Tascam Digital Mixing Console TM-D4000 Owners Manual

							 
1 - Introduction—Expansion cards 
1–4 
4
 
Hold the card by the edges, and insert it, 
component side upwards, into the slot. 
5 
Locate the card into the connector inside the 
TM-D4000. Push the card firmly, without 
forcing, so that the connector grips the end of 
the card. A new TM-D4000 and/or new card 
may be a little stiff. Make sure that the card 
is pushed as far as it will go (so that the card 
rear connector plate touches the rear panel 
of the TM-D4000). 
6 
Use the three blanking plate screws to attach 
the rear panel of the interface card to the 
rear panel of the TM-D4000.
Repeat this process for all the interface cards 
that you are fitting. 
When removing a card, unscrew the three retaining 
screws and use the “pull posts” on the rear panel of 
the card to remove it from the TM-D4000.
There are no rules governing which interface cards 
may be fitted in any of the three slots—any interface 
card may be fitted in any expansion slot. However, 
the following points should be noted. 
1.3.2 Input channel numbering 
Regardless of the type of interface card fitted, and the 
expansion slots in which any cards are fitted, the 
numbering of the input channels is always as follows:
These assignments are fixed, and cannot be changed, 
except that channels 5 through 8 and 13 through 16 
can be assigned to the digital inputs (SPDIF or AES/
EBU).It is important to note that there are no dedicated tape 
return channels. Furthermore, because of this, every 
channel, no matter what its current signal source, is 
provided with the same full facilities of equalization, 
dynamic processing, etc., and all channels may be 
routed to the output busses in an identical manner 
(direct outs are only possible for input channels 1 
through 16, though). 
1.3.3 Output busses 
All eight output busses are routed simultaneously in 
parallel to the appropriately-numbered outputs of all 
three slots (or as many as are filled with expansion 
cards). If all three slots are filled, output buss 1 is 
therefore output to output channel 1 of the cards in 
slot 1, slot 2 and slot 3.
It is therefore possible to record up to 24 tracks 
simultaneously, but when the output busses only are 
used, only eight different signals are output. If, for 
instance, a 24-track recorder is connected to the TM-
D4000 using three IF-AE4000 cards, the signal of 
output buss 3 will be recorded on tracks 3, 11 and 19, 
for example.
However, you can use the “direct out” function of 
input channels 1 through 16, which will allow simul-
taneous recording of these sixteen inputs to output 
busses 17 through 32 (slots 2 and 3), overriding any 
signals which have been taken from the output bus-
ses.
At the same time, any inputs from slots 2 and 3 
(channels 17 through 32) can be routed through the 
output busses, which will be output through slot 1 
(outputs 1 through 8).
Before you start recording, make sure that you have 
the correct interface cards for your setup, so that you 
can interface the TM-D4000 to the other equipment 
in your setup. 
1.3.4 Direct out 
As explained later in this manual, the signals from 
input channels 1 through 8 (the integral analog 
inputs) and channels 9 through 16 (the first expan-
sion slot) can be assigned to be sent as direct out, 
rather than to an output buss.
In this case, to determine the number of the output 
channel, add 16 to the input channel. Input channel 1 
is therefore routed to output channel 17 (the first 
channel in the second interface slot), input channel 9 
to output channel 25 (the first channel in the third 
interface slot) etc. If no interface cards are fitted in  
Channel number Slot
 
1 – 8 Integral analog inputs
9 – 16 Slot 1 inputs
17 – 24 Slot 2 inputs
25 – 32 Slot 3 inputs 
						

