are the model numbers for the CableUp! TDIF digital cables.  The C\
UPW88D is 1 meter in length.
The CUPW88DL is 5 meters in length.
MMC-38 - MMC/MTC/SMPTE for the DA-38
The MMC-38 does a number of things for the DA-38:  It converts MIDI Mach\
ine Control into TASCAM
Sync, and converts the DA-38 Absolute Time Code (the time displayed on \
the front time counter) into
both MIDI time code and SMPTE time code.  So, you get timecode without s\
triping a tape track with
timecode.  The time code converter supports 24, 25, 29.97 & 30 drop and \
non-drop frame rates.
MMC-88 - MMC/MTC/SMPTE for the DA-88
This unit is basically the same thing as the MMC-38, but designed for th\
e DA-88.  If your DA-88 does not
have an SY-88 card in it, the MMC-88 will provide a lower cost alternati\
ve if the DA-88 is only going to
be the master in the sync set-up.
Section XIV
Optional Accessories for the TM-D1000
Section XIV, page 1TASCAM TM-D1000 Tutorial1/99 
						

							Section XIV, Continued
Section XIV, page 2
IF-TAD - Lightpipe to TDIF Converter
The IF-TAD simply converts the Lightpipe digital format to TDIF digital \
format, converting two optical
cables into one TDIF line for 2 way communication.  Again, this can do m\
ore than simply link an ADAT to
the TM-D1000.  It could be used to transfer ADAT tapes to Hi8 tapes, int\
egrate DA-38s with Lightpipe
editors, and more.
IF-AE8 - 8 Channel TDIF to AES/EBU Converter
This single space rack unit converts a TDIF signal into 4 stereo pairs o\
f AES/EBU in/out.  This is handy
for connecting a ProTools 888 I/O, or multiple AES/EBU signals from samp\
lers, DATs, etc.
IF-DA8 - 8 Channel Digital (TDIF) to Analog Converter
This single space rack unit converts digital signal from TDIF to analog \
for connecting analog recorders to
the TM-D1000.  The IF-DA8’s 24 bit converters support sample rates of 44.1kHz and 48kHz.  For more\
involved set-ups, Word Clock In and Thru ports are available, and its ba\
lanced outputs have an
adjustable maximum level of +15dBu, +20dBu, or +24dBu.  This unit also h\
as a cascading TDIF port, so
other TDIF units can be added to the line.
TASCAM TM-D1000 Tutorial1/99 
						

							Section XV
Troubleshooting the TM-D1000
Section XV, page 1TASCAM TM-D1000 Tutorial1/99
AUX - I can’t hear any effects!
AUX - I assigned two effects loops, and I can ’t hear the second effect!
BUSS - I can ’t assign my channels to a buss!
Digital Input A - I plugged a device into my digital input, but I ’m not getting any signal!
1) Do you have AUX sends available?  If you are in RECORD mode, the ans\
wer is no.  Read the section
    entitled  “BUSS+AUX=4 ” for more information on this.  If you haven ’t changed the board from the factory
    defaults, then don ’t worry about that right now.
2) There are three different places where you have control of your effe\
cts.  Each channel has an individual
    effect send, the individual sends feed a master send, and the effect\
 has to return somewhere.
3) Make sure you have the effect returning properly.  To check the retu\
rn routing of the effects:
1) Did you assign a return for the second effect?
1) The group selection buttons, EQ and Direct Output double as MMC tran\
sport controls.  If the LOCK light is lit,
    that means those controls are  “locked ” as transport controls.  To unlock them and return them to their origina\
l
    functions, double-click the shift key.  The LOCK light should turn o\
ff.
2) Do you have any busses enabled?  Read the BUSS+AUX=4 section about c\
onfiguring the mixer ’s busses
    and auxiliary sends.
1) Do you have the right format of input assigned?  To check the input \
format:
2) Do you have the digital input assigned anywhere?  See the Configurat\
ions section for information on routing
    signal to a channel, EFFECT RETURN, or AUX RETURN.
A) Is the effect level up on that channel?  Press CH SEL of the channel\
 you are trying to add effect to, then
    press PARAM SEL until the AUX light turns green.  Make sure you have\
 a good amount of level send.  (The
    number goes from 0 to 100.  To be sure, crank that level up to aroun\
d 75 or higher.)
B) Is the effect send master level up?  That would be the black fader i\
n the lower right.  Make sure that is up to
    at least the shaded area.  In fact, move the fader up and down back \
into position just in case you have a
    shapshot assigning a volume to a value other than what your fader sh\
ows.
C) Is the effect return level up?  This depends on where you have the e\
ffect returned to.  If you are using
    internal effects, it would be either returned to the EFFECT RETURN o\
r AUX INPUT.  Make sure those levels
    are up.  Again, move the dials to make sure a snapshot hasn ’t assigned a lower volume for you.
A) Press SHIFT and PARAM SEL simultaneously.  The top line of the scree\
n should read OPTION.  If it doesn ’t,
    press ESCAPE until it does.
B) Rotate the DATA ENTRY dial to SETUP.  Press ENTER.
C) Rotate the DATA ENTRY dial to EFFECT RETURN INPUT SELECT.  Press ENT\
ER.  If the screen does not
    show  “EFFECT 2 ”, then rotate the DATA ENTRY wheel until it does.  Press ENTER to select\
 that input.
A) Press SHIFT and PARAM SEL simultaneously.  The top line of the scree\
n should read OPTION.  If it doesn ’t,
    press ESCAPE until it does.
B) Rotate the DATA ENTRY dial to SETUP.  Press ENTER.
C) Rotate the DATA ENTRY dial to AUX INPUT SELECT.  Press ENTER.  If th\
e screen does not show
     “EFFECT 1 ”, then rotate the DATA ENTRY wheel until it does.  Press ENTER to select\
 that input.
A) Press SHIFT and PARAM SEL simultaneously.  The top line of the scree\
n should read OPTION.  If it doesn ’t,
    press ESCAPE until it does.
B) Rotate the DATA ENTRY dial to SETUP.  Press ENTER.
C) Rotate the DATA ENTRY dial to DIGITAL INPUT FORMAT.  Press ENTER.
D) Select the appropriate input format.  For AES/EBU, rotate to XLR.  F\
or SPDIF input, rotate to RCA. 
						

