Tascam DS-M7.1 owner manual High speed operation, Type 1 bass management, Type 2 bass management

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5 – Using the DS-M7.1

Type 1 bass management

When type 1 bass management is selected, the screen looks something like this:

[BASSMGT] SUB ON TYPE1

MCH>LFE-15.0 FRQ 120 LFE>LFE -5.0

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:

 

Set 1

Set 2

 

 

 

 

 

 

MCH>LFE

–15.0dB

0dB

 

 

 

LFE>LFE

–5.0dB

+10dB

 

 

 

Type 2 bass management

When type 2 bass management is selected, the screen looks something like this:

[BASSMGT]L>LR>R-12.0

TYPE2 LFE>LR -1.5 SUB OFF CLR>LFE-15.0 FRQ 120 LFE>LFE -5.0

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 (88.2kHz and 96kHz 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.

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Contents Professional Digital Surround Monitor Controller Important Safety Precautions Important Safety Instructions Table of Contents Digital Mixing Console About the unitSurround Monitoring System DS-M7.1 Installing the DS-M7.1 About the unit Front panel Parts of the DS-M7.1Function keys Parts of the DS-M7.1 Slot 2/TRK Recorder I/O Tdif Rear panelParts of the DS-M7.1 Connections Connecting the consoleConnecting the tracking recorder Connecting the mastering stem recorder Inverting the word clock Word clock errorsMonitor connections InsertsControl room stereo inputs Other monitoring settingsDimmer and mute control connections Choosing the surround format Routing and patchingMatching output channels to surround channels Configuring the Input Summing RouterSoloing Using the DS-M7.1Muting and soloing Bass managementType Type 2 bass management High speed operationType 1 bass management Multi-bus mixing console DS-M7.1Stem recorder Multitrack RecorderDownmixing Mono Formats5.1 In the 7.1 to 5.1 downmix, the attenuation values are Format 5.1 In the 5.1 to 5.1 downmix, the attenuation values are Lcrs 4.1 In the 5.1 to 4.1 downmix, the attenuation values are Lcrs mono Lcrs formatLR to mono LR formatAES/EBU connections SpecificationsAnalog connections Analog CR inputs stereo SpecificationsAnalog monitor section Analog inputs Audio performance Analog outputsDimensional drawings General specificationsExtended cable Making up a remote control cableStandard cable Analog insert I/O Digital insert I/O AES/EBU Block diagramDS-M7.1

DS-M7.1 specifications

The Tascam DS-M7.1 is an advanced digital mixing console designed to meet the needs of professional audio production and post-production environments. Known for its high-quality sound, versatility, and robust feature set, the DS-M7.1 offers a range of tools that make it ideal for music production, broadcasting, and film scoring.

One of the standout features of the Tascam DS-M7.1 is its digital audio processing capabilities. It supports high-resolution audio formats, allowing users to work with sample rates up to 192 kHz and 24-bit depth. This ensures that the sound quality remains pristine, capturing every nuance of the audio being mixed. The console features 48 input channels, providing ample space for multiple audio sources, and allowing sound engineers to create complex mixes without compromising on quality.

The DS-M7.1 also incorporates advanced digital signal processing technologies. It comes with a suite of built-in effects, including EQ, compression, and reverb, all designed to enhance the creative possibilities for audio engineers. Users can customize and automate these effects, ensuring that every mix is tailored to the specific requirements of a project. Moreover, the integration of powerful DAW control features allows seamless operation with popular digital audio workstations, streamlining the workflow in busy production settings.

Another key characteristic of the Tascam DS-M7.1 is its user-friendly interface. The console features an ergonomic design with touch-sensitive faders and color-coded controls, allowing for intuitive navigation through various settings. The touch-screen interface provides quick access to essential parameters, enabling users to make adjustments in real time without disrupting the flow of the session.

In terms of connectivity, the DS-M7.1 ensures compatibility with a wide range of devices. It includes multiple digital and analog inputs and outputs, as well as options for surround sound mixing. This makes the console a suitable choice for projects that require immersive audio experiences, such as film and video game soundtracks.

Overall, the Tascam DS-M7.1 is a sophisticated digital mixing console that brings together high-quality audio, versatility, and ease of use, making it a valuable tool for professionals in the audio industry. Whether for live sound, studio recording, or post-production, the DS-M7.1 stands out as a reliable solution that meets the demands of today’s complex audio projects.
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