Tascam M-200 Series Owners Manual

7/28/2019 Tascam M-200 Series Owners Manual

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The guarantee provided for the 200 SeriesMixers has severa1 restrictions. The Series 200Mixers will perform properly only if theyare adjusted properly and we guarantee thatsuch adjustment is possible. Setup i s not covered

by the Warranty. I f your attempts a t interna1adjustment are unsuccessful, we will charge youfor readjustments.

Mixing for sound reinforcement, recording orother audio endeavours is an art as well as ascience. As a result, your finished product rnayby judged more by ar tisticcriteria than technicalperformance. Art i s the province of the artistand TASCAM can make no guarantee that the200 Series Mixers, by themselves, will assure thequality of the work you produce.

Your skill as a technician and your abilitiesas an artist wi ll be significant factors in theresults that you achieve.

Understanding what i s going on inside yourequipment will help improve your sound. Thinkof this manual as a reference book. You won'tneed to mernorize it to get started, but try tofind the time to read it thoroughly at least once.That way, you will be familiar with i t s contents,and i f you need answers, you 'll know where tofind them.

" @ Copyright 1985, TEAC Corporation"All rights reserved under international and PanAmerican copyright conventions.This book may not be reproduced in whole orin part, by mimeograph or any othe means,without permission.

T0 PREVENT FIRE OR SHOCKHAZARD, DO NOT EXPOSE THISAPPLIANCET0 RAIN OR

TABLE OF CONTENTS

Introduction.. . . . . . . . . . . . . . . . . . . . . . . . 3A Systern of Sub-systems . . . . . . . . . . . . . . 3

Hook Up the Series 200 Mixer . . . . . . . . . . . 7Sound Reinforcernent . . . . . . . . . . . . . . . . 7Recording.. . . . . . . . . . . . . . . . . . . . . . . . . 10

Recording the basic tracks . . . . . . . . . . . . 10Overdubbing . . . . . . . . . . . . . . . . . . . . . . 10Ping-ponging . . . . . . . . . . . . . . . . . . . . . . . 12Remixing . . . . . . . . . . . . . . . . . . . . . . . . 12

Video Post Production and AudioSweetening . . . . . . . . . . . . . . . . . . . . . . . 13

Work Methods: Getting a SatisfactoryRecording. . . . . . . . . . . . . . . . . . . . . . . . . . 14Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Apparent and Absolute Values . . . . . . . . . . 18Using the Series 200's Equalizer . . . . . . . . . 18A Word of Mixing Adv ice .. . . . . . . . . . . . . 20Calibrating the Series 200 Mixer . . . . . . . . . 21

Features and Controls . . . . . . . . . . . . . . . . . 22Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . 28Voltage Conversion . . . . . . . . . . . . . . . . . . . 31Note f or U. K. Custorners . . . . . . . . . . . . . . . 3 1Specif cations . . . . . . . . . . . . . . . . . . . . . . . . 32Pictograrn . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Block Diagrarn . . . . . . . . . . . . . . . . . . . . . . 37Level Diagrarn . . . . . . . . . . . . . . . . . . . . . . . 40Dirnensions . . . . . . . . . . . . . . . . . . . . . . . . . . 41

ER (OR BA CK). NO USER-SERVICE-

amation point within an equilatera1 triangle is intendedt ouser of the presence of imp ortan t operating and main-tvicing) instructions in the literature accornpanyingthe

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Introduction

The TASCAM 200 Series Mixers were de-signed to provide the maximum flexibility andperformance. They are equipped with a com-bination of features that allow them to be usedsuccessfully in a broad range of applicationsincluding: Sound Reinforcement, Studio Re-cording, Broadcast Production, and VideoAssembly.

The more flexible a mixer is , the greater valueit has. Flexib il ity on the scale of the Series200 Mixers can make a mixer seem complicatedbecause of the tremendous number of featuresand controls. All mixers share some fundamentalprinciples that are not difficult to understand.This understanding, particularly when combinedwit h some experience, wi ll insure that yourSeries 200 Mixer will be a powerful creative tool

that i s also easy to use.

i. nProduction Audio Systern

A SYSTEM O F SUB-SYSTEMS

Your mixer i s a system, a group of individua1elements working together as a unified whole.All audio systems have three things in common:

Input, Process, and Output. In audio productionsystems, the Input consists of electrical signalsfrom microphones, instruments, VCRs, turn-tables, tape recorders, etc. These signals areProcessed electronically to balance their levelsand tonal qualities. The resulting signals are thenconverted into sound, Output by amplifiers,speakers, and headphones.

A mixer functions as a traffic contro1 centerfor audio signals on the move. I t takes multipleinputs, processes them for level and tone, andsends, or routes, them t o multiple outputs. Sothe mixer controls "where" signals go to andcome from, and "how much" signal goes there.

Your Mixer i s the Control Center.

Finished

Stage Monitor-7Product

I nstrurnents v (Reverb, Delay,Echo, Cornp., etc.)


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Large systems may be broken down in to them through the inp ut channels t o one or moresub-systems - each of which i s a system in its program groups. The group faders then contro1own right. Your Series 200 Mixer is actually how much signal goes t o the rear panel ou tp utmade up of severa1 of these sub-systems, known connectors. This gives you the ability to com-as sub-mixers, each of which posesses the system bine severa1 mic or line inputs int o one group so

requirements of Input, Process, and Output. that the overal level i s controlled by one fader.The signal present i n each group also feeds theThe largest of these i s the MAIIV IVIIX. I t re- Stereo, or House Mix.

ceives signals from multiple inputs and routes

R

MASTER FA D E R S EXTERNALPO W ER AMP

\@P m uT

The Stereo Mix gets i t s signals from the fourgroups, routing them through the group PANcontrols to the Left and Right outputs. Theseare used to create a House Mix for sound rein-forcement, or as a Control Room Monito r whenrecordi ng.

The Foldback (FLB) Mix takes i t s signalsfrom the input channels or a recorder's playback.

These signals are routed through their own level

controls. Foldback Mixes are used so that thetalent on stage can hear their music through aseparate set of amps and speakers (stage mon i-tors) during live performances, or so that thetalent can hear previously recorded and newmaterial while overdubbing. For the purposesof sound reinforcement, this mix i s called aMonitor Mix, and in recording it is sometimescalled a Cue Mix.

M A S T E RFL B OUTPUT

E O U A L I Z E R FA D E R

The Effect (E F F) Sub-mixer's signals comefrom the Main Mix system. Let's assume youhave a digital delay, reverb, or another signalprocessor that you want t o use on some of thematerial you're performing or recording. If youonly want the effect on one channel, you couldplug your instrument int o the effect and plugthe output of the effect into the mixer, or use

the INSERTion jack in each channel. Butsuppose you want t o use your reverb on yo urvoice and your instrument, which you're run-ning through different channels of the mixer,but using a t the same time. Your Series 200Effect Mixer i s able t o send the combined signalto the effect output on the back of the unit.


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This output is then plugged in to your reverbun it and the reverb's outputs are connected toeither or both of the effect return (EFF R'rIV)inputs on the back panel. So we see that theEffect Sub-mix system lets you decide "How EFF OUTPUTMuch? " reverb will be used on which channel("where? ).

INPUT E OUA L IZ E R FADE R ASSIGN " \ F A I

E F FRTN

MASTER

L

STEREO. OUT

R

FADER

The Solo System gets i t s signals from the selected sources through the headphones. InMain Mix channels. The Pre Fader Listen (PFL) recording applications, Solo i s used to adjustswitch in the channel sends that channel's TRIM, level and tone in an individua1 channel orsignal to the Solo Master Control. The PFL group of channels. In sound reinforcement, Solo

switch automatically bypasses the Monitor is very useful for setting levels and tone,as

wellSelect switches and sends the Solo Mix t o the as for finding feedback and cable problems.headphone jack. This lets the user listen to

\I I N P U T I E O U A L I Z E R I FADE R I ASSIGN (

TO Monitor

Signals SOLOfrom \

WTEREO

MonitorSelectw i t h

MON Switches


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Your Series 200 Mixers combines al1 thesemixer systems into a complete audio produ ctionsystem.