							Section XV, Continued
Section XV, page 2TASCAM TM-D1000 Tutorial1/99
Digital Outputs - I’ve connected my digital output to an external digital device, but it ’s not getting any
signal!
Direct Output - When I push the DIRECT OUTPUT button, it doesn ’t light up and doesn ’t route my signal.
Dynamics - When I try to engage one of the dynamic processors, it remove\
s one of the others I ’ve
already assigned.
EQ - I ’m making adjustments to the EQ, but I ’m not hearing any changes.
EQ - I ’m pressing the EQ in/out switch, but the EQ isn ’t engaging.
EQ -When I EQ a channel the way I like it, the channel overloads.
1) Do you have the right format of output assigned? The lights just abo\
ve the master fader will indicate whether
    the outputs are designated as AES/EBU or SPDIF.  If the signal is ou\
tput as AES/EBU, the light turns on.  If
    not, the light is out.  To change the output format:
2) Do you have the appropriate signal assigned to that output?
3) Is there any level being assigned to that output?
4) The TM-D1000 has 2 digital outputs.  Did you connect your external d\
evice to the correct one?
5) Did you go into the digital port on your digital device?
1) The group selection buttons, EQ and Direct Output double as MMC tran\
sport controls.  If the LOCK light is lit,
    that means those controls are  “locked ” as transport controls.  To unlock them and return them to their origina\
l
    functions, double-click the shift key.  The LOCK light should turn o\
ff.
1) Do you have any processors left?  Right out of the box, the board is\
 capable of up to 4 dynamic processors.
    If you have the extra effects board, you are then capable of up to 8\
.
2) What software version do you have?  Version 1.14 and earlier assigne\
d processor 1, then 2, then 3, then 4,
    then 1, then 2 (and so on.)  This was changed to pull from the ava\
ilable processors in version 1.18 and later.
    Contact TASCAM Technical Support at (323) 726-0303 to receive a so\
ftware update.  To check your
    software version:
1) Do you have the right channel selected?  Sometimes users forget to p\
ress CH SEL of the appropriate
    channel strip, and are actually adjusting the EQ of a channel not in\
 use.  Make sure the CH SEL button is lit
    for the channel you are working on.
2) The EQ may not be engaged.  See if the EQ light above channel 6 is l\
it.  If not, the EQ is not engaged.  Press
    the EQ button to engage the EQ
1) The group selection buttons, EQ and Direct Output double as MMC tran\
sport controls.  The LOCK light is
    probably lit, indicating that those controls are  “locked ” as transport controls.  To unlock them and return them
    to their original functions, double-click the shift key.  The LOCK l\
ight should turn off.
1) Boosting EQ actually increases the level of the signal.  This boost \
can take the signal to the point of
    overloading the channel.  For this reason, we have included a digita\
l pad to reduce the signal level before it
    hits the EQ stage.  This way, it will not overload the channel.
A) Press SHIFT and PARAM SEL simultaneously.  The top line of the scree\
n should read OPTION.  If it doesn ’t,
    press ESCAPE until it does.
B) Rotate the DATA ENTRY dial to SETUP.  Press ENTER.
C) Rotate the DATA ENTRY dial to DIGITAL OUTPUT FORMAT.  Press ENTER.
A) Press SHIFT and PARAM SEL simultaneously.  The top line of the scree\
n should read OPTION.  If it doesn ’t,
    press ESCAPE until it does.
B) Rotate the DATA ENTRY dial to SETUP.  Press ENTER.
C) Rotate the DATA ENTRY dial to DIGITAL OUT A:B.  Press ENTER.  Rotate\
 the dial to show the appropriate
    output assignments.
A) Press the monitor select buttons in the master section to determine \
if anything is being sent to that output.
    (i.e. BUSS/AUX 1-2, 3-4, etc.)
A) Press Option Monitor.
B) Press the DATA ENTRY dial down until the top line reads SYSTEM.
C) Turn the DATA ENTRY wheel all the way to the right.  The system soft\
ware version should be displayed. 
						

