Tascam TM-D8000 Preliminary Manual

							TM-D8000
The touch of a switch will allow
you to change the 16 analog input
channels to an additional 16
channels of TDIF Ñ thus
providing 40 channels of TDIF at
mixdown. This means up to five
DTRS
¨ machines can be used at
mixdown and youÕll still have 6
stereo inputs at your disposal for
effect returns.
DIGITAL MIXER __________________________________
PRELIMINARY
5 Pages - Page 1
Continuing its tradition of pioneering high-quality and affordable
recording equipment, TASCAM is about to introduce its first console in the
family of digital mixers. Designed primarily to interface with the DTRS
¨
series of multitrack recorders, the TM-D8000 delivers the features and sonic
clarity of digital consoles costing much more. TASCAMÕs 20 years of experi-
ence in designing high-quality, compact recording consoles has greatly
influenced the design of this new productÕs interface.
When you first look at the TM-D8000, it becomes obvious that control
is the very essence of the console. Foremost is its tactile appearance Ñ
offering 48 channel faders, four assignable control faders, a stereo mix
fader, a transport control center incorporating a JOG and SHUTTLE
wheel Ñ and at the heart of the mixer, a backlit LCD panel that serves
as a ÒwindowÓ to all console functions directly positioned over a Òcontrol
podÓ of rotary encoders. 
						

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TM-D8000
DIGITAL MIXER______________________________________________________________
The INs & OUTs É
The console comes equipped with a versatile compliment of digital
and analog inputs and outputs. Basic configuration of the console is 40
mono inputs and 6 stereo inputs assignable to any of the 8 busses,
stereo mix or directly to the digital tape send of the corresponding
channel. On-board, youÕll find 24 dedicated digital tape sends and
returns via TDIF-1, making connection to DTRS
¨ machines simple while
keeping signal in the digital domain.
The first stage in any digital recording process is taking the analog
signal from either microphones or line level instruments and converting it
to digital information. Rest assured the TM-D8000 doesnÕt short change
you here. Standard on the console are 16 high-quality analog inputs that
are individually switchable between the XLR mic preamps or balanced
TRS line inputs. Each of these channels provide analog insert points and
phantom power.
To add even greater flexibility, the touch of a switch will allow you to
change the 16 analog input channels to an additional 16 channels of
TDIF Ñ thus providing 40 channels of TDIF at mixdown. This means up
to five DTRS
¨ machines can be used at mixdown and youÕll still have 6
stereo inputs at your disposal for effect returns.
You might be asking yourself at this point, ÒWhat if I only have 3 DTRS
machines and a hard disk editor that utilizes AES/EBU or S/PDIF?Ó Not to
worry. With the flick of a switch, channels 9-16 can be configured to
accept either 8 channels of AES/EBU or 4 channels of AES/EBU and 4
channels of S/PDIF. Now you might be telling yourself, ÒThatÕs great, but
do I sacrifice any inputs or have to purchase any additional cards?Ó The
answer is NO! All these interfaces are standard on the console Ñ mak-
ing the TM-D8000 truly one of the most versatile mixers in its class!
Okay, I have signal in the console, now what?
This is where the fun begins. First, each of the 40 mono channels
has a four-band fully parametric EQ offering cut and boost, sweepable
frequency select and variable ÒQÓ. The top and bottom frequency bands
can be either peak or shelving. In addition to EQ on the inputs, there is
also a 4 band fully parametric EQ provided for the stereo mix out for any
final sweetening that might need to be done. The mixer even lets you
store up to 100 of your favorite EQ settings and recall them at any time.
This is a great time saver when youÕre trying to get Òyour signature
soundÓ for a kick drum or vocal track.
There are 6 AUX sends that enable the integration of outboard
effects processing such as reverb and delay. If you have an effects
processor with a digital interface, AUX sends 3 and 4 can be digital
(using the AES/EBU protocol) Ñ keeping your program send entirely in
the digital domain.
The console comes equipped with a
versatile compliment of digital and
analog inputs and outputs. Basic
configuration of the console is 40
mono inputs and 6 stereo inputs
assignable to any of the 8 busses,
stereo mix or directly to the digital
tape send of the corresponding
channel. 
						