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Hook Up the Series 200 Mixer

There are a few things you will need in order microphone cables short, particularly if you'reto hook up your new mixer. You may want to using high impedance units.read through the following paragraphs so thatyou get what you need before you start. Al l Instruments: You may want t o run directconnections should be made wi th the power of f. boxes on some instruments. Be sure you have

them before you start. Some instruments putAC Power: You'll need some outlets, obvious- out very ho t .signal levels and should be moni-

ly. Try NOT t o use outlets that are on the same tored closely. Synthesizers, drum machines, andcircuit as air conditioners and old refrigerators. al1 percussion instruments fall into this catagory.These things may introduce noise to your Even though drums may be miked, they createsystem. Keep al1 the elements of your system transient levels that need watching.Plugged into the same circuit, but not the sameplug. Have some three prong t o two prong, Headphones: They should be Stereo head-ground liftladapters on hand. You may need phones. Never use monophonic headphones wit hthem fo r some of your other equipment. AC your 200 Mixer.outlet testers are handy t o have around and canbe inexpensively purchased a t electronics stores.

SOUND REINFORCEMENTCables: You will need a vareity of cables in-

cluding: RCA-type, quarter inch phone-type, The IVl-208 and M-216 Mixers are ideal fo r useXLR-type, speaker wire, and TASCAM Insert in sound reinforcement, P.A. applications.Cables (mode1 PW-2YlPW-4Y). You will also Today's performers need a mixer that willneed some RCA-to-phone adapters. These allow them t o reproduce in live performance thecables are used fo r the following: sounds of contemporary recordings. Such a

RCA: Use TASCAM cables, or equivalent mixer must provide: the abi lit y t o accept in -shielded, low capacitance, high RF resistant puts fr om microphones, instruments, tapecables to connect PGM Outputs, effect devices, recorders, sub-mixers, other line leve1 sources,and tape recorders (you will need some RCA/ and effects devices; a stereo house mix; a stagephone adapters fo r recorder hook ups.) monitor mix; effect patch points for individua1

Quarter-lnch Phone Cables: These should be instruments and the overall mix; and the con-

shelded and are used to hook up musical in- venience of fader grouping fo r quick and easystruments, unbalanced PGM Outputs, Effect Out sound adjustments during the performance byand Returns, and Line Level Inputs. a sound man or f ro m the stage. IVlany groups or

XL R: These three pin connector cables individuals wi ll also need the same unit t oshould be shielded and are used t o connect double as a multi-track recording mixer. TheLow Impedance microphones, Input trans- Series 200 mixers were designed t o meet theseformers, PGM Outputs, and Stereo Outputs. needs.These connector cables are also used wit h some In our application example, we used theeffects devices, direct boxes, and electronic M-208 wit h eight input channels. Instrumenta-musical instruments. tion for our example will be a multi-keyboard

Speaker wire: This wire need no t be shielded setup using i t s own sub-mixer, an acousticand i t s connectors will vary with the amplifier guitar, wi th piezo-pickup, acoustic drums wi th

and speakers used. three microphones, and three vocal microphones.The group also has electric bass and electricCables should always be as short as i s possible guitar, but these are not run through the mixer

t o do the job. It's also a good idea to keep in our example. Electric guitar and bass generatecables that do similar jobs together, audio input enough stage volume that they can be left outcables, output, effect send, etc. Use plastic cable of the house and monitor mixes.ties t o bundle them together. It's neat and i t ' squiet. The vocal microphones are low impedance

units that use the balanced XLR connectorsMicrophones: Use high qual ity microphones in channels 1 - 3. The vocal microphone chan-

wi th your TASCAM mixer. The fine electronics nels wil l be grouped on PGM Fader number 1.in your Series 200 IVlixer will only sound as This grouping of the vocal mics will allowgood as the input source will let them. Keep you t o make changes of level fo r al1 three mics

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using a single fader and a single PAN control.The acoustic guitar with the piezo pickup

uses the MIC INput of channel 4. The electricguitar could be "close miked" a t the amp andshare the same channel as the acoustic guitar, ifthe acoustic i s run through a direct boxlpre-amp and the TAPE INput. You can then changethe channel feed from acoustic to electric byusing the TAPE button in the input channel.The guitar(s) will be assigned to PGM Fader andPAN number 2. The PGM Fader can then beused to adjust for level differences betweenthe acoustic guitar and electric guitar sources.

Microphones are used t o pickup the acousticdrums. One mic will pickup the kick drum.Another wi ll be mounted overhead to pickupthe cymbals and toms. The third will be standmounted and positioned to pick up the snare andhi-hats. The drum mics are connected to chan-nels 6, 7 and 8 and are grouped on PGM Fader4.

The keyboard sub-mixer's outputs wi ll beplugged into the SUB BUSS IlVputs. This as -sumes the keyboard sub-mixer i s stereo. Themonitor, or mono output of the sub-mixerwill then be connected to the LINE INput ofchannel 5. The TASCAM M-1 B, or MX-80makes a great keyboard mixer. The channel 5connection is necessary so that the keyboardscan be heard in the stage monitor rnix that will

originate a t the FLB OUTput of your M-208.If the keyboard mixer i s mono, then i t s outputcan be connected directly to channel 5 LINE IN-put, disregarding the SUB BUSS INputs. Thekeyboards will be grouped on PGIVI Fadernumber 3. You can use PGM Fader 3 t o addmono keyboard mix support to the stereo housemix should you need it. The electric bass coulduse a direct box and ,an extra channel of thekeyboard sub-mixer, if it i s needed in the housemix.

The House Mix will come from the StereoIVIaster Outputs via the main power amp and thespeakers. The talent on stage will hear them-selves by means of the F LB OUTput, power amp,and stage monitor speakers.

Effects devices such as reverb, digital delays,compressor/limiters, chorus effects, etc. can beconnected to the mix a t the INSERTion jacks inthe individual channels or the EFFects sub-mixer system. Reverb and delays are often usedfor the house mix so they are best connected tothe EFFect OUTput wit h the reverb andlordelay output(s) connected to the EFF RTN

inputs. Effects that are intended t o be used onindividual instruments should utilize the IN-SERTion jacks.

This system's set up procedures are as follows:

1. Put al l speakers, instruments, effects de-vices, and amplifiers in their proper positions.2. Make al1 cable and wire connections. The

power for al1 units in the system, including theM-208 should be off, and the fader controls onthe M-208 should be a t zero, off.

3. Begin turning the power on fo r the system.The M-208 goes on firs t followed by the sub-mixer, effects devices, and finally the poweramps.

4. Set the M-208 EQcontrols to the 12 o'clockposition. You will feel a center detent on thecontrol a t this position.

5. Make cure the TAPE switches are up, inthe off position.

6. Leave the FLB controls in their zero posi-tion, fu lly counterclockwise.

7. Assign the signal in the input channels, toPGM (Group) Faders by pressing the 1-2, 3-4buttons i n each of the eight input channels t othe down position. Assign the vocals, channels1, 2, and 3, to group 1 and rotate the PANcontrols in these channels fully left, counter-clockwise. Assign the acoustic guitar, channel 2,to group 2 rotating PAN fully right, clockwise.

Assign channel 5, the keyboard mono mix, togroup 3 rotating PAN fully left. Assign thedrums to group 4 rotating PAIV full y right.

8. Set the PAN controls for PGM to the12 o'clock position. Al l PF L switches should bein the up position, of f.

9. Raise the L and R Stereo Master controlst o the shaded area between the 7 and 8 mark-ings.

10. Begin setting the individual channelvolumes using the channel faders labeled 1 - 8.The level i s set while the talent plays the in-strument or uses the microphone that i s pluggedinto the channel. I f the signal i s too high,the OL indicator will be lighted. I f the OL i son constantly, press the PAD switch. Thisshould allow you to raise the channel fader tothe proper position, but if the OL indicatorcontinues to flash, or the channel fader cannotbe raised high enough, then adjust the TRIMcontrol counterclockwise until proper adjust-ment of the channel fader i s possible.