							 
1 - Introduction—Word clock issues 
 1–5 
the slots, the input signal selected for direct output 
will not be output from the TM-D4000. 
1.4 Word clock issues 
The “word clock” in a digital audio system is the tim-
ing information that enables the digital audio sam-
ples in a system to be synchronized between the 
different devices. It is completely unconnected with 
timecode clocks, etc.
There must be one, and only one, word clock master 
device in a digital audio system. The TM-D4000 is 
capable of acting as a word clock master or as a 
slave. 
WARNING 
There should be one, and only one, word 
clock in a setup. Multiple word clocks in a 
setup may result in noise. which can damage 
monitoring equipment (speakers and  
amplifiers). 
Check with the other equipment that you are using to 
see whether it can be a master or slave, and work out 
which device will be your word clock master. If the 
TM-D4000 is to be a word clock slave in your sys-
tem, it can accept word clocks from the following 
sources:
• Any of the slots which are occupied by a digital 
interface card (either TDIF-1, adat, or AES/EBU). 
In the latter case, any of the four stereo signal pairs 
that make up the IF-AE4000 are individually 
selectable as word clock sources).
• The digital inputs  
D-IN1 
 and  
D-IN2 
.
• If more than one TM-D4000 is being cascaded, the 
clock source on a cascaded TM-D4000 will always 
be the cascade source. The “head” of the cascade 
chain can select its clock from any available 
source.• A word clock signal, received at the dedicated 
word clock input on the rear panel.
The clock can be at 44.1 kHz or 48 kHz, with some 
variation possible for varispeed, etc. at ±6%. See 3, 
“System setup” for details of word clock selection. 
1.5 Effects and monitoring 
The TM-D4000 has six auxiliary sends (Aux sends). 
These may be used for cue purposes, for effect sends, 
or a mixture of these purposes.
In addition, there is a high-quality stereo digital 
effect processor built into the TM-D4000, and this 
may be used in addition to external effects. The inter-
nal processor can be fed from either the first or last 
pair of Aux sends, and the stereo output from the pro-
cessor can be returned to the second stereo pair of 
channels.
Typically, the six  
AUX OUTPUT  
 1/4-inch jacks are 
used for feeding external effect units, etc. on mix-
down, but some of them may be used as studio cue 
feeds, allowing different sub-mixes to be built up for 
different monitoring mixes. Since the built-in talk-
back microphone can be sent to the Aux 1 and 2 bus-
ses (as well as being slated), it is suggested that Aux 
1 and 2 are used for cueing the in-studio talent.
Though there are no dedicated effect returns, any of 
the analog inputs can be used for analog effect 
returns, and the stereo inputs may also be used for 
this purpose.
Additionally, the two digital stereo inputs can be 
used as input sources for two of the following chan-
nel pairs: 5–6, 7–8, 13–14 or 15–16.
There are two sets of outputs suitable for feeding the 
control room and studio monitoring systems (as well 
as a headphone jack). Dimming, talkback, etc. facili-
ties are provided, as well as the ability to monitor any 
of the Aux sends, the digital inputs, or either of two 
2-track recorders (as well as the stereo mix, natu-
rally). 
						

							 
2–1 
2 - Principles of operation 
2.1 User interface 
The TM-D4000 is a 36-channel console with eight 
output busses, 4-band fully parametric equalization 
on each channel and six aux sends.
However, when you look at the console and compare 
it with an analog console of the same specifications, 
it may appear that some controls are missing. For 
example, there would be 408 EQ rotary controls 
alone on an analog console (12 on each of 32 mono 
channels and 12 on each of 2 stereo channels).In fact, all the appropriate controls are present; they 
are software controls, and this section explains how 
to access them, as well as providing a “road map” so 
that you can find your way easily round the different 
parts of the TM-D4000. 
2.2 Road map 
The TM-D4000 can be divided into logical sections, 
as shown below. It is worthwhile remembering where 
each section belongs, so that you can find your way 
around the console quickly and easily when you start 
to use it.
The majority of the settings are made using the display screen, using the PODs underneath the screen.
Chs 1–16, 17–32, 
AUX & buss send 
masters
Machine control 
section
Monitor control 
keys and meters
Analog outputs, etcAnalog inputs
Library
Module 
control 
keys
Display screen 
and PODs
Configuration
Mixing
Stereo input 
and stereo 
masters
Layer status
Talkback
Data entry (some overlap 
with machine control)
Automation 
control Clock & Fs 
indicators
8–9 
						

							 
2 - Principles of operation—Using the PODs 
2–2  
2.3 Using the PODs 
A POD consists of a continuous rotary encoder or 
“knob”, with two keys (or “switches”) under it. There 
are four PODs located directly under the display 
screen.
The knob is used to set continuously variable param-
eters shown on the screen (for example, the amount 
of signal sent to an Aux buss), while the switches are 
used for “on/off”-type screen parameters (e.g. pre-or 
post-fader send). 
A typical screen showing POD use is shown below 
(the method of actually selecting screens is given 
below):
The controls on the screen are shown in rows, each 
row corresponding to the four PODs.
The heavy blinking box surrounding a row shows the 
currently-active row. Turning a POD knob will have 
the effect of changing the corresponding parameter 
in the active row (turning the left POD knob will 
adjust the left parameter in the active row, etc.).
In the example above, the right on-screen control in 
the active row is “grayed out”. This means that the 
corresponding POD has no function when this row is 
active.
Note that PODs which are enabled, but not in the cur-
rently active row, are shown as small dashed circles. 
PODs which are disabled, and not in the currently 
active row, are shown as small gray circles.
Where both switches of a POD are unused, they are 
not displayed on screen. When only one switch of a 
POD is used, the other is “grayed out”.To change the active row, use the  
ROW CURSOR 
 
