Tascam DM-24 Effects Manual

							 TASCAM DM-24 Effects 11
3 – Antares microphone modeling
NOTE
All names of microphone manufacturers and micro-
phone model designations appearing in this manual 
and on the DM-24 are used solely to identify the micro-
phones analyzed in the development of the digital 
models and do not in any way imply any association 
with or endorsement by any of the named manufactur-
ers.
This effect allows you to model the characteristics of 
a particular model of microphone and apply it to the 
microphone you are actually using. 
In addition to reproducing the sonic characteristics of 
the modeled microphones, this effect also allows for 
the reproduction of certain options on the modeled 
microphone (for example, low cut filters, etc.).
Typically, you will want to “re-record” already 
recorded tracks with another microphone model at 
the mixdown stage, as this allows you to experiment 
with settings.
When you use the modeler at the mixdown stage, 
though, it is important that you have clear and detailed notes of the microphone conditions which 
were used to make the original recording.
Among other useful information which should be 
noted when the recording is made:
 Type of microphone
 Distance of source from microphone
 Any filter settings made on the microphone
 The response pattern used when recording
Of course, it is also possible to record directly using 
one physical microphone and modelling another, but 
in this case, it is more difficult to experiment, and to 
make changes afterwards.
Note that when we talk about the microphone mod-
eler, we use the term source microphone to describe 
the actual physical device and the description of it in 
the modeler, and model to describe the target, virtual 
microphone.
The diagram below gives an approximate idea of how 
the parameters available interact with each other (sig-
nal flow may be taken as being from left to right).
Limitations
Be aware, though, that while the microphone model-
ling will produce excellent effects, it is not capable of 
producing something from nothing. In other words, a 
poor recording made with a cheaper source micro-
phone will not be magically transformed into a good 
recording, if an expensive microphone model is 
selected—it will still sound like a poor recording, but 
made with an expensive model.Nor can the microphone modeler magically restore 
missing parts of the signal which are missing because 
of the limitations of the source microphone. If a 
cheap microphone with limited bass response is used 
to record, using an expensive model with the micro-
phone modeler will not put the missing bass back 
into the recording.
Input levelSource mic type
Preserve source 
(bass and treble)
Model mic typeTube saturationOutput level
Source mic 
proximityModel mic 
proximity
Source mic 
low-cutModel mic 
low-cut
Source mic 
response patternModel mic 
response pattern 
						

							3 – Antares microphone modeling—Overall settings
12 TASCAM DM-24 Effects
Excessive frequency boosting can occur if processes 
intervening between the microphone and the modeler 
produce noise. This noise will be excessively 
boosted, especially if the filtering on the microphone 
and the recording process has accentuated this.
Polar response patterns can be simulated, but cannot 
automatically change the pattern of the source micro-
phone. For example, if a recording has been made 
using a microphone with a cardioid response pattern, 
setting the model’s pattern to omnidirectional will 
not automatically turn the source microphone into an 
omnidirectional microphone (and add the room ambience that would be present if the microphone 
actually was an omnidirectional one).
Likewise, if a source microphone has a particular 
off-axis response, this individuality will be retained 
even if a different model is selected.
NOTE
The microphone modeler can only be used with the L 
input and output of either effect 1 or effect 2. It is not 
possible to use the microphone modeler to process two 
channels at the same time using one effect.
The microphone modeler is not available in high sam-
pling frequency mode.
Selecting the microphone modeler
Recall the preset library entry 1-100 in order to load 
the microphone modeler. See “Setting up the effects units” on page 7 for fur-
ther details.
Overall settings
These settings apply to the overall effect (not to the 
source or model microphones individually).
Input gain This (INPUT) allows you to set the rela-
tive gain for the input source (top row, POD 2).
Start at 0 dB, but you may want to increase the level 
slightly to increase the amount of saturation available 
to the processor. The signal may be cut by a value up 
to –30 dB and boosted by up to 12 dB.
NOTE
Increasing this input level to obtain the highest possible 
non-clipping meter level does not result in the improve-ment in dynamic range that would result if this opera-
tion was to take place on an all-analog system.
Output level This (OUTPUT) allows the overall 
output gain from the modeler to be adjusted from 
0dB to –12dB.
Bypass This allows the whole of the microphone 
modeler to be bypassed for A-B comparisons. It is 
not the same as selecting the bypass microphone 
model (“The bypass microphone model” on 
page 13), which is a “neutral” microphone model for 
either source or output (but it is the same as selecting 
it for source and output).
Selecting the source microphone
Move the cursor to the Source Microphone, selecting 
the model using POD 1.The manufacturer name is given at the top left of the 
box, and the model at the bottom right.
There may be two listings for a particular source 
microphone model, one of them ending with a 
-w. 
This means that this is the model of microphone with 
a supplied windscreen (thereby affecting the acoustic 
characteristics of the microphone).
There may also be a 
(m1) or (m2) following the 
microphone name. These refer to different examples 
of the same kind of microphone. Pick the one which 
is most appropriate for your particular microphone.
If you do not have a microphone listed in the list of 
source microphones provided: 
						

