Issues Routing Tascam DM4800 to Alesis HD24

[summit]

I've been a full-time audio engineer since the early 70's and have just replaced my (aging) Tascam M3500 console and Tascam US2400 control surface with a brand new Tascam DM4800 including the MU-1000 meter bridge, firewire card (slot 1) and 2 extra ADAT cards (slots 3&4).

My intent was to initially connect the DM4800 via the 3 ADAT cards and light-pipe to the optical i/o on the HD24 so I could track directly to it, but after several long days of manual reading (and pulling my hair out) for some odd reason I cannot seem to route any signal from the DM4800 outs to the HD24 in's.

I don't have much experience with digital clocking, so I suspect either a "clocking" issue or incorrect routing inside the DM4800 - any suggestions would be GREATLY appreciated! Actually routing templates for both ADAT in and out for the DM4800 to the HD 24 would be really helpful.

To provide some background on my work-flow (all music production), when I switched from 24 track reel recorders, I bought a couple of Alesis HD24's which allowed me to track 24-48 tracks simultaniously with absoloutely no latency issues etc. - then, once my tracking was complete, I dumped the 24 bit .wav files over to ProTools on my iMac (via the Alesis Fireport 1394) and I was using my US2400 24 fader control surface to do my mixes - inside the box (in ProTools 10). Would like to follow a similar work-flow using the new DM4800

BTW - I do have the FW card installed and working on the iMac along with PT10 - including full functionality of the remote layer control for PT.

 

[summit]

Disappointed that I had no responses from anyone here, but I have resolved this on my own

 

[captdan]

Glad you got it resolved; I was just about to jump in and see if I could help. But I'd been grappling with technical issue in my studio all day and just saw your message. Sometimes it takes awhile for people to respond to messages; a lot of folks here run pro studios like you do and they get bogged down. However, there are some really deep DM brains here, so don't give up.

Anyway, welcome to the Forum. If you need anything else, just holler.

CaptDan

 

[jamsire]

Sorry I wasn't able to help you in time. I was a little busy myself. I offer my help to you as well. Just send me a PM if need be. Same to you Dan - up for another chat soon?

 

[captdan]

Yes! I am! I have some questions about how you did those stellar screen overlays in your new videos.

If ya wanna chat this weekend, I'll make time.

CaptDan

 

[summit]

Thanks CaptDan & Jamsire - set-up of this new console has been quite a challenge, but I had some musician friends over to test everything last night (before my first real session with paying clients next Monday) and it seems I finally have pretty much everything working - either tracking to my HD24 via 3 ADAT cards or directly into ProTools via the firewire card. As part of this installation, I also built all my own custom oak cabinetry, so that added to the fun! (photo attached) Looking forward to putting the DM4800 through the paces on an actual project and I will let you know how it goes.

Two questions:
1. One thing that I have still been unable to really grasp is the how the "double inputs" work via what is labelled in the routing menus as INP/RTN and what might be a practical use for the RTN portion (or how to actually access it). At present I am just routing to INP and have nothing going to RTN.
2. The other thing I would like to understand better is use of the "Flip" switch in conjunction with the "Aux+Aux master" as I believe one should be able to put Aux 1/2 (ie. my headphone mix) on the main sliders for more convenience in setting up headphone mixes.

FYI - I have routed everything so Layer 1 (Ch1-24) are M/L inputs and Layer 2 (Ch25-48) monitor the 24 trk recorder or ProTools. Layer 3 (Ch 49-64) are all my effx rtns. I'm also bussng all inputs out on Layer 4 (Buss 1-24) so that I can make use of the (surface) "output assignment" matrix and also so that I can track with full EQ, compression etc. and still have full fader level control to the "recorder" as I track. I don't print any effx as I track, so I add these (to monitor only) on my "tape monitor" (Layer 2) as I track. I'm using Layer 6 (Aux 1-12) for headphone mixes, internal effx rtns and am also returning a couple of external Lexicon effx units there. I have Layer 6 (Remote) controlling ProTools 10 (via HUI emulation) so I can mix inside the box on my Mac.

As a "newbie" to this console, in order to help me keep track of all of the above routing, I came up with some colour coded labelling for the "Layer Status" buttons and the sliders that I've found quite helpful (see 2nd attached photo & note the colour coding beside the Layer Status buttons that co-ordinates with the coloured strips for each layer below the sliders)

 

[jamsire]

Sounds like a long phone call. If you're in the states, send me a PM and we'll talk.

 

[captdan]

Glad you got things pretty much sorted out. Ernie J. (Jamsire) is a wealth of knowledge - both on the DM and with Ptools. He can guide you through most any question you might have.

But let me try to answer these two questions in the meantime:

1. One thing that I have still been unable to really grasp is the how the "double inputs" work via what is labelled in the routing menus as INP/RTN and what might be a practical use for the RTN portion (or how to actually access it). At present I am just routing to INP and have nothing going to RTN.

There many, many ways to set up your console. But some folks prefer to use it like an analog board where the channels can be 'inverted' to monitor a source as well as the return from that source's destination. So, think of it as a 24 track tape deck - with 24 separate inputs (mics/line sources), and the returns from those sources coming back from the deck. It's a way to set up the console for tracking and mixing scenarios where the same channels can be used for both setups which are easily switched. In some live situations it can be useful.

2. The other thing I would like to understand better is use of the "Flip" switch in conjunction with the "Aux+Aux master" as I believe one should be able to put Aux 1/2 (ie. my headphone mix) on the main sliders for more convenience in setting up headphone mixes.

The 'Flip' switch is a way to better control certain channel functions, particularly in an automated mix. Let's say you want to execute a live pan from left to right. It's much harder to accomplish using the virtual pan dials in the channel modules. Instead, you put the cursor over that pan 'knob,' hit the Flip switch, and that module's fader becomes the pan control; with a 100mm lever to execute the pan, a far smoother effect results. There are other uses for the Flip function, but this is the one I've used most often.

PS: I like those colored strips; anything to make your life easier is a good idea. The DM boards have many layers, numerous controls, and massive power. As you get used to working with the mixer, routines become second nature. So - use it a LOT.

CaptDan