Professional Control Surface / Firewire Audio-Midi Interface

D00731500A
Professional Control Surface / FireWire Audio-MIDI Interface
OWNER’S MANUAL
The following marking is located on the bottom of the unit:
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
Ü REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert
ÿ the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure
that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the pres-
Ÿ ence of important operating and maintenance (servicing) instructions in the literature
accompanying the appliance.
This appliance has a serial number

located on the rear panel. Please record
the model number and serial number
WARNING: TO PREVENT FIRE OR SHOCK
and retain them for your records. HAZARD, DO NOT EXPOSE THIS
Model number
Serial number APPLIANCE TO RAIN OR MOISTURE.
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Important Safety Precautions
IMPORTANT (for U.K. Customers) For U.S.A
DO NOT cut off the mains plug from this equipment.
TO THE USER
If the plug fitted is not suitable for the power points in your home This equipment has been tested and found to
or the cable is too short to reach a power point, then obtain an comply with the limits for a Class A digital device,
appropriate safety approved extension lead or consult your dealer. pursuant to Part 15 of the FCC Rules. These
If nonetheless the mains plug is cut off, remove the fuse and limits are designed to provide reasonable
dispose of the plug immediately, to avoid a possible shock hazard protection against harmful interference when the
by inadvertent connection to the mains supply. equipment is operated in a commercial
environment. This equipment generates, uses,
If this product is not provided with a mains plug, or one has to be
fitted, then follow the instructions given below:
and can radiate radio frequency energy and, if
not installed and used in accordance with the
IMPORTANT: The wires in this mains lead are coloured in instruction manual, may cause harmful
accordance with the following code: interference to radio communications.
GREEN-AND-YELLOW : EARTH Operation of this equipment in a residental area
BLUE : NEUTRAL is likely to cause harmful interference in which
BROWN : LIVE case the user will be required to correct the
WARNING: This apparatus must be earthed.
interference at his own expense.
As the colours of the wires in the mains lead of this apparatus may
CAUTION
not correspond with the coloured markings identifying the
terminals in your plug proceed as follows:
Changes or modifications to this equipment not
expressly approved by TEAC CORPORATION
The wire which is coloured GREEN-and-YELLOW must be for compliance could void the user’s authority to
connected to the terminal in the plug which is marked by the letter operate this equipment.
E or by the safety earth symbol ç or coloured GREEN or
GREEN-and-YELLOW.
The wire which is coloured BLUE must be connected to the

terminal which is marked with the letter N or coloured BLACK.
For the consumers in Europe
The wire which is coloured BROWN must be connected to the WARNING
terminal which is marked with the letter L or coloured RED. This is a Class A product. In a domestic environment, this
product may cause radio interference in which case the user
When replacing the fuse only a correctly rated approved type may be required to take adequate measures.
should be used and be sure to re-fit the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT ELECTRICIAN. Pour les utilisateurs en Europe
AVERTISSEMENT
For CANADA Il s’agit d’un produit de Classe A. Dans un environnement
domestique, cet appareil peut provoquer des interférences
This class A digital apparatus complies with Canadian radio, dans ce cas l’utilisateur peut être amené à prendre
ICES-003. des mesures appropriées.
Cet appareil numérique de la class A est conforme à la
norme NMB-003 du Canada Für Kunden in Europa
Warnung
Dies ist eine Einrichtung, welche die Funk-Entstörung nach
CE Marketing Information Klasse A besitzt. Diese Einrichtung kann im Wohnbereich
a) Applicable Electromagnetic Environment: E4 Funkstörungen versursachen; in diesem Fall kann vom
Betrieber verlang werden, angemessene Maßnahmen
b) Peak inrush current: 7A durchzuführen und dafür aufzukommen.
2 TASCAM FW-1884 Owner’s Manual

Important Safety Instructions
1 Read these instructions. 12 Use only with the cart, stand, tripod, bracket, or
2 Keep these instructions. table specified by the manufacturer or sold with
the apparatus. When a cart is used, use caution
3 Head all warnings.
when moving the cart/apparatus combination to
4 Follow all instructions. avoid injury from tip-over.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8 Do not install near any heat sources such as radia-
tors, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9 Do not defeat the safety purpose of the polarized 13 Unplug this apparatus during lightning storms or
or grounding-type plug. A polarized plug has two when unused for long periods of time.
blades with one wider than the other. Grounding
type plug has two blades and a third grounding 14 Refer all serving to qualified service personnel. Ser-
prong. The wide blade or the third prong are pro- vicing is required when the apparatus has been
vided for your safety. If the provided plug does not damaged in any way, such as power-supply cord or
fit into your outlet, consult an electrician for plug is damaged, liquid has been spilled or objects
replacement of the obsolete outlet. have fallen into the apparatus, the apparatus has
been exposed to rain or moisture, does not operate
10 Protect the power cord from being walked on or normally, or has been dropped.
pinched, particularly at plugs, convenience recep-
tacles, and the point where they exit from the • Do not expose this apparatus to drips or splashes.
apparatus. • Do not place any objects filled with liquids, such
as vases, on the apparatus.
11 Only use attachments/accessories specified by the
• Do not install this apparatus in a confined space
manufacturer.
such as a book case or similar unit.
• The apparatus draws nominal non-operating
power from the AC outlet with its POWER switch
in the off position.
TASCAM FW-1884 Owner’s Manual 3

Table of Contents
1 – Introduction
1.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.2 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.3 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.4 In The Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.5 Nomenclature Used In The Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.6 Software application notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.7 Special notes for touch-faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.8 Copyright, etc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2 – Controls And Indicators
2.1 Front Panel Illustration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.2 Rear Panel Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2.3 Front Panel Control Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
2.4 Rear Panel Control Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
3 – Functional Overview
3.1 Control Surface Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3.2 Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3.3 Dedicated Computer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.4 Dedicated Modifier Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.5 MIDI Routing Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.6 Clock System Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
3.7 Monitoring and Metering Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4 – Control Surface Modes and Operation
4.1 Computer Control Mode – (General Notes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.1.1 Native Protocol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.1.2 Mackie Emulation Protocol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
4.1.3 HUI Emulation Protocol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.2 MIDI Control Mode – (General Notes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.2.1 Customizing MIDI Control Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4.2.2 Programming Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4.2.3 Programming Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.2.4 Programming Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.2.5 Banking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.2.5 “Hidden” functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.3 Monitor Mix Mode – (General Notes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.3.1 Audio I/O and the Monitor Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4.3.2 Monitoring Setups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.3.3 Setting Input Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.3.4 SOLO modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.3.4 “Hidden” functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
5 – Host Computer Interfacing
5.1 Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
5.1.1 SETTINGS TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
5.1.2 ROUTING TAB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
5.1.3 MIDI PROGRAMMING TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
6 – Troubleshooting and Support
6.1 Audio Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
6.2 Control surface issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
6.3 Contacting Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
7 – Appendices
7.1 Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
7.2 Dimensional drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
7.3 FW-1884 “Hidden” Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

1 – Introduction
1.1 Overview
Thank you for choosing the TASCAM FW-1884. We and ten digital outputs it can accommodate various
designed the FW-1884 to be an all-in-one solution for surround modes, and its integrated free-standing mixer
your computer-based digital audio workstation system. provides the connectivity you need for your entire stu-
Its integrated design incorporates a high-resolution dio. Its fully configurable 4 x 4 MIDI routing matrix
professional multi-channel audio interface and inte- requires no external software. And it connects to your
grated zero-latency input monitor mixer, a fully inde- Windows or MacOS computer with a single
pendent 4 x 4 MIDI interface and routing matrix, and FireWire connection.
a highly programmable, ergonomically designed con- Please take some time to look through this owners
trol surface for your audio software. manual and familiarize yourself with the FW-1884’s
The FW-1884 was designed to be the nerve center of features and operation. We suggest you pay particular
your digital audio environment. Its versatile control attention to the operational notes for your software
surface features nine touch-sensitive motorized faders, application(s) of choice. You may also want to refer to
transport and multi-function controls for direct, imme- your software’s documentation in many cases, for a
diate communication between your audio software and clear understanding of how certain features are inte-
you. Its full complement of analog mic and line inputs, grated. Your experience with the FW-1884 will be
ADAT and S/PDIF inputs and outputs provides a high greatly enhanced by a good working knowledge of your
resolution, 24 bit audio front end for input and output audio software.
of your digital audio workstation. With eight analog
1.2 Features
The audio input section is fully 24-bit and can accom- The FW-1884’s control surface is intuitively designed
modate sample rates of up to 96 kHz. It is capable of to integrate with all major digital audio workstation
inputting up to 18 simultaneous channels of audio to software. Its nine touch-sensitive faders respond
your computer. It features eight analog XLR inputs instantly to your commands and update just as quickly.
with professional quality microphone preamps and Its transport controls, shuttle wheel and generous array
switchable phantom power, as well as eight line inputs of application-dedicated switches puts deep control of
with channel inserts. Digital inputs are available in your audio software at your fingertips.
ADAT lightpipe, TOSLink and S/PDIF coaxial con- The FW-1884 is supported under Windows XP and
figurations. Windows 2000, as well as MacOS 9.2.2 or later, and
The output section offers eight balanced line level ana- MacOS X.2.4 (Jaguar) or later. In addition, your com-
log outputs. Outputs 1 and 2 can be used alone to pro- puter must be fitted with an IEEE-1394 (FireWire)
vide a two-channel mix output, or up to eight outputs interface. (NOTE: Some manufacturers may use a dif-
can be used independently to configure a multi-chan- ferent nomenclature to refer to their FireWire con-
nel surround mix. ADAT lightpipe, TOSLink and S/ nections, such as Sony’s “iLink”, or simply “1394”.)
PDIF coaxial digital outputs are also featured. The FW-1884 comes with a high-quality six-pin to six-
The MIDI section features a fully independent 4 x 4 pin interface cable. We strongly suggest you use this
MIDI patchbay. Routing and configuration can be eas- cable, or one of equal quality, for optimum audio per-
ily controlled via the FW-1884’s front panel. For syn- formance. If your computer is fitted with a 4-pin inter-
chronization to external devices, word clock input and face, you will need to obtain a 4-pin to 6-pin IEEE
output is offered on 75 Ω coaxial BNC connectors. 1394 cable, available at most computer dealers.
The FW-1884 is supplied with a 2 m (6-foot) cable. If
you wish to use a longer cable, the length should not be
more than 4.5 m (15 feet) and the cable should be the
best possible quality available to avoid data loss, which
results in audio dropouts.

