More "set-up snapshots?"

R

rqstudio

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MX-2424 DM-3200
(I think I may have inadvertantly posted in the wrong place, sorry if you've seen this before)
Wasn't there several "set-up snapshots" somewhere? It takes forever to set-up a 16 record/16 mix or a 24 record/24 mix or efx going to 33-34 and 35-36, or analog in dig out etc, etc, I think you get my drift....
The library in the DM is very limited.
 
It's been awhile since I've used the stock snapshots, but the tracking templates should be in the Read Only Library #1. Should be listed as '24 tracking' or something along those lines. If I recall, it puts the M/L/Inputs on Layer #1, returns on Layer #2, and the Efx on Aux3/4 and headphone Aux on Aux 1/2.

CaptDan
 
Thanks Captdan, I thought there were more somewhere.
 
There are a handful of template presets in the ROM library, but whether they're suitable for your workflow is questionable.

CaptDan
 
After 8 or 10 yrs, this is something we should have been sharing. ;)
 
Agreed. But it's not too late. In fact, our bespoke Intrepid Moderator might consider creating a 'SnapShot' Sticky where we can stick our fave 'shots.

Anybody second that emotion? :)

CaptDan
 
Second...Why keep them a secret?
 
The machine is so intimidating you would think the manufacture "Tascam" would have offered 10 or 12.
I now have another question. My transport lights used to work all the time but I always had the same setup. Since I did my live gig, converted to WAV and now mixing in DAW my "transport LEDs" only seem to be working intermittently. Can the DM tell when it is actually in a recording situation before the "rec and transport LEDs light up or is there something going on?
BTW, I picked up a DM-4800 and it's acting the same way so maybe I suspect it the way I'm using them. And finally, anyone looking for a good deal on a DM-3200 and a MX in a road case with a rack of 4 external drives?
 
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Transport control is a two way street between DM and DAW - meaning they can work to start and stop the DAW recording or playing (DM > DAW) without the lights being on (DAW > DM). So I think there's something going on in your setup.
 
Quite likely some forgotten setting. Could also be an interrupted com due to a USB setting or conflict. All transport lights work with my 3200 and PT10 - using the setup procedure depicted in the previously mentioned message.

I agree that Tascam might've included a few extra setup templates. On the other hand, there are SO many ways to use these consoles, in any number of tracking, mix, and production/post scenarios - what do you EXclude? That's why it's a good idea to store one's own unique snapshots and files. I've never had ANY use for that 16x24 'tracking' template because I never have 16 simultaneous inputs to deal with. Nor do I wish to sacrifice a full-featured channel module for an efx return that I'd prefer to route into a 'plain vanilla' (33-48) module.

:)
CaptDan
 
Doesn't sound like an issue. If you need a full function module for a return, and you're dealing with less than 28 tracks (not counting a stereo pair for mixdown), just route what you need to a 1-32 module. If that's not the case, well - there are workarounds and alternatives - including a DM4800.

It's about workflow and what doesn't flow, I guess.

CaptDan
 
If you're using outboard those channels 49-64 are very useful - e.g. external pres and FX coming in through analog cards, auxilliary returns etc.

I'd like another means to get more tracks back in from the DAW - 32 over firewire is not enough.....
 
I also desire and wish for more than 32-channels from the IFFW card but that is not likely to ever change with the current IFFW card. I'm always needing to pre buss and stem tracks to make them fit. While that can frustrating, I think how fortunate we are to get solid 32-Ch via an outdated FW400 protocol.

I'm also always wishing I had more than the 16 soft inserts as well which is so limiting compared to all the I/O the DM-4800 offers that I could make use of.

There is a work around to the 32-CH IFFW limitation but it gets expensive and complicated. Use a different audio interface with it's I/O connected to the DM-4800 which I am planning to do.

Back when I bought my DM-4800 shortly after it started shipping many years ago, I had high hopes that there would one day be a MADI card for it to better support all the I/O it has but that never happened. After all, MADI has been the Gold standard protocol for many years for audio products that provide high I/O channel capability that also includes extremely low latency by design.

Within a year I won't need to use the IFFW card as I finalize plans and budget to go to a 128-CH MADI solution via Thunderbolt using 64 of those MADi channels in the short term specific to the DM-4800 via ADAT, TDIF, AES and even analog as Slot-1 will have much more value to me for the extra 8-CH I/O that it can provide.
 