							3 – Antares microphone modeling—Selecting a model for output
 TASCAM DM-24 Effects 13
 Use a different microphone which is listed, if you 
have one.
 Select a similar model of microphone from the 
same manufacturer; that is, one with similar char-
acteristics to the one in use.
 Select another microphone of the same type (for 
example, another large condenser microphone, 
etc.). Select Bypass (that is, no microphone) as the 
source.
Note that if you do select a microphone of a different 
type to the actual microphone, though you will prob-
ably obtain acceptable results, the resulting sound 
will not be 100% accurate.
The bypass microphone model
The bypass microphone model is equivalent to no 
microphone being used. This may be useful in the 
case of electric instruments which have been 
direct-injected (that is, with no microphone involved) and where the model microphone is to be used to 
provide a distinctive sound for these instruments.
Although this may not produce an absolutely realistic 
model of the model microphone, it will almost cer-
tainly produce an interesting sound.
Source microphone settings
In addition to the type of microphone used as the 
source microphone, the modeler needs to know a few 
more things before it can achieve the best results:
Proximity This is the average distance of the sound 
source from the microphone when the recording is 
made. The distance is measured in inches (1 inch = 
2.54 cm). If this is not set, then the “proximity effect” 
(an artificial boost in bass frequencies at close range) 
may not be properly compensated, and the sound will 
be unnatural. Note that microphones with an omnidi-
rectional response do not exhibit this proximity 
effect, and any settings made here with an omni 
source microphone will have no effect.
Use pod 2 on row 3 for this setting.
NOTE
As the source moves away from the microphone, an 
amount of ambient room tone is added to the record-
ing. The microphone modeler cannot add the room 
tone, but a little reverb added to the signal may help 
here.
Pattern The pattern of the source mic, if selectable, 
should be echoed in this setting. If the source mic is 
fixed-pattern, no selection is possible here, and the 
display shows 
None here. Use POD 3 on row 3.
Low-cut filter Many microphones have a bass cut 
filter. If this filter has been set on the real physical 
source microphone, this setting should be made on 
the source microphone of the modeler as well.
This is done using POD 4 on row 3.
The actual name of this filter varies according to the 
actual name on the physical microphone, and will not 
exist at all if the mic does not actually have such a fil-
ter fitted (the display shows 
None).
NOTE
The modeler assumes that the source was recorded 
on-axis. Since there is no way to tell the modeler about 
the actual position of the source relative to the micro-
phone, the modeler cannot compensate for frequency 
differences, etc. caused by off-axis placement of the 
source.
Selecting a model for output
In the same way as you selected a microphone as the 
source mic, move the cursor to the Model Micro-
phone field (POD 1, bottom row), and select the 
model of the microphone to be modeled.
As with the source microphone, a -w indicates that a 
windscreen has been added to the model. There may 
also be variants of the base model, as described for 
the source microphone.If the Bypass “microphone” is selected here, and a 
source microphone is selected, the effect will be that 
of the source microphone’s characteristics. If Bypass 
is selected both for the source and the model, the 
final result of the modeler will be the input source, 
with the addition of any tube saturation added by the 
modeler (see below). 
						