1 – Introduction
NOTE
Despite the fact that you can connect and disconnect
the FW-1884 to and from the computer with power
turned on, we strongly recommend that all connections
and disconnections are made without the DAW soft-
ware using the FW-1884 running. If the DAW software
is running when connections are made or broken, it
may result in your computer crashing, or “freezing” and
possible loss of data. This also applies to turning the
power of the FW-1884 on and off when it is con-
nected—turn on the power before launching the DAW
software, and quit the software before turning off the
FW-1884.
1.3 System Requirements

The FW-1884 is supported under Windows XP and On the Mac, the FW-1884 is supported under MacOS
Windows 2000. The FW-1884 is not supported under 9.2.2 or later, and Mac OSX version 10.2.4 or later.
Windows 98 or Windows ME. Earlier versions of Mac operating systems are not sup-
In the case of Windows 2000, you must be running ported.
SP3 or SP4 and then install the supplied Hotfix. Win-
dows 2000 SP5 includes the Hotfix, so there is no need
to install it separately. For Windows XP, you must be
running SP1 and then install the supplied Hotfix.
Windows XP SP2 includes the Hotfix, so there is no
need to install it separately.
1.4 In The Box

The FW-1884’s box contains the items listed below. • A CD-ROM containing the driver and utility soft-
When opening the package please be certain all the ware and documentation for the FW-1884 (Win-
items listed are included. If any items are missing, dows and Mac compatible).
please consult your TASCAM dealer. • This manual
• FW-1884 • The Setup Guide
• Power cable • Warranty card.
• IEEE 1394 6-pin to 6-pin cable

1 – Introduction
1.5 Nomenclature Used In The Manual

Within this manual, the following typographic conven- • If you have to type something into the computer, we
tions are used: write it this way: FILENAME.EXT.
• The name of a control or connector on the unit is • The names of keys to be pressed on the computer
written in the following way: LINE/MIC. keyboard are written in this typeface with square
• The name of a control or connector on another unit brackets enclosing them [F1].
is written in the following way: AUX IN. • Keys that are to be pressed together are joined by a +
• When referring to the screen display of the host com- symbol, so that [Ctrl]+[F1] means press and hold
puter, we refer to any prompts, messages, etc. in the the Control key and press the F1 key.
following typeface: Press any key to continue.
1.6 Software application notes

Since much of the FW-1884’s operation pertains To read them, you will need an application capable of
directly to your DAW software, TASCAM has prepared displaying PDF files, such as the Adobe Acrobat Reader
a series of application notes on using the FW-1884 (version 4 or above), available for free download from
with a number of different DAW programs. These the Adobe Web site at www.adobe.com.
application notes are included on the FW-1884 CD- Since software applications and operating systems often
ROM, and are available online in PDF format on the evolve and develop after their initial release, we suggest
TASCAM website at www.tascam.com. you check the TASCAM site regularly for updated
information. It’s also a good idea to check your soft-
ware manufacturer’s website regularly, for information
and version updates.
1.7 Special notes for touch-faders

The usual rules regarding precision electronic equip- The humidity and temperature of your environment
ment naturally apply to the FW-1884. In addition, affects the touch-sensitivity of the faders. Under nor-
note the following that apply to the touch-sensitive fad- mal working conditions you should experience no
ers: issues. However, extremes of temperature and/or
The faders need a human finger to operate their touch- humidity may sometimes cause operational problems.
sensitivity. Do not use a pencil, ruler, etc. to operate
them. Even using your fingernails may not activate the
touch-sensitivity.
1.8 Copyright, etc.

Windows, Windows XP, and Windows 2000 are trade- HUI and Mackie CONTROL are trademarks of
marks of Microsoft Corporation. Mackie Designs.
Macintosh, MacOS, MacOS X and FireWire are All other trademarks are the property of their respective
trademarks of Apple Computer. holders.
i.LINK is a trademark of Sony Corporation.

2.1 Front Panel Illustration.
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2.2 Rear Panel Illustration
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2.3 Front Panel Control Descriptions
1. Trim Pots 1-8 – These are analog level controls In MON MIX mode, these LEDs are used to show that
for the input level of the Mic (XLR) and line inputs 1 – channel’s PAN location. Rotating an encoder will cause
8. Their function is the same regardless of the control the SEL and REC LEDs to shift left/right as you move.
surface mode selected. It’s important to note that the In MIDI CTL mode these LEDs have no function.
best signal-to-noise ratios are achieved by maximizing
the level of analog inputs at the A/D converters. For the 6. Channel SEL Keys and LEDs – In COM-
mic and line inputs of the FW-1884, the trim controls PUTER Control mode, these keys select the associated
provide the means for optimizing these levels. For a channel as active in the host application. The EQ con-
complete discussion of this issue, please refer to Section trols will typically address the host application’s
section 4.3.3, “Setting Input Levels” SELected channel. In most cases, holding the REC key
and pressing one or more channel SEL keys will arm
2. Phantom Power Indicator LEDs – These the host application’s associated channels for recording.
LEDs light to indicate +48 V phantom power to the Refer to the Application Notes for your software for
XLR microphone inputs. Phantom power is switchable details.
in two groups of four channels, channels 1-4 and chan-
nels 5-8. The LEDs are unaffected by control mode In MON MIX mode, pressing a channel’s SEL key
selection. causes the REC indicators to show the selected chan-
nel’s pan position (indicator 1 is lit with pan position at
3. Signal and OL LEDs 1-8 – The signal LEDs full left, indicator 8 is lit at hard right, indicators 4 and
light to indicate the presence of an audio signal on the 5 are lit together when panned center, etc.).
corresponding analog input. The OL LEDs light to
In MIDI CTL mode, these keys send out specific con-
indicate a signal peaking at –2.5dBFS or higher by
troller commands.
default. (This level is adjustable between 0.0 dBFS and
5.0 dBFS, in 0.5 dB increments, via the FW-1884’s 7. Channel SOLO keys – In COMPUTER Con-
control panel.) This indicates an overloaded input – trol mode, these keys will solo their respective channels,
reduce the input level to that channel until this light while muting the audio on all other channels in the
goes out. These LEDs indicate signal level to the eight host application. Any number of channels can be
analog inputs regardless of the control surface mode soloed simultaneously. (Note that in COMPUTER
selected. Control mode, the operation of the SOLO function is
dictated by the host application. For more information
4. Channel Rotary Encoders – In COM- please refer to the Application notes for your DAW
PUTER Control mode, these rotary encoders affect the
software application.)
application parameter currently selected by the
Encoder keys. In most cases, the PAN and AUX 1-8 In MON MIX mode, the SOLO keys function is iden-
Encoder keys correspond to the associated Pan and Aux tical, but only affecting the FW-1884’s built-in moni-
Send parameters in the host application. Refer to the tor mixer. The SOLO mode (Pre-Fader Listen or Solo-
Application Notes for your software for details. in-Place) is selected by the PFL key. The PFL function
applies only to the monitor mix SOLOs.
In MON MIX mode, these encoders function exclu-
sively as PAN controls, and the associated PAN In MIDI CTL mode, these keys send out specific con-
encoder key is always lit. troller commands.
In MIDI CTL mode, these encoders send out continu- 8. Channel MUTE keys – In COMPUTER
ous controller commands. Control mode, these keys will mute the audio of the
selected channel. Any number of channels can be
5. Channel REC LEDs – In COMPUTER Con- muted simultaneously.
trol mode, these LEDs light or blink to indicate that
the selected channel(s) are in record-ready or record In MON MIX mode, the MUTE keys function is
status. Refer to the Application Notes for your software identical, but only affecting the monitor mix.
for details. In MIDI Control mode, these keys send out specific
controller commands.

9. Channel Faders – In COMPUTER Control 13. SHORTCUT KEYS:
mode, the channel faders send continuous controller
information to banks of eight channels in the host CONTROL PANEL – This key will open the FW-
application’s software mixer. The current bank is 1884’s Control Panel on the host computer. Pressing
selected by the BANK keys. the key a second time will close the Control Panel. It
will function as long as the host computer is connected
In MON MIX mode, the channel faders control the and running, whether or not an application is active.
monitor level of the audio inputs, as selected by the This key functions globally, regardless of selected con-
BANK keys: trol surface mode.
Bank 1 = analog inputs
SAVE/F1 – In COMPUTER Control Mode, this key
Bank 2 = ADAT inputs is normally mapped to the host application’s Save func-
Bank 3 = S/PDIF inputs (channels 1 and 2 only. Chan- tion. Refer to the Application Notes for your software
nels 3-8 are inactive.) for details.
NOTE: The faders do not affect the input level to the In MON MIX mode, this key has no function.
host computer. In MIDI CTL mode, this key sends out specific MIDI
In MIDI control mode, the channel faders send out controller commands.
continuous MIDI controller commands.
REVERT/F2 – In COMPUTER Control Mode, this
10. FLIP key – In COMPUTER Control mode, this key is normally mapped to the host application’s Revert
key will switch the control parameters of the Channel function. Refer to the Application Notes for your soft-
Faders and their associated Channel Rotary Encoders. ware for details.
(Example: if the Rotary Encoder is set to Aux Send In MON MIX mode, this key has no function.
function, pressing the FLIP key will cause the encoder
to control the channel level, while the channel fader In MIDI CTL mode, this key sends out specific MIDI
will control the Aux Send function.) controller commands.
In MON MIX mode, this key has no function. ALL SAFE/F3 – In COMPUTER Control Mode,
In MIDI CTL mode, this key sends out specific MIDI this key is normally mapped to the host application’s
controller commands. All Safe function (deactivating any tracks armed for
recording). Refer to the Application Notes for your
11. PAN key – In COMPUTER control mode, software for details.
when the PAN key is pressed, the Channel Rotary In MON MIX mode, this key has no function.
Encoders will control the Panning function for the cur-
rently selected bank of eight channels in the host appli- In MIDI CTL mode, this key sends out specific MIDI
cation. controller commands.
In MON MIX mode this key has no function, but CLR SOLO/F4 – In COMPUTER Control Mode,
remains lit since the channel encoders only function as this key is normally mapped to the host application’s
PANs. Clear Solo function (disengaging any Soloed channels).
In MIDI CTL mode, this key sends out specific MIDI Generally, holding SHIFT and pressing this key will
control commands. clear all mutes. In both cases, the key will affect all
channels, even those which are not currently visible.
12. AUX keys 1-8 – In COMPUTER Control Refer to the Application Notes for your software for
mode, when an AUX key is pressed, the Channel details.
Rotary Encoders will control the Auxilliary Send level In MON MIX mode this key will clear all soloed input
for the selected bank of eight channels in the host monitor channels, even on channel fader banks that are
application. not currently visible. Holding SHIFT and pressing this
In MON MIX mode, these keys have no function. key will clear all mutes, even on channel fader banks
that are not currently visible.
In MIDI CTL mode, these keys send out specific
MIDI controller commands. In MIDI Control mode, this key sends out specific
MIDI control commands.

