Tascam Digital Mixing Console TM-D4000 Owners Manual

							3 - System setup—Option setup
3–4 
3.2.2 Clock check
The status of all possible clock sources currently 
connected to the TM-D4000 can be checked by mov-
ing the cursor to the 
CHECK box and pressing 
ENTER. The console will mute, and a list of available 
clock sources will be shown.
Press 
ENTER to continue operations.
3.2.3 Clock settings (other)
The Fs STATUS box shows the status of the 
currently selected clock source.
The 
WORD POLARITY settings allow either 
incoming or outgoing word clock information to be 
inverted (
REVERSE) relative to normal. This is 
because some units either transmit or expect to 
receive such signals in this inverted format.
3.2.4 Clock tolerance
When setting the clock, the sampling frequency 
received can be ±6% of the stated nominal value. 
When in use, the frequency can be ±7% of the stated 
value. This allows a digital device which has a 
varispeed feature to be used as the word clock source 
for the TM-D4000.
If the selected clock source goes out of range, the 
TM-D4000 will mute, the currently-selected clock indicator will flash, and a message will appear on the 
display:
The TM-D4000 will report the out-of-range clock 
frequency at a range of ±9.9% relative to the stated 
frequency, but will mute at 7.0% or over.
Press the 
ENTER key to dismiss the popup message, 
change to the 
CLOCK screen, and correct the error 
condition (by selecting another clock source, or by 
re-selecting the clock if it has come back into range).
3.3 Option setup
In unshifted mode, this key is used to show the 
OPTION screens. There are three of these 
screens: 
SETUP, SOLO and SURROUND, 
and they are accessed by repeated presses of the 
OPTION key.
The solo operations are explained in 4, “Module 
operations”, and the surround operations in 6, “Sur-
round modes”.
The 
SETUP screen provides the following options 
(as well as displaying the current battery voltage, 
used to power the memory holding library entries, 
etc.) as shown and described below:
These settings are generally made using the cursor 
keys to move the cursor to the parameter to be  
						

							3 - System setup—Option setup
 3–5
changed, and the ENTER key is then used to make 
the setting.
3.3.1 Location display mode
When using the TM-D4000’s location facilities to 
control an external device, the value of the location 
points (
LOCATE DISPLAY MODE) can 
be displayed either on the main time counter (
7-
Seg LED
) or as a “pop-up” panel on the main 
display screen (
LCD Screen Pop-up). 
These options are mutually exclusive, i.e. you can 
only choose one.
3.3.2 Timecode source
The timecode displayed on the time counter can be 
taken from the timecode source used for automation 
timing (
Automation Sync 
Source
), directly from a DTRS recorder 
through the 
REMOTE IN terminal (MDR ABS 
Absolute Time
) or received at the 
MIDI IN terminal as MIDI timecode (MIDI 
IN MTC [MIDI Time Code]
). This 
timecode source is also used when controlling exter-
nal devices (see 9, “Machine Control”). Again, only 
one of these options can be selected.
3.3.3 Preferences
The PREFERENCES are as follows: Fader 
Auto MODULE Select
, Select 
MODULE Return
, Select Link 
and 
Dial Edit, Automation 
Fader Motors Inhibit
 and 
Balance Level CENTER 0dB. 
Any number of these preferences can be selected, as 
indicated by a check mark in the checkboxes (4).
3.3.4 Fader select
When checked, and the MODULE screen is cur-
rently displayed this option allows a module to be 
selected whenever its fader is moved, in addition to 
the usual method of pressing the 
SEL key.
3.3.5 Select MODULE return
When checked, this option allows the MODULE 
screen of the appropriate module to appear (even if a 
MODULE screen is not currently displayed) if the 
SEL key of the module is pressed and held for about 
two seconds.
3.3.6 Select link
When checked, this option allows the stereo linking 
of two adjacent modules (provided the left module is 
odd-numbered) by pressing and holding the 
SEL key of one module and pressing the 
SEL key of the other. 
