Tascam FW-1082: Control Surface + Interface

Tascam FW-1082: Control Surface + Interface We know Tascam's products well; it's one of the most recognized names in its product category. I remember that when I was starting out, I got a Portastudio from the company: a small four-track multitrack recorder on tape. I mention this because many years have passed, that little console was "punished" to no end with thousands of uses, and today it still works perfectly. On the other hand, it's almost amusing to place that four-track tape relic next to the product we're testing today: a control surface, an audio/MIDI interface, FireWire?

Before plugging in
Tascam presents this unit with a modern finish, with looks suited to the times, and offers the product as an excellent option for those who work on a PC or Mac, thanks to its FireWire connectivity, one of the most modern connections and one with the greatest bandwidth for transmitting multichannel data. Two in one, since with the TASCAM FW-1082 console we get both a DAW control surface and a MIDI/audio interface for multichannel recording and mixing.

A preliminary look at the unit
The unit gives our computer high-quality audio functions: eight channels of analog inputs and two outputs, with two channels of digital audio I/O via coaxial connections (24-bit, up to 96 kHz).

It connects to the computer through a six-pin IEEE 1394 (FireWire) cable that carries audio, MIDI and control data between the console and the computer. Likewise, the control surface sends data to the main DAW application through this same port, using the MIDI protocol.

The FireWire port
The IEEE 1394 standard allows high-speed communication between several devices. Its bandwidth is exactly 400 Mbps. Keep in mind that it's not advisable to use cables longer than 4.5 m to connect devices (FireWire); the one supplied with the FW 1082 is 2 m long.

This type of port allows devices to be daisy-chained, although in the case of the TASCAM FW 1082, we have to bear in mind that it's a tool that uses a lot of bandwidth, and chaining it with others will degrade its performance.

There are two types of FireWire connectors: the six-pin (larger) and the four-pin. The basic difference between them is that the six-pin carries power that can be used for external devices. The TASCAM unit on our test bench comes with a six-pin connection, and it's advisable for our computer to have the same type of connection to optimize bandwidth. If our computer doesn't have six-pin ports, we can buy (at a computer store) a PCI card that provides six-pin FireWire ports with independent buses.
Variety: three operating modes
The surface can work in three different modes that cover three different needs. You operate and choose the mode with the Computer, MIDI Ctrl and Mon Mix keys.

Computer surface mode
Working in this mode, the surface controls send data to the computer's DAW program through the IEEE 1394 connection.
Depending on our DAW software configuration, we'll have two analog and/or S/PDIF digital outputs for outputting signals.

MIDI surface mode
If we choose this mode, the surface controls are assigned to MIDI control messages. Thanks to the BANK function keys and indicators, we can access up to four banks (32 modules), and the controls can be set to transmit a different MIDI message in each bank.
These MIDI messages are transmitted to our computer either through the MIDI OUT port or through FireWire's virtual MIDI OUT ports.

Monitor mix surface mode
In this case the unit works as a standalone mixer, letting you mix up to eight analog signals with the two signals received at the coaxial input.
The functions offered are level, pan, mute and solo for the input channels, and a final mix on two outputs: MONITOR (BAL) L and R. It's also possible to monitor the signals output from the computer's DAW program. Using the BANK keys, we access two banks: the analog one and the stereo digital input one.
While mixing analog signals, we can use the TRIM controls to adjust the signal input levels.

Computer, Inputs and Both functions
Computer: Selects the signals coming from the DAW, transmitted over the FireWire connection. The level of the signals coming from the computer is adjusted with the DAW software's master output control, and we can choose the two analog outputs to output them.
Inputs: chooses the analog and coaxial signals to be monitored
Both: Monitors the computer signals together with the input signals

Connection versatility: rear panel
- Coaxial input
- Coaxial output
- 2 six-pin FireWire ports
- Headphone output
- Monitor (Bal) right and left
- 2 MIDI inputs
- 2 MIDI outputs
- Foot Sw connector input, for punch-ins
- 4 XLR mic inputs
- Phantom power (+48V)
- 8 ¼" jack inputs
- Inserts on inputs 1 and 2
- Line/guitar selector
- Power switch and power socket

Getting started: installation
We began by installing the software. This task is often unpleasant for studios, since there must be perfect synchronization between the manufacturer's drivers, the computer's specifications, the operating system version and updates, etc...
Our first contact, in terms of installation, was a complete success, since the drivers installed perfectly on the first try. An operation that took us no more than seven minutes. After copying the software to our main computer, we went ahead and plugged in the cable connecting the device to the PC via the FireWire ports. Everything was perfect and detected instantly.

Although the TASCAM FW 1082 comes with a demo of CUBASE SL, we ran the tests with CUBASE SX3.
Tascam's ASIO FW driver was already available among the various ASIO drivers on the machine. Likewise, checking the CUBASE SX3 setup, we instantly found all the inputs and outputs of our new device.
To finish the installation phase, we set up the clock and the remaining details to get the unit working perfectly. We congratulate both Steinberg and Tascam on their flawless compatibility work and ease of configuration.
Software and materials included in the package
The box comes with three CDs. The first, and essential, one contains the product's drivers for running it on a computer. The second holds a version of Tascam GigaStudio, a screenshot of which I've included. Finally, the third CD lets us install a version of CUBASE LE.
As for cables, we find the cable for connecting the six-pin FireWire ports (two meters long), as well as the power supply with its corresponding power cords. You may miss a coaxial cable for the digital audio connection.

In operation
The truth is that this "invention" is perfect for those who work with a computer plus sequencer as the core of their studio. Once the MIDI, audio and FireWire are wired up, the station is perfect for recording, with eight different inputs, controlling the software and MIDI messages and, finally, mixing nimbly, thanks to the control surface that this FireWire audio/MIDI interface unit itself is.

For those used to traditional (analog) consoles, we face the eternal issue: some of the controls are shared, although that stopped being a problem a long time ago, since you simply have to get on board with the new era of consoles, which tend to share these single rows of knobs common to all channels.
The layout of the controls, functions and modes is extremely convenient for most applications that might come up in your studio. The knobs aren't too small, and the automation will make you feel like a giant if you were still moving the mouse up and down.

Conclusions
We found the Tascam FW 1082 practical, easy to install, versatile and not excessively expensive. I think it's a powerful solution for a small (or not so small) home studio with ambitions. A good computer with a powerful processor and loaded to the "eyeballs" with RAM, plus a good version of sequencing software and this Tascam unit, will give you a practically complete, professional-level recording setup.

For those who work with moderately powerful cards but with only two inputs and outputs, I'll leave you with a thought about the importance of having separate inputs and outputs on the device, which lets you capture more sources in a single take (separately, even a full drum kit on individual tracks), as well as the later mixing possibilities, taking advantage of both the analog and digital outputs.