The input level will be right when the metersread a t or near O and the channel faders andLIR faders are in the shaded area between 7


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and 8. I f the faders cannot be placed in thei rproper positions, then the input signals are toohigh, or too low.

Remember that musicians and singers tendto perform "harder" when they are in front ofan audience than in sound checks. So yourlevels may have to be readjusted slightly oncethe performance begins.

11. Stage monitor levels are set i n the sameway as the house mix, except that the FLBchannel and MASTER controls are used in-stead of channel and LIR faders. Set the FLBMONITOR switch to the on, down positionso that your meters and phones wi ll be followingthe Foldback mix.

I f howling or feedback occurs, reduce FLBlevels and reposition your monitor speakersor microphones. You may have to experiment a

few times to determine the proper positions forspeakers and mics. Keep in mind that monitorlevels need not be as high as program levels.

Certain elements of the mix may be eliminatedentirely from the monitor. The drummer willneed to hear his bass drum in the monitor, butthe snare and cymbals can often be left out o fthe monitors. Electric guitars and basses havevery high stage levels and need not be presentin the monitors, should you be close-mikingthem f or the main mix. I n our sample mix,the vocals and acoustic guitar wil l need t o bevery strong in the monitor mix.

12. Effects levels are set using the EFFectcontrols in each channel and the EFFECT RTN1 and 2 controls. You may also position theeffect signals using the. Eff ect PAN controls.Many effects have gainllevel controls, so ifproper levels can'not be achieved using theM-208 controls, adjust the levels on the effectdevice. Devices using the channel INSERTion

jack should also be adjusted wit h their ownlevel controls.

11 1 Drum Mashine


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RECORDINGOur recording application example wi ll use a

TASCAM model 234 Syncaset, a four track re-corder, and your M-208. Although eight trackrecording using an M-208 and TASCAM models

38, 48 or 58i s

possible, the M-216i s

bettersuited to eight track work. Many of the tech-niques used in the preceding Sound Reinforce-ment example may also be used in the recordingapplication. So we wo n't repeat the basics oflevel setting.

We wil l have to connect the 234 Syncasetso that it both receives signals for recording andsends signals back to the M-208 fo r overdubbing,ping-ponging, remix, and playback. All con-nections should be made with the power off inal1 the units involved. Connect the LINE OUT-puts 1 - 4 of the Syncaset to the TAPE IN-puts 1 - 4 of the M-208. Connect PGM OUT-puts of the IVI-208 t o the LIN E I Nputs of the234. For the sake of clarity and reference, con-nect number 1 connectors on the mixer t onumber 1 connectors on the Syncaset, and so onthrough number 4.

Once these connections have been made, youwil l want to calibrate your system. Turn t o theWork Methods section of this manual, page 21fo r the exact procedures.

Recording the Basic Tracks

One of the primary differences between thesound reinforcement application and the re-cording application i s a conceptual as well aspractical one. In sound reinforcement, the ac-tion takes place simultaneously ; what you hearis what you get. The recording process takes themusic beyond the limitations of time. In thesense that a completed project sounds like al1the tracks were cut a t the same time, as in soundreinforcement. The multi-track recording pro-cesses of tracking, overdubbing, bouncing, andremix are used to make music tha t was recordedon Monday and Wednesday sound like it wasrecorded a t the same time and place. One ofthe many advantages of multi-track recording i sthat one musician can sound like many byplaying the various instruments and performingthe vocals one-at-a-time un til the project i scomplete.

The first track to be recorded i s the rhythmor click track. Since our group has a drummer,the drum tracks wo uld be recorded first . Thedrummer may not wish to play without accom-paniment. I f not, the keyboardist and basscan play the track wi th the drummer while the

recorder i s set to record only the drummer'sperformance. A click, or metronome track canbe recorded first , if the drum tracks are to berecorded after other parts are layed down. Theclick track helps the musicians, who will record

later, to play in the proper tempo so that themusic will f i t together properly.A cue mix andlor control room monitor mix

must be available for the musician or musiciansrecording subsequent tracks to hear and playwi th previously recorded tracks. This mix can beset up by using the FLB system and speakersas we d id in the sound reinforcement applica-tion, or a headphone amp and headphones.Addit ion al cue mixes are possible using theCUE OUTputs o f the Syncaset and a TASCAMMH-40 6 Headphone Amplifier.

The Buss Assignment switches (1-2 and 3-4)and PAN controls of your mixer will determinethe track destination of your music on theSyncaset. If you connected them the way wesuggested, the Buss Assignment, PAN, andtrack numbers should be consistent. Track 1of the Syncaset wil l come from Buss Assign-ment switch 1, Program Fader l, tc.

OverdubbingFor the sake of this example, let's assume that

you have recorded your first track, click ordrums, onto track 3 of the 234 Syncaset. The

process of recording your subsequent tracksi s called "Overdubbing."

l . n order to hear your clickldrum trackwhile recording your next track, you will needt o press the TAPE switch located juct belowthe FLB control in channel 3 of your mixer.This brings the playback from the recorder backin to the FLBICue system.

2. Use the Buss Assignment switches and PAIVcontrols to determine the track destination ofyour new material.

I

3. Press the Record Function Select switch onthe recorder for the new track, let's say track 1.Press PLAY and RECord and the recorder wil lplayback your click track (3 ) while recordingyour new track (1 . Consult the owner's manualof your recorder for the specifics of its opera-tion.

4. Record track 2 in the same manner. Youcan continue t o fi ll up al1 the tracks of yourrecorder (fourISyncaset, eightlmodel 38) i n thisway, bu t another recording technique wi llgreatly expand your track capability. So recordtrack 2 and proceed t o "ping-ponging."


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Stereo


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Ping-pongingAssuming that you have recorded music on

tracks 1 and 2, and that you have your clickon track three, we will now merge the materialon tracks 1 and 2 together onto track 4. We wil l

leave the click track where it i s since we don'twant it in the final mix. This merging of two ormore tracks onto one i s called Ping-ponging,Collapsing, or Bouncing, and i t s purpose i s tofree the ol d tracks, in this case 1 and 2, so thatnew material may be recorded there.

1. Press the TAPE switches in channels 1and 2. You may not want to listen to the clicktrack again, so turn of f (up) the TAPE switch inchannel 3. Press the 3 -4 Buss Assignmentswitches in channels 1 and 2 of your mixer .

2. Rotate the PAN controls in channels 1

and 2al1

the way t o the right, clockwise.3. Make sure that channel 3, the click track,has no buss assigned. So that it will not be re-corded in the m i ~ .

4. Press the Record Function switch fortrack 4 of the recorder. Press PLAY and R ECord.Your multi-track recorder wil l now record bothtracks 1 and 2 onto track 4. When this processi s finished, you may record new material ontracks 1 and 2.

You may also add new parts during the ping-pong process. Connect the new sources to themixer, make the proper Buss Assignments, andperform the new parts as the tracks are beingbounced.

Repeat the process as often as desired butremember, that once material has been mergedtogether through ping-ponging, and new materialhas been recorded on the old tracks, you willnot be able to separete the original tracks toperform a new mix.

When you have completed your tracking,overdubbing, and ping-ponging, you wil l want t ocreate a stereo master tape through the processof Remixing.

RernixingYou have filled the tracks of your multi-

track recorder, and now you want to remix thefour or eight tracks down to two tracks (stereo).You will need another recorder such as theTASCAM 122 or equivalent recorders. This newrecorder i s your "mastering" deck. Before youstart, be sure to calibrate the mastering deck.

You wi ll use the Stereo Master L and R OUT-puts of your mixer t o feed signal to the master-ing deck.