See 4.2.2, “Using the SEL keys to link channels”.
3.3.7 Dial edit
When checked, this option allows the JOG dial to be 
used as a data entry dial for the on-screen control 
pointed to by the triangular cursor, which is usually 
controlled by a POD knob. In effect, this provides 
another POD. In addition to this option being 
checked, the 
JOG/SHUTTLE indicator must be off 
when using the 
JOG dial in this way, to prevent the 
JOG dial being used as a transport control.
3.3.8 Automation fader inhibit
The Automation Fader Motors 
Inhibit
 setting allows the motorization of the 
faders to be turned off or on for automation replay 
(Read) purposes. See 2.4.1, “Turning fader motors on 
and off”.
3.3.9 Balance level
When two channels are linked together as a stereo 
pair, the pan controls change to a balance control, as 
mentioned earlier. In the center position, the level 
may either be set to 
0dB (checked) or a 3 dB cut 
(unchecked).
3.3.10Oscillator
The integral line-up oscillator can be turned using the 
left switch of POD 2 and the frequency adjusted with 
the POD 1 control. It can be assigned to either the 
left or right main output buss, (
L Buss, 
R buss), Both of these, or neither using the 
switches of POD 1. The left busses are the odd-num-
bered output busses (1, 3, 5, 7) and the left channel of 
the stereo output buss. The right busses are the even-
numbered output busses (2, 4, 6, 8) and the right 
channel of the stereo output buss.
The POD 1 rotary control is used to change the level 
of the oscillator, relative to full-scale.
3.3.11Meter ballistics
The release rate (“fall time”) and peak hold time of 
the meters and can be adjusted using the knobs of 
PODs 3 and 4.
The release rate can be set to 
Fast, Normal 
or 
Slow.
The hold time can be set to 
0sec, 1sec, 
2sec, 4sec, 8sec or û. The final (infinity) 
setting will hold the peak value until a new setting is 
made (or the TM-D4000 is turned off!). 
						

							 
4–1 
4 - Module operations 
The input modules of the TM-D4000 are of two 
types: mono input and stereo inputs. There is no dif-
ference between a “tape return” channel, an “effects 
return” and an input channel—all modules are 
equipped with the same features.
The digital parts of the mono input modules are iden-
tical, regardless of what interface card is fitted. The 
only difference between mono modules is that mod-
ules 1 through 8 use the integral mic amplifiers and 
A/D convertors. These analog features (MIC/LINE 
switch, phantom powering, analog pad and gain, etc.) 
work in an identical way to similar features on a con-
ventional analog console. If you are unsure about the 
operation of these items, consult 13, “Rear panel & 
connections”.
If the digital functions of the modules were “con-
verted” to analog controls, a module would look sim-
ilar to the following:Dashed lines indicate options (e.g. the dynamics pro-
cessor selected for each module can be a compressor/
limiter or a gate, but not both). Aux sends can be 
optionally linked, providing a PAN control. When 
channels are linked together in a stereo pair (see 4.2, 
“Stereo linking”), the PAN controls are replaced by 
an IMAGE control and a BALANCE control. 
4.1 Module features and control 
NOTE  
This section contains the instructions for the 
everyday module operations, as described 
below. You should at least make yourself 
familiar with the contents of this section, so 
that you know which parts to use for reference  
if you need information. 
Very briefly, the typical signal path is:
• phase (4.8, “Pad and phase(  
F  
)”
• digital trim (4.8, “Pad and phase(  
F  
)”)
• 4-band EQ (4.3, “Equalization”)
• dynamics processor (comp/limiter or gate) (4.6, 
“Dynamics processor settings”)
• fader (self-explanatory—for details of fader group-
ing, see 4.9, “Fader and cut groups”)
• Aux sends (4.5, “Aux sends”
• cut and solo (cut groups are described in 4.9, 
“Fader and cut groups”, solo modes are described 
in 5, “Monitoring”)
• panpot (4.7, “Pan and balance”)
• channel-to-buss assignment (4.4, “Channel-to-buss 
assignments”) 
4.1.1 Stereo out module 
This module includes 4-band EQ facilities and a 
dynamics processor (identical to those provided on 
the other modules). 
