Tascam Professional Digital Surround Monitor Controller DS-M7. 1 Owners Manual

							  TASCAM DS-M7.1 21
5 – Using the DS-M7.1
Once you have set up the connections, assigned the 
inputs and outputs, and followed the procedures in 
the Setup Guide, you can start using your DS-M7.1.
Return or bus? Use the RTN/BUS key to select 
between return inputs (the signal coming in from the 
mastering recorder)—the key lights in this mode—
and bus inputs (from the console).
Surround or stereo? Select either the surround 
or the stereo program source (from the analog TRS 
monitor inputs) using the 
SRND/ST key.
Dimming the output Press the DIM key to dim 
the output by the amount set in “SPL Reference 
Level” on page 17. The 
DIM key lights when active.
Alternative speakers A pair of speakers con-
nected to the LC and RC outputs of the monitors can 
be used as an alternative pair of speakers (e.g. near-
field reference) and accessed using the 
ALT SPK key. 
This will automatically produce a stereo downmix to 
these speakers.
NOTE
This function is only useful for surround patterns that 
do not use the LC and RC speakers. If these speakers are 
used (7.1), the function is available, but not very useful.
Muting and soloing
Muting Ty p i c a l l y,  t h e  MUTE CONTROL keys are 
used to mute individual channels, or combinations of 
channels, in the monitor mix.
When the appropriate key(s) is/are pressed in this 
mute mode, they light.Muting all the channels The MUTE ALL key 
can be pressed so that it flashes, and mutes all chan-
nels together.
Soloing
The SOLO/MUTE key can be pressed so that it lights. 
In this case, the 
MUTE CONTROL keys act as solo 
keys and flash when they are active (soloing their 
channel). 
There are two methods of soloing, exclusive soloing 
(only one channel at a time is soloed) and mix solo-
ing, where channels are added to the mix one at a 
time (the reverse of muting, where they are sub-
tracted one at a time).
Exclusive versus mix solo To change between 
the two solo modes:1Press the 
SYSTEM key, and use the cursor 
keys until a screen similar to the following 
appears:
2Use the 
VA L U E control to set the Solo 
parameter value to 
Mix or Exclusive.
Bass management
Bass management refers to the ability to derive the 
LFE output based on a crossover from the satellite 
speakers instead of from the console LFE output bus. 
This is useful for simulating various consumer 
speaker systems which utilize bass management 
instead of a discrete LFE channel.
There are two types: type 1, where the subwoofer 
signal is created from the main channels, and type 2, 
where the LFE channel is fed to the other channels to 
create the illusion of a separate bass channel. See the 
illustrations here:Turn the selected bass management on or off with the 
BASS MGT key under the SPL meter. When this is 
off, the normal levels apply.
These two types are provided for the simulation of 
systems with and without dedicated subwoofers. 
Note that the bass management has nothing to do 
with the actual mix to and from the tracking (stem) 
recorder—it is purely for monitor signals.
Press the 
BASS MGMT function key (under the dis-
play) to enter the setup screen.
[SYSTEM] 
LFEGain +10dB
Solo Exclusive
WordIN Normal 
						

							5 – Using the DS-M7.1
22 TASCAM DS-M7.1
The parameter to the left on the second line allows 
you to choose between the two types: 
TYPE1 and 
TYPE2.
L
R C
LFELS
RS
RC
LC
-15 / 0 dB
(-15dB default)
L
R C
SWLS
RS
RC
LC
HPF
LPF
HPF
HPF
HPF
HPF
-5/ +10 dB
(-5dB default)
80/100/120 Hz
48dB/oct
L
R C
LFELS
RS
RC
LC
-15  dB
L
R C
SWLS
RS
RC
LC
LPF
HPF
HPF
-5  dB
80/100/120 Hz
48dB/oct
HPF
-12.0 dB
-1.5 dB
-1.5 dB -12.0 dB
LPF
SUB
(default OFF)
Type 1
Type 2 
						