1. Press the TAPE switches for channels 1 -to the tape (down) position.

2. Press the Buss Assignment switch 3-4 inal1 four channels of the mixer that are receiv-ing multi-track tape signal. Adjust PGM PAN

controls for 3 and 4 fu ll left and right respective-IY .

3. Adjust the PAN and levels in the channelsas desired. You may want to rehearse thisa few times. The pan of a signal is i t s relativeplacement (left or right) in the stereo panorama.There i s no "right way" to do this, whateversounds right to you i s the only criteria.

4. Playback the multi-track tape and adjustthe L and R Faders on the mixer. Check the re-cord levels on the mastering deck. The mixedsignal reaching it should register close to O oni t s

meters.5. When the levels have been adjusted pro-perly so that the meters show the levels near 0,press Record, Play, and Pause on the masteringdeck. Then press PLAY on the Syncaset. Releasethe Pause on the mastering deck. Repeat theprocess if necessary un ti l you get the mix youwant.

Effects can be added during any of theserecording procedures. See t he Sound Reinforce-ment segment for effects level setting.


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VIDEO POST PRODUCTION AND A UDIO

SWEETENING

The TASCAM Series 200 Mixers have al1 thenecessary features to fulfill the audio contro1needs of the independent production house or

editinglsweetening facility. Virtuallyal1

popularbrands and models of 314 inch and 112 inchVCRs will interface directly with the Series 200Mixers.

Mono or stereo audio signals from four(M-2 08 stereo) t o sixteen (M- 216 mono) can bemixed simultaneously. These signals could becombined with various other audio sources suchas voice-over (VO) mics, turntables, cart ma-chines, etc., and assigned to the program out-puts feeding the edit master record VCR. Sincethe M-208 has fo ur program busses, a mix-minus of the various ambient and wild tracksources can be created simultaneously, withoutadding the narra tion and V 0 material. This canthen be dubbed later in a different language in

a typical audio-follow-video session. The Fold-back send on the Series 200 can be used forcueing the V 0 announcer, while the effectssend and return system can be used as a side-chain for special effects.

In the example shown, two stereo sourceVCRs are shown in a typical A-B roll editingsituation while a V 0 mic i s running through in-put 6. A cart or cassette machine could beconnected to input 5 if needed for hot rollingeffects onto the mix. Monitoring of the mix i sdone through the L and R Stereo Master Out-puts, while cues are sent via the Foldbacksystem t o the V 0 booth. The master recordmachine i s being fed signal from ProgramOutputs 1 and 2, while an international dub(mix-minus-narration and VO) i s being recordedfrom Program Outputs 3 and 4. Additional dubscould be cut simultaneously from the paralleloutput jacks of the Program Outputs.

Edit Bay Effects SideMonitor

Voice-Over Mic

Source VC R- A

V C R - 2(Mix-Minus M aster) (Sound Effect)

Source VCR -B


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Work Methods: Getting a Satisfactory Recording

As we mentioned on the fi rst page of thismanual, recording is an art as well as a science.Art has a special and intangible quali ty that setsit apart. In order to create art, the artist musthave the proper tools, command of the tech-

niques of those tools, anda

healthy dose ofinspiration. Your Series 200 Mixer i s the tool.The command of the techniques wi ll involvesome practice and some thought on your part.Inspiration is a matter fo r you and your muse.

The following paragraphs are here to provideyou with information, suggestions, and someperspectives regarding the mixing processes andyour M-208 or M-216. There are three funda-menta1 notions upon which these suggestionsare based; Planning, Apparent and AbsoluteValues, and Common Sense. We'll talk in detailabout Planning and Apparent and AbsoluteValues, we hope that you bring Common Senseto al1 your endeavours.

PLANNING

Planning is an obvious necessity when con-sidering how many sources you need to mix,how many monitor mixes are required, when

ping-pong and remix wil l happen, and whichtracks w il l be ping-ponged, etc. Track sheets arehandy sketch pads that will aid you in planning.Although track sheets are designed with record-ing in mind, they are very useful in soundreinforcement. Successful setups can be notatedon track sheets for later reference.

Plan your work environment. If you are re-cording, you will need a room that i s quietand has sufficient electrical power. If there areappliances or air conditioners plugged into thesame circuits as your mixer, they will probablycause hum, clicks, or other noises when theirmotors come on. More valuable tips regardingthe recording environment can be found inTASCAM's "Mult itrack Primer." I f you'remixing for live performance in a night club,make sure the mixer isn't using the same circuitline as the espresso machine and the blender.Your mixer and al1 the stage equipment shouldbe using the same circuit line.

RECORDINGCLIENT

ARTISTO TIME CODE

PRODUCERU MASTER O COPY

ENGINEER 2nd ENGINEER

T I T L E

DATE REEL OF


15/42

The condition of the AC circuit that you in-tend to use with your mixer i s very important.IVoise and safety problems can be both annoyingand dangerous. There are a couple of inex-pensive tools that you should have with you

whenever and wherever you set up you r mixer:an AC Outlet Tester, AC AdapterIGroud Lift,and an AC Neon Lamp tester (be tte r yet, aVoltIOhm Meter).

Outlet Tester

Neon Lamp Tester

VoltIOhm Meter

AC Adapter

The AC Outlet Tester i s very easy to use, justplug it into the outlet and its.LEDs will signalwhether or not the circuit is properly wired.I f it i s not, do n ot under any circumstances usethat outlet. Faulty wiring in an AC circuit i spotential ly hazardous.

AC AdapterIGround Li ft s are used in tw oways. They are useful if you are using olderequipment that uses two prong plugs that arenot properly grounded. Your Series 200 uses atwo prong plug, but it will present no goundingproblems by itself. The wire on the two tothree prong adapter must be connected to the

grounding screw on the outlet. These adaptersare also useful as ground lifts. A ground lift i sused in the event that a "ground loop" i s createdwithin the wiring of al1 the elements of yoursystem. A ground loo p wi ll create a hum or buzzthat will not go away no matter what remedyis used. Ground lifts should only be used as alas t resort, since failure to have equipmentproperly grounded can create safety problems.

A Neon Lamp Tester, or Volt IOh m Meter canbe used to check the grounding of individualinstruments and amplifiers. Guitar and bassamps are particularly vulnerable to groundingand shock problems when the guitarist orbassist is also using a microphone. Check thegrounding by putting one of the tester ormeter's probes on the metal chassis of theamplifier, or the strings of the guitar or bassand touching the other probe to the micro-phone. I f the lamp or meter registers the pos-sibility of a shock, reverse the ground o f the in -strument's amplifier by using the amplifierspolarity switch or reversing i t s AC plug. I f theamp has a three prong plug and doesn't providea polarity switch, which i s rare, use one of yourAC AdapterIGround Li ft s t o reverse the plug.

"Snakes" are very helpful when your mixer i sused in a sound reinforcement application. A

snake usesa

connection box on one end ofa

properly shielded cable wit h individual cables andconnectors on the other end. Snakes are veryconvenient, but the shielding in the cablecan be damaged if the cable i s bent, or kinked.Keep snakes ou t o f the way so th at people andequipment aren't banging them about.

All your wiring should be neat. A snake i sobviously neat and convenient, bu t providesan additional advantage. When cables that carrya similar signal (input, output, effects, etc.)are grounded together, there i s less danger o fcreating a noise source called a ground loop. Wementioned an AC ground loop above, and asimilar situation can be created with your audiocables. I t fol lows tha t cables that carry d ifferentkinds of signals should be kept away from oneanother. A neat arrangement of cables also keepsthem from being damaged by keeping them outof the way of the performers and audience.Damaged cables are the most frequent problemyou will encounter during sound reinforcement.So keep the cable layout neat, and alwayshave spare cables on hand.


16/42

I f you intend t o use effects devices wit h you rmixer and amplifiers, then a rack-mount cabineti s a wise investment. The "rack" should havemetal rails, these help ground al1 the chassis' ofthe amps and effects together, decreasing noise

problems.