							3 – Antares microphone modeling—Selecting a model for output
14 TASCAM DM-24 Effects
Model microphone parameters
As with the source microphone, there are a number 
of different additional parameters available which 
can be set.
Proximity As with the source microphone, the 
model can also have a proximity value set (in inches 
again). Use POD 2, bottom row.
When used with the model, it will affect the final 
character of the sound, as if the source was the speci-
fied distance from the model microphone when the 
recording was made.
Note that this setting cannot add “room tone” to a 
recording, even though the further away a real micro-
phone is from a sound source, the more room tone is 
added to the final recording.
NOTE
Since omnidirectional microphones do not exhibit the 
proximity effect, if the model microphone is omnidirec-
tional or has its pattern set to omnidirectional, this set-
ting will have no effect.
Low-cut filter If the modeled microphone is fitted 
with a low-cut filter, this is also available on the model (if there is no filter available on the actual 
microphone being modeled, the model does not have 
a filter available, and shows 
None).
Note that this filter is not a straight low-cut filter—it 
is a representation of the actual filter incorporated on 
the physical microphone being modeled.
NOTE
Although it is not a hard and fast rule, it is a good idea 
to include the low-cut filter on the model if the filter 
has been used on the source microphone.
Response pattern As with the source micro-
phone, the model can also take different response 
patterns (if the actual physical microphone being 
modeled is capable of this kind of flexibility—other-
wise 
None is displayed for this option). Pod 3, bottom 
row is used here.
Remember that the modeler cannot spontaneously 
recreate missing data, so if a recording has been 
made with the source off-axis, this setting cannot be 
used to add the frequencies that were lost by the 
off-axis recording.
Preserve source settings
These settings allow you to make a hybrid micro-
phone, dividing the microphones (both source and 
model) into their treble and bass components.
In this way, the two halves of the microphones can be 
“sandwiched” together to produce unusual creative 
effects.
Usually, however, you will want to keep the desirable 
characteristics of the source microphone (for exam-
ple, a bass response) and eliminate the undesirable 
side (say, a poor treble response).
First, make all the appropriate source microphone 
settings. Bypassing the system is not a good idea 
here, as it will not have any useful effects.Use the Preserve Source controls (PODs 1 and 2, sec-
ond row) to select the portion of the source micro-
phone that you want to keep (either the treble portion 
on the bass portion).
Keeping the original shows 
PRESERVE, and sending 
the signal through the processor shows 
PROCESS.
When a portion of the source microphone is pre-
served in this way, it overrides the corresponding 
portion of the model microphone.
Obviously preserving the source for both the bass 
and treble portions of the source is not terribly useful 
(though the proximity settings for both the source 
and the model remain effective).
Tube saturation
One of the more attractive aspects of older studio 
equipment is tube (valve) saturation. The microphone 
modeler provides you with a way to simulate this on 
the output side of the modeler.
Pick a value of the 
GAIN which suits your ears. The 
maximum value which may be set here is +10 dB 
(0.1 dB steps). The signal to be recorded must there-fore be at a level which is at least greater than –10 dB 
for this to have any effect.
Use POD 4, second row to set the amount of gain.
However, you should take care that the input level is 
not increased to the point where digital distortion 
occurs. 
						

							3 – Antares microphone modeling—Microphone models
 TASCAM DM-24 Effects 15
You may need to “juggle” the values of the input 
level and the drive gain to achieve the most satisfac-
tory results for this parameter.
Microphone models
The microphone models listed here are available for 
the DM-24 microphone modeler.
In the display, typically parameters and names are 
shown as given here, but the spacing of words on 
screen may sometimes differ from those given in the 
table.The microphone response patterns are shown in 
uppercase, as follows: 
CARDIOID (cardioid), OMNI 
(omni-directional), 
HYPERCARDIOID (hyper-car-
dioid), 
FIGURE 8 (figure-of-8), WIDE CARDIOID (wide 
cardioid), 
w A98SPM (w A98SPM) and MS (MONO 
SIM)
 (MS (mono sim)).
Number Microphone Maker Microphone name Low cut Pattern
0bypass mic  - none none
1 
AKG C 1000S  none  none
2 C 12A none / -7 dB/oct / -12dB/oct cardioid / omni
3  C 3000  off / on  cardioid / hypercardioid
4 C 4000 B 0 Hz / 100Hz cardioid / hypercardioid / omni
5  C414  0 Hz / 75Hz / 150Hz  cardioid
6 C 414B-ULS (mod1) 0 Hz / 75Hz / 150Hzcardioid / hypercardioid /figure 8 / omni
7  C 414B-UHS (mod2)  0Hz / 75Hz / 150Hz  cardioid / omni
8 C 414B-UHS Gold 0Hz / 75Hz / 150Hzcardioid / hypercardioid /figure 8 / omni
9  C 414B-ULS Gold (w)  0Hz / 75Hz / 150Hz cardioid / hypercardioid /figure 8 / omni
10 C 460 B, CK 61-ULS 0Hz / 50Hz / 70Hz / 150Hz none
11 D 122 (1) none none
12 D 122 (2) none none
13 D 790 none none
14 AlesisAM61 off / on none
15 
Audio Technica 3525  off / on  none
16 4033 off / on none
17  4047 sv off / on  none
18 4050 off / on cardioid / fugire8 / omni
19 4055 none none
20 4060 none none
21 853Rx none none
22 AT M 1 1  none none
23 ATM31 none none
24 
Audix 
D4 none none
25 OM2 none none
26 OM3-xb none none
27 OM5 none none
28 
Beyer CK-703 off / on none
29 M-500 LE Classic none none
30 MC-834 LIN / 80Hz / 160Hz none
31 
Brauner VM1  none cardioid / hypercardioid / wide cardioid / figure 8 / 
omni
32  B & K 4007 none none 
						