							5 – Using the DS-M7.1
  TASCAM DS-M7.1 23
Type 1 bass management
When type 1 bass management is selected, the screen 
looks something like this:
FRQ The frequency at which the crossover occurs: 
80, 100 or 120 (Hz).
MCH>LFE The amount of main channel signal (L, 
C, R, LS, RS) added to the LFE monitor channel. This is set together with the LFE>LFE parameter as 
described below.
LFE>LFE The amount of LFE signal added to the 
LFE monitor channel. This is set together with the 
MCH>LFE parameter described above.
Two sets of values are available for these linked 
parameters:
Type 2 bass management
When type 2 bass management is selected, the screen 
looks something like this:Apart from the type, there are only two parameters 
on this screen that can be changed:
SUB Turns the sub channel on and off.
FRQ The frequency at which the crossover occurs: 
80, 100 or 120 (Hz).
All other settings are fixed and are provided for 
information only.
High speed operation
Remember that although the DS-M7.1 is capable of 
high-speed operation (88.2 kHz and 96 kHz sampling 
frequencies) as determined by the frequency of the 
word clock source (see “A note on the word clock” 
on page 14), as mentioned earlier, this is not an 
option supported by the TASCAM DM-24 digital 
mixing console, and it may not be supported by other 
units. 
Even if a high clock rate is selected in the 
SYSTEM 
setup screen, the incoming clock at the BNC 
WORD IN
 can be either the base rate (48k for 96k, or 44.1k 
for 88.2k) of the selected high-speed rate or the 
actual high-speed rate.
Always consult the documentation of other units 
before attempting high-speed connections.
NOTE
When high-speed signals are received in AES/EBU for-
mat, and the preamble is not correctly detected on 
channels 5 and 6, these channels, together with chan-
nels 7 and 8, will be muted.
[BASSMGT] SUB ON
TYPE1
MCH>LFE-15.0
FRQ 120 LFE>LFE -5.0
Set 1 Set 2
MCH>LFE–15.0 dB 0 dB
LFE>LFE–5.0 dB +10 dB
[BASSMGT]L>LR>R-12.0
TYPE2 LFE>LR -1.5
SUB OFF CLR>LFE-15.0
FRQ 120 LFE>LFE -5.0 
						

							24  TASCAM DS-M7.1 
6 – Note on DS-M7.1 usage
Many pre-mixes for film are made that are greater 
than 8 tracks.  The DS-M7.1 can still be useful in 
these conditions, as explained here.
If a large format (24 or more output busses) console 
is used, a number (8 or 16) of the busses can be used 
to feed the stem recorder.The returns from the stem recorder can then be fed 
back through the console inputs and routed to a dif-
ferent set of eight busses, which are then used to feed 
the DS-M7.1 for monitoring.
Although this does not allow BUS/RTN switching, 
the DS-M7.1’s monitoring control (bass management 
and downmix facilities, etc.) can still be used to great 
effect in this environment.
Multi-bus mixing console
Multitrack
recorder
Tracks for
mixing
Stem recorder
8 or 16 busses to
the stem recorder
Stem recorder tracks
return via faders
DS-M7.1Monitoring
system
8 (or 6) busses containing stem tracks
sent for monitoring  
						

							  TASCAM DS-M7.1 25
7 – Downmixing
Downmixing, as explained earlier, is the process of 
folding a surround mix into a format using fewer 
channels. This is done for the purpose of checking 
compatibility.
Downmixing is enabled and disabled on the DS-
M7.1 using the 
DOWN MIX/MONO key under the 
SPL readout and control. When downmixing is 
active, the key is lit (it flashes in mono downmix 
mode, see below).
The settings for downmix are made using the 
DOWNMIX function key.
1Press the 
DOWNMIX function key so that the 
screen shows something similar to the follow-
ing:
2The first parameter, 
Pattern, sets the 
downmix “folddown” pattern. The patterns 
available here depend on the source format 
currently in use:Depending on the value picked here, the other values 
(that is, the amount by which the source busses are 
attenuated before they are folded into the target bus-
ses) will change.
Note that some busses may pass through more than 
one attenuator before reaching their destination.
These patterns are shown graphically, with an list of 
the parameters and options available in each pattern.
The default downmix pattern for all source patterns is 
LR.
A note on the mono downmix
The mono downmix is accessed using the shifted 
DOWN MIX key. When the SHIFT key is held down 
and the 
DOWN MIX/MONO key is pressed (whether it is currently active or not), the mono downmix is 
enabled.
Pressing the DOWN MIX/MONO key while it is flash-
ing returns it to its previous status.
[DOWNMIX]
Pattern 7.1>5.1
LC>L,RC>R -1.5dB
LC+RC>C -4.5dB
Source patternAvailable downmix 
targets
7.1 5.1
LR
MONO
6.1 5.1
LR
MONO
5.1 LCRS
4.1
LR
MONO
LCRS (both formats) - see “A 
note on LCRS” on page 20LR
MONO
LR MONO
LR & LcRC MONO
Source patternAvailable downmix 
targets 
						

