The TMC-1 has been available for three years now, following suggestions from some users we have added the TMC-2. The TMC-2 has 13 more keys than the TMC-1 but it is only 20mm wider.
There are three ways of setting the IP Address on the TMC-1 as follows
I have implemented DHCP on the TMC-1 as a one shot as I believe that in a studio setup it is better to use fixed ip addresses. When you enable DHCP on the TMC-1 the first number only will change to 00 to indicate that DHCP is active. If a new IP Address is allocated by the DHCP sever the display will update almost immediately, if there is no DHCP server present the IP address will revert to the original IP Address after about 5 seconds.
Recently a customer asked why they could only see the first number flicker when using DHCP to set the IP address of the TMC-1. This occurs when the DHCP Server is happy with the IP Address requested by the TMC-1. On the video below I have deliberately set the TMC-1 to a invalid IP address.
Last week I visited Olivier Chouteau at Eclair in Paris, Olivier installed the first TMC-1-MMP1 system in a 7.1.4 studio. Daniel Gollety who makes the french translation of our manuals accompanied me on the visit - my French is not to good. Although configured as a 7.1.4 room one of the main reasons for using the TMC-1 is the ease in switching between Stereo, 5.1, 7.1 and 7.1.4.
A interesting recent TMC-1 installation at Sound Generation mixed a number of different interfaces and demonstrates the insert capabilities of the TMC-1/DAD combination.
The DAD provides the Pro Tools interface and audio routing matrix, the Apogee Symphony provides A2D and D2A conversion. The Trinnov MC is used for room equalisation and bass extension. The Trinnov MC is connected as a speaker inserts and be enabled/disabled by the TMC-1.
Simplified System Block Diagram
The Main and Alt output can be up to 64 channels wide and the Mini output up to 12 channels wide.
First name the input and output Modules (Module Names) and define channel count
Once the Input and output names are defined the input and output channels are defined by selecting the appropriate module and channel, then a simple mouse click will assign this to the selected input/output
Define the Inserts
Name each insert, select the input and output modules then click on each insert input and output to assign. The channel selection auto-increments.
Define Stereo/2.2 Main Outputs and assign Inserts
Define 5.2 Alt Outputs and assign Inserts
Define Stereo Mini Outputs and Assign Inserts
Define Main Inputs
The alt input was not defined
Define the Input Pallet
Define Cue Inputs
Define Cue Outputs
Define Talkback and Listenback
Once defined the parameters are sent to the TMC-1 which then defines the routing within the DAD DX32 directly.
Gain and Calibration
There are several points to consider in configuring, the TMC-1, the global settings are made in the TMC-1 Advanced Setup menu, the input and output trims are only available when in calibration mode
Insert and Gain Control
85spl represents Unity Gain when all trims are set to 0dB
Input trim: -10 to +20dB in 1dB steps
In digital systems normally there is usually no need to control the inputs but it is sometimes necessary (see a previous blog on how 10dB gain is used with the Dolby RMU to compensate for the 10dB loss.)
Output Trim: +/-4dB in 0.5dB steps
Each individual output has a gain trim
Digital Headroom: 0 to 10dB in 2dB steps
This is a global setting on all outputs allowing equalisers to be placed in the chain.
Insert Makeup Gain: 0 to 10dB in 2dB steps
This is a global setting for all inserts to compensate for any loss.
Where analog output cards are used in the AX 32
Analog O/P for 0dBFS: +6, +12, +18 and +24dB
This is a global setting for all Analog outputs
The TMC1-Penta provides a framework to build your own monitor system, to design your
system you will need to specify the input/output data and the speaker groups as follows
1) Map out the speakers
2) Map out the Input and Output connections
Note the +10dB gain on the Dolby Return to remove any Level differences
between monitoring direct or through the RMU
3) Label modules in TMC1-Penta program and set Maximum channel count if not defined. As
an option you can add the Offset for each input
4) Label Speakers and assign channels
Note: The surround channels are checked in the corresponding Surround Column. This
allows the speakers to be assigned to the correct source when 7.1 or 5.1 are selected. To
use the LFE as a bass extension to the surround channels check the appropriate output in
the LFE column.
5) Assign Input name and channels for RMU 7.1.4 Outputs. Every surround speaker is
6) Assign Input name and channels for direct 5.1 and 7.1 outputs from Pro Tools,
Note. Only the main surround inputs are defined the 7.1 switch can the enable the extra surround speakers. Alternatively you can assign the extra surround speakers for 7.1 so that they are always used.