4.1.2 Control of module parameters 
In many instances, there may be more than one way 
of controlling module parameters: e.g. from the  
MODULE 
 screen, allowing the control of many 
parameters for a single module (or linked pair) and 
from a dedicated “global” screen, allowing the 
adjustment of a single parameter for many modules.
These are described in 2.3.4, “One channel or one 
parameter?”. In this section, the appropriate way(s) 
of working are described for each parameter.
PHASE (F)
PA D
F
Q
G
LPF
SHELF HI      ON
F
Q
G
NOTCH
HI-MID ON
F
Q
G
NOTCH
LO-MID ON
F
Q
G
HPF
SHELF LO     ON
COMP/GATEAT T
REL
THRSHRATIOOUT GAINAUTODYNAMICSON/OFF
LINK
TRIGGER
    L  R BOTH
SOLOCUT
PA N
OFF
1
2
3
4
5
6
7
8
OFF
1
2
3
4
5
6
7
8
FADER
GROUPCUT
GROUP
1-23-45-67-8L-R STDIRECT
OUT
AUX 1
 LINKAUX 2
PRE/POST
PRE/POST
AUX 3
 LINK
AUX 4 PA N
AUX 5
 LINK
AUX 6
EQ
PHASE (F)
PA D
L      R
COMP/GATETHRSHRANGEHYSTAT THOLDDECAY
Stereo
inputs &
stereo
linked
pairs
Gate
selected
as
dynamic
processor
 PA N
AUX 1-2
UNLINK
PRE/POST
 PA N
AUX 3-4
UNLINK
PRE/POST
 PA N
AUX 3-4
UNLINK
PRE/POST
GANG*BALANCE
IMAGE
MONOLR
Stereo
inputs &
stereo linked
pairs
Stereo
linked Aux
sends
*the GANG control is only available on odd-numbered modules 
						

							 
4 - Module operations—Stereo linking 
4–2  
4.2 Stereo linking 
In unshifted mode, the  
GROUPING/ST LINK 
 key 
allows the linking of channels as stereo pairs.
Only adjacent channels can be linked into stereo 
pairs, and the lower channel must be odd-numbered. 
In other words, while it is possible to link channels 1 
and 2, it is not possible to link channels 1 and 3, nor 
is it possible to link channels 2 and 3.
Stereo linked channels allow the simultaneous setting 
and linking of the following module parameters:
• Input source
• Digital pad setting
• EQ settings
• Aux 1–6 send levels, on/off status and pre/post 
status
• Dynamics processor settings
• Logical fader level
• 
CUT 
 switch status
• 
SOLO 
 switch status
• Buss assignment
• Fader group and cut group assignments
• Automation mode settings.
In addition to the stereo linking of channels, the TM-
D4000 also allows the stereo linking of output busses 
1 through 8, and Aux send busses 1 through 6. Again, 
only adjacent busses may be linked, and the lower 
buss of each buss pair must be odd-numbered.
When a pair of output busses is linked, the buss send 
levels and delay settings are linked.
When a pair of Aux sends is linked, the send levels 
are linked.
In cases where pan controls were previously avail-
able (channels), the pan controls are changed to bal-
ance controls and an image width control is added.
When channels are linked, the pan “gang” feature is 
no longer available. 
NOTE  
When a pair of channels or busses is linked, if 
the physical faders are not in identical posi-
tions before the link process, the “child” fader 
of the pair will rise to meet the other “parent” 
fader. This may cause a sudden rise in moni- 
toring, etc. levels. 
4.2.1 Using the ST LINK key to link 
channels 
To make a stereo link between two adjacent channels 
or busses, make sure the  
SHIFT 
 indicator is off, and 
press the  
ST LINK 
 key to show the screen below.