Understanding the inner workings and signalflow of your Series 200 Mixer will help youto maximize the features and functions of themixer, f in d problems quick ly, and, perhaps,come up with new applications. To help you inthis understanding, we have provided yo u wi th

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three types of illustrations: the first i s a linedrawing of the unit; the second i s called a picto-gram, which is a representation of the controlsand features placed in the proper sequence ofsignal flow; the th ird i s a block diagram, which i s

the sameas

the pictogram usinga

different setof symbols fo r the individua1 features and con-trols. Learning t o read a block diagram can be atremendous help in your future dealings withaudio equipment. An experienced studio en-gineer can usually operate even the most so-phisticated equipment with only a block dia-gram as a guide.

OL Indicater

O @ INSERTion @

Channel Fader

Buss AssignPG M 1 Fader

I 1 I 1 EFFect Send Level

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17/42

The following i s an example of the applica- 2 can then be connected to the stereo effectstions that can be discovered through a block device. The devices stereo output is connecteddiagram. Using an M-216 Mixer, we wil l create to input channels 15 and 16. Channels 15 anda stereo effect send using the program busses 1 16 are assigned t o the 3 and 4 busses, and theyand 2. A ll your input channels can be routed t o are used for your stereo master mix.

the 1 and 2 buss. The PGM Outputs fo r 1 and


18/42

APPARENT AND ABSOLUTE VALUES

The ear and the Series 200 Mixer perceive thesame program materia1 in very different ways.The ear deals in apparent, subjective values,while your mixer deals in absolute, objectivevalues. This difference leads to the fundamentalrule: trust your mixer, the meters and OL in-dicators, when the destination of your mix (the"where to") i s another machine (recorder,amplifier, signal processor, etc.); and trust yourears when the destination i s the realm of the ears(the air, reached via speakers or headphones).Remember too, until your ears reach the level ofperception attained by experienced audioengineers, trust your mixer whenever in doubt.

The METERS show both the average pro-

gram level with the needle of the meter and thepeak program level and transients by means ofpeak LEDs buil t into the meters and overloadLEDs in the channels. Percussive instrumentsand synthesizers can be difficult to mix pro-perly. Believe your meters! Keep your levelsunder control when you mix these instruments.Their apparent loudness i s not usually greaterthan other instruments, but their absolute signalvalue i s much higher than the average programlevel. I f these levels reach your tape or ampli -fiers without being trimmed, they will cause

your sound quality t o go down.

USING THE SERIES 200's EQUALIZER

EQ can be used to change the tonali ty lt imbreof a signal in an individua1 channel of yourmixer. The 10 kHz control affects the relative"brilliance or brightness' of the signal, while the100 Hz control affects the "boominess orbassiness" of the sound. Between these ex-temes i s the midrange 250 Hz - 5 kHz control.This control affects the relative "presence" ofthe sound within the range of the voice, guitarand other midrange sources.

There are a t least tw o sides to every story andthe EQ story is no different. The ability tofavorably change one signal may result in anunfavorable alteration in another. When usingEQ, care must be taken not t o " overdo it . "

With the exception of boostinga

signal t o thepoint that it registers on the OL LED, EQ i sa process for the apparent, subjective values ofthe ears. Your conception of what i s good, willprobably differ from ours. Make EQ adjust-ments to please yourself.

Your mixer's EQ controls perform in aninteractive way. What i s meant by that is , thetone or timbre of the sound in a channel can bealtered to bring about a similar change by usingany of the three EQ controls. How so? Supposeyou want to change the "balance" of the timbreby accentuating the bass. Before your reach forthe 100 Hz control and start adding bass, con-sider reaching for the 10 kHz and mid-rangecontrols to "rol l of f" the highs and mids a bit.These three controls epitomize the team workapproach to problem solving. Always consideral1 three alternatives whenever an EQ adjust-ment i s necessary.

EQ controls tend to be over used rather thanunder utilized. If the sound i s acceptable as itcomes into the mixer, then don't EQ it . And

don't over adjust any control. Be careful, onlymake the adjustments that are absolutely neces-sary. Less i s definitely more when consideringEQ.

The EQ system in your Series 200 Mixer i sa combination of a shelving-type, the 10 kHzand 100 Hz controls, and a sweep-type mid-range equalizer. All three controls provide bothcut and boost capability within their frequencyranges. The treble, 10 kHz, and bass, 100 Hz,have frequency ranges that are fixed. Yourmidrange, 250 Hz to 5 kHz, control i s variableand will provide i t s cut or boost to a selectedfrequency within i t s outside limits. How do youtell the frequency range that needs attention?

Most of us can tell that Michael Jackson'svoice is higher than Bruce Springsteen's. I fyou're not familiar wi th these singers, considerthe roar of the lion and squeek of the mouse.These examples are extreme and, therefore,distinctions are easily made. Consulting thefrequency range chart provided here, you cansee that Michael and the mouse wil l be much


19/42

more affected b y an adjustment i n the 10 k H z placed in the 400 H z range. A bass drum will becontro1 than Bruce or the lio n would be. Bruce more affected by the 100 H z contro1 than aand the lio n wil l get more help fro m a contro1 cymbal would be, and so on.

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FREQUENCY (H z )


20/42

Once you have deterrnined that 1) the signaldoes require EQ and 2) the proper frequencyrange has been identified, the final steps in-volve turning the proper controls. Soundssirnple, doesn't it? If the frequency to be

adjusted falls within the range of the rnixer'srnidrange contro l, 250 Hz to 5 kHz, there aretwo controls to work. To determine exactlywhere the rnidrange control should be set, turnthe Gain, the lower of the two knobs rnarkedMID, t o an exagerated position, almost al1 theway up. Then, slowly sweep the frequencyrange by turning the frequency control from i t sminirnum to maximum settings in a clockwisemotion. As the control i s turned, you will hearthe change in the signal's conten t. When thedesired frequency i s isolated, reset the Gaincon tro l t o the necessary amount o f boost or cut.Avoid rnaking these changes during a per-formance or recording. The sweeping action cancreate undesireable timbra l effects.

When EQing a track, rernember that the con-trol you use will affect al1 the rnusic passingthrough the control's circuit. You may fi nd thatthe necessary boost on one instrument alsoboosts another instrurnent on the channel inan unfavorable way. Experience wi ll help youlearn the limits of the EQ process.

A W O R D O F MIXING A D V I C E

All finished tapes or live perforrnances rnustbe balanced fo r level. Do al1 the instrurnentsand voices blend together in a way that i s

appealing? Is the lio n roaring so loud that thernouse i s "lost in the rnix"? Your signal levelswill affect the entire recording and rnasteringprocess, including the EQ process. So make surethat your levels are properly acljusted when re-cording or mixing for performance. This will letyou use your EQ system t o "fine tune" thernusic. You can't f ix it if you can't find it .

If your rnixer's faders end up looking likethis, then you're overloading your outputs. Pulldown the inp ut channel faders and raise the pro -gram rnaster faders.

If this i s the look your rnixer i s projecting,then you're pushing the rnaster to o hard. Yourrnix will be undistorted, but will have a lot of

noise in it.

T 0 0low

T 0 0

high

This picture is the reasonable compromise.I t wi ll give you th e best results.


21/42

C A L I B R AT I N G T H E S E R I E S 200 M I X E R

Calibrating your Series 200 Mixer is the pro-cess of matching i t s output to the rest of theequipment being used in the system. I n this

example we will assume you are using a fourtrack recorder, the 234 Syncaset. The methodused here can be used wit h virtual ly any ty pe ofequipment you are likely to encounter.

The first step i s to connect the PGM OUT-puts from the Series 200 to the inputs of therecorder. Once the equipment i s connected, youcan begin the calibration. A test tone generator.TO-122A, or test tape i s handy to have for thispurpose. If you have a constant tone test tapeskip to step number 12 in the following se-quence. Assuming you have a tone generator,or constant tone tape, set the frequency to1 kHz then proceed as outlined below:

1. Connect the tone source to the channel 6LINE INput. Any channel will do, we pickedchannel 6 a t random.

2. Set the EQ and PAN to the 12 o'clock posi-tion.

3. Press bo th Assign switches, 1-2 and 3-4.4. Raise the channel 6 fader to the shaded

area between 7 and 8.