keys to the right of the PODs to move the heavy 
blinking box indicating the active row.
In addition to the POD knobs, the POD switches can 
also be used in a number of cases in this screen to set 
various parameters.
In this way, comparatively few physical controls can 
be made to adjust many parameters. Since these con-
trols are centralized, this allows for very efficient 
working with the TM-D4000. 
2.3.1 Selecting screens 
Display screens are selected using the group of keys 
to the left of the display screen.
Sometimes a key will have two labels, one above and 
one below. The function described by the lower label 
is accessed by pressing the  
SHIFT 
 key so that the  
SHIFT 
 indicator lights, and then pressing the appro-
priate key.
The screen shown below is a  
DIGITAL I/O  
screen, as shown by the title in the top right corner of 
the screen. Accordingly, the (unshifted) key whose 
upper label is  
DIGITAL I/O 
 should be pressed.
Note that this screen contains three “tabs” under the 
title. This is because there are more parameters 
which fall under the heading of “digital I/O” than can 
fit on one screen.
Currently, the  
I/O SETUP 
 tab is at the top, and 
it is these parameters which are available for editing.
To change to the next tab,  
CLOCK 
, press the  
DIGITAL I/O 
 key once more (with the  
SHIFT 
 indica-
tor lit).
Another press of the  
DIGITAL I/O 
 key will bring the  
CASCADE 
 tab to the front, and pressing it one  
						

							 
2 - Principles of operation—Using the PODs 
2–3 
more time will bring  
I/O SETUP 
 to the front 
once more. 
2.3.2 Navigation in screens 
In the screens above, there are no POD-selectable 
parameters. In these cases, it is necessary to use 
another method of working.
This is provided by the cursor keys and the  
ENTER 
 
key beside the  
JOG/SHUTTLE 
 dial.
Use the cursor keys to move the cursor ( 
Π
) from field 
to field, and the  
ENTER 
 key to select a value from 
one of a number of options. 
2.3.3 Using the JOG dial 
Sometimes there are numerical values to be set. 
These can be entered using the  
JOG 
 dial (when the  
JOG/SHUTTLE 
 indicator is off and the Dial Edit 
option is checked—see 3.3.7, “Dial edit”).
The  
JOG 
 dial can also be used to change the values 
of a highlighted item which can also be edited by a 
POD (in the screen above, there are no such values, 
but the  
MODULE 
 screen in 2.3, “Using the PODs” 
contains many such values). Note that the  
JOG 
 dial 
can be used to control the values of a parameter that 
is not in the currently active POD row.
In some screens, the  
JOG 
 dial may be used instead of 
the cursor keys to move the cursor around the screen. 
The instances where this can be performed are usu-
ally obvious and therefore will not be described in 
detail.
In certain special screens, the outer  
SHUTTLE 
 wheel 
is used to change the function of a screen (for 
instance in library screens, it changes the function of 
the  
JOG 
 dial from a device selector to a character 
selector.
The numeric keypad may also be used for the direct 
entry of numeric values in certain cases. 
2.3.4 One channel or one parameter? 
The TM-D4000 provides two options for the setting 
of module-based (as opposed to system-based) 
parameters.
If one module (or stereo linked pair of modules) is to 
have many parameters changed, at one time, the 
channel is selected (see 2.3.5, “Selecting channels” 
below) and the  
MODULE 
 screen is used, as shown 
below:
In fact, the  
MODULE 
 “screen” is two screens 
( 
EQ/AUX/PAN 
 and  
EQ/DYN 
 (dynamics 
processor)). Pressing the  
MODULE 
 key will change 
between these two screens (see 2.3.1, “Selecting 
screens” for more information on multiple screens).
Sometimes, though, it makes more sense to view and 
adjust a single parameter on many modules simulta-
neously. For instance, here is the screen to adjust the 
levels for Aux send 1, accessed by pressing the  
AUX 1 
 key:
Note that again, this “screen” is actually two screens, 
the first for the channels 1 through 16, and the second 
for channels 17 through 32. Repeated presses of the 
AUX 1 key will cycle between these two screens. 
						