Use the cursor keys or the  
JOG 
 dial to move the cur-
sor (upward-pointing arrow— 
¿ 
) to the pair of chan-
nels or busses whose link status is to be changed.
Press the  
ENTER 
 key to change between separate 
channel status ( 
»¼ 
) and stereo linked status ( 
ST 
LINK 
) of the channels or busses. 
4.2.2 Using the SEL keys to link channels 
See 3.3.6, “Select link” for details of the  
Select 
Link 
 parameter. When this is set on, the  
SEL 
 keys 
of channels may be used to create and remove stereo 
links, rather than the screen described above.
Note that the  
SEL 
 keys have a different function 
when the  
GROUPING 
 screen, described in 4.9, 
“Fader and cut groups”, is showing, and therefore 
stereo linking and unlinking cannot be carried out at 
that time.
Pressing and holding the  
SEL 
 key of one of a valid 
pair of channels and busses and then pressing the  
SEL 
 key of the other member of the pair will bring 
up a pop-up panel asking for confirmation to form 
the stereo link between the two channels or busses. 
Press  
ENTER 
 to confirm, or a cursor key to cancel.
If the two channels or busses already form a stereo 
link, this procedure will bring up a pop-up panel ask-
ing for confirmation to break the link. Press  
ENTER 
 
to confirm, or a cursor key to cancel.
The status of stereo links between channels and bus-
ses can be verified at any time, using the screen 
described above. 
						

							 
4 - Module operations—Equalization 
4–3 
4.3 Equalization 
The first three PODs in the first four POD rows of the  
MODULE 
 screen control the equalization.
As the equalization settings are changed, the graphi-
cal representation of the EQ response also changes.
The four EQ bands are named  
HI 
 (high),  
HM 
 (high-
mid),  
LM 
 (low-mid) and  
LO 
 (low). The  
HI 
 and  
LO 
 bands differ from the other two, as explained 
below.
The gain of the bands is between  
+15dB 
 and  
-15 dB 
 in 62 steps. 
However, the high and low bands can be set to act as 
lowpass and highpass filters, respectively, by turning 
the gain to below the minimum  
-15dB 
 setting. 
If the gain is turned below  
-15dB 
 on the HM and 
LM bands, they change to notch-type filters.
Each of the four EQ bands covers the same frequency 
range:  
32Hz 
 to  
19kHz 
, selectable over a 112-
step range using POD 2.
The Q of each band (the frequency range over which 
it operates) can be set from 8.65 to 0.27 in 25 steps. 
The high and low bands can be set to provide shelv-
ing EQ, as opposed to peaking-type EQ.
Each band can be turned on and off using the left 
switch of POD 1.
The gain of each band can be flattened using the right 
switch of POD 1.
In order to bypass the equalization circuit for the 
module completely, the  
EQ 
 key to the right of the 
display screen should be pressed. When the EQ is 
bypassed, the response curve at the top of the display 
is “grayed out” to show that EQ settings have no 
audible effect, but making adjustments using the PODs will change the shape of the curve. When the 
EQ is brought back, these changes will take effect.
When two channels have been linked into a stereo 
pair, or when one of the two stereo inputs is selected, 
the changes made to the equalization affect both 
channels equally.
EQ settings, once made, may be stored in the EQ 
library for further recall. The way in which this is 
done is explained in the section of this manual deal-
ing with the TM-D4000 libraries (8, “Library func-
tions”). 
4.4 Channel-to-buss assignments 
There are two ways of assigning channels to the eight 
output busses, the stereo busses, or for direct output: 
using the dedicated  
ASSIGN 
 key or from the  
MODULE 
 screen. 
4.4.1 Using the MODULE screen for buss 
assignment 
The status of the keys to the right of the display 
screen are shown:  
EQ 
,  
DYNAMICS 
, the buss and ste-
reo assignment keys, and the direct out status (for 
input channels 1 through 16).