MARKER/F5 – In COMPUTER Control Mode, In MIDI CTL mode, this key sends out specific MIDI
this key is normally mapped to the host application’s controller commands.
Place Marker function. Refer to the Application Notes
for your software for details. ALT/CMD – This is a modifier key. When held, it
modifies the behavior of other selected keys. Its behav-
In MON MIX mode, this key has no function. ior is entirely dependent on the host application sup-
In MIDI CTL mode, this key sends out specific MIDI port; in some cases it will replicate the behavior of the
controller commands. associated key on your computer keyboard, while in
others it may modify the FW-1884’s surface controls.
LOOP/F6 – In COMPUTER Control Mode, this Refer to the Application Notes for your software for
key is normally mapped to the host application’s Acti- details.
vate/Deactivate Loop (repeat) mode function. Refer to
This key always sends messages to the host computer,
the Application Notes for your software for details.
regardless of which control mode is selected for the rest
In MON MIX mode, this key has no function. of the control surface.
In MIDI CTL mode, this key sends out specific MIDI
UNDO – In COMPUTER Control Mode, this key is
normally mapped to the host application’s Undo func-
CUT – In COMPUTER Control Mode, this key is tion. Refer to the Application Notes for your software
normally mapped to the host application’s Cut func- for details.
tion. Refer to the Application Notes for your software In MON MIX mode, this key has no function.
for details.
In MON MIX mode, this key has no function. controller commands.
SHIFT – This is a modifier key. When held, it modi-
fies the behavior of other selected keys. Its behavior is
DEL - In COMPUTER Control Mode, this key is entirely dependent on the host application support; in
normally mapped to the host application’s Delete func- some cases it will replicate the behavior of the SHIFT
tion. Refer to the Application Notes for your software key on your computer keyboard, while in others it may
for details. address the FW-1884’s surface controls. Refer to the
Application Notes for your software for details.
In MON MIX mode, this key has no function.
This key always sends messages to the host computer,
In MIDI CTL mode, this key sends out specific MIDI regardless of which control mode is selected for the rest
controller commands. of the control surface.
COPY – In COMPUTER Control Mode, this key is In MON MIX mode, holding SHIFT and pressing
normally mapped to the host application’s Copy func- CLR SOLO clears all mutes.
tion. Refer to the Application Notes for your software
for details. CTRL – This is a modifier key. When held, it modifies
the behavior of other selected keys. Its behavior is
In MON MIX mode, this key has no function. entirely dependent on the host application support; in
In MIDI CTL mode, this key sends out specific MIDI some cases it will replicate the behavior of the CON-
controller commands. TROL key on your computer keyboard, while in others
it may address the FW-1884’s surface controls. Refer to
PASTE – In COMPUTER Control Mode, this key is the Application Notes for your software for details.
normally mapped to the host application’s Paste func-
tion. Refer to the Application Notes for your software This key always sends messages to the host computer,
for details. regardless of which control mode is selected for the rest
of the control surface.
In MON MIX mode, this key has no function.

14. REC key – In COMPUTER Control mode, this In MON MIX mode, this key toggles the state of the
is a modifier key. When pressed and held, it modifies Solo function from PFL (Pre-Fader Listen) to Solo-In-
the behavior of other selected keys. Its behavior is Place. Refer to section 4.3, “Monitor Mix Mode –
entirely dependent on the host application support. (General Notes)” for further details.
Typically, holding the REC key and pressing a channel In MIDI CTL mode, this key has no effect.
SEL key will arm the selected DAW channel(s) for
recording. Refer to the Application Notes for your soft- 17. Solo level control – This is an analog level
ware for details. control for the output level of the Solo buss. It func-
In MIDI CTL and MON MIX modes, this key is inac- tions independently of Control mode selection, and
tive and sends no data. only affects the level of the Monitor Mix channels
when soloed in PFL mode.
15. EQ Controls - In COMPUTER Control
mode, the EQ functions are normally mapped to the 18. Stereo LED level meters – The twelve-seg-
corresponding parameters on the host application soft- ment stereo LED meters display the level of the moni-
ware. Refer to the Application Notes for your software tor buss stereo output, before the Monitor Level
for details. output. The signal are metered before the Monitor
Level control, so its position will not affect the level at
In MON MIX mode, the EQ controls have no func- the LEDs The meters can monitor Inputs only, DAW
tion. channels only, or both sources simultaneously. Three
In MIDI CTL mode, the four EQ band keys send out metering modes – Instantaneous, Peak Decay or Peak
specific MIDI messages, while the three rotary encod- Hold – are available. For more information on meter-
ers send out specific continuous controller commands. ing functions, refer to section 3.7, “Monitoring and
Metering Modes”.
The following descriptions apply in COMPUTER
control mode only: 19. Monitor level control – This is an analog
level control for the output level of the Monitor buss. It
FREQUENCY – Normally mapped to the frequency can affect all eight analog outputs, or only analog out-
control of the selected band on the host application’s
puts 1 and 2, depending on the settings selected in the
EQ section.
FW-1884 Control Panel. For more information refer to
Q (Bandwidth) – Normally mapped to the Q section 5.1, “Control Panel”. Its function is the same
(bandwidth) control of the selected band on the host regardless of the control mode selected.
application’s EQ section.
20. Headphone level control – This is an ana-
GAIN - Normally mapped to the Gain control of the log level control for the level of the Headphone output.
selected band on the host application’s EQ section. Its function is the same regardless of the control mode
selected.
LOW key – Normally selects the Low band of the
host application’s EQ section. 21. Clock input LEDs – These LEDs show the
current status of the digital clock master.
LOW MID key – Normally selects the Low Mid
• FireWire – FireWire (indicates valid FireWire
band of the host application’s EQ section.
connection to the host computer)
HIGH MID key – Normally selects the High Mid • CLOCK – Internal Crystal Clock
band of the host application’s EQ section. • ADAT – ADAT Lightpipe Input
HIGH key – Normally selects the High band of the • D IN – S/PDIF digital input
host application’s EQ section. 22. Surface Mode Selection keys - These
16. PFL key – In COMPUTER Control mode, this keys function globally to select the Control Surface
key has no function. Solo monitoring of tracks from Mode. For more information on the FW-1884’s vari-
the host audio application is handled by the host appli- ous Control modes, please refer to section 3.1, “Con-
cation, and soloed tracks appear as outputs from the trol Surface Modes”, and to the Application notes for
host application. your software.

COMPUTER Control mode key – Selects the MIDI output LEDs - These four LEDs show the
Computer Control mode. In this mode, the FW-1884’s status of the FW-1884’s four MIDI outputs. The pres-
control surface modifies the control parameters of the ence of MIDI data at any of the FW-1884’s MIDI out-
host audio software. For more information, refer to sec- put ports will illuminate that port’s associated LED for
tion 4.1, “Computer Control Mode – (General about a quarter-second. A continuous stream of MIDI
Notes)”. data will keep the LED lit.
MIDI CTL mode key – Selects the MIDI Control These LEDs also light steadily in MIDI Routing mode
mode. In this mode, the FW-1884’s control surface to show currently active MIDI mapping.
sends out specific static and continuous MIDI mes- 26. F-KEYS/CLOCK SRC Keys – In COM-
sages which can address external devices and applica- PUTER Control mode, these four Function keys and
tions. For more information, refer to section 4.2, their associated LEDs perform multiple functions; their
“MIDI Control Mode – (General Notes)”. behavior is entirely dependent on the host application
Mon Mix Control mode key – Selects the support. Refer to the Application Notes for your soft-
Monitor Mix mode. In this mode, the FW-1884’s con- ware for more details.
trol surface is used to adjust the input-monitoring lev- In MON MIX mode, these keys are used to display and
els of audio inputs from its analog, ADAT and S/PDIF select the monitoring source(s) and to zero the monitor
input sources. For more information, refer to section faders and levels. Refer to section 4.3, “Monitor Mix
4.3, “Monitor Mix Mode – (General Notes)”. Mode – (General Notes)”.
23. Clock mode key – When pressed and held, In MIDI CTL mode, these keys send out specific
this key displays the current clock source using the MIDI controller commands.
LEDs of the keys labeled CLOCK SOURCE, and the These four keys also function globally, in conjunction
current sample rate using the LEDs of the keys labeled with the ROUTE key, to display and make changes to
CLOCK RATE. Pressing and holding this key while the MIDI routing of the FW-1884’s hardware MIDI
pressing any of the CLOCK SOURCE or CLOCK inputs. Additionally, they function globally in conjunc-
RATE keys will change the respective setting. It function with the CLOCK key to display and select the
tions in all control surface modes. For more informa- incoming clock source.
tion refer to section 3.6, “Clock System Controls”.
27. AUTOMATION/CLOCK RATE Keys – In
24. ROUTE key – This key is used to enter MIDI COMPUTER Control mode, the function of these
Routing mode. Pressing it once, followed by selecting a four keys is dependent on the host application support.
MIDI input key (F7-F10) will call up a display of the Typically, they are used to control mixdown automa-
current MIDI routing scheme, shown on the F7 – F10 tion and fader modes in your DAW’s internal mixer.
and AUTOMATION keys as well as the MIDI In and Refer to the Application Notes for your software for
Out LEDs. For more information, refer to section 3.5, more details.
“MIDI Routing Controls”. This key functions inde-
pendently, regardless of which Control mode is In MON MIX mode, these keys are used to display and
selected. select the current Metering Mode, and to reset meter
peak-hold displays.
25. MIDI input LEDs – These four LEDs show the In MIDI CTL mode, these keys send out specific
status of the FW-1884’s four MIDI inputs. The pres- MIDI controller commands.
ence of MIDI data at any of the FW-1884’s MIDI
input ports will illuminate that port’s associated LED These four keys also function globally, in conjunction
for about a quarter-second. A continuous stream of with the ROUTE key, to display and make changes to
MIDI data will keep the LED lit. the MIDI routing of the FW-1884’s hardware MIDI
outputs. Additionally, they function globally in con-
These LEDs also light steadily in MIDI Routing mode junction with the CLOCK key to display and select the
to show currently active MIDI mapping. incoming clock rate.
28. ARROW keys - The ARROW keys always
address the host computer, regardless of which control
mode is selected for the rest of the control surface.
Their function is defined by the host application soft-

