available to use as tape returns. This presents a problem. Here are a few ways
to deal with this scenario:
Using AUX 1&2 as the tape return path
The DM-24 can use AUX 1&2 as the tape return path for the first 16 channels in
a tracking situation for just this reason. The way to handle this is to link Aux 1
and Aux 2. This provides a level and a pan control for each tape return. On the
Aux 1-2 page there is a “source” tab that would normally allow a setting of pre or
post fader. The first 16 channels also provide the choice of “RETURN”
specifically for this function. Faders can be used to control the aux levels making
this procedure much easier. Choose Aux 1&2 in the control room section for
monitoring. All of these parameters are instantly set when the “Recording”
snapshot is recalled.
Recording and monitoring tracks 17-24 requires different settings than tracks
1-16. Remember that AUX 1-2 is still the tape return path for tracks 1-16. This
leaves channels 1-16 available to use as inputs. For this example, use channels
1-8 as the input channels and use busses 1-8 to buss those signals to tracks 17-
24. Channels 17-24 will be the tape return path for tracks 17-24; however, since
AUX 1-2 is still the monitoring source it is necessary to set up pre fader aux 1-2
send levels for channels 17-24. This will allow the monitoring of all 24 tracks
simultaneously. Channels 17-24 should not be assigned to the stereo buss until
mixdown. Again, all of these parameters are instantly set when the “Recording”
snapshot is recalled.
Using the inserts to track analog and return digital
Another way of dealing with this situation is to use the insert jacks to send an
analog signal to your recorder and use the digital I/O to bring the tape returns
back to the console. Realizing the insert is just before the A/D converter in the
DM-24’s signal chain, the following scenario is possible:
A mic can be connected to the mic input, where the mic pre’s level may be
adjusted. The analog signal is then sent to the analog input on the digital
recorder. The output of the recorder would then return to the DM-24 digitally.
This scenario is just like having 16 outboard mic pres. The benefit is that
channels 1-24 are always assigned as “returns” allowing you to bypass the whole
“Aux 1-2 tape return idea.” This simple solution makes recording 16
simultaneous tracks VERY easy. TASCAM offers a variety of cable snakes for
the job.
For an MX-2424 use ¼” to D-25 cables:
CU/SU902 6ft.
CU/SU903 10ft.
CU/SU904 13ft.
CU/SU905 16ft.
CU/SU907 23ft.
These cables are wired with the negative side shorted to ground, while the “tip” is
the positive. The DM-24 will send an “unbalanced” signal from the insert jack, so