The function of the  
EQ 
 and  
DYNAMICS 
 keys are 
explained in the appropriate places (4.3, “Equaliza-
tion” and 4.6, “Dynamics processor settings”).
The channel can be assigned to any combination of 
the eight output busses and the stereo output buss. 
Busses are selected in pairs (1–2, 3–4, 5–6, 7–8). 
As with most analog consoles when a buss pair is 
selected, the odd-numbered buss of the pair corre-
sponds to a hard left pan, and the even-numbered 
buss corresponds to a hard right pan. Anything in 
between will balance the channel signal proportion-
ately between the two busses.
Input channels 1 through 16 (the integral analog 
inputs and the inputs of slot 1) can also be assigned 
as direct outs ( 
DIR 
 on this screen). 
They are sent from the outputs which correspond to 
the input channel number, plus 16. In other words, 
input channel 1, when selected for direct out, is out-
put from channel 17 (the first output channel of slot 
2), channel 9 is output from channel 25 (the first out-
put channel of slot 3), etc. If slots 2 and 3 are not fit-
ted with interface cards, the  
DIRECT 
 key will have 
no effect. 
						

							 
4 - Module operations—Aux sends 
4–4  
NOTE 
The direct out setting is available for channels  
1 through 16 only. 
4.4.2 Using the ASSIGN key for buss 
assignment 
Press the  
ASSIGN 
 key  
[10] 
 to bring up the channel 
assignment screen. 
The cursor keys are used to move the cursor to a par-
ticular channel and highlight the channel’s number at 
the top of the column. 
Alternatively, the channel’s  
SEL 
 key may be used to 
select a channel.
When a channel has been highlighted on this screen, 
pressing any of the following keys to the right of the 
display screen will change the assignment status of 
the selected channel:  
BUSS 1-2 
,  
BUSS 3-4 
,  
BUSS 5-
6 
,  
BUSS 7-8 
 and  
STEREO 
.
As with most analog consoles when a buss pair is 
selected, the odd-numbered buss of the pair corre-
sponds to a hard left pan, and the even-numbered 
buss corresponds to a hard right pan. Anything in 
between will balance the channel signal proportion-
ately between the two busses.
In addition, the  
EQ 
 and  
DY N 
 keys can be used to 
bypass the equalization and the dynamics processor 
for each channel, respectively.
There are three “global” on-screen buttons. The first 
of these ( 
ALL BUSS CLEAR
) is used to 
clear all buss (but not stereo) assignments. This may 
be used, either together with or independently from 
the last (
ALL STEREO ASSIGN) when 
starting the mixdown in a multitrack recording 
session.
The second on-screen button, 
ALL STEREO 
CLEAR
, clears all channel-to-stereo assignments.The direct out of channels 1 through 16 can also be 
set in this screen (there are no on-screen representa-
tions of the direct out setting for channels 17 through 
32, as this is not possible). 
NOTE
When channels 1 through 16 are set to direct 
out, the signal appears in the output channel 
corresponding to the number of the input 
channel plus 16, as described above.
4.5 Aux sends
The MODULE screen can also be used to set the 
Aux send levels for a channel or pair of stereo linked 
channels. In addition, there are six dedicated 
AUX 
keys which allow the viewing and setting of the six 
Aux send levels of many channels from one screen.
4.5.1 Using the MODULE screen to set 
send levels
The level of the signals sent from the channel to the 
six Aux sends are set and displayed on the bottom 
two rows of the 
MODULE EQ/AUX/PAN 
screen.
In an identical fashion to the dedicated Aux screens, 
the levels of the Aux sends can be set from 
-û dB to 
10.0dB.
The left switches of the Aux PODs are used to turn 
the module’s Aux sends on and off.
Aux sends 1 and 2 can be selected as pre- or post-
fader, using the right switches of PODs 1 and 2 
respectively. 
When two modules have been linked into a stereo 
pair, or one of the two stereo inputs is selected, the 
Aux send levels apply to both channels in the pair.
