5 – Channel modules : Surround operations

Surround operations

There are several screens and functions which change from those described previously when a sur- round mode is selected.

There are two surround matrices available, which can be assigned and mixed differently, but each matrix must be of the same format (for example, it is not possible to have an LCRS and 5.1 surround setup at the same time).

Changing surround mode

The surround mode is set from the PAN/BAL SURROUND MODE screen:

Figure 5.28: Selecting surround mode

Use the cursor keys to move the triangle cursor between STEREO, LRCS, 5.1 and 6.1.

Press ENTER to confirm the selection. A popup mes- sage appears asking you to press ENTER again to change the surround mode, or a cursor key to cancel the operation.

WARNING

To avoid possible damage to speakers and equipment, we recommend that you turn off all monitoring equip- ment when changing the surround mode.

Note that when the 5.1 option is selected, the rear speakers can be linked as MONO using the on-screen switch.

Buss assignments When a surround mode is selected, the 16 busses are used to feed the surround channels as follows (busses 9 through 16 are used for surround 2 and are assigned in the same pattern as 1 through 8):

Buss

Stereo

LCRS

5.1

6.1

 

 

 

 

 

1

L

L

L

L

 

 

 

 

 

2

R

R

R

R

 

 

 

 

 

3

L

C

C

C

 

 

 

 

 

4

R

—

LFE

LFE

 

 

 

 

 

5

L

S

LS

LS

 

 

 

 

 

6

R

—

RS

RS

 

 

 

 

 

7

L

—

—

CS

 

 

 

 

 

8

R

—

—

—

 

 

 

 

 

Table 5.29: Buss assignments in surround mode

These assignments cannot be changed.

Assigning channels to surround busses

There are two modes in which the surround busses can be assigned: pan mode on and pan mode off.

This setting is made by pressing and holding the SHIFT key together with one of the ASSIGN keys.

Note that this pan mode works in a slightly different way to the pan mode in stereo setting (“Pan switch” on page 52). Note especially:

•The Buss Link and Pan preference has no meaning in surround mode. Channels can always have the pan mode turned on and off independently.

•There are two surround matrices. These can have pan mode turned on and off independently for each channel (SHIFT + ASSIGN 1 through 8 for the first matrix, and SHIFT + ASSIGN 9 through 16 for the second).

TASCAM DM-3200 User’s Manual 75

Page 74 Page 76
Page 75
Image 75
Tascam DM-3200 Channel modules Surround operations, Changing surround mode, Assigning channels to surround busses
Page 74 Page 76

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.
Top Page Image Contents