							Section XV, Continued
Section XV, page 3TASCAM TM-D1000 Tutorial1/99
Error Messages:
Option Cards - I installed my FX-D1000 and/or IF-TD1000 expansion cards,\
 and the mixer won’t address
them and/or freezes up.
Output - I ’m not hearing my mix properly -OR- at all.
Output - My pan controls aren ’t panning anywhere!  -OR-  Everything ’s in mono!
Output - There is a lot of static coming from the mixer.
TDIF - I plugged my TM-D1000 and DA-38/DA-88/DA-98 together with a TDIF \
cable, but no signal is
passing.
1) Error!  No Signal... [Name of digital port i.e. TDIF-A, D in A, etc.]
2) Warning! Emphasis On... [Name of digital port i.e. TDIF-A, D in A, etc.]
3) Error!  Fs Clock Error>Internal
4) Error! MMC System not closed
1) You need to have software version 1.18 or later to support those car\
ds.  The cards shipped with the software
	update on an E-PROM.  To check your software version:
2) The card ’s ribbon cable may not be seated properly.  Check that connection to mak\
e sure it is on all the way.
1) Is your monitor system plugged into the Monitor Output of the mixer?\
  (Not the Stereo Output!)
2) Do you have L-R button pushed down?  (Located above the Monitor Lev\
el control.)
3) Is there any level showing in the meter?  If not, then there is noth\
ing feeding the output.  Solution: ADD
    SOME SIGNAL!!!
1) The MONO phase compatibility switch is pushed down.  (Located just \
above the MONITOR LEVEL control.)
    Push it again to disengage it.
1) The word clock chain is not functioning properly.  Determine which p\
art of your digital set-up is the master,
    and verify that the units are set up properly for that.  (See Maste\
r Clock Set-up, page 5.)
1) Make sure you plugged the TDIF cable into the TDIF port of the DA-38\
.  There are 2 other identical 25 pin D-
    SUB connectors on the back of the DTRS machines.  (The other two ar\
e for analog input and output.)  The
    TDIF cable should be plugged into the jack that says  “TDIF ” just above it.
2) Make sure the digital input is selected on your MDM.  There should b\
e a button labelled Digital In, or Digital
    Input on your machine.
3) Make sure you used an authentic TASCAM or Cable-Up TDIF cable.  Comp\
uter cables will not work, due to
    different wiring configurations on the connectors.  Also, some other\
 cable companies have made TDIF cables
    that are not wired properly.
A) This means you have a digital input set as the word clock master, bu\
t there is no information coming from it.
    The master unit could either be disconnected or turned off.
A) This means you have a digital input set as the word clock master, an\
d that master source has just switched
    its sample rate.  Press Escape to leave this screen.  There is no ac\
tion required when this message comes
    up; it simply informs you that your sample rate has changed.  (The \
TM-D1000 automatically changes sample
    rate to match the master clock.)
A) This means you have a Word Sync port set as the word clock master, b\
ut there is no information coming
    from it.  The master unit could either be disconnected or turned off\
.  The TM-D1000 now resolves to its
    internal clock.
A) This means that MMC information is being sent to a recorder, but the\
re is not 2-way communication.  See the
    MIDI Implementation section for more information on open/closed MIDI\
 loops, and how to set them.
A) Press Option Monitor.
B) Press the DATA ENTRY dial down until the top line reads SYSTEM.
C) Turn the DATA ENTRY wheel all the way to the right.  The system soft\
ware version should be displayed. 
						

							TM-D1000
Digital Mixer Tutorial
TEAC CORPORATIONPhone: (0422) 52-5082
TEAC AMERICA, INC.Phone: (323) 726-0303
TEAC CANADA LTD.Phone: 905-890-8008  Facsimile: 905-890-9888
TEAC MEXICO, S.A. De C.V.Phone: 5-658-1943
TEAC UK LIMITEDPhone: 01923-819699
TEAC DEUTSCHLAND GmbHPhone: 0611-71580
TEAC FRANCE S. A.Phone: 01.42.37.01.02
TEAC BELGIUM NV/SAPhone: 0031-30-6048115
TEAC NEDERLAND BVPhone: 030-6030229
TEAC AUSTRALIA PTY., LTD. A.C.N. 005 408 462Phone: (03) 9644-2442
TEAC ITALIANA S.p.A.Phone: 02-66010500
3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan
7733 Telegraph Road, Montebello, California, 90640
5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada
Privada De Corina, No. 18, Colina Del Carmen Coyoacon, Mexico DF 04100
5 Marlin House, Marlins Meadow, The Croxley Centre, Watford, Herts. WD1 \
8YA, U.K.
Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany
17 Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France
P.A. TEAC Nederland BV, Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands\
Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands
106 Bay Street, Port Melbourne, Victoria 3207, Australia
Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy
DG199-83233-5