1 - Introduction—Word clock issues
1–5
the slots, the input signal selected for direct output
will not be output from the TM-D4000.
1.4 Word clock issues
The “word clock” in a digital audio system is the tim-
ing information that enables the digital audio sam-
ples in a system to be synchronized between the
different devices. It is completely unconnected with
timecode clocks, etc.
There must be one, and only one, word clock master
device in a digital audio system. The TM-D4000 is
capable of acting as a word clock master or as a
slave.
WARNING
There should be one, and only one, word
clock in a setup. Multiple word clocks in a
setup may result in noise. which can damage
monitoring equipment (speakers and
amplifiers).
Check with the other equipment that you are using to
see whether it can be a master or slave, and work out
which device will be your word clock master. If the
TM-D4000 is to be a word clock slave in your sys-
tem, it can accept word clocks from the following
sources:
• Any of the slots which are occupied by a digital
interface card (either TDIF-1, adat, or AES/EBU).
In the latter case, any of the four stereo signal pairs
that make up the IF-AE4000 are individually
selectable as word clock sources).
• The digital inputs
D-IN1
and
D-IN2
.
• If more than one TM-D4000 is being cascaded, the
clock source on a cascaded TM-D4000 will always
be the cascade source. The “head” of the cascade
chain can select its clock from any available
source.
• A word clock signal, received at the dedicated
word clock input on the rear panel.
The clock can be at 44.1 kHz or 48 kHz, with some
variation possible for varispeed, etc. at ±6%. See 3,
“System setup” for details of word clock selection.
1.5 Effects and monitoring
The TM-D4000 has six auxiliary sends (Aux sends).
These may be used for cue purposes, for effect sends,
or a mixture of these purposes.
In addition, there is a high-quality stereo digital
effect processor built into the TM-D4000, and this
may be used in addition to external effects. The inter-
nal processor can be fed from either the first or last
pair of Aux sends, and the stereo output from the pro-
cessor can be returned to the second stereo pair of
channels.
Typically, the six
AUX OUTPUT
1/4-inch jacks are
used for feeding external effect units, etc. on mix-
down, but some of them may be used as studio cue
feeds, allowing different sub-mixes to be built up for
different monitoring mixes. Since the built-in talk-
back microphone can be sent to the Aux 1 and 2 bus-
ses (as well as being slated), it is suggested that Aux
1 and 2 are used for cueing the in-studio talent.
Though there are no dedicated effect returns, any of
the analog inputs can be used for analog effect
returns, and the stereo inputs may also be used for
this purpose.
Additionally, the two digital stereo inputs can be
used as input sources for two of the following chan-
nel pairs: 5–6, 7–8, 13–14 or 15–16.
There are two sets of outputs suitable for feeding the
control room and studio monitoring systems (as well
as a headphone jack). Dimming, talkback, etc. facili-
ties are provided, as well as the ability to monitor any
of the Aux sends, the digital inputs, or either of two
2-track recorders (as well as the stereo mix, natu-
rally).