							3 – Antares microphone modeling—Microphone models
16 TASCAM DM-24 Effects
33 
CAD 95Ni none  none
34 C400S none none
35  Equitek E100  off / on  none
36 Equitek E200 off / on cardioid / figiue8 / omni
37  Equitek E350  off / on  cardioid / figure8 / omni
38 VSM1 (mod 1) off / on none
39 Coles  4038  none  none
40 EarthworksTC-30K none none
41 Z30X none none
42 
ElectroVoice N D 357 none none
43  PL20  off / on  none
44 Gefell UMT 800 off / on cardioid / hypercardioid / wide cardioid / figure 8 / 
omni
45 Groove Tubes MD-1  none  none
46 Lawson L47 none none
47  Manley Reference Gold  none  cardioid / figure 8 /omni
48 
Neumann
KM 184 none none
49 KM 184(w) none none
50 M 149 20Hz / 40Hz / 80Hz / 160Hzcardioid / hypercardioid/wide cardioid / figure 8 / 
omni
51 TLM 103 none none
52 TLM 193 none none
53 U 47  none  cardioid / omni
54 U 87 GOLD off / on cardioid / figure 8 /omni
55  U 87 off / on  cardioid / omni
56 
OktavaMC 012 none cardioid / hypercardioid / omni
57  MK-319  off / on  none
58 RCABK-5AM (music) / V1 (voice) / V2 
(voice)none
59 
RodeNT1 none  none
60 NT2 off / on cardioid / omni
61  NT2(w)  off / on  cardioid / omni
62 NTV none none
63 
Royer R-121  none  none
64 
Sennheiser E 609 none none
65 E 835S none none
66 MD 421 M (music) / 3 / 2 / 1 / S 
(speech)none
67  MD 441 M (music) / 3 / 2 / 1 / S 
(speech)none
Number Microphone Maker Microphone name Low cut Pattern 
						

							3 – Antares microphone modeling—Microphone models
 TASCAM DM-24 Effects 17
Updating microphone models
The modeler provides up to 100 models of micro-
phone. More may be made available in the future 
through the TASCAM Web site.Consult your dealer for availability.
68 
Shure 
Beta 52 none none
69 Beta 57A none none
70 Beta 87A none none
71 Beta 98D-S none none
72 KSM32 LC 0 / LC 1 / LC 2 none
73 SM57 none none
74 SM58 none none
75  SM7A LC off Mid off / LC off Mid on / 
LC on Mid off / LC on Mid onnone
76 SM81 LC 0 / LC 1 / LC 2 none
77  SM98A  off / on  w A98SPM
78 VP88 (mono sim)off / on MS (mono sim)
79 
Sony C37P  M / M1 / V1 / V2  none
80 C48 M (music) / V (voice) cardioid / figure 8 / omni
81 C800G none cardioid / omni
82 C800G(w) none cardioid / omni
83  Telefunken  TELE U47  none  cardioid / omni
Number Microphone Maker Microphone name Low cut Pattern 
						

							18 TASCAM DM-24 Effects
4 – Antares speaker modeling
In the same way that microphones can be modeled, 
the DM-24 allows for the modeling of speakers.
Once again, it is important to remember that it is not 
possible to instantly transform a pair of low-end 
near-field monitors into a pair of expensive, 
top-of-the-line monster monitors (even modern tech-
nology has its limits), but it can be useful for simulat-
ing some of the speaker types on which your final 
project will be played, and for which you may not 
have space in your control room (or where it may be 
inconvenient to reproduce the sound—for example, 
not many people will wish to purchase a SUV merely 
for the acoustical properties of the interior!).
The technique for using this is similar to the micro-
phone modeler, but not so complex.
Basically, you define a set of source speakers (the 
real speakers that you are listening to) and a set of 
target speakers (the ones that you wish to model).This speaker modeler can be inserted anywhere in the 
signal chain, but obviously it is more useful if it is 
selected as an insert in the main stereo outputs.
NOTE
Due to technical limitations, if the speaker modeler is 
selected as one effect, the reverb cannot be selected as 
the second effect.
It is also not available in high sampling frequency 
mode.
Selecting the speaker modeler
Recall the preset library entry 1-101 in order to load 
the speaker modeler. See “Setting up the effects units” on page 7 for fur-
ther details.
General parameters
There are three general settings which are all set 
using the top row of PODs.
INTYPE stands for input type. There are four 
options here: 
Stereo, L mono, R mono and LR mono. 
The first three explain themselves, but the last refers to a mono signal comprised of the L and R output 
signals added together.
INPUT the input level can be adjusted (in 1 dB 
steps) from –30 dB to +6 dB.
BYPASS the whole of the speaker modeler effect 
can be turned on and off with this parameter.
Source speaker types
The source speakers which may be selected are 
generic types of speaker, not individual models.
The different selections available (pod 2, bottom 
row) are:

