Things I Loved

Let’s talk about the PODs. These work in conjunction with the display screen. A grid of 20 pots (with associated switches) serves as the basis for manipulating a screen display where all the parameters on the screen are laid out with pots in corresponding positions. The PODs are a virtual control surface for the display - a fast and very audio-like equivalent to a mouse. Very quickly we can get used to grabbing the appropriate knob and turning it, just by looking at the screen. Nice idea!

A check list of goodies (in no particular order):

• I like the gain displays on the dynamics, showing very clearly the transfer function and the relationship between input, output and gain reduction level.
• I very much liked the capability for ganging (Tascam calls it “linking”) multiple channels so that their DSP functions track.
• The EQ seemed fine in general, and I liked the notch filter function.
• The metering has multiple functions, multiple peak hold options and multiple decay times. With a little practice, you should really get a handle on levels. The stereo meter has selectable reference levels of -16 dBFS or -20 dBFS, and has both “quasi-RMS display” and peak display at the same time, a la Dorrough. Pretty nice.
• One option causes the control center display to follow your fader moves. Move CH12 fader, and Module Channel12 is displayed on the screen - you don’t have to remember to hit SELECT. Nice.
• I really like the four assignable D/A/D insertion points. They head off the headache of having to rework your entire studio patch in order to avail yourself of some favorite analog signal processing. Four may not be enough, but it’s a whole lot better than two, or none, for instance.
• The scope outputs for an XY display are really thoughtful.
• Because the console was designed around the TDIF-format, getting the Tascam MDMs to run properly is a cinch, and the presence of transport controls and an autolocator on the console is, in this case, really useful.
• The build quality seemed to be excellent, and I encountered no operational weirdnesses during the time I spent with the board.

Things I Didn’t Love

• I have some minor quibbles about the PODs. A 4x5 matrix of knobs may be a bit much to keep in your head. Further, a problem crops up when we grab the wrong knob. We are looking at the right knob on the screen and when we turn the POD nothing happens to the virtual knob we’re watching. We’ve inadvertently changed some other value, and have no way to go back to that setting (because we weren’t looking at it and don’t remember where it was set). I suggest that an UNDO button would be very useful here. I also have a quibble with the placement of the ENTER button, the Jog Wheel and the cursor arrows. Working with the PODs, plus cursor movement and entry should be a one-handed operation (for me, my right hand, using my pinkie to hit ENTER, move the cursor and the jog wheel), leaving my left hand free to roam for select switches, faders, solos, status buttons, etc. Because of button placement, I can’t do that.
• The limitation of only eight compressors is a little troubling. When I spec equipment lists for studios, I usually call for one compressor channel for every two tape channels. This is good old analog thinking, where we do some compression while tracking, and then more compression during mix. The Tascam should, by these lights, have 20 compressor channels. More to the point, in this modern age, the general availability of compressors everywhere has begun to change our recording craft, so that we now try to compress things we’d never have dreamed of, just because the compressors are there. In this respect, the Tascam looks backward.
• The lack of motorized faders is also a disappointment to me. I’m really convinced that the ergonomics of such a system are better than the mimicry of VCA operations (read, write, null and update) found here, even though I’m familiar and comfortable with it.
• The manual is still a work-in-progress. I really like what’s there and the care that’s been used in its layout and publication, but, right now it is about the same size as a DA-38 manual. It needs to be MUCH more comprehensive.
• Finally, I disapprove of not providing for the ADAT format. It limits the console’s utility unreasonably. For instance, I support (and own) both Tascam and Alesis MDM formats, so I can easily serve clients’ needs. To sacrifice that basic production capability is close to unthinkable. The ADAT format is in wide use, and even in the project studio realm we need to be able to handle it.

Comparison with the Yamaha 02R

• From Tascam’s way of looking at things, the 02R is a 16-track console with 10 extra returns, making it somewhat smaller than the TM-D8000. The Tascam will support 40 tracks of MDM, while the 02R will only handle 32 (stretched to the max!).
• Performance specs are roughly the same.
• The Yamaha has a smaller footprint and less height (an advantage, I think).
• The Yamaha has more DSP, including dynamics, EQ and time delay (only 60 ms., though), with facilities on every input channel, and most outputs.
• The Tascam has more flexible digital port options, except for their decision to disregard the ADAT format.
• I suspect the Tascam will be easier to use and more effective for large multitrack tracking and mixing sessions, with it’s 40-channel capability and really clean control surface. For more layered productions, the Yamaha is probably as good, maybe better.
• On a cost per channel basis, plus throwing in the meter bridge, the Tascam appears to be a greater value if the you really need that many channels (you very well might!).

Using the TM-D8000 For Fun and Profit

I suspect the primary candidate for this console is a middle-sized music production studio who is either starting up or already wedded to TDIF format (and has the ADAT compatibility problem solved). Using the on-board mic preamps, you can track 16 mics at a time. Get a rack of 16 more mic preamps and you can track 32 mics at once. Because of the fader layout, such session work is going to be smooth, easy to see and get at, and very attractive to clients who need such capability.

Naturally, you can sync the console to video and/or MIDI, and use it in audio-for-video post work as well. There are plenty of digital ports, wonderful metering, delays and EQ everywhere, and a reasonable compressor array. Many nice details abound, and for the price, you just can’t complain. This is a serious console for serious multitrack recording. While it has flaws, it has many more virtues. If its profile fits your needs template, I’d say you should seriously consider going for it! It is really a worthy contender!!

Happy I/Os!