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TM-D8000
DIGITAL MIXER______________________________________________________________
For bringing the output of your effects back into the console, there
are 6 stereo returns, all of which are assignable to any of the 8 busses
or stereo mix buss. This capability enables you to record your effects to
tape if so desired. Additionally, Stereo RTN 6 is switchable between
analog or AES/EBU digital to maintain signal in the digital domain.
Dynamic effects processing is a critical element in any tracking or mixing
environment, as you may need to gate a drum mic or compress a vocal
track before it goes to tape. For these applications, the TM-D8000 offers 8
internal digital dynamic processors. The types of processing can be GATE,
COMPRESSION or EXPANSION. Much like the EQ settings, parameters for
the dynamic modules can be stored and recalled at any time.
If you already own some of todayÕs most popular tube dynamic
processors, you can easily integrate them into the mix using the 4
channel insert matrix that is incorporated into the TM-D8000. Essentially,
TASCAM provides the A/D and D/A conversion enabling you to imple-
ment your favorite processors. Any of the dynamic modules or insert
matrix points are assignable to any of the channel inputs, tape returns or
stereo mix.
With all this versatility built into the console, you would think keeping
track of all this information and accessing the vast number of parameters
would be a real challenge. One of the most unique characteristics of the
TM-D8000 is the Òcontrol podÓ. ItÕs located just below the backlit LCD
screen and is made up of 20 ÒsoftÓ rotary encoders and 32 ÒsoftÓ switch
controllers. ÒSoftÓ means these are simply virtual controllers and can be
assigned to functions such as pan, trim, frequency select and so on.  As
the screens change, the controllers change their functions and conform
to the screen. The following is a list of all the parameters immediately
accessible in the channel input screen:
¥ All EQ parameters (including a graphic representation of the
defined curve)
¥ All AUX send levels and their pre or post assignment
¥ Trim control
¥ Pan control
¥ Phase reversal switch
¥ Stereo link switch
¥ Post EQ, Pre-fader level meter (useful for setting trim control)
¥ Buss and stereo mix assignments
¥ Preset EQ settings that might have been assigned to
that channel
¥ The dynamic module or insert matrix assigned to that channel
¥ Cut and Fader group assignments
¥ Automated fader position
This means all critical mix data is at your disposal and not hidden in
any other menus or screens. As you look at the console, youÕll notice 4
long throw faders and 4 CUT GROUP switches. These are assignable
controllers which can be used to serve as master faders for a group of
channels. For example, as opposed to raising or lowering all the faders
of the tracks that contain percussion, you can assign these tracks to one
The mixer even lets you store up
to 100 of your favorite EQ settings
and recall them at any time. This
is a great time saver when youÕre
trying to get Òyour signature
soundÓ for a kick drum or vocal
track.
If you already own some of todayÕs
most popular tube dynamic
processors, you can easily inte-
grate them into the mix using the
4 channel insert matrix that is
incorporated into the TM-D8000. 
						