5. Raise the PGM 1 - 4 faders to the shadedarea between 7 and 8.

6 . Set the channel 6 TRIM to 12 o'clock posi-tion.

7. Raise the channel 6 fader until meters 1 -4 read O VU. The channel fader should be in theshaded area. I f i t isn't adjust the TRIM contro1until it i s correct. Use the PAD also if necessary.

8. Raise the input level controls on the frontpanel of the Syncaset recorder until the re-corder's meters read O VU.

9. Using a fresh tape, record the O VU tone onal1 four tracks for about a minute.

10. Disconnect the tone source, and connectthe outputs of the recorder to the first fourTAPE I Nputs of the Series 200 Mixer.

11. Make sure al1 EQ controls are a t their 12o'clock settings.

12. Rewind the tape and play the tone. Setthe recorder's output level controls so that therecorder's meters read O VU.

13. Pan channel 1 full left, channel 2 fullright. Turn off the 3-4 Assign switch in channels1 and 2.

14. Pan channel 3 fu ll left, channel 1 fullright. Turn off the 1-2 Assign switch in channels3 and 4.

15. Raise the channel 3 and 4 faders until themeters read O VU. Do the same for channels 1


22/42

Features and Controls

O Power SwitchThis onloff switch i s located on the back

panel of the mixer. Make al1 connection with thepower off. The correct sequences for turningyour mixer and any power amps used wit h it on

and off i s as follows: turn mixer on beforepower amps: tu rn power amps of f before mixer.

MAIN MIX SYSTEM

Q MIC INputThese three pin XLR connectors are for use

wit h balanced signals having an impedancerange of 50 t o 600 ohms. Balanced line levelsignals may also be plugged in here.

QLINE INputThese quarter-inch phone jacks accept un-

balanced signal from a microphone or instru-ment wit h an impedance of 10 kohms or less.Guitars and basses may be connected direct lyto these inputs. Instruments used with directboxes may be connected here or t o the NIICINputs. Or effects returns can be patchedinto these jacks to be controled as if they werea regular line input. Don't use both the MICand LINE IlVputs in the same channel a t thesame time. Disconnect one when the other i sused.

O TAPE INputThese RCA jacks route signals fro m tape re-

corders, or other line level sources, to channels 1through 8. Then pressing the TAPE SelectSwitch i s al1 that is necessary t o bring the sig-nals into the mix. In sound reinforcement ap-plications these inputs can be used for line levelsources. The TAPE switches then function asan inpu t selector, tu rning the sources plugged into the TAPE INputs on and of f in the mix.

Q TAPE Select SwitchesThere are two buttons marked TAPE on each

of the 1 - 8 input channels of y o u ~ ixer. Theyare used t o bring the signal fr om the mixersTAPE INputs into the mix a t two differentpoints. The first of these, located near the TRIMcontrol, brings the tape signal into the mixerbefore the EQ controls. The signal i s processedby the mixer in the same way that a micro-phone or instrument input would be.

The second of these TAPE buttons i s locatednear the FoLdBack control. The tape signal is


23/42

brought into the mixer a t this point and is C - - -used only by the foldback mix subsystem. The -*vl] &$!: C - - --- ! a - - -- -- -LB OUTput is usually used for a talent cuemix via headphones or monitor speakers. I N S E RT

OPAD ButtonThe PAD button is used to lower an incoming

signal from the MIC or LIIVE IlVputs. PAD i sparticularly useful when microphone signals arevery hot, the 200 Mixers wi ll accept signals upto +28 dBm when the PAD is used in conjunc-tion w ith the TR IM control.

O T R I MTRIM is a variable control that increases or

decreases the amount of signal coming from theMIC and LINE INputs. I t should be used inconjunction with the PAD button when a signali s high.

O EOualizer ControlsThese controls adjust the t imbre, bassiness or

brightness, of your input signals. As rotarycontrols, they affect the various frequencyranges by reducing (counterclockwise move-ment) or increasing (clockwise movement) thepresence in their ranges. The 10 kHz control is ashelving type that gives a 12 dB cut or boost a thigh frequency signals. The mid frequencyrange is affected by two rotary controls that

make up a sweep-type EQ. One selects thefrequency t o be affected, from 250 Hz t o 5 kHz,and the other controls the amount of cut orboost, 15 dB plus or minus. The low, or bassfrequencies are affected by a shelving-typecontrol with a center frequency of 100 Hz.12 dB of cut or boost is possi ble.

O Over Load LightThis light lets you know if the signal level in

the channel i s too high when it leaves the equal-izer. If the light stays on, you must reduce thesignal with the TRIM and PAD controls. Ifthese controls don't lower the signal sufficient-ly, then you have boosted the signal too muchwi th the EQ controls. Lower the boost settingsof your EQ controls.

@ INSERT JackThese are located on the back panel of the

mixer. They allow you t o place a signal pro-cessar into the signal flow a t this point in themix. This i s done using a single jack via theTASCAIVI PW-2YlPW-4Y cables tha t access bo tha send and receive from the INSERT jack.

T - Tip, send signal

R - Ring, receive signal

S - Sleeve, groun d

Q) Inpu t Channel FadersThese linear, or slide, faders vary the amount

of signal that is passed on t o the PAN and BussAssignment switches. They also control theamount of signal that reaches the EFFectcontrol.

@ PANThis control is similar t o a "balance" control

that i s found on most home stereo receivers,radios, or amplifiers. They affect the degree t o

which a signal will be present in the left (andbusses 1 and 3) and right (even busses 2 and 4 )of the mixers busses.

@Buss (Group) Assignment SwitchesThese switches turn the signal to the PGM

busses of f and on. In the down position theyare ready to receive signal from the PAN con-trol . In the up position they are closed t o signalsfro m the PAN.


24/42

(DPGM Master (Group) Faders 1 - 4These faders vary the amount of signal that

i s sent on the Master PAN controls and PGMMASTER OUTputs after it i s received from theBuss Assignment onloff buttons.

@PGM Master METERS 1 - 4These meters give you a visual representation

of the signal level as it appears a t the PGMMASTER OUTputs and Master PAN controls.The METERS will show you two conditions:the average signal level, which i s shown by theneedle, and the peak or transient program level,which i s shown by a PEAK Light.

OPGM OUTputsThere are three outputs for each of the four

PGM busses. An XLR connector provides anunbalanced output. Two RCA parallel connectorswit h line' level signals are available for each buss.

These are usually used to feed tape recorders.

(D Master PAN ControlsThese rotary controls accept signal from the

PGM Master Faders and determine the amountof signal that will be passed along to the leftand right sides of the STEREO Buss.


25/42

OSU B Buss I NputsA stereo tape recorder, video recorder or

other source may be connected a t this point inthe mix. It is also possible to "stack" or "cas-cade" mixers by using the SUB Buss INputs t obring the stereo outputs of another mixer intoyour Series 200. The connectors, located on theback panel, are RCA type.

@Stereo Master Faders L and RThese faders vary the signal level that they

receive from the Stereo Buss ( a mixture ofsignals from PGM 1 - 4, SUB Buss INputs,and EFFect ReTurlV 1 and 2). The signal goes tothe STEREO OUTputs and R/L OUTPUTS.

@STEREO OUTputs and R/ L OUTPUTS'rhese are the outputs that you will use to

feed your main power amp and speakers, ifyou're using the 200 for sound reinforcement.The STEREO OUTputs use XLR connectors andprovide an unbalanced signal. The R/L OUTPUTSuse quarter-inch phone connectors and supplyan unbalanced signal. You will also use theseoutputs for your stereo remix during audio orvideo mastering.

8M ON O ButtonThis button is located just above the SOLO

Level control. I t is used to override your stereomix, placing the same monophonic mix a t al1stereo outputs and the stereo headphone output .A mono rnix i s used t o discern phasing problemsand for mono sound reinforcement applica-tions.