Bypass speaker (as if there was no output speaker 
connected to the DM-24)

Cheap Near Field (for “cheap”, read “low-cost, but 
acceptable performance”, but that is too long to fit 
on the display!)

Large Studio (dedicated studio monitors)
• Mid Field Studio
Near Field (better quality than the “cheap” model)

Pro Near Field (more expensive than the other mod-
els here)
Choose the setting which you feel comes closest to 
your set of speakers. 
You can test the source model by selecting the 
Bypass 
type for the target speaker and changing between the 
different models, making A-B comparisons with the 
whole effect bypassed in order to achieve the closest 
match. 
						

							4 – Antares speaker modeling—Target speaker types
 TASCAM DM-24 Effects 19
Target speaker types
The speakers modeled here are generic, rather than 
reproducing a particular make or model of speaker. 
They represent a wide range of speaker types on 
which your material may eventually be played.

Bypass speaker (no model for the output speaker)

Boombox 1 (one type of “boombox”)

Boombox 2 (another variation on the boombox 
theme)

Car Sedan (an average car sound system)

Car SUV (the kind of sound you might expect from 
an SUV sound system)

Compact Stereo (domestic stereo system, but small 
speakers)
Computer Speaker (useful for multimedia sound 
mixes)

Large Home Studio (good quality domestic/semi-pro 
speakers)

Mid Sound Reinforcement (not necessarily 
top-of-the-range, but good-quality sound reinforce-
ment)

Small Home Studio (smaller speakers intended for 
the musician/home recordist)

TV (typical TV speaker sound)
Use POD 4 on the bottom row to select the speaker 
type.
A few limitations
Once again, it is necessary to emphasize that you 
cannot turn a poor-quality set of speakers into an 
expensive pair of monitors.However, what you can do is to reproduce the tonal 
characteristics of a certain type of speaker and envi-
ronment, allowing you to “field-test” your project for 
a particular purpose without even changing your 
speaker system. 
						

							20 TASCAM DM-24 Effects
5 – TC Works Reverb
The TC Works reverberation built into the DM-24 is 
a sophisticated reverb system, allowing you to simu-
late many different kinds of acoustic environment.Most common (and a few less common) parameters 
can be edited, allowing fine control of the whole 
sound.
NOTE
Due to technical limitations, if reverb is selected as one 
effect, the reverb or speaker modeler cannot be 
selected as the second effect.It is also not available in high sampling frequency 
mode.
General parameters
There are three general settings which are all set 
using the top row of PODs.INTYPE stands for input type. There are four 
options here: 
Stereo, L mono, R mono and LR mono. 
The first three explain themselves, but the last refers 
to a mono signal comprised of the L and R output 
signals added together.
INPUT the input level can be adjusted from Off, and 
then (in 5 dB steps) from –140 dB to –60 dB, (in 
1 dB steps) from –60 dB to –20 dB and (in 0.1 dB 
steps) from –20 dB to 0 dB.
OUTPUT The output level can be adjusted from Off, 
and then (in 5 dB steps) from –140 dB to –60 dB, (in 
1 dB steps) from –60 dB to –20 dB and (in 0.1 dB 
steps) from –20 dB to 0 dB.
MIX Adjust the wet/dry mix from 0% (dry) to 100% 
only reverb) in 101 1% steps.
Balance controls
There are two balance controls on the second POD 
row (
BALANCE).
I/R This stands for “Initial Reflections” (sometimes 
called Early Reflections”). POD 1 controls the left/right balance of these reflections from 
50 through 0 to 
50.
TA I L  This stands for “reverb tail”—the final decay 
of the reverb sound. POD 2 controls the left/right bal-
ance of these sounds from 
50 through 0 to 50.
Maximum decay time
HIGH MID LOWTail 
Early
reflections
Initial
level
INLEV)
Pre-delay
(PREDLY)Reverb
feed
Reverb level
(REVLEV)
(REVFEED)