							 
2 - Principles of operation—Fader layers 
2–4  
NOTE 
Equalization is only available in the  
MODULE 
 screen. There is no global equal- 
ization screen. 
2.3.5 Selecting channels 
In the case of the  
MODULE 
 screens, which allow 
you to adjust the parameters of an individual channel 
(or pair of linked channels), it is necessary to select 
the channel whose parameters are to be edited. This 
is usually done with the individual channels’  
SEL 
 
keys. 
Pressing the  
SEL 
 key of a channel (or either channel 
of a stereo linked pair of channels) will change the  
MODULE 
 screen (when a  
MODULE 
 screen is 
already displayed) to allow viewing and setting of 
that channel’s parameters.
If the  
MODULE 
 screen is not already displayed, 
pressing and holding the  
SEL 
 key of a channel for 
about two seconds will bring up the  
MODULE 
 
editing screen for that channel, if the appropriate 
option is set (see 3.3.5, “Select MODULE return”).In addition, the  
SEL 
 keys may also be used to jump 
around a screen quickly when a lot of channels are 
displayed simultaneously, rather than using the cur-
sor keys to select a channel.
The channel faders may also be used to select chan-
nels for editing, together with other optional prefer-
ences concerned with the interface, as described in 
3.3.4, “Fader select”. 
2.4 Fader layers 
The TM-D4000 can handle up to 32 mono inputs, 
together with two stereo inputs, and also has eight 
busses and six aux sends. However, only 19 faders 
are visible.
The way that faders are used is in “layers”—each 
layer consisting of 16 faders. 
The three right faders always control the two stereo 
inputs and the stereo master buss, regardless of the 
settings of the other faders, except in the Aux send 
mode, where the mono and stereo input faders in the  
1-16 
 and  
17-32 
 layers act as Aux sends. In the  
MASTER 
 layer, even if the Aux send option is 
selected, all faders retain their settings.
The three layers are selected using the  
LAYER 
STATUS 
 keys (the appropriate indicator will light). 
These three keys are interlocking, i.e. only one can 
be active at a time, and have the following meanings:
Layer 1
(CH 1-16)Layer 2
(CH 17-32)Layer 3
(MASTER) Channel faders 1–32
8 output busses 6 aux sends
1
2
3
10 26
AUX 2
(fader strip
label)
 
LAYER 
STATUSMeaning
 
CH 1-16 
Faders 1–8 control the inputs from the integral 
analog inputs, and faders 9–16 control the 
channel inputs from slot 1
 
CH 17–32 
Faders 1–8 control the channel inputs from slot 
2, and faders 9–16 control the channel inputs 
from slot 3
 
MASTER 
Faders 1–8 control the levels of the signals fed 
to the eight output busses. Faders 9–14 control 
the levels of the six aux sends. Faders 15 and 
16 are unused in this fader layer.
 
LAYER 
STATUSMeaning 
						

							 
2 - Principles of operation—Fader layers
 
2–5
 
Every time the fader layer is changed, the faders will 
move to the positions corresponding to the new layer.
 
NOTE
 
In addition to the faders, the 
 
REC
 
, 
 
SEL
 
, 
 
SOLO
 
 
and 
 
CUT
 
 keys, as well as the channel automa-
tion indicators above each fader all
change function to control the appropriate 
input channel, buss or aux send. However, in 
this manual we sometimes use the term 
“fader ” as a shorthand expression for all these 
 
items.
 
Note that there are some modes where the fader con-
trols do not act as channel, Aux or buss faders. These 
are principally the Aux Fader Control mode (see 4, 
“Module operations ”) and MIDI Fader (10.5,  “MIDI 
Faders ”) modes (some Machine Control settings may 
also use the faders). If the current fader layer is not 
controlling module (or Aux or buss) levels, the cur-
rently-selected indicator will ash.
 
NOTE
 
In the Aux Fader Control mode, the MASTER 
layer functions do not change. Accordingly, 
the 
 
STEREO IN
 
 faders act as channel faders in 
the MASTER layer when the Aux Fader Con-
trol mode is selected, not as Aux sends for the 
 
stereo channels.
 
2.4.1Turning fader motors on and off
 
The fader motorization can be turned on and off as n 
described in 3.3.8,  “Automation fader inhibit”.. 
This setting only takes effect in automation replay 
(Read) mode. In all other cases such as fader layer 
changes, snapshot recall, etc., the faders are always 
motorized.
 