MONITOR SECTION

@METER 3-4IMONitor SwitchThis switch affects the 3/L and 4/R meters.

I t determines whether the meters display thesignal level on the numbers 3 and 4 PGM Busses,or whether the meters will read the signalsdetermined by the MONitor Select Switch in-cluding: the STEREO Master, FoLdBack, orEFFect mix .

@ MONitorThis i s a level control for the MONITOR sec-tion. The MONitor Level controls the volumelevel a t the Headphone jack on the front panel.

@ MONitor Select SwitchesSTEREO

If the METER button is in the MONito r posi-tion, pressing the STEREO but ton wil l allowthe 3/L and 4/R meter t o display the signals asthey appear a t the STEREO OUTputs. This alsoswitches the Headphone jack to the same source.FLB (Foldback)

With the METER button in the MONITORposition, the FLB button will switch the metersto display the foldback mix. The foldback rnixwil l also be available a t the Headphone ack.EFFECT

If the METER button is down, pressing theEF F ECT button wi ll cause the meters to displaythe effect rnix signals. I t wi ll also make theeffect mix available a t the Headphone jack.


26/42


27/42

EFFECT MIX @ EFF RTN Connectors 1 and 2These are located on the back panel of your

@ E F F Controls mixer. Why are there two of them and onlyThe rotary EFFect controls are present in one EF Fect OUTPUT? Many devices are capable

each of the input channels and are located of producing two or more signals fro m a single

just below the FLB and TAPE controls and just input. Oft en these signals wi ll be a dry, un-above the Buss Assignment switches. These affected signal and the effect signal. In somelevel controls take their signal fr om the input chorus devices, there i s a stereo image, completechannels a t a point just after the Input Faders wi th panning, created from a single input. Inand before the PAN controls. They determine any of the above cases, your 200 mixer giveshow much signal wi ll be sent t o the MASTER you the opportuni ty to utilize these extra effectEFFect control. Just as in the main mix and fold- outputs.back mix, these controls create the overallbalance (the mi x) of the effect mix system. @EFFECT RTN 1 and 2 LEVEL Controls

These controls are present so that the signals@MASTER EFF Control returning from your effects devices can be

The MASTER EFFect contro1 receives the adjusted so that their levels wi ll match those ofsignal fr om the EFF controls in the individua1 the other signals in your mixer. Equalizers canchannels and determines the level of signal that create signal levels that need attention.it passes to the EFFect OUTPUT on the backpanel. 4DEFFECT RTN PAN 1 and 2

The signals coming from your effects will be@E FF OUTPUT entering the mix a t the Stereo Buss. As in other

Located on the back panel of your mixer, this PAN controls, these rotary knobs contro1 thei s the source for your signal processing equip- placement in the stereo panorama of your effectment (reverb, delays, compressors, etc .). Since signals. The signals are passed on to the Stereosome devices do not have level or gain controls, Master Faders, and Stereo Master Outputs.the level of signal present a t this output de-termines how hard the devices in the effectschain wi ll be driven. The MASTER EFFect SOLO SYSTEM

control becomes your gain control for theeffects chain. @ PF L Buttons

These Pre-Fader Listen buttons are where theSolo system originates in each of the inputchannels of the mixer. These buttons may beused one-at-a-time or in any combination. Theirpurpose i s t o allow the user t o listen t o anychannel or group o f channels in order t o setlevels, adjust EQ, or find problems.

@SOLO LEDThis light i s located near the SOLO control

just above the Stereo L and R Faders. If any ofthe PFL buttons are activated, this light wi llcome on.

@SOLO ControlThis rotary control varies the level that the

Solo system wil l send to the Headphone jack onthe front panel.

Qi) Headphone JackThis quarter-inch stereo phone jack i s located

on the front panel of your Series 200 mixer.Never use mono headphones wi th this jack!

They will cause circuit damage.

- 27 -


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Accessories

RM-208 Rack Mount K it the cable i s bent or compressed. You don't getnoise or degraded results when the cable hasbeen used a while. Our cable's long-term stab ili-t y is provided by a special insulator that i s asflexible as foam core dielectrics, but far more

resistant to extreme cold or heat, andit

doesn'tlet th e center strands migrate. I t also avoids thepossibility of shearing the center conductorwhen the cable i s crushed, so that cable doesno t suddenly fail.

Rather than loosely braided shield or spira1The RM-208 i s designed especially for the wrapped shield that can open up, we use bareTASCAM 208 and allows it t o be mounted on copper braided shield wi th 97 % coverage. Thisan EIA standard 19" rack. excludes electrostatic noise (buzz) and RFI (CB

interference, etc.). We also use a 7-strand centerconductor: 4 pure copper strands for minimum

PW-2YlPW-4Y Insertion Cable resistance and 3 copper weld stainless steelstrands for strength. The multiple strands in-

The TASCAM PW-2YlPW-4Y i s a connectingcable that allows signal processing such as agraphic equalizer to be inserted a t specific pointsof the signal 'path of the Series 200 Mixers. Itstip-ring-sleeve plug connects to the INSERT jackwhile i t s "Y'ed" end accommodates connectionto the input and output terminals of the out-board equipment being used. Available in tw olengths - 2 m (PW-2Y) and 4 m (PW-4Y).

TASCAM CablesCable, because of i t s inherent capacitance andresistance, is an active component in an audiosystem. There are vast differences in cable designand performance that have significant effect onthe sound quality you'll get from your equip-ment. TASCAM Professional Audio Cables arethe best available.

crease flex ib il ity and strength while offering lessresistance a t ultra high frequencies due to in-creased surface area for the "skin effect." Thisimproves transient response.

The outer PVC insulating jacket resists abrasion,and i s tightly fitted to the shield so it will notelongate. The connectors are special, too. Theirnickel-plated brass center pins are a bit longerthan most to establish good contact in al1 RCAjacks. The cadmium-plated steel outer shell

includes a gentle ridge which burnishes themating jack when the connector is twisted toensure good contact. For maximum RF shield-ing, the braid is terminated inside the shell and2-radian soldered, not just spot soldered, fo rmaximum strength. The plugs are clad with anoval jacket o f molded plastic to further increasestrength and make the ends easier to handle.TASCAM cable is available in lengths from 6inches t o 20 feet, o r i n color-coded sets of 8for fast channel or function identification.TASCAM cable i s also available in 500 footspools.

I f TASCAM professional cables are no t availablein your area, please tr y t o fi nd the n ext bestcables. It really does make a difference in systemperformance.

Our cables feature very low capacitance (under15 picofarad slfoot) so they don't act as low-passfilters and roll off high frequencies. The capaci-tante i s also consistent; it doesn't change when


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TO-122A Test Tone Oscillator PB-64 Patch Bay

This compact, battery powered uni t can be usedto check the inputloutput levels, channel bal-ance, and electronic alignment calibration ofthe Series 200 Mixers. I t has an RCA jack o ut -put, switchable output levels of -10dBV (linelevel) or -40 dBV (mic/instrument level). Fre-

quency i s switchable to 40 Hz, 400 Hz, 1 kHz,4 kHz, 10 kHz or 15 kHz. The TO-122A i s alsouseful for calibration and troubleshooting ofentire recording systems.

PB-32 Series Patch Bays

The PB-32 patch bayi s

today's simplest andmost effective way to dea1 with the ever-

When your system begins to expand beyond thebasic, sorting o ut where things go can take muchtime away fr om the recording process. Thisaccessory will allow y ou to speed things up andget back to what you really want to do. Sixty -four RCA pins on a panel. So you can bring al1those jacks t o where you are. I t wi ll get you of fthe floor and back to recording. Connect al1your inputs and outputs to the back, and youcan reroute your signals wit h short jumpersquickly.

