5 – Channel modules : Surround operations

In Figure 5.32, Module surround panning, pan mode is off for surround matrix 1, and so the pan controls are disabled for this matrix.

The SURROUND screens (Figure 5.33, Surround pan- ning (pan mode on)), showing the settings for indi- vidual modules with the pan mode provide more complete control over the surround settings (sur- round screens with pan mode off are shown in Figure 5.34, Surround screen (pan mode off)):

Figure 5.33: Surround panning (pan mode on)

Each module has a graphical representation of the current setting for the currently selected matrix. Channels to which the module is currently are assigned are shown as filled symbols; unassigned channels are shown as hollow symbols. This graphi- cal part of the screen is for display only—use the cur- sor keys to navigate to the on-screen controls below and to the right of this circle.

The SURROUND SET radio buttons to the right of the circle allow the selection of either one of the surround matrices. Use the ENTER key to select one of these matrices.

Below that, the SPEAKER SW on/off switches for the center (C) and LFE (LF) speakers are shown. Use the ENTER key here.

Below this, there is a switch for the center speaker (C), usually reserved for dialog in movie post-production, and another for the low-frequency speaker (LF). Use the ENTER key for these.

Below this, use the POD 1 encoder to set the left-right pan position, and POD 2 for the front-rear. PODs 3 and 4 set the left-right and front-rear divergences respectively.

Note the “bargraph” displays shown on the screen beside each speaker in the matrix which show the rel- ative levels of the channels as the position is moved.

Pattern panning In the second row of POD con- trols, POD 1 sets the type of pattern controlled by the wheel (TYPE). The choices are: CIRCLE (where the sig- nal follows a circular path around the center), SQUARE (a square path) and two SLANTs (diagonally across the sound stage). POD 2 moves the signal around the pattern, and POD 3 and POD 4 control how much of the signal is sent to the center front (C) and center surround speakers (CS).

As mentioned, the wheel or POD 2 may be used used to move the signal of the channel whose SEL key is selected along the pattern. The position of the cursor on the screen does not determine the channel whose signal is edited.

The last row of PODs allows the pattern to be sized and moved relative to the center of the sound stage. POD 1 (LR POS) and POD 2 (FR POS) move the pattern left-to-right and front-to-back respectively, and POD

3(LR SIZ) and POD 4 (FR SIZ) affect the size. See Fig- ure 5.33, Surround panning (pan mode on) to see how these parameters can be used to affect the sound pattern.

Using the cursor keys As well as the above methods, when the CURSOR MOVE checkbox is selected, the cursor keys do not move the cursor around the screen, but move the signal around the sound stage. The TARGET box selects which channel is currently controlled in this way. Press ENTER to uncheck the box and start using the cursor keys in the usual way again.

Jump keys Press and hold SHIFT and press one of the numbered SCREEN MODE keys to move the sig- nal to the appropriate point in the sound stage (7 is front left, 8 is front center, 9 is front right, etc.).

TASCAM DM-3200 User’s Manual 77

Page 77
Image 77
Tascam DM-3200 owner manual Surround panning pan mode on

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.