ware. Typically, they are used to navigate through the parts by pre-set increments within an arrangement.
GUI (Graphic User Interface) of the application screen. The NUDGE y key moves the part forward, while
Refer to your software’s application notes for further the h NUDGE key moves it backward. Refer to your
details. software’s application notes for further details.
29. SHTL key - The SHTL (shuttle) key always 32. LOCATE keys – The LOCATE keys always
sends messages to the host computer, regardless of what address the host computer, regardless of which control
control mode is selected for the rest of the control sur- mode is selected for the rest of the control surface. In
face. Its function is defined by the host application soft- most cases, pressing the m LOCATE key will move
ware. Typically, it is used as a modifier for the DATA the transport to the left or first locate point, while
WHEEL, changing it, for example, from Shuttle to pressing the LOCATE , key will move the transport
Scrub mode. Refer to your software’s application notes to the right or second locate point. Typically, when the
for further details. SET key is held and one of these keys is pressed, it will
store a new locate point at the transport’s current loca-
DATA WHEEL – The DATA WHEEL always sends tion. Refer to your software’s application notes for fur-
messages to the host computer, regardless of which ther details.
control mode is selected for the rest of the control sur-
face. Its function is defined by the host application soft- IN and OUT keys – The IN and OUT keys always
ware. Refer to your software’s application notes for address the host computer, regardless of which control
further details. mode is selected for the rest of the control surface.
Their function is defined by the host application soft-
30. BANK keys - In COMPUTER Control mode, ware. Typically, they are used to locate to or store drop-
the h BANK y keys send a message to the host soft- in and drop-out points for automated recording. In
ware application, to address the next lower or higher most cases, when IN or OUT is pressed, the transport
bank of eight faders, respectively. Used with an applica- will move to the stored location. As well, when the SET
tion-defined modifier key, they can also be used to key is held and one of these keys is pressed, it will typi-
jump in single channel increments. The amount of cally store a new In or Out point at the transport’s cur-
banks is wholly dependent on the host application’s rent location. Refer to your software’s application notes
parameters. Refer to your software’s application notes for further details.
for further details.
In MIDI CTL mode, these keys address the channel SET key - The SET key always sends messages to the
controls only (FADERS, Encoders, SOLO, MUTE host computer, regardless of which Control Mode is
and SEL keys), providing the capability to send four selected for the rest of the control surface. The SET key
separate sets of commands with these controls. In this is a modifier key – press and hold SET, and push either
mode there are always four banks. of the two LOCATE keys, or the IN or OUT key to
store a new Locate or In/Out point at the present cur-
In MON MIX mode, these keys bank between three sor position. Refer to your software’s application notes
sets of inputs: (1) Analog Inputs 1-8, (2) ADAT Inputs for further details.
1-8, and (3) Digital Inputs L and R. (In bank 3, chan-
nels 3-8 are inactive.) In this mode, there are always 33. Transport Controls – The Transport controls
three banks. always address the host computer, regardless of which
control mode is selected for the rest of the control sur-
31. NUDGE keys – The NUDGE keys always face. The various transport keys (STOP, PLAY, RWD,
address the host computer, regardless of which control FFWD and REC) always send the associated transport
mode is selected for the rest of the control surface. commands to the host application software. This is
Their function is defined by the host application soft- useful if, for example, you want to adjust Monitor
ware. Typically, they are used to move selected audio inputs while playing back existing channels in your
DAW application, and to monitor inputs with zero
latency.

34. Master Fader – The Master Fader is a global Additionally, the Master Fader can control the level of
control, functioning in the same manner regardless of the ANLG 1:2 outputs of the computer. A setting in
which control mode is selected. Any movement of the the FW-1884 control panel determines whether output
master fader is always communicated simultaneously to directed to ANLG 1:2 is passed through to the outputs
the host computer, the MIDI control surface and the at unity gain, or whether the FW-1884 will apply Mas-
monitor mixer. There is always one and only one master Fader gain to the ANLG 1:2 stream.
ter fader for the entire system. The Master Fader’s control of the DAW output may be
disabled within the FW-1884’s Control Panel if
desired. Refer to section 4.1, “Computer Control
Mode – (General Notes)”, for more information.
2.4 Rear Panel Control Descriptions
1. Headphone Outputs – Headphone level out- NOTE

NOTE:
put on a balanced stereo ¼” connector. While most modern dynamic mics are unaffected by
phantom power, some ribbon mics may suffer damage
2. Footswitch Inputs – Accommodates a stan- if phantom power is sent to them. When in doubt,
dard momentary contact-closure footswitch on ¼” avoid plugging ribbon mics into an input where phan-
connector. This input automatically detects the polar- tom power is activated.
ity of a connected footswitch upon power-up.
5. AC Power Input – Connect the supplied IEC
3. Monitor Outputs 1-8 – Eight balanced +4 power cable to this input. CAUTION – do not use
dBU line-level ouputs on ¼” TRS jacks. The outputs anything but an IEC-approved power cable.
can be used for all modes of surround and multichan-
nel mixdown as supported by most major DAW appli- Power Switch – Push-on push-off recessed power
cation software, up to eight outputs. For standard two- switch.
channel monitoring, outputs 1 and 2 are used, with the
remaining outputs available for direct outs, effects
6. Word Clock Input – Coaxial BNC connector
sends, etc. Refer to section 5.1, “Control Panel” for fur- for input of external Word Clock signal from another
ther details. device. This input is 75 Ohm terminated.
4. Mic Inputs 1-8 – Balanced XLR inputs at +4 Word Clock Output – Coaxial BNC connector
for output of the FW-1884’s Word Clock signal to
dBu featuring high-quality mic preamps. These inputs
are wired in parallel with their associated Line Inputs. another device.
Line Inputs 1-8 – Balanced line level (+4 dBu) ¼” 7. ADAT Lightpipe and 2-channel Input –
TRS analog inputs. These inputs are wired in parallel Fiber-optic input to accommodate eight-channel
with their associated Mic Inputs. ADAT and two-channel digital lightpipe formats.
Inserts 1-8 – Individual channel inserts. These are ADAT Lightpipe and 2-channel Output –
Fiber-optic output to accommodate eight-channel
¼” TRS (tip-ring-sleeve) jacks which allow you to
insert an external processor into the signal chain. The ADAT and two-channel digital lightpipe formats.
insert point is placed between the input (after the mic/ 8. D-In Coaxial Input – S/PDIF coaxial digital
line trim) and the analog-to-digital converter. A stan- input on RCA connector.
dard insert cable with TRS plug is required. Check
with your music retailer. D-In Coaxial Output – S/PDIF coaxial digital
output on RCA connector.
Phantom Power switches – These two
switches supply +48V phantom power to the mic
inputs, for use with condenser microphones. Phantom
power is switchable in two groups of four channels.

9. FireWire (IEEE-1394) Connections – 10. MIDI Inputs 1-4 – MIDI inputs on standard
These connect the FW-1884 to the host computer, 5-pin DIN connectors.
providing audio, MIDI and control surface communi-
cation. Two connections are provided, making it possi- MIDI Outputs 1-4 – MIDI outputs on standard 5-
ble to connect additional FireWire-compatible pin DIN connectors.
devices to the buss. The two connections are redun-
dant; either one may be used to connect to your
computer.

3.1 Control Surface Modes

The FW-1884 control surface is extremely versatile,
and can be used to control a computer application, to
control an audio input monitor mix, and to send MIDI
messages to external devices via its MIDI outputs.
The FW-1884’s control surface is always in one of three
modes: Computer Control Mode, MIDI Control
Mode or Monitor Mix Mode. Each mode has a dedi-
cated illuminated key, labeled COMPUTER, MIDI
CTRL, and MON MIX, respectively. Only one of
these keys may be selected and illuminated at one time.
Pressing one of these keys activates its designated mode For more information on Control Surface modes,
and illuminates its associated LED. please refer to section 4, “Control Surface Modes and
Operation”, and to the Application Notes for your soft-
ware.
3.2 Global Controls

Certain controls operate globally; that is, they function CONTROL SURFACE MODE keys – These
the same way regardless of which control surface mode three keys are used to select the current control surface
is selected. These controls are: mode. This is their only function. Only one control
surface mode (and hence only one key) can be selected
MASTER FADER – Any movement of the master at a time.
fader is always communicated to the host computer,
the MIDI control surface and the monitor mixer. CONTROL PANEL key – This key always opens
There is always one, and only one master fader for the the FW-1884 control panel on the host computer,
entire system. assuming it is connected and powered on.
ROUTE key – This is used to route data from the “Hidden” functions The following functions are
MIDI inputs to the MIDI outputs. It also performs not printed on the control surface panel, but are avail-
other functions as detailed elsewhere in this manual. able in all modes.
PFL key – This key is always used to toggle the state SHIFT+CTRL+P.RESET (LATCH)
of the Solo function from PFL (Pre-Fader Listen) to Reset meter peaks
Solo-In-Place. For more details on this function, please
SHIFT+MIDI CTRL
refer to section 4.3, “Monitor Mix Mode – (General
Notes)”. Enter MIDI Programming mode if host computer is
attached

3.3 Dedicated Computer Controls

Some surface controls are computer-dedicated; that is, • h NUDGE y
they always send a MIDI data signal to the host com- • SHIFT, CTRL, ALT/CMD
puter (assuming it is connected), regardless of which • CLOCK
control surface mode is currently selected. These con-
• CONTROL PANEL
trols are:
Input to the Footswitch Jack also communicates with
• Transport keys (STOP, PLAY, REW, F FWD, the host computer at all times. If you have a footswitch
RECORD) device connected to this jack, activating it will always
• DATA WHEEL and SHTL (shuttle) key send a command to the host computer.
• Arrow keys
Note that in MIDI CTL mode these controls also send
• m LOCATE , programmable MIDI messages to the FW-1884’s
• SET MIDI outputs.
• IN and OUT
3.4 Dedicated Modifier Keys