2.4.2Physical and logical faders
 
When automation operations are taking place, we 
can speak of  “physical ” and  “logical ” faders.
The  “physical ” faders, as the name implies, are the 
actual controls (the fader knobs). The  “logical ” fad-
ers, on the other hand are not visible, and are the 
positions that the physical faders would occupy for 
the current level.
 
NOTE
 
The positions of the physical and logical fad-
ers will always be the same when fader 
 
motorization is turned on.
  
						

							 
  
3–1 
3 - System setup 
This section describes the operations that should be 
carried out to affect the operation of the TM-D4000 
as a whole.
These include:
• Digital I/O setup
• Word clock setup
• System options
It is important to understand the basic principles 
explained here. If you do not, it will be more difficult 
to achieve satisfactory results with your TM-D4000. 
NOTE  
The Cascade setup (accessed through the 
DIGITAL I/O key) is described in 11, “Cas-
cade”, the Solo setup in 5, “Monitoring”, and  
the Surround setup in 6, “Surround modes”. 
3.1 I/O setup 
1 
With the  
SHIFT 
 indicator off, press the  
DIGITAL I/O 
 key  
[5] 
 until the screen below 
appears.   
This screen allows the selection and assignment of 
the digital inputs to channels. Note that the same dig-
ital input may appear as an input option for more 
than one pair of channels. If a digital input is selected 
as the source of more than one pair of channels, it 
will appear at all these channels simultaneously.The options available are: 
3.1.1 STEREO OUT settings 
In addition to these input sources, changes to param-
eters affecting the digital output of the  
STEREO 
OUT 
 can be made.
Firstly, the  
STEREO OUT 
 can be selected as being in 
either professional ( 
PRO. 
) or consumer 
( 
CONS. 
) format. 
Changing the setting made here will also affect the 
format of the output from any IF-AE4000 interface 
cards fitted in the expansion slots. 
NOTE  
The Consumer format, when output from the 
unbalanced RCA STEREO OUT jack, corre-
sponds to the IEC61958 (SPDIF) format.  
Input
channelsAvailable sources
 
5 & 6 Analog (integral 
analog chan-
nels 5 and 6)D-IN1 (XLR-
type)—
7 & 8 Analog (integral 
analog chan-
nels 7 and 8)D-IN2 (RCA) —
13 & 14 Slot 1 CH13-14 
(channels 7 and 
8 of the card in 
slot 1)D-IN1 (XLR-
type9—
15 & 16 Slot 1 CH15–16) 
channels 7 and 
8 of the card in 
slot 1)D-IN2 (RCA) —
ST-IN 1 ANALOG (inte-
gral stereo 
inputs)D-IN1 (XLR-
type)—
ST-IN 2 ANALOG (inte-
gral stereo ana-
log inputsD-IN2 (RCA) INT 
EFFECT 
(internal 
effect pro-
cessor)
EFFECT
 
a
 
a. The source of the internal effect processor 
input 
AUX1/2 (Aux 
busses 1 and 2)AUX5/6 
(Aux bus-
ses 5 and 6)— 
						

							 
3 - System setup—CLOCK setup 
3–2  
If the Professional format is selected, the 
resulting data output from the RCA STEREO 
OUT jack will probably be unusable by most  
domestic equipment. 
3.1.2 Consumer options 
If the chosen output is Consumer, hold down the  
SHIFT 
 key and press the right switch of POD 4 to 
change the SCMS (copy-protect) settings between  
FREE 
 (SCMS disabled),  
ONCE 
 (standard SCMS 
one-generation) and  
NO COPY 
 ((copy-prohibit). 
An appropriate message will appear on screen, and 
these settings are stored in memory.
In addition, the category of consumer audio can be 
set using the  
SHIFT 
 key along with the left switch of 
POD 4 to cycle through the following values:
This allows the TM-D4000 to pose as an alternative 
audio source, for instance if an MD deck can only 
accept signals from a CD or another MD deck, or in a 
broadcast situation, a certain category may be neces-
sary for use with other equipment.
If an attempt is made to set the category with the Pro-
fessional format setting, an error message, “No Cate-
gory for AES/EBU” will appear on screen. 
3.1.3 Word length and dithering 
The word length can be selected as being either  
16 
,  
20 
 or  
24 
 bits in length.If the selected word length is less than 24 bits, you 
may choose to dither the resulting output. Dithering 
helps to reduce quantization noise, but results in a 
slightly lower signal-to-noise ratio. Choose either  
OFF 
, rectangular ( 
RECT 
) or triangular ( 
TRI 
) 
dithering. The shape names refer to the probability 
distribution of the noise which is used in the dither-
ing process.
Typically, triangular dithering gives better quantiza-
tion noise reduction than rectangular, but the signal-
to-noise ratio is not as good. 
NOTE  
The word length from the output busses is  
always set to 24 bits. 
3.2 CLOCK setup 
WARNING  
There should be one, and only one, word 
clock source in a digital audio setup. Multiple 
word clocks in a setup may result in noise 
which can damage monitoring equipment  
(speakers and amplifiers). 
The word clock source is selected in the following 
way: 
1 
With the  
SHIFT 
 indicator unlit, press the  
DIGITAL I/O 
 key until the screen below is 
shown (note that the exact screen may differ 
from that shown here, depending on the 
number and the type of the interface cards 
fitted in the expansion slots): 
2 
Move the cursor to the box which contains 
the description of the desired clock source. 
General 
General
 