When two Aux busses have been linked together into 
a stereo pair, the level control of the first (odd-num-
bered) Aux buss is replaced by a pan control. The left 
switch of the corresponding POD becomes a center-
ing switch.
4.5.2 Using AUX keys to set send levels
When one of the AUX keys is pressed and the Aux 
buss selected has not been made into a stereo linked 
pair with the adjacent Aux buss, two screens are 
available, each controlling 16 input channels. The  
						

							4 - Module operations—Dynamics processor settings
4–5
first screen controls channels 1–16 and the second 
controls channels 17–32.
Use the POD 
ROW CURSOR controls to move the 
“box” up and down, highlighting the channels which 
are to be edited.
The POD rotary controls adjust the level of the signal 
sent to the Aux buss.
This level can be adjusted from 
+10.0dB (rela-
tive to nominal) to 
-¢dB (minus infinity–full cut) 
in 128 steps.
The left POD switches control whether the Aux send 
signal from the selected channel is on or off.
For Aux busses 1 and 2, the right POD switch func-
tions as a pre/post selector, allowing the pickoff point 
for the Aux send to be pre-fader or post-fader.
The pre-fader point is also before the cut and solo 
switches, as well as before the pan.
The bottom POD row of the screen provides controls 
for the two stereo inputs, as well as a global control 
control. Turn the fourth POD’s knob to select 
between 
-¢dB (full cut), 0dB (nominal), AUX 
OFF
, AUX ON and (for Aux sends 1 and 2 only) 
PRE and POST. Use the left POD switch to 
SET the value selected using the knob for all 
channels.
AUX Fader control : There is also one impor-
tant on-screen button at the top of the screen: the 
AUX FADER CONTROL button.
When this option is selected using the cursor and 
ENTER keys, the faders will move to match the Aux 
send levels of the currently-selected Aux buss, and 
the currently-selected 
LAYER STATUS indicator 
(
[3]) will flash to show that the faders are no longer 
controlling channel and module levels.
The PODs are also active, and moving a POD knob 
will also move the appropriate fader to reflect the 
new level.
NOTE
This is the only time that the 
ST IN faders 
change function.
If two channels have been linked as a stereo pair (see 
4.2, “Stereo linking”), only the left POD of the pair is 
active.
Stereo linking and AUX sends  : If two Aux 
sends have been linked together as a stereo pair, there 
are now four screens available when an 
AUX key is 
pressed.
As well as the level screens for the two sets of 16 
channels (identical to the one described above), there 
are also two pan screens; one for each set of 16 
channels.
In these screens, the POD rotary controls are used to 
adjust the relative level of the signal sent to the two 
linked Aux  busses.
The left switch of the PODs is used to center the pan 
control for the channel.
In the case of a stereo linked pair of channels, the left 
POD only is active. The pan control changes to a bal-
ance control. This can be centered using the left POD 
switch in the same way as a mono channel.
The left switch of POD 4 in the last row is used to 
copy the channel pan settings of all channels to the 
pan settings for the selected Aux send pair. In this 
way, the main “buss” image of the channels is pre-
served in the Aux sends.
4.6 Dynamics processor settings
These settings are accessed by pressing the MODULE 
key for the selected channel until the 
EQ/DYN 
screen is shown, or alternatively by pressing the  
						

							4 - Module operations—Dynamics processor settings
4–6 
DYNAMICS key to recall the DYNAMICS screen 
for the selected module.
4.6.1 Assigning a processor to a module
This is described in full in 8.2.2, “Recalling a library 
entry”. Briefly, the module is selected, the dynamics 
processor library screen is entered, and the desired 
processor settings are recalled from the library.
4.6.2 Using the MODULE key to make 
dynamics processor settings
The equalization controls on this screen are identical 
to those on the other 
MODULE screen.
However, the two lowest POD rows are used to con-
trol the dynamics processor. The exact assignment of 
the PODs to controls depends on whether a gate or a 
compressor (shown on the small on-screen level dia-
gram as 
GATE or COMP) has been recalled from 
the library into this channel, as described below.