							5 Pages - Page 4
TM-D8000
DIGITAL MIXER______________________________________________________________
of the four FADER GROUP masters and simply move one fader to
control all tracks. The CUT GROUPs work the same way, enabling you to
perhaps mute everything in the mix except vocals.
ItÕs a sure bet that many of us have painstakingly tried to recreate a
mix at one time or another to make some slight modifications. Another
advantage of all this control in a digital console is the ability to recall any
and all information at any time. The TM-D8000 offers 99 scenes of
snapshot automation. All mix data can be stored in a library and recalled
later. These scenes can be called up manually, via MIDI program change
or assigned SMPTE or MTC (MIDI Time Code) offsets.
For projects that require the mix to change ÒdynamicallyÓ (in real time
as the mix is being played), dynamic automation of the consoleÕs param-
eters is processed internally, but is controlled via a high speed serial
interface connected directly to a personal computer. This arrangement
makes for a very intuitive graphic interface and gives you complete
control of the mix parameters. Editing tasks such as cutting and pasting
parts of an automated mix are a simple mouse click away!
Staying in control É
Maintaining control of all the critical elements of a mix is of the utmost
importance when it comes to tracking, mixing or dubbing in a production
setting. The TM-D8000 offers machine control over three different types of
devices. There is seamless control over the DTRS
¨ machine family of
recorders utilizing the TASCAM sync I/O interface. Ten points of auto-
location, rehearsal mode, auto punch in/out and track record select are just
a few of the standard machine commands incorporated into the TM-D8000.
ThereÕs also a JOG/SHUTTLE wheel that provides the ability to set up
extremely accurate cue points without leaving the surface of the console.
If you need control over a sequencer, hard disk-based recording
system or a multitrack recorder that doesnÕt support the TASCAM sync
protocol, the TM-D8000 also implements MIDI Machine Control.
The adoption of the DA-88 as a standard dubbing and transfer format
for video and audio post-production applications is reflected in the
implementation of the Sony P2 (RS-422) machine control protocol. If you
perform numerous Òaudio for videoÓ tasks, taking control of your video
deck is as easy as connecting it to the TM-D8000 and using the locate
points and JOG/SHUTTLE wheel built into the console.
In the KnowÉ
Monitoring both visually and sonically in a recording studio is a
critical facet that many manufacturers overlook. Knowing what levels are
being sent and returned from devices is easy with the 24-channel
meterbridge standard on the TM-D8000. You can monitor channel inputs
and tape returns either pre or post EQ, tape sends or AUX sends.
The Control Room section of the mixer is second to none. A built-in
For projects that require the mix to
change ÒdynamicallyÓ (in real
time as the mix is being played),
dynamic automation of the
consoleÕs parameters is processed
internally, but is controlled via a
high speed serial interface con-
nected directly to a personal
computer. 
						

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TM-D8000
DIGITAL MIXER______________________________________________________________
tone oscillator lets you to check signal flow and set optimum gain stages
on your multitrack and mixdown decks. ThereÕs a wide selection of
sources for monitoring, including the STEREO MIX, 2 TRK RTN 1
(balanced +4dBm analog), 2 TRK RTN 2, (unbalanced -10dBV analog),
any of the 4 stereo digital inputs (AES/EBU or S/PDIF) and all the AUX
sends. ThereÕs also a mono summing switch and dimmer button for
lowering the signal without entirely muting it. To listen to individual
channels, there is an attenuable SOLO section for either PFL (pre-fader
listen) or Solo in-place monitoring.
The mixer can accommodate two headphone sets, enabling you to
get a different perspective of your mix from that of your control monitor
speakers. If you have a playback system in a separate live room,
a separate STUDIO out is provided that can feed directly from the
STEREO mix or whatever signal path is being monitored in the
control room.
A built-in talkback mic is incorporated into the console, giving the
engineer the ability to communicate to either the STEREO output, put a
slate on the tape tracks or speak over AUX 1 and 2. The latter is a handy
feature when using those AUX sends as a headphone cue for the talent.
ThereÕs even an interface on the back of the console to connect an
external mic and momentary switch so communication can be sent
across the room from the mixer!
The TM-D8000 represents the culmination of over five years of
research and design to develop a high specification digital console for
professional applications at a price compatible with todayÕs cost effective
studio equipment. TASCAM engineers have done their homework Ñ now
itÕs your turn. Contact your authorized TASCAM dealer or call TASCAM
FAXBACK at (800) 827-2268 for additional information today.
If you perform numerous Òaudio
for videoÓ tasks, taking control of
your video deck is as easy as
connecting it to the TM-D8000
and using the locate points and
JOG/SHUTTLE wheel built into
the console.
Take advantage of our experience.
For More Information About Other TASCAM Faxback Literature,
Call 1-800-827-2268
© 1997 TEAC America, Inc. All rights reserved. FAXBACK Index #8000 9/97
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