There are four dedicated modifier keys on the FW- In most DAW applications, pressing and holding the
1884’s control surface: SHIFT, CTRL, ALT/CMD REC key and then pressing a channel SEL key will gen-
and REC. These keys have no effect when pressed erally arm the selected track(s) for recording.
alone. However, when they are pressed and held, they The SHIFT, CTRL and ALT/CMD keys will per-
will modify the functions of a number of other keys form various functions, depending on the host applica-
when pressed. These functions are always dictated by tion being addressed.
the host application software.
3.5 MIDI Routing Controls

There are eight LEDs used to display MIDI activity on 1 First press the ROUTE key, located left of the
a given MIDI port. The upper row of four red LEDs MIDI LEDs. The ROUTE key and routing
represents the four MIDI inputs, and the lower row of LEDs will flash, as will keys F7 through F10.
four green LEDs represents the four MIDI outputs.
2 Press the Function key corresponding to the
The presence of MIDI data at any of these MIDI ports
MIDI input you wish to select – F7 for MIDI
will illuminate that port’s associated LED for about a
input 1, F8 for MIDI input 2, F9 for MIDI
quarter-second. A continuous stream of MIDI data will
input 3 and F10 for MIDI input 4. The Func-
keep the LED lit.
tion keys will stop flashing. (The ROUTE key
will continue to flash until you exit MIDI rout-
ing mode.)
One or more of the lower row of keys (READ,
WRT, TCH or LATCH) will be lit, indicating
The FW-1884 can route any of its MIDI inputs to any the outputs chosen for the selected MIDI input
one or more of its MIDI outputs. This full any-to-any – READ for MIDI output 1, WRT for MIDI
routing is always operational, even when the FW-1884 output 2, TCH for MIDI output 3 and LATCH
is not connected to a host computer. for MIDI output 4.
To configure the FW-1884’s MIDI input/output 3 Select any or all available MIDI ports. Their cor-
routing scheme: responding LEDs will light, and MIDI messages
from the selected input port will now be routed
to the selected output port(s).

4 Repeat this procedure for any other MIDI While in MIDI routing mode, selecting any input key
inputs whose routings you want to change. will display its selected MIDI outputs. Additionally, all
MIDI indicator LEDs will glow steadily to display
routing information.
To exit MIDI routing mode, press the ROUTE key
again. All LEDs will stop flashing and Function keys
will return to normal mode.
3.6 Clock System Controls

The FW-1884’s audio clock can be checked or changed Clock Source
directly from the control surface. To display the current
• INT/F7 – Internal Clock
clock settings, press and hold the CLOCK key. The
clock source and expected sample rate will be displayed, • ADAT/F8 – ADAT Input
as shown below: • D IN/F9 – S/PDIF Input
• WCLK/F10 – Word Clock
Expected Sample Rate
• 44.1 – 44.1 kHz
• 48 – 48 kHz
• 88.2 – 88.2 kHz
• 96 – 96 kHz
While holding down the CLOCK key, pressing any of
the above keys will immediately change the clock
source and/or expected sample rate.
If the selected clock source does not have a usable clock
signal, the corresponding LED will not light. Instead,
the CLOCK LED will flash to indicate a problem, and
the unit will switch to its own Internal clock and await
a valid clock signal. If the sample rate is off by 3% or
more, the FW-1884 will switch to the incoming clock,
and the nearest sample rate LED will blink slowly.
To exit this mode, release the CLOCK key. Function
keys will return to normal mode.

3.7 Monitoring and Metering Modes

The FW-1884’s twelve-segment stereo LED meters The meters can be configured to any of three func-
monitor the stereo buss output, before the Monitor tional modes. The AUTOMATION/CLOCK RATE
Level control. The signal source for the meters is select- keys function to display and select these modes, with
able in MON MIX mode with the F7-F9 keys, as fol- their values silkscreened below the keys. The three
lows: modes are:
• INSTANT – Instantaneous
• F7 – Computer only • P DECAY – Peak Decay (default setting)
• F8 – Inputs only • P HOLD – Peak Hold
• F9 – Computer and Inputs (default setting) To display or change the current metering mode, press
Refer to section 4.3, “Monitor Mix Mode – (General the MON MIX key. The currently selected metering
Notes)”, for more details on monitor source selection. mode’s associated LED will light. Pressing the
INSTANT, P DECAY, or P HOLD key will change
the metering mode.
While in MON MIX mode, pressing the P RESET key
will reset any presently held peak display. The meter
peaks can also be cleared in COMPUTER or MIDI
CTL mode by holding SHIFT and CTRL and pressing
the P RESET key.

As mentioned previously in this manual, the FW- In COMPUTER Control mode, the host application
1884’s control surface actually functions in three differ- interprets the banking keypresses and controls the
ent control modes: COMPUTER Control Mode, BANK LEDs. Therefore, the number of banks imple-
MIDI Control Mode or MONitor MIX Mode. While mented and the specific actions in response to BANK
all three modes share certain global functions, each key presses are application-specific. (For example, a
mode is quite different in its functionality and focus. control surface plug-in may use the bank switches to
navigate between 4 sets of 8 faders so that you can
Bank Switch Behavior Each mode has a dedi- manage the settings of a 32-input mixer defined within
cated illuminated key, labeled COMPUTER, MIDI the software.)
CTRL, and MON MIX, respectively. Only one of
these keys may be selected and illuminated at one time. In MIDI CTRL mode there are always four banks of
Pressing one of these keys activates its designated mode user-defined messages. Refer to section 4.2, “MIDI
and illuminates its associated LED. Control Mode – (General Notes)”, for more details.
In MON MIX mode there are three banks which corre-
spond to different groups of FW-1884 audio inputs.
Refer to section 4.3, “Monitor Mix Mode – (General
Notes)”, for more details.
Each control surface mode recalls its most recently
selected bank when you return to it. For example, if
you have bank 2 selected in MIDI CTRL mode, and
switch to COMPUTER control mode where bank 1 is
selected, when you next return to MIDI CTRL mode,
bank 2 will be selected.
4.1 Computer Control Mode – (General Notes)

As its name implies, COMPUTER Control mode is In addition, the host computer can send information
designed to communicate with the host computer, to back to the FW-1884 to update fader positions and
control your Digital Audio Workstation (DAW) appli- light LEDs.
cation software. When the FW-1884 is in COM- In COMPUTER Control mode, the FW-1884 can
PUTER control mode, all fader and encoder communicate with the host computer in a number of
movements and all keypresses are transmitted to the different protocols (e.g. Native Mode, Mackie Control
host computer and interpreted by the host application Emulation Mode, etc.). General details of each of these
software (with the exception of certain global keys like modes can be found in the sections which follow. For
control surface mode controls). more specific details refer to the Application notes for
your software.
4.1.1 Native Protocol

Native Protocol is the FW-1884’s default CONTROL Some applications are supported in Native mode only,
surface mode. In this mode, the FW-1884’s controls others in Mackie Control emulation mode only, and
transmit MIDI messages as detailed in the documenta- some are supported in both modes. We recommend
tion on the CD-ROM. you check the TASCAM website at www.tascam.com
Select Native Mode protocol when using the FW-1884 for current information and support status.
to control applications with native support and a sepa-
rately-installed software plug-in; these include Cake-
walk SONAR, MOTU Digital Performer and others.

To set the FW-1884 to Native protocol:
1 Open the FW-1884 Control Panel
2 Select the Settings tab
3 In the drop-down CONTROL PROTOCOL
menu, select FW-1884 NATIVE.
For more detailed information on specific implementa-

tion within the host application, please refer to the
application notes for your software of choice.
4.1.2 Mackie Emulation Protocol

The FW-1884 can be used to emulate the control mes- 3 In the drop-down CONTROL PROTOCOL
sages sent by the Mackie Control. When in Mackie menu, select MACKIE CONTROL EMULA-
Control Emulation mode, the audio and MIDI func- TION.
tionality of the FW-1884 are unchanged, but the
MIDI messages transmitted and recognized by most of
the control surface are changed to closely pattern those
of the Mackie Control. This enables you to use the
FW-1884 with software applications which may not
yet directly support the FW-1884’s Native Mode, but
do support the Mackie Control.
To set up the FW-1884 in Mackie Emulation proto-
col:
For detailed information on how the FW-1884’s con-

trol surface maps to controls within specific applica-
tions, please refer to the application notes for the
corresponding FW-1884 application note.

4.1.3 HUI Emulation Protocol

The FW-1884 can be used to emulate the control mes- 3 In the drop-down CONTROL PROTOCOL
sages sent by the Mackie HUI (Human User Inter- menu, select HUI EMULATION.
face). When in HUI Emulation mode, the audio and
MIDI functionality of the FW-1884 are unchanged,
but the MIDI messages transmitted and recognized by
most of the control surface are changed to closely pat-
tern those of the Mackie HUI. This enables you to use
the FW-1884 with software applications which may
not yet directly support the FW-1884’s Native Mode,
but do support the HUI.
To set up the FW-1884 in HUI Emulation protocol:
For detailed information on how the FW-1884’s con-

trol surface maps to controls within specific applica-
tions, please refer to the application notes for the
corresponding FW-1884 application note.
4.2 MIDI Control Mode – (General Notes)

In MIDI CTRL mode, the FW-1884’s keys, encoders • REC
and faders can be used to control external MIDI • CLOCK
devices by transmitting MIDI messages to its four • CONTROL SURFACE keys
MIDI outputs.
In addition, note that the eight channel strip controls
In MIDI CTRL mode there are four banks, which you (FADER, MUTE, SOLO, SEL and the channel
can switch between using the h BANK y keys. With ENCODER) are all bankable – that is, each of these
the exception of the master fader, each of the four controls is capable of sending four separate layers of
banks can represent a separate and independent layer of control messages, depending on which bank is selected
channel faders, encoders and keys. The master fader is with the BANK keys.
global to all banks and all control surface modes.
The FW-1884’s MIDI control messages are pre-pro-
In MIDI CTRL mode, most of the FW-1884’s surface grammed, as described in the documentation on the
controls can be programmed to send out messages. CD-ROM. However, you can reprogram any or all of
Only the following keys can NOT be programmed: the controls and customize them for your particular
• CONTROL PANEL MIDI setup. This is done through the FW-1884’s con-
• SHIFT trol panel, under the MIDI PROGRAMMING tab.
• CTRL While in MIDI CTRL surface mode,
• ROUTE SHIFT+CTRL+F8 resets the MIDI surface program-
ming to factory default settings.

