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The integrated TL-Bus provides common sample clock and time position signals
for multiple Tascam MX-2424 units. Up to 32 MX units (768 tracks!) can be
chained together using the TL-Bus sync connector to provide sample-accurate
synchronization across all tracks on all machines. The optional TL-Sync
stand-alone synchronizer provides a link to DTRS, ADAT and Sony 9-pin serial
devices, as well as TimeLine’s Lynx-2 synchronizer modules. Supported
frame rates include 30 fps non-drop frame, 30 fps drop frame, 25 fps PAL,
29.97 fps non-drop NTSC and 29.97 fps drop frame, along with pull up/down
sample rates.
A large front panel contains the bright, 16-step LED meters for the 24 channels
and record-ready and signal-present LEDs for each channel. A clever arrangement
of triangular track-select buttons makes track arming fast and easy, and
four banks of LEDs show the status of sample rate, timecode, record mode
or sync status at a glance. A numeric keypad speeds the entry of locate
points, take numbers, EDLs, etc. The transport keys (rwd/ffd/play/stop/
record) are like those on any Tascam recorder, a familiar environment for
most users. Among the other transport functions are rehearse, autopunch,
looping and pre/post-roll functions; an offset function operates on both
incoming SMPTE and MIDI sync sources. A front panel slot for a Smart Media
flash ROM card simplifies reloading the MX-2424’s operating system
for updates from Internet downloads.
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The
rear panel has a large slot for the analog I/O module (shown) and
a smaller slot that accommodates various digital I/O formats.
(click on either image for larger view)
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A jog wheel offers
audio scrub/ locate functions. Surrounding the wheel —just a finger’s
touch away—are eight function keys (Jog/Scrub mode, Data Up/Down,
Nudge/Capture Event, Trim, Setup, Project, and Track View/Unload). Although
most basic operations on the MX-2424 are just slightly more complicated
than on DA-88, there are also a few operational quirks that had me confused
until I got used to the unit’s operation. For example, to enter the
menu system in order to set session parameters (such as timecode modes/
rates, sampling frequencies, pre/post-roll times, digital/analog input
source select, crossfade times, disk utilities, etc.) you simply press
the Setup key. However, to select or change a menu item, you must first
press the button marked Trim, which I found nonintuitive. After a while,
I got used to it, but it could be confusing for the first-time user.
On the subject of navigating the MX-2424, it should be emphasized that
most operations are straightforward and logical. However, to make things
simpler, Tascam has thoughtfully provided a laminated Quick Reference
Guide to typical recording procedures and the 58 menus;
additionally, there are a number of useful written addenda to the manual,
which are available in PDF form at www.
tascam.com. One of these documents is the complete manual for the
ViewNet control application, which comes in at 214 pages. Ouch!
While 58 menus may seem formidable, most (such as the all-important front
panel LED brightness control) are rarely used and simply scrolled past
while getting through to the screen you want. The menu interface is really
a lot easier to use than it sounds, and in most cases, once you’ve
set your machine up to be the way you want it, all settings can be stored
and ready for the next session. Some of the menus are worth exploring
for everyday applications—I particularly liked the dynamic display
showing the exact number of recording track-minutes remaining on the disk.
The disk utilities that have been thoughtfully included—i.e., disk
initialization, low-level format, disk cleanup, backup erasure, disk copy
status, etc.—are essential tools for preparing for and conducting
problem-free sessions.
Next;
Back
Reprinted with permission
from 
Magazine, October, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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