CD 
CD
 
LD 
Laser (usually disc)
 
MD 
MD
 
CODEC 
PCM Codec
 
MIXER 
Mixer
 
a
 
a. TM-D4000 default setting 
SRC 
SRC (Sample Rate Converter)
 
SAMPLER 
Sampler
 
DAT 
DAT
 
DVTR 
DVTR
 
DCC 
DCC
 
TV-J 
Japanese broadcast digital
 
TV-EUR 
European broadcast digital
 
TV-USA 
American broadcast digital
 
TV 
Broadcast digital
 
Synth 
Synthesizer
 
Microphone 
Microphone
 
Pro A/D 
Copy-free A/D converter
 
A/D 
A/D converter
 
RAM 
Solid state reproducer 
						

							 
3 - System setup—CLOCK setup 
 3–3
3
 
Select the clock source by pressing  
ENTER 
.
The popup panel provides information about 
the potential clock source. Press  
ENTER 
 to 
select this source, or any one of the cursor 
keys to dismiss the popup panel, and select 
another source.
In the case of an IF-AE4000 (AES/EBU 
interface card), there are four different 
sources (the four AES/EBU inputs) which 
may be selected as the word clock source for 
the TM-D4000.
If the TM-D4000 has been cascaded from 
another unit, the clock source is set as  
CASCADE 
 and cannot be changed. The 
“head” of the cascade chain can select the 
clock from any source.
In the case of an IF-TD4000 (TDIF-1 inter-
face card), the device attached to the card 
source is shown as either a  
DA88
 ( DA-88 
DTRS recorder) or 
OTHER (another type 
of recorder connected through the TDIF-1 
interface). If the indicator shows DA88, then 
I/O data is truncated to 16 bits, otherwise I/O 
is carried out at 24 bits.
In the case of an IF-LP4000 (ADAT “light-
pipe” interface card), there are three 
options: 
INT, SYNC or DIGI. If more 
than one IF-LP4000 is fitted, changing the 
setting for one card will change the settings 
for all the rest. The 
INT setting allows the 
ADAT to act as the clock master (this is not a 
recommended setting). If 
SYNC is selected, 
the ADAT receives its clock through the 
SYNC cable, and if DIGI is selected, the 
optical connection is used as the clock source 
to the ADAT. We strongly suggest that 
SYNC is used, rather than DIGI, if the ADAT is to be a word clock slave, especially 
if more than one ADAT is connected. See also 
9.4.4, “ADAT devices”.
If more than one IF-LP4000 card is fitted, 
there are three choices for each card, regard-
less of the actual connection of the ADAT 
units to the TM-D4000. The last on-screen 
button pressed (on any of the IF-LP4000 
options) then determines the status of the 
first ADAT in the chain.
1
4If the clock source has been selected as INT, 
the clock rate (sampling frequency) can be 
selected. In all other cases, the sampling fre-
quency is fixed and cannot be changed.
3.2.1 Selecting clock frequencies
Word clock sources, except for WORD and ADAT 
sources, include information regarding their sam-
pling frequencies. If either 
WORD or ADAT is 
selected as a clock source, the procedure below 
should be followed:
1Decide what sampling frequency the project 
will use.
2Select INT as the clock source (this is a 
temporary measure), and select the fre-
quency.
3Select the final clock source (WORD or 
ADAT). The TM-D4000 sampling fre-
quency will now match the incoming word 
clock.
1. Note that the other ADAT units, “daisy-
chained” to the first ADAT unit in the chain 
with SYNC connections, will be automatically 
set to take their clock from the SYNC connec-
tor, and their IDs will also be set automati-
cally, regardless of setting made here.