No offence and I suppose it's possible but why on earth would you ever need to record 128 tracks? I've done big live projects and still never needed more than 16 to 18
 
No offense taken. Recording 128 channels at the same time? Never. Processing 128-CH of audio that I would like separated on it's own I/O (ASIO/CoreAudio Channel), Yes. Usually I need much less than 128, but since the cost of 128-CH MADI card is not much more than 64-CH MADI card, I'll have that at the ready if or when that is needed. 128-CH isn't as big as you may think when you are using stereo sub bussing, stem bussing, cue mixes, parallel processing and interfacing out to a few racks of outboard.

Having 128 driver I/O channels also allows you to make some dedicated patching but still keeps the flexability of digital patching changes if or when required. In the ideal scenario, I want, desire and could make use of an ASIO/CoreAudio channel for every I/O channel that the DM-4800 provides such as RME products & their driver provide.
 
AudioWave said:
I also desire and wish for more than 32-channels from the IFFW card but that is not likely to ever change with the current IFFW card. I'm always needing to pre buss and stem tracks to make them fit. While that can frustrating, I think how fortunate we are to get solid 32-Ch via an outdated FW400 protocol.

I'm also always wishing I had more than the 16 soft inserts as well which is so limiting compared to all the I/O the DM-4800 offers that I could make use of.

There is a work around to the 32-CH IFFW limitation but it gets expensive and complicated. Use a different audio interface with it's I/O connected to the DM-4800 which I am planning to do.

Back when I bought my DM-4800 shortly after it started shipping many years ago, I had high hopes that there would one day be a MADI card for it to better support all the I/O it has but that never happened. After all, MADI has been the Gold standard protocol for many years for audio products that provide high I/O channel capability that also includes extremely low latency by design.

Within a year I won't need to use the IFFW card as I finalize plans and budget to go to a 128-CH MADI solution via Thunderbolt using 64 of those MADi channels in the short term specific to the DM-4800 via ADAT, TDIF, AES and even analog as Slot-1 will have much more value to me for the extra 8-CH I/O that it can provide.
Click to expand...

I think we're on the same page AudioWave - would you mind elaborating a bit on the MADI solution you're implementing?

re 128 channels - it's not hard to exceed 32 channels with even moderately orchestrated music and summing / bussing ITB is not the answer I'm after at this point in time ;-)
 
IDK, I'm more than pleased with I/O, track count, etc.

"Are You Experienced?", "Sgt. Pepper", "Nebraska" - 4-8 tracks.

But that's just me!!
 
jamsire said:
IDK, I'm more than pleased with I/O, track count, etc.

"Are You Experienced?", "Sgt. Pepper", "Nebraska" - 4-8 tracks.

But that's just me!!
Click to expand...

And if 4-tracks is all I had to work with, I'd make it work great and yet still desire more. I got my multi-track start with a Tascam 244 & 4-SM57 mic's with the optional orange Tascam flight case and did some amazing stuff at home and on remote recordings. I even started an audio company back then that focused on remote recordings. Mix down deck was a Tascam 22-2 RTR that I still own. While I wore out the transport buttons and the heads on the 244, I still have many of those 4-track tapes I hope to one day transfer. And before that I used two 2-track Teac Cassette decks bouncing back and forth so I can make things work with what I have, but that doesn't mean that I desire and could make use of more if I had it.

After all, George and the Boys didn't just settle for one 4-track, but used two 4-track decks for Pepper. And if they had an 8-track they would likely wanted and used two 8-track machines. If they were still making records today, the surely would be using more than one or even two 4-track machines. They also jumped to 8-track pretty quick after Pepper was recorded thus leaving 4-track in the dust, so apparently 4-track wasn't good enough for them to linger on with as well.

Modern audio production equipment, techniques and demands has and continues to move on. In this day and age is just as much about work flow, productivity and flexibility as it is in the quality of the gear or how many tracks you use. For me, the 32-channel driver is just a limitation in my world that I am currently living with at this time.

Currently when I need low latency and greater than the iFFW 32-channel limit, I am using an RME 48-CH ADAT interface to ADAT cards in the DM-4800.
 
It is a KNOWN fact that the human brain can only hear 2-4 at one time, AT BEST.

That's where my logic of recording and mixing begins. Some of the greatest music ever recorded was done before there were 128 tracks at their disposal and we all still listen to that music still to this day and continue to love it.

Classical recordings - the best possible stereo mics and mic pre's you can possibly get.

Rock, Pop, Jazz, Metal, Country - 24 tracks should do it. We all know it won't sound polished live!!

In the end, it's all about the song. How it got there should be transparent.

However, if you're working on a film - "Transformers" - then yes MADI for sure.
Weekly Television shows like "Lost" serious MADI, etc. There's a great AVID webinar on it.

I just play geetar all day anyway.
 
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