To enable and disable the selected channel’s dynam-
ics processor, use the 
DYNAMICS key to the right of 
the display screen. The on-screen 
DYN indicator in 
the “button strip” at the lower left of the screen 
changes to reflect the on/off status.
Stereo linked channels and stereo inputs may share 
the same dynamics processor settings. However, see 
the explanation of the 
DYNAMICS key immediately 
following this, for further information regarding ste-
reo linking of dynamics processors.
4.6.3 Using the DYNAMICS key to make 
dynamics processor settings
With the desired channel selected, press the mixer 
DYNAMICS key (not the library DYNAMICS key).
The information at the upper left of the screen 
includes:
• The dynamics processor’s gain reduction meter
• A graphical representation of the dynamics proces-
sor’s gain structure. An example of the way a pair 
of stereo linked processors are shown on screen is 
given here:
4.6.4 Compressor/limiter settings
Both the MODULE and DYNAMICS screens 
allow the same parameters to be set.
•Threshold (
THRESH), controlled by the POD 1 
knob, and variable from 
-48dB to 0dB in 49 
1 dB steps.
•Compression ratio (
RATIO), controlled by the 
POD 2 knob, and variable from 
1:1 to û:1 
(infinite compression) in 21 steps.
•Attack time (
ATTACK), controlled by the POD 
3 knob, and variable from 
0ms to 125ms in 
1ms steps.
•Release time (
RELEASE), controlled by the 
POD 4 knob, and variable from 
5ms to 5.0s 
in 100 steps.
•Output gain (
OUTGAIN), controlled by the 
POD 4 knob on the last row. Variable from 
-24dB to +24dB in 1 dB steps.
Output 
levelsGain 
reduction
Compressor 
“knee”Input levels 
						

							4 - Module operations—Pan and balance
4–7
•Auto make-up (AUTO), controlled by the left 
switch of POD 4 below the output gain. This is 
used, together with the output gain setting for auto-
matic optimum level control if the compression set-
tings have resulted in gain reduction.
4.6.5 Gate settings
Both the MODULE and DYNAMICS screens 
allow the same parameters to be set.
•Threshold (
THRESH), controlled by the POD 1 
knob, allows the setting of the threshold at which 
the gate will open. Variable from 
-80dB to 
0dB in 1 dB steps.
•Range (
RANGE), controlled by the POD 2 knob, 
sets the gate range, from 
0dB to 60dB in 1dB 
steps.
•Hysteresis (
HYST), controlled by the POD 3 
knob, from 
0dB to 24dB in 1dB steps.
•Gate attack time (
ATTACK), controlled by the 
POD 1 knob on the last row. Variable from 
0ms 
to 
125ms in 1 ms steps.
•Gate hold time (
HOLD), controlled by the POD 
2 knob on the last row. Variable from 
0ms to 
990ms in 100 steps.
•Gate decay time (
DECAY), controlled by the 
POD 3 knob on the last row. Variable from 
50ms 
to 
5.0s in 100 steps.
4.6.6 Linked channels
LINK allows the linking of two processors 
assigned to two adjacent channels (the “left” channel 
of the pair must be odd-numbered). 
This link is automatically made, and cannot be 
turned off, when two modules have been stereo 
linked (or for the stereo inputs or the stereo out). 
Trigger source (
TRIGGER) is only valid when 
two processors are linked. This option (selected 
using the 
ENTER key or JOG dial) allows the trig-
gering for both processors to be initiated by 
L-ch 
(left channel), 
R-ch (right channel) or BOTH 
(both channels act as triggers—in other words, the 
first channel to be triggered will automatically acti-
vate the second channel’s processor).
NOTE
The two ST IN channels and the stereo out 
buss do not allow trigger selection, and are 
fixed at the BOTH setting.
