5 – Channel modules : Module setup

Use the cursor to highlight a group (numbered at the side of the screen) and use the channel SEL keys to add the channels to the group. Change fader layers if necessary, to add other channels to the group.

The first channel added to the group becomes the master, marked by a solid “blob”. The SEL key flashes, when the group is highlighted on screen.

Other channels can be added to the group following the master, marked by hollow “blobs” (if a channel already belongs to a group as a slave, it is removed from its original group). Slave channels in a group have their SEL key lit.

To remove a channel from a group, press its SEL key so that it is unlit.

Clearing groups Pressing the flashing master SEL key brings up a popup panel:

Grouping groups A group can become a sub- group of another group, using the matrix at the bot- tom of the screen.

Move the cursor so that it highlights a master group (down the left side of the matrix—the SEL key corre- sponding to the master group lights) and use SEL keys 1 through 8 (regardless of layer) to set sub- groups.

A “tree” diagram appears at the side of the matrix as you set up the groups:

Figure 5.25: Clearing a group

Pressing ENTER removes the whole group (cursor keys cancel the clear operation and leave the group as is).

The POD 4 switch or ENTER turn the highlighted group on or off, but do not clear the settings.

Figure 5.26: Grouping groups

In Figure 5.26, Grouping groups, group 5 is con- trolled by group 3, which in turn is controlled (together with group 6) by group 4.

In other words, the MUTE key of the master channel of group 4 affects the MUTE keys of all channels of groups 3, 5 and 6.

Linking fader groups to mute groups The on-screen MUTE->FADER LINK button allows the set- tings made for the mute groups to be transferred to the fader groups.

Fader groups

These work in the same way as for mute groups.

Figure 5.27: Fader grouping

Master and slave channels are set for each group using the SEL keys, and groups can be grouped in exactly the same way as mute groups.

Groups can be turned on and off.

Although these settings and actions are independent of the mute group settings described above, there is a FADER->MUTE LINK on-screen button that allows the settings made for the fader groups to be transferred to the mute group settings.

TIP

Either fader or mute groups can also be used as the source for “solo groups”, where pressing the SOLO key of the master channel will solo all slave channels. See “SOLO” on page 35.

74 TASCAM DM-3200 User’s Manual

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Tascam DM-3200 owner manual Fader groups, Clearing a group

DM-3200 specifications

The Tascam DM-3200 is a versatile digital mixing console renowned for its professional audio capabilities and comprehensive feature set. Launched as a part of Tascam’s acclaimed DM series, this console has become a favorite among recording engineers and musicians for its flexibility and high-quality sound processing.

One of the standout features of the DM-3200 is its ability to handle both analog and digital audio signals seamlessly. With 32 input channels, it provides ample connectivity options that are vital for modern studios. It supports both analog line-level signals and digital inputs via ADAT, AES/EBU, and S/PDIF, which allows for extensive routing and integration with various devices and systems.

The DM-3200 features an 8-bus architecture, which enables users to create complex mixes with ease. Each channel is equipped with a 4-band parametric EQ, offering precise control over the tonal balance of each audio source. The onboard effects processing includes virtual effects such as reverb, delay, and modulation, which enhances the overall sound quality and provides creative options for mixing and mastering.

Another notable aspect of the DM-3200 is its intuitive user interface. The console features an LCD display alongside faders, knobs, and buttons designed for quick and efficient operation. The layout facilitates smooth navigation through menus, making it user-friendly for both novice and experienced engineers.

In terms of recording and playback, the DM-3200 supports 24-bit/96 kHz audio resolution, ensuring high-fidelity sound for both tracking and mixing. This capability makes it suitable for post-production, live sound, and studio work, providing high-quality audio requisite in various applications.

Tascam has integrated advanced automation features into the DM-3200, allowing users to automate fader positions, effects parameters, and more. This feature is particularly beneficial during mixing sessions where precision and repeatability are essential.

Additionally, the DM-3200 is capable of digital multitrack recording and can interface seamlessly with DAWs via FireWire, enhancing its versatility in a hybrid studio environment. Whether you are recording a band, mixing a podcast, or producing a film score, the Tascam DM-3200 stands out as a powerful tool in professional audio production.