							7 – Downmixing
26 TASCAM DS-M7.1
7.1 formats
L
R
C
LFE
LS
RS
LC
RC
L
R
C
LFE
LS
RS
LC
RC
-4.5/-6/-7.5/-9dB
-1.5
/-3/-4.5/-6dB
mute
mute
L
R
C
LFE
LS
RS
LC
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
-0/
-3/-6/
-1.5/-3/-4.5/-6dB
-3/-6/-9/dB
-3dB
L
R
C
LFE
LS
RS
LC
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
-3dB
-0/-3/-6/
-1.5/-3/-4.5/-6dB
-3/-6/-9/dB
-3dB
7.1 > 5.1 7.1 > LR
7.1 > mono 
						

							7 – Downmixing
  TASCAM DS-M7.1 27
7.1 > 5.1 In the 7.1 to 5.1 downmix, the attenuation 
values are:
7.1 > LR In the 7.1 to LR (stereo) downmix, the 
attenuation values are:
7.1 > mono In the 7.1 to mono downmix, the 
attenuation values are:
Source > Target Values in dB (default underscored)
LC>L, RC>R -1.5, –3, –4.5, –6
LC+RC > C –4.5
, –6, –7.5, –9
Source > Target Values in dB (default underscored)
C > L,R –3, –4.5, –6
LFE>L,R –3, –6, –9, –
∞
LS,RS>L,R 0, –3, –6, –∞
LC+RC+c>L,R –1.5, –3, –4.5, –6
Source > Target Values in dB (default underscored)
C > L+R –3, –4.5, –6
LFE>L+R –3, –6, –9, –
∞
LS,RS>L+R 0, –3, –6, –∞
LC,RC>L+R –1.5, –3, –4.5, –6 
						

							7 – Downmixing
28 TASCAM DS-M7.1
6.1 format
L
R
C
LFE
LS
RS
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
L
R
C
LFE
LS
RS
CS
(LC)
RC
L
R
C
LFE
LS
RS
LC
RC
-3/-4.5/-6dBmute
muteCS
(LC)-3/-6/-9/
-0/-3/-6/B
-3/-6/-9/dB
L
R
C
LFE
LS
RS
CS
(LC)
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
-3dB
-0/-3/-6/
-3/-6/-9/dB
-3/-6
/-9/
6.1 > 5.1 6.1 > LR
6.1 > mono 
						

							7 – Downmixing
  TASCAM DS-M7.1 29
6.1 > 5.1 In the 5.1 to 5.1 downmix, the attenuation 
values are:
6.1 > LR In the 6.1 to LR (stereo) downmix, the 
attenuation values are:
6.1 > mono In the 6.1 to mono downmix, the 
attenuation values are:
Source > Target Values in dB (default underscored)
CS (LC)>LS,RS -3, –4.5, –6
Source > Target Values in dB (default underscored)
C > L,R –3, –4.5, –6
LFE>L,R –3, –6, –9, –
∞
LS,RS>L,R 0, –3, –6, –∞
CS (LC)>L,R –3, –6, –9, –∞
Source > Target Values in dB (default underscored)
C > L+R –3, –4.5, –6
LFE>L+R –3, –6, –9, –
∞
LS,RS>L+R 0, –3, –6, –∞
CS(LC)>L+R –3, –6, –9, –∞ 
						

							7 – Downmixing
30 TASCAM DS-M7.1
5.1 format
L
R
C
LFE
LS
RS
LC
RC
L
R
C
LFE
LS
RS
LC
RC
L
R
C
LFE
LS
RS
LC
RCL
R
C
LFE
LS
RS
LC
RC
-3dB
-3/-4.5/-6dB
mute
mute
mute
mute
mute
mute -3/-6/-9/
dB-3/-6/-9/dB
L
R
C
LFE
LS
RS
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
LC
-0/-3/-6/
L
R
C
LFE
LS
RS
RC
L
R
C
LFE
LS
RS
LC
RC
mute
mute
mute
mute
mute
mute
-3/-4.5/-6dB
LC
-0/-3/-6/
-3dB
-3/-6/-9/dB-3/-6/-9/dB
5.1 > LCRS 5.1 > 4.1
5.1 > LR 5.1 > mono