It is important to note that some controls are dedicated • IN and OUT
computer controls, meaning that they always transmit • h NUDGE y
a signal to the host computer, even in MIDI CTL • SHIFT, CTRL, ALT/CMD
mode. These controls are:
• CLOCK
• Transport keys (STOP, PLAY, REW, F FWD, • CONTROL PANEL
RECORD)
Unless you are an experienced MIDI programmer, we
• DATA WHEEL and SHTL (shuttle) key recommend you exercise caution in assigning MIDI
• Arrow keys functions to these keys which could cause potential
• m LOCATE , operational conflicts.
• SET
4.2.1 Customizing MIDI Control Messages

Open the FW-1884’s Control Panel by pressing the To enter MIDI Programming mode, hold SHIFT and
CONTROL PANEL key on the FW-1884. Select the press the MIDI CTRL key; the MIDI CTRL key will
MIDI PROGRAMMING tab. This tab has a single blink. (Note that this will only work if the FW-1884 is
display window. If your FW-1884 is not powered on connected to a host computer.) The FW-1884’s Con-
and connected to the computer, the window will dis- trol Panel will open to the MIDI PROGRAMMING
play No FW-1884 Detected. Once the FW-1884 is tab. (You can leave MIDI Programming mode at any
powered on and connected, the display will look like time by pressing the MIDI CTRL key again or select-
this: ing any other control surface mode.)
Once you have entered MIDI Programming mode, the
MIDI PROGRAMMING tab window on the FW-
1884’s control panel will display the programming
information for one of the MIDI control keys, encod-
ers or faders. You can display the programming infor-
mation for any control by activating it: press a key,
move an encoder, touch or move a fader, and that con-
trol’s programming information is displayed.
Changes that you make to the programmed MIDI
messages take effect immediately. Further, they are
remembered even when the FW-1884’s power is turned
off.

4.2.2 Programming Keys

If you press one of the keys used in MIDI CTRL sur- To change the MIDI channel: Use the up and down
face mode, it will light up and the FW-1884’s control arrows of the Channel indicator box to change the
panel will display something like this: MIDI channel. Alternatively, you can type in a MIDI
channel number from 1 through 16.
To change the MIDI message type: These MIDI con-
trol keys are capable of transmitting one of three possi-
ble MIDI messages. The message type is selected in the
control panel:
• Controller On/Off – a controller value of 127 is
transmitted when the key is pushed, and a value of 0
is transmitted when it is released. You can program
the controller number.
• Toggled Controller On/Off – a controller value of
127 is transmitted when the key is pushed. Nothing
is transmitted when it is released. When the key is
pushed again, a value of 0 is transmitted; again, noth-
ing is transmitted when it is released. You can pro-
gram the controller number.
To change the MIDI output(s): Checking or un-
• Note On/Off – a ‘note on’ message is transmitted
checking the four Port boxes will select or de-select the
when the key is pushed, and a ‘note off ’ message is
corresponding MIDI output. MIDI messages gener-
transmitted when it is released. You can program the
ated by the key that you’re programming will be sent to
note number.
each port whose associated box is checked. Uncheck all
four ports to make a key inactive. To change the MIDI controller or note: Use the up
and down arrows of the Controller indicator box to
change the MIDI controller number. Alternatively, you
can type in a MIDI controller number from 0 through
127.

4.2.3 Programming Encoders

The eight channel encoders, as well as the three EQ To change the MIDI output(s): Checking or un-
encoders, can all be reprogrammed. To display the pro- checking the four Port boxes will select or de-select the
grammed message for an encoder, just turn it slightly. corresponding MIDI output. MIDI messages gener-
You will see a display something like this: ated by the key that you’re programming will be sent to
each port whose associated box is checked.
To change the MIDI channel: Use the up and down
arrows of the Channel indicator box to change the
MIDI channel. Alternatively, you can type in a MIDI
To change the MIDI controller number: Use the up
127.
Encoders send continuous controller messages only, so
the NOTE ON/OFF and TOGGLED CONTROL-
LER options on the FW-1884’s control panel are
grayed out.
4.2.4 Programming Faders

The eight channel faders, as well as the master fader, To change the MIDI output(s): Checking or un-
can all be reprogrammed. To display the programmed checking the four Port boxes will select or de-select the
message for a fader, simply touch the fader. The display corresponding MIDI output. MIDI messages gener-
should look something like this: ated by the key that you’re programming will be sent to
each port whose associated box is checked.
To change the MIDI channel: Use the up and down
arrows of the Channel indicator box to change the
MIDI channel. Alternatively, you can type in a MIDI
To change the MIDI controller number: Use the up
127.
Faders can only be MIDI controllers, and the NOTE
ON/OFF and TOGGLED CONTROLLER options
on the FW-1884’s control panel are greyed out.
(When you touch the master fader, you will see that its
programming information does not include bank
information since it is a single, global control that is
active in all banks.)

4.2.5 Banking
You can use the h BANK y keys to shift through the For specific information on the FW-1884’s MIDI Con-
four banks of controls. As mentioned earlier, only the trol Protocol, refer to section 5.1.3, “MIDI PRO-
channel strip controls – faders, channel MUTE, SOLO GRAMMING TAB” and the documentation supplied
and SEL keys, and channel encoders – are bankable. All on the CD-ROM.
other surface controls are unaffected by the banking
commands.
“Hidden” functions
These functions available in MIDI Control mode are SHIFT+CTRL+F8
not marked on the control surface. Reset the MIDI surface programming to default values
SHIFT+Encoder and write it to FLASH memory
Fine (not coarse) control of MIDI controller output
value
4.3 Monitor Mix Mode – (General Notes)

The FW-1884 can be used as a stand-alone 18x2 mixer inputs along with the audio return from your DAW
in MON MIX mode. The primary benefit of MON application, it is possible to overdub tracks to your
MIX mode is to provide a means of monitoring your DAW software with none of the audio processing
audio inputs in a zero-latency environment. By using delays inherent in DAW applications.
MON MIX mode to monitor the audio from your
4.3.1 Audio I/O and the Monitor Mixer

In MON MIX mode, there are three banks which cor- Note that in the third, or D IN bank, channels 3-8 are
respond to the three types of audio inputs available on inactive.
the FW-1884. The three banks are labeled above the It is important to understand that in MON MIX
BANK switches as follows: mode, the FW-1884’s channel strips are addressing the
• ANLG – Controls the monitor levels of the eight monitor levels of the FW-1884’s 18 inputs. While you
analog inputs will still hear the audio return from your DAW com-
• ADAT – Controls the monitor levels of the eight puter, and the FW-1884’s transport controls will still
ADAT inputs control your DAW’s transports, moving the faders will
• D IN – Controls the monitor levels of the S/PDIF have no effect on your DAW’s internal (software)
digital inputs mixer.
Another important point to note is that, in MON MIX
mode, the faders do not affect the levels the inputs sent
to your DAW. The levels to the DAW inputs from ana-
log inputs 1-8 (Bank 1) are controlled solely by their
respective TRIM POTS. The eight ADAT inputs
(Bank 2) and the two digital inputs (Bank 3) are passed
to your DAW application at unity gain; their level must
be regulated at the digital source.

4.3.2 Monitoring Setups

When the FW-1884 is in MON MIX mode, the F7, • F7 – COMPUTER – only the audio from the host
F8 and F9 keys determine what source you are hearing computer is monitored. This can be useful if you’re
on Analog Outputs 1/L and 2/R. This is useful for iso- doing a mixdown of your DAW tracks and want to
lating the audio coming from your DAW or from mute the monitor mixer without losing its settings.
external inputs. When the MON MIX key is pressed, • F8 – INPUTS – only the audio from the FW-1884’s
the F7, F8 or F9 key will light to show the currently 18 audio inputs is monitored. This can be useful for
selected input source: setting up live inputs or tracking into your DAW.
• F9 – BOTH – audio from the host DAW and the
FW-1884’s inputs are monitored.
The default setting is BOTH.
To set a channel’s monitor level to zero (unity gain):
Hold SHIFT and press the channel SEL key.
To set the Master monitor level (Master Fader) to zero
(unity gain): Press the MAST 0dB/F10 key.
To set all monitor mix levels to zero (unity gain):
Press and hold the SHIFT and CTL keys and then
press MAST 0dB/F10.
4.3.3 Setting Input Levels

As previously stated, the MON MIX mode can be very • Solo an input channel by pressing that channel’s
useful for recording live tracks into a DAW application. SOLO key.
Here’s a typical scenario for recording and overdubbing • Press the PFL key to monitor the channel in Pre-
using MON MIX mode: Fader Listen mode.
• Connect your analog and/or digital source(s) to • Adjust the channel’s trim pot (if it is an analog
the FW-1884’s inputs. input) or the digital source (if it is a digital
• In COMPUTER control mode, arm your DAW input) until the input meter in your DAW shows
tracks for recording and meter the input level to a level that is hot, but not clipping.
those tracks using the DAW’s level meters. • Repeat this procedure for all active input chan-
• Select MON MIX to access the monitor mixer nels.
control surface mode. Once you’re done setting up levels, you can return to
• Press the F8 key to monitor the inputs without COMPUTER control mode and begin recording.
hearing your existing DAW tracks.
4.3.4 SOLO modes

In MON MIX mode, the FW-1884 offers two distinct Solo-in-Place and Pre-Fader-Listen modes.
modes for soloing inputs – PFL (Pre-Fader Listen) and
SIP (Solo In Place). Each has its particular uses, as
described below. Pressing the PFL key toggles between
In MON MIX mode, soloing any channel will cause

the CLR SOLO key to flash.

