The TM-D1000 is a 16 channel digital mixer. The first 8 channels have analog inputs; the last 8 have digital inputs (located on the back panel). When recording, the first 8 channels will probably be used for bringing signal into the mixer and sending it to the multitrack. The last 8 will probably be used for monitoring multitrack returns.
On mixdown and for live situations, you can use all 16 channels simultaneously.
If you would like to see how the controls for the TM-D1000 would look with a more familiar analog-mixer layout, click the following links. For a layout of what an individual channel would look like, click here. For all 16 channels together, click here. For what would be the layout for the multitrack or master controls, click here. You can refer to these if you are looking for specific features.
(Many times in this tutorial, it will describe a button to push and the screen that will come up. The center of the TM-D1000, where the screen and most of the soft controls are, can be viewed here.
Each channel has a 3-band EQ. The mid-band is parametric, and the highs and lows are sweepable. (If you are unfamiliar with these terms, look up "EQ" in Section XIII- What the Heck is that?) All three bands are totally overlappable from 41 Hz to 16 kHz. While the names of the bands are high/mid/low, they can all be assigned virtually anywhere in the audible frequency spectrum.
The TM-D1000 also offers up to 4 auxiliary sends. Each one is individually selectable pre or post fader. They can be used as mono sends or you can take two and gang them in stereo. That way, you’ve got either 4 mono sends, or one stereo and two mono sends.
Built in effects also come standard on the TM-D1000. The built in card offers 4 "slots" of processing. Dynamics (i.e. compressors and expanders) take one slot. Stereo effects (i.e. reverb, flange, delay, etc.) take two slots.
After you’ve slaved over your mix and gotten everything set just the way you like it, you can save the mix. There are 128 scenes of snapshot memory, which will store your levels, EQ, aux, routing, and effects. You can name your scenes, with up to a 16 character name. We have included upper and lower case letters, numbers, and everything you need for proper punctuation in your scene name. (Your English teacher would be proud.)
One unique feature and great advantage to the scene memory in this mixer is the "transition time."
This allows you to create a crossfade from one scene into the next. The transition time is adjustable from 0 to 10 seconds in 1/10-second intervals. This is very useful for setting up separate mixes of the verse, chorus, or bridge, and simply recalling the scene to smoothly fade from one section to the next. It can also be used to give a beautiful fade-out at the end of a song. These scenes are recallable via MIDI with a standard program number message. (Note: Channel and master volumes are the only parameters that will crossfade. The EQ, aux, etc. all snap instantaneously with the scene change.)
For more advanced automation options, all mixing functions have been assigned to MIDI parameters for real-time automation with a MIDI sequencer. Simply put the sequencer into record and start
Mixing. MIDI messages will be sent out, and received.
Also, if you have a recorder that can receive MIDI Machine Control, the TM-D1000 can act as the remote control with Play, Stop, Fast Forward, Rewind, Record, 16 locate points, and track arming (Picture shown in Section 3).