4.7 Pan and balance
As well as using the MODULE screen to adjust the 
pan of a module (or the balance of a stereo pair of 
modules), there is a dedicated 
PAN/BAL screen, 
allowing the viewing and setting of many modules 
simultaneously.
4.7.1 Using the MODULE key to set pan 
and balance
Pan and balance controls are only available in the 
EQ/AUX/PAN MODULE screen, not the 
EQ/DYN module screen.
Mono modules : The fourth POD rotary control 
on the fifth row is a pan control, when the module is a 
mono module.
The pan settings are 
L45 (hard left), through C 
(center) to 
R45 (hard right).
The left switch of this POD is a centering switch.
For odd-numbered channels only, the right switch of 
this POD is a gang switch, allowing this pan control 
to be ganged with the pan control of the next channel.
Stereo modules : When two channels have been 
linked into a stereo pair, or when one of the stereo 
inputs is selected, the pan control changes to a bal-
ance control.
The left switch of the POD is a centering switch.
The third POD becomes an “image” control, which 
determines the width of the stereo image produced 
by the two channels. Turning the knob to the “center” 
allows “pinpointing” of the image (
L+Rmono), 
full width (
STEREO, fully counterclockwise) or 
full width, with the positions of the two linked chan-
nels reversed with respect to normal (
REVERSE, 
fully clockwise). Intermediate positions are repre-
sented as percentage figures preceded by 
ST (ste-
reo) or 
REV (reverse), with ST 98% following 
immediately after 
STEREO, and REV 98% 
immediately after 
REVERSE.
The switches of the third POD allow either the left or 
the right channel of the pair to be selected as a mono 
source (the image control is then disabled).
If a surround mode, rather than the stereo mode, has 
been selected, surround positioning control is not 
possible from the 
MODULE screen. Use the dedi-
cated 
PAN/BAL key instead. See 6, “Surround 
modes” for details. 
						

							4 - Module operations—Pad and phase(F)
4–8 
4.7.2 Using the PAN/BAL key
Pressing the PAN/BAL key brings up a display screen 
allowing the viewing and setting of a number of the 
pan and balance parameters for a number of different 
modules:
There are two screens, the first for the input modules 
1 through 16, and the second for input modules 17 
through 32. The stereo inputs are visible and their 
parameters may be adjusted in both screens.
Press the 
PAN/BAL key repeatedly to cycle between 
these screens.
In the screen shown above, channels 1 and 2 are 
linked into a stereo pair.
The left switch of each POD acts as a centering 
switch, and the right switch of odd-numbered mono 
modules allows “ganging” of two mono inputs.
The POD for the even-numbered switch of a stereo 
linked pair is disabled—the odd-numbered pod must 
be used here.
Note that the image control is not available from this 
screen—this parameter can be set from the 
MODULE screen only.
4.8 Pad and phase(F)
The digital pad and phase of the input signal may be 
adjusted from the 
MODULE screen, as well as 
through a dedicated screen, allowing the viewing and 
adjustment of the parameters for many modules.
4.8.1 Using the MODULE screen
In the EQ/AUX screen, the knob of the fourth POD 
of the fourth row is used to adjust the digital pad. The 
pad values are from 0 dB to –36 dB in 0.5 dB steps.
4.8.2 Using the PAD/phase key
There are two screens available for control of the 
input modules’ digital pads and phase settings. The 
first screen controls channels 1 through 16, and the 
second controls channels 17 through 32. Both control 
the two stereo inputs and the stereo output.
These settings are made using the POD knobs to con-
trol the digital pads, and the POD left switches to 
control the input channel phase.
The possible pad parameter values are the same as 
for the 
MODULE screen.
The two stereo inputs, and any channels that have 
been linked into a stereo pair, can have the phase set 
independently for each channel of the pair, allowing 
compensation for mis-wired microphone pairs, etc.
The phase of the stereo outputs cannot be changed, 
though a pad is available for the stereo output.
NOTE
This digital pad is not related to the analog 
pad which forms part of the analog input cir-
cuitry of channels 1 through 8.