In Solo-in-Place, the Mute status of any soloed input The level of channels soloed in PFL mode is controlled
can be toggled. Pressing the MUTE key of an unso- by the SOLO knob directly above the PFL key.
loed input has no effect. The stereo meters reflect the input level of channels
If you change banks, the flashing CLR SOLO key is a that are PFL soloed.
reminder that a Solo is still active. Solo-in-Place (default) – in this mode, channels placed
If you change Control Surface modes while an input in Solo mode are heard in the context of their relation-
Solo is active, the MON MIX key flashes unless the ship to the entire mix; that is, level and pan settings are
monitor source is set to COMPUTER output only. retained. Since Solo-in-place mode functions by mut-
ing all non-soloed tracks, changes made in this mode
NOTE
will affect the overall mix.
In MON MIX mode, SOLOs and MUTEs are activated by
key-down actions. They are deactivated by key-up It is important to note that the PFL function only
actions. This acts like the keys of an analog mixer, affects inputs in MON MIX mode. Soloing of DAW
allowing sets of keys to be unSOLOed or unMUTEd by tracks in COMPUTER control mode is handled
holding them down, then releasing them all at once. entirely by the host application software, and is inde-
PFL (Pre-Fader Listen) – in this mode, channels placed pendent of the FW-1884’s SOLO buss.
in Solo mode are monitored from a point before the
fader, irrespective of their level and position in the
overall mix. Since PFL mode routes the soloed chan-
nel(s) to a separate solo buss, changes made to soloed
inputs do not affect the overall mix. PFL mode is often
used for setting input gain levels when tracking.
“Hidden” functions
These functions available in monitor mix mode are not SHIFT+GAIN Encoder
marked on the control surface. Adjust touch fader sensitivity
SELECT SHIFT+CTRL+F7
Display channel’s pan position on SELECT/REC Write all mixer parameters to FLASH memory (nor-
LEDs mally done at power-down)
SHIFT+SELECT SHIFT+CTRL+F8
Set channel fader to unity Reset all the mixer parameters to default values
SHIFT+CLR SOLO SHIFT+CTRL+F10
Clear mutes Set all monitor faders to unity

5.1 Control Panel

The FW-1884’s control panel is where you can display
and adjust settings which determine how the FW-1884
communicates with your computer and other external
devices. To open the Control Panel, press the CON-
TROL PANEL shortcut key on the FW-1884’s control
surface.
You can also open the Control Panel in Windows by

clicking on Start – Control Panel and selecting the FW-
1884 Control Panel icon. On the Mac in OS9, it is in
the Control Panels menu (under the Apple menu).
Under MacOS X, “Core Audio” is added to the Con-
trol Panel.
5.1.1 SETTINGS TAB
Control Protocol This is where you select how the Clock Source This is where you select the digital
FW-1884’s MIDI commands are interpreted by the clock input source. It duplicates the function of the
host software application. You can choose between the CLOCK and CLOCK SRC (F7-F9) keys. Changes
FW-1884’s Native Protocol, Mackie Control emula- made on the FW-1884’s control surface are immedi-
tion protocol, or Mackie HUI emulation protocol. ately reflected in this window. For more information on
Additional protocols may be added in future driver this function, refer to section 3.6, “Clock System Con-
updates. trols”.

Sample Rate This is where you select the expected If, on the other hand, you want to monitor in surround
incoming sample rate to the FW-1884’s digital input. It mode, setting this control to "Monitor Affects Analog
duplicates the function of the CLOCK and CLOCK 1:8" puts all of the analog outputs under the control of
RATE (READ/44.1, WRT/48, TCH/88.2 and the Monitor Level control.
LATCH/96) keys. Changes made on the FW-1884’s
control surface are immediately reflected in this win- Master Fader Affects ANLG 1:2 Gain The
dow. For more information on this function, refer to "Master Fader Affects ANLG 1:2 Gain" switch deter-
section 3.6, “Clock System Controls”. mines whether the computer generated audio sent to
the ANLG 1:2 outputs will be affected by the Master
Audio Latency This setting is for selecting the fader of the FW-1884. (The default setting is OFF.)
buffer size of the FW-1884’s audio performance. The Turn this switch "on" when the DAW application
FW-1884’s driver temporarily stores input and output you're using doesn't process "Master Fader" MIDI
audio samples in buffers. Larger buffer sizes will pro- messages originating from the FW-1884 surface. In this
duce higher latencies but will result in greater system case, the FW-1884's internal mixer will change the gain
stability, and protection against other system activities of the ANLG 1:2 outputs according to the setting of
causing clicks, pops and other audio artifacts. the Master fader. Leave this switch "off" when your
DAW application responds to the "Master Fader"
NOTE
MIDI message by changing the gain of the ANLG 1:2
Note that if you are using the FW-1884’s MON MIX using the host processor.
mode to monitor your inputs, you will already have
zero-latency monitoring. In this case, we recommend NOTE
setting the buffer size to 1024 or 2048 for maximum sys- IMPORTANT: Do not leave this switch in the "on" posi-
tem stability. tion if your DAW application does in fact alter the gain
of the audio signal in response to Master fader mes-
Audio Monitoring This setting determines how sages from the FW-1884. In this situation, Master fader
the Monitor Level control affects the FW-1884’s mon- gain would be applied twice - once in the host applica-
itor outputs. The Audio Monitoring selection is used tion, and once by the FW-1884's internal mixer.
to specify which of the analog outputs will be affected
by the FW-1884’s Monitor Level control. For stereo OVR Threshold This setting determines the level at
monitoring applications, only the Analog 1 and Ana- which the FW-1884’s meters register an “over,” or clip-
log 2 outputs will be connected to an amp and speak- ping level. It can be varied between 0.0 and –5.0 dBFS,
ers. By setting this control to "Monitor Level Affects in .5 dBFS increments.
Analog 1:2" the Monitor Level control will only affect
those outputs, leaving the remaining outputs 3 through
Version Information This box displays the cur-
rently running version of the FW-1884’s drivers and
8 available for use as effects sends or direct outputs,
firmware.
with the digital streams from the computer passed
through to them at unity gain.

5.1.2 ROUTING TAB

Duplicate of Coax Output (TOSLINK) – The audio
output is the same as that being sent to the FW-1884’s
analog outputs 1 and 2, and is sent out the lightpipe in
two-channel TOSLINK protocol. This can be useful
for sending a two-track mix to a mixdown recorder
equipped with an optical two channel input.
Coax Output Source This menu selects the
source of the audio output appearing at the FW-1884’s
coaxial digital output. The selections are:
S/PDIF 1:2 – The audio output is determined within
your DAW application software. The FW-1884’s S/
PDIF outputs are seen as separate outputs within your
DAW application. With this setting, audio which has
been routed to these outputs appears at the FW-1884’s
two-channel digital (D OUT) outputs.
Duplicate of Analog 1:2 – The audio output is identi-
cal to that being sent to the FW-1884’s analog outputs
Optical Output Source This menu selects the 1 and 2. This is useful if, for example, you wish to send
source of the audio output appearing at the FW-1884’s the stereo mix you are monitoring to a two channel
ADAT optical outputs. The selections are: digital mixdown recorder.
ADAT 1-8 – The audio output is determined within S/PDIF Input Routing This menu selects the
your DAW application software. Audio which has been source of the audio input appearing at the FW-1884’s
routed to the FW-1884’s ADAT outputs within your two-channel digital (D IN) digital inputs. The selec-
DAW will appear at the ADAT lightpipe output. tions are:
Duplicate of Analog 1-8 (ADAT) – The audio output COAX to S/PDIF 1:2 – The digital audio signal being
is identical to that being sent to the FW-1884’s analog input to the FW-1884’s coaxial digital input is routed
outputs 1-8. This is particularly useful if, for example, to the two-channel digital D IN inputs.
you wish to monitor a multi-channel mixdown with a
Optical to S/PDIF 1:2 – A two-channel digital audio
surround monitoring setup and send the same multi-
signal in TOSLINK format, being input to the FW-
channel mix to a digital multitrack recorder.
1884’s optical digital input, is routed to the two-chan-
nel digital D IN inputs. (Note that the ADAT inputs
will not be available to your DAW application if you
use the optical input connector in TOSLINK mode.)

5.1.3 MIDI PROGRAMMING TAB

The host driver senses the change in the subcode qua-
dlet and the control panel displays its programming
information, something like:
Control: Mute 2
Bank: 2
X Note on/off103 (decimal)
O Controller
O Toggled Controller
Channel: 12
Port 1 234
O OxO
Now if you click the “up” arrow next to the channel

number, the control panel updates to:
Control: Mute 2
Bank: 2
This tab is used to program the FW-1884’s control sur-
face in MIDI CTL mode. For detailed information on X Note on/off103
using this function, please refer to section 4.2, “MIDI O Controller
Control Mode – (General Notes)”. O Toggled Controller
Channel: 13
Here’s a quick scenario: Enter MIDI program- Port 1 234
ming mode … firmware sets subcode quadlet to “start
O OxO
of programming” command, “0xC0000080”.
The host software starts up the MIDI Prog tab of the An asynchronous quadlet write is sent with a value of
control panel, with everything blank/grayed-out. “0x09414DE7”.
Now press the MUTE2 key while in Bank2 on an ES When you exit MIDI programming mode the subcode
unit, and the subcode quadlet is written as quadlet is set to “0xC0010080”.
“0x09414CE7”. The host software detects the subcode change and
blanks/grays-out the MIDI Prog tab.

The FW-1884 is a complex device with a number of
inter-related components. If you experience problems
with your FW-1884, here are a few suggestions to
check first:
6.1 Audio Issues
I hear no sound, but the output meters display signal. You have a valid audio signal appearing at the FW-1884's output buss.
Check your output connections and amplifier.
I hear no sound and the output meters dislpay no signal. Are your audio sources connected to the correct inputs on the FW-1884?
Do you have the correct monitor source selected?
If your audio source is an analog input Is the channel trim pot adjusted correctly?
If your audio source is a condenser microphone Do you have phantom power enabled?
If your audio source is a digital input Do you have a valid digital source connected?
Are the correct word clock settings selected?
If your audio source is your DAW application Do you have the correct outputs selected within the host application?
If you're running Windows 2000 or Windows XP Does the FW-1884 appear as an audio device in Device Manager?
If you're running MacOS9 Does the FW-1884 appear as an audio device in your System folder?
The FW-1884 appears as an audio device in my system, but it Do you have its ASIO driver installed in the correct location? (Some DAW
doesn't show up in my DAW's list of audio outputs applications, such as Digital Performer, require the ASIO driver to be
installed within the DP directory.)
My audio is distorted. Is your input level to hot?
My audio has clicks and pops Do you have the correct clock source selected?
6.2 Control surface issues
No Control Surface Response Is the FireWire LED illuminated to indicate a valid connection?
Does the FW-1884 appear as a MIDI device in your Device Manager?
Is your DAW application correctly configured for an external controller?
Do you have the MIDI I/O ports set to “FW-1884 Control” on MIDI input
and output?
If you are running in Native Protocol, do you have the appropriate plugin
(SONAR, Digital Performer, etc.) installed in the correct folder?
If you are running MacOS 9, do you have FreeMIDI or OMS configured

correctly?
If you see no response to fader movements, do you have the correct

fader bank selected and visible on screen?

Incorrect Surface Response If you are running in Mackie Control Emulation or Mackie HUI Emulation
protocol, do you have Mackie Control selected in your DAW application?
Do you have the correct COMPUTER Control Sur-face protocol selected

in the FW-1884’s Control Panel?
6.3 Contacting Us
In the event you experience problems with your FW- found at the back of this manual, or on the TASCAM
1884, please contact your dealer or your local TEAC/ website at www.tascam.com.
TASCAM distributor. Contact information may be

7 – Appendices
7.1 Specifications
Analog I/O Stereo / Surround monitor output (Balanced)

Mic input 1-8 (Balanced) (Analog output terminal for Master / Monitor. In DAW Controller
mode, Stereo / Surround Mode can be switched over from control
Connector: 3-pin XLR jack x 8 (1: GND, 2: Hot, 3: Cold)
panel on PC. Stereo L-R and Surround1-2 are used commonly.)
Input imped- : 2.2k ohm
Connector: 1/4 inch TRS jack x 8
ance
Output imped- 100 ohm
Adjustable : –56dBu (TRIM max) to –2 dBu (TRIM min)
ance:
Input range
Nominal out- : +4 dBu
Maximum gain : +54 dB
put level
Maximum out- : +20 dBu
Line input 1-8 (Balanced) put level
Connector: 1/4 inch TRS jack x 8
Phones output (Stereo)
Input imped- : 10k ohm at LINE/MIC
Connector: 1/4 inch TRS jack (T = L, R = R, S = GND) x 1
ance
Max output 52 mW + 52 mW (32 ohm)
1M ohm at GUITAR (LINE Input: 8 Switchable)
power:
Adjustable : –42 dBu (TRIM max) to +12 dBu (TRIM min.)
input range Digital I/O
Maximum gain : +54 dB
Digital input (Coaxial)
Insert 1-8 (Unbalanced) 2ch serial digital audio signal input terminal. ADAT/Optical Input
terminal is selectable. In the case of Hi sampling, Hi-speed mode is
Connector: 1/4 inch TRS jack with tip SW x 8 (T=SEND, supported.
R=RETURN, S=GND)
Connector: RCA jack x 1
Input imped- 75ohm
Send ance:
Impedance : 100 ohm Format: AES3-1992 or IEC60958
Normal level : -2 dBu Audio bit 24bit
length:
Maximum level : +14 dBu
Digital output (Coaxial)

Return
2ch serial digital audio signal output terminal. ADAT/Optical Out-
Impedance: 10k ohm
put is selectable. In the case of Hi sampling, Hi-speed mode is sup-
Normal level : -2 dBu ported.
Headroom : 16 dB Connector: RCA jack x 1
Output imped- : 75ohm
Line/Mic or Guitar select SW ance
Format: IEC60958 (Selectable)
Line/Mic 10k ohm / 2.2k ohm
Audio bit 24bit
Guitar 1M ohm
length:

7 – Appendices
ADAT/Optical input (Light-pipe) FireWire

ADAT optical format digital multi audio or 2CH serial audio signal IEEE 1394 digital interface
input terminal. In the case of 2CH serial audio signal, DIGITAL IN
Connector: IEEE 1394 connector x 2
(COAXIAL) is selectable.
Format: IEEE 1394
Connector: Light-pipe optical x 1
Transmit rate: 400Mbps
Format: ADAT OPTICAL at ADAT AES3-1992 or
IEC60958 (automatically detected) at Optical Footswitch
Audio bit length : 24bit
Punch In/Out of DAW application
Connector: Normally-open 1/4-inch TS jack
ADAT/Optical output (Light-pipe)
ADAT optical format digital multi audio or 2CH serial audio signal Overall System Specifications
output terminal. In the case of 2CH serial audio signal, DIGITAL
OUT (COAXIAL) is selectable. Sampling frequency
Connector: Light-pipe optical x 1 Internal clock : 44.1kHz / 48.0kHz / 88.2kHz / 96.0kHz

Format: ADAT OPTICAL at ADAT External clock: Word sync input / Digital input / ADAT input
IEC60958 at Optical
Audio bit length 24bit at ADAT AD/DA converter
24bit at Optical Analog to Digital

Resolution 24 bit
Misc. I/O
Dynamic range: 103 dB Fs=44.1kHz, A-weight
Word sync input AD input level
Word clock signal input terminal Maximum +8.1dBu (0dBFs)
Connector: BNC x 1 Nominal -7.9dBu (-16dBFs)
Input imped- : 75 ohm Digital to Analog
ance
Resolution : 24 bit
Input level TTL level
Dynamic range 103 dB Fs=44.1kHz, A-weight
Analog output level
Word sync output
Maximum : +7.8dBu (0dBFs)
Word clock signal output for Word sync
Connector: BNC x 1 Nominal : -8.2dBu (-16dBFs)
Output level TTL level
CODEC: AK4528 specifications
MIDI input 1-4 ADC
MIDI input terminal Resolution: 24 bit
Connector: 5-pin DIN connector – conforms to MIDI specifi- Dynamic range: 103 dB Fs=44.1kHz, A-weight
cations x 4
Group delay: 31 samples
Format : MIDI
DAC
Resolution: 24 bit
Dynamic range 110 dB Fs=44.1kHz, A-weight
Group delay: 30 samples
DAC: AK4380VT specifications

7 – Appendices
CODEC: AK4528 specifications Noise level (20Hz – 20kHz, TRIM max, 150 ohm)
DAC < -124 dBu MIC IN to INSERT SEND
(EIN)
Resolution : 24 bit
< –64dBu LINE IN to STEREO OUTPUT
Dynamic range: 100 dB Fs=44.1kHz, A-weight, -60dB output
< –64dBu LINE IN to SURROUND MONITOR OUTPUT
Group delay : 19.1 samples
Crosstalk (@ 1kHz)
Signal delay
> 80dB STEREO/SURROUND MONITOR OUTPUTS
< 1.5 ms Fs = 48.0kHz, LINE IN to STEREO OUTPUT
< 0.75 ms Fs = 96.0kHz, LINE to STEREO OUTPUT
Power requirements
Analog I/O 100V AC, 100V / 200V type
50/60Hz
THD (Level: +4dBu)
120V AC, 60Hz
< 0.005 % 20 Hz - 20 kHz, LINE IN to INSERT SEND
230V AC, 50Hz
<0.008% 1 kHz, LINE IN to STEREO OUTPUT
240V AC, 50Hz
Frequency response (@ nominal level)

Power consumption
20Hz - 20 kHz ±0.5 dB, MIC/LINE IN to INSERT SEND
23 W
20Hz – 40kHz +0.5dB / –1.0 dB, MIC/LINE IN to INSERT SEND
20Hz - 20kHz ±0.5 dB LINE IN to SURROUND/STEREO MONIisR Dimensions
OUTPUT
W 22.9 x H 5.4 x 18.9
20Hz – 40kHz +0.5dB / –1.5 dB, LINE IN to SURROUND/STEREO
MONITOR OUTPUT W 582mm x H 136mm x D 481mm
Weight
22.7 lbs (10.3 kg)

7 – Appendices
7.2 Dimensional drawing
555mm (21.9 in)
481mm (18.9 in)

582mm (22.9 in)
481mm (18.9 in)

136mm (5.4 in)
442mm (17.4 in)

14mm (0.6 in)
7.3 FW-1884 “Hidden” Functions

Listed below are the FW-1884’s “hidden” functions In MIDI CTRL mode:
(that is, those functions not silk-screened onto the FW-
SHIFT+Encoder
1884’s control surface.
Fine (not coarse) control of MIDI controller output
In all control surface modes: value
SHIFT+CTRL+P.RESET (LATCH) SHIFT+CTRL+F8
Reset meter peaks Reset the MIDI surface programming to default values
SHIFT+MIDI CTRL and write it to FLASH memory
Enter MIDI Programming mode if host computer is
attached

7 – Appendices
In MON MIX mode: Adjust touch fader sensitivity
SELECT SHIFT+CTRL+F7
Display channel’s pan position on SELECT/REC Write all mixer parameters to FLASH memory (nor-
LED’s mally done at power-down)
SHIFT+SELECT SHIFT+CTRL+F8
Set channel fader to unity Reset all the mixer parameters to default values
SHIFT+CLR SOLO SHIFT+CTRL+F10
Clear mutes Set all monitor faders to unity
SHIFT+GAIN Encoder

FW-1884
TEAC CORPORATION
Phone: +81-422-52-5082 www.tascam.com
3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan
TEAC AMERICA, INC.
7733 Telegraph Road, Montebello, California 90640
TEAC CANADA LTD.
Phone: +1905-890-8008 Facsimile: +1905-890-9888 www.tascam.com
5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada
TEAC MEXICO, S.A. De C.V
Campesinos No. 184, Colonia Granjes Esmeralda, Delegaacion Iztapalapa CP 09810, Mexico DF
TEAC UK LIMITED
Phone: +44-1923-438880 www.tascam.co.uk
5 Marlin House, Croxley Business Park, Watford, Hertfordshire. WD1 8TE, U.K.
TEAC DEUTSCHLAND GmbH
Phone: +49-611-71580 www.tascam.de
Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany
TEAC FRANCE S. A.
Phone: +33-1-42-37-01-02 www.tascam-europe.com
17 Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France
TEAC AUSTRALIA PTY.,LTD. A.B.N. 80 005 408 462
Phone: +61-3-9672-2400 Facsimile: +61-3-9672-2249 www.tascam.com.au
280 William Street, Port Melbourne, Victoria 3000, Australia
TEAC ITALIANA S.p.A.
Phone: +39-02-66010500 www.teac.it
Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy
Printed in Taiwan MA-0806

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D00731500A

Professional Control Surface / FireWire Audio-MIDI Interface

This appliance has a serial number

The wire which is coloured BLUE must be connected to the

2 TASCAM FW-1884 Owner’s Manual

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TASCAM FW-1884 Owner’s Manual 3

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1.3 System Requirements

1.4 In The Box

6 TASCAM FW-1884 Owner’s Manual

1.5 Nomenclature Used In The Manual

1.6 Software application notes

1.7 Special notes for touch-faders

1.8 Copyright, etc.

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2.1 Front Panel Illustration.

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2.2 Rear Panel Illustration

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2.3 Front Panel Control Descriptions

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2.4 Rear Panel Control Descriptions

1. Headphone Outputs – Headphone level out- NOTE

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3.1 Control Surface Modes

3.2 Global Controls

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3.3 Dedicated Computer Controls

3.4 Dedicated Modifier Keys

3.5 MIDI Routing Controls

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3.6 Clock System Controls

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3.7 Monitoring and Metering Modes

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4.1 Computer Control Mode – (General Notes)

4.1.1 Native Protocol

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