GE-20B Graphic EQ

increasing tangle of wires necessary for therecording and signal processing you want t o do. The GE-20B i s a 2-channel, 10-band graphicInstead of leaning over, walking around, or equalizer offering an easy means of con tro llingturn ing consoles, racks, recorders and other the ton al balance between channels. Rackequipment, you can bring al1 those confusing mountable (19" EIA ).cable ends t o one single spot in your rack, ornext to your mixer, and get them under control.You can label inputs and outputs on the PB-32, PE-40 Parametric EQand wan't have to guess anymore a t what you

fin d more flexib ility in your recording setup.The PB-32 comes in you r versions. The PB-32P The PE-40 i s a 4-channel, 4-band parametricis equipped wit h 114" phone jacks only, the equalizer providing precise contro1 over thePB-32R wi th RCA jacks only , the PB-32H wi th frequency characteristics of any line level pro-114" phone jacks on one side and RCA jacks gram. Rack mountable (1 9" EIA).on the other, and the PB-32W wi th 114" phonejacks for 6 channels and RCA jacks for the re-maining 10 channels.


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M-1B Line Mixer MH -4 0B Headphone Amp

The M-1B is an 8-in, 2-out line mixer that pro- The MH-40B i s a headphone distribution ampli-vides you wi th an easy and practical way of fier that can be used to feed four sets of studiocreating an independent mix such as cue or cue headphones and can be mounted in a 19"monitor mixes. Rack mountable (19" EIA). EIA rack.

MX -80 Mixer

This i s an 8-in, 2-out miclline mixer useful asa ful ly functional, ingenious submixer for ob-taining an extra mic or line mix. Versatilityof your system wi ll be considerably enhanced.Rack mountable (19" EIA).

Bescheinigung des Herstellers/lmporteurs

Hiermit wird bescheinigt. da6 derl dield as

AUDIO MISCHPULT TASCAM M-208IM-216

in Ubereinstimmung rnit den Bestimm ungen der

AMTSBLATT 163/1984, VFG 1045/1984

funk-entstort ist.

Der Deutschen Bundespost wurde das Inverkehrbr~ngendieses Gerates angezeigt und die Berechtigung zur Uber-prufu ng der Serie auf Einhaltung der Bestimmungen eingeraumt.

TEAC CORPORATIONName des Herstellers/lrnporleurs


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Voltage Conversion Note for U.K. Customers

This unit i s adjusted to operate on the electricvoltage specified on the unit, power cord tag, orpacking carton.

N O T E : This voltage conversion i s not possibleon models sold in the U.S.A., Canada, UK,Australia or Europe.

For genera1 export units, if it i s necessary t ochange the voltage requirements of your mixerto match your areas, use the following pro-cedure~. ALWAYS DISCONECT THE POWERLINE CORD BEFORE MAKIIVG THESECHANG ES.

1. Locate the voltage selector on the bottom ofyour mixer.

2. Using a regular (slot blade) screwdriver, turnthe selector until the numerals correspondingthe voltage requirements of your area appear.

U . K . C U S TO M E R S O N LY:

Due to the variety of plugs being used in theU.K., this unit i s sold without an AC plug. Pleaserequest your dealer t o install the correct plug t omatch the mains power outlet where your unitwill be used as per these instructions.

This product is manufactured to comply with the

radio interference of EEC directive "82/499/EEC."


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Specifications

ELECTRICAL CHARACTERISTICS

Mic InputSource lmpedance

Input lmpedanceNominal Input LevelMinimum Input LevelMaximum Inpu t Level

Line InputInput lmpedanceNominal Input LevelMinimum Input LevelMaximum Input Level

MicILine PadChannel Overload Indicator

Tape lnputInput lmpedanceNominal Input LevelMaximum Input Level

Effect Return InputInput lmpedanceNominal Input Level

Minimum Input LevelSub lnput (STEREO)

Input lmpedanceNominal Input LevelMaximum Input Level

PGM OutputXLR Type, unbalancedOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output LevelRCA, unbalancedOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output Level

XLR type, balanced200 ohms to 600 ohmsnominal2.8k ohms-60 dBV (1 mV )-70 dBV (0.3 mV)+28 dBV (25 V)/TR IMto min., PAD on1 4", unbalanced22k ohms-1 0 dBV (0.3 V)/PAD on-50 dBV (3 mV)/PAD off+35 dBV (56 V)/TRIMto min., PAD on30 dB attenuationSet to light a t 25 dBabove nominalRCA Ty pe10k ohms-10 dBV (0.3 V)+ l dBV ( 8 V)114"4.3k ohmsO dBu (0.8 V)

-10 dBu (0.25 V)RCA Type22k ohms-10 dBV (0.3 V)+ l dBV (8 V)

100 ohms2k ohms10k ohmsO dBu (0.8 V)+20 dBu (8 V)

490 ohms2k ohms10k ohms-10 dBV (0.3 V)+ l0 dBV (3 V)

Stereo OutputXLR Type, unbalancedOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output Level

Maximum Output Level114". unbalanced0utput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output Level

Effect OutputOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output Level

Foldback OutputOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output Level

Headphone OutputLoad lmpedanceMaximum Output Level

InsertionOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output Level

Maximum Output LevelIr.put ImpedanceNominal Input LevelMaximum Input Level

EqualizerT Y P ~

Frequency

Peak Indicator LevelPower Requirements

U.S.A./CANADAEuropeU.K./AustraliaGeneral Export

100 ohms2k ohms10k ohmsO dBu (0.8 V)

+20 dBu (8 V)

100 ohms2k ohms10k ohmsO dBu (0.8 V)+20 dBu (8 V)114"100 ohms2k ohms10k ohmsO dBu (0.8 V)+20 dBu (8 V)114"100 ohms2k ohms10k ohmsO dBu (0.8 V)+20 dBu (8 V)

8 ohms, stereophones1.5W+1.5W114"100 ohms2k ohms10k ohms-10 dBV (0.3 V)

+ l dBV (8 V)5.2k ohms-10 dBV (0.3 V)+ l dBV (8 V)

Shelving-High, LowSweepable-Mid10 kHz (High)250 - 5kHz (Mid)100 Hz (Low )+ l 2 dB (High, Low)+ l 5 dB (Mid)10 dB above nominal

120 V AC, 60 Hz, 27 W220 V AC, 50 Hz, 27 W240 V AC, 50 Hz, 27 W100/120/220/240 V AC,50160 Hz, 27 W


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PERFORMANCE CHARACTERISTICS

Equivalent I npu t Noise UNWTD (20 - 20 kHz)/IHF A WTD

150 ohm source -1 28 dB/-130 dBSignal-to-Noise Ratio

Input - Out put UNW'TD (20 - 20 kHz)/IHF A WTD

8 Mic - PGM 60 d B/62 d B1 Line - PGM 81 dB183 dB8 Line - PGM 72 d B/74 d B1 Line - EffectIFoldback 80 dB/82 dB1 Line - Stereo 80 dB/81 dB1 Tape - PGM 83 d Bl84 d B

Total Harmonic Di stortio n (THD)1 Mic t o 1 PGM Output l. 3) 0.03 %, 20 Hz - 20 kHz1 Line to 1 PGM Output2. 3) 0.025 %, 20 Hz -2 0 kHz

Intermodulation Distortion (IMD)1 Mic t o 1 PGM Outp utl , 3) 0.06 %, SMPTE1 Line to 1 PGM Output2, 3) 0.045 %, SMPTE

Frequency ResponseAny Input to Any Output 20 Hz - 25 kHz :E

norninal levelCross-Talk (1 kHz ) Better than 60 dBDirnensions (W x H x D) 442 x 132 x 425 mm

( 17-318" x 5-311 6" x16-314")

Weight 8.5 kg (1 8-1211 6 Ibs.) net

1) Level for measurement - 50 dB above norninal withPad engaged; EQ of f.2) Nominal input level used for measurernent; EQ off.3 ) 30 kHz Low Pass Filt er connected during test.

In these specifications: O dBV is referenced to 1 O Volt;O dBu is referenced to 0.775 Vo lt. Actual voltagelevels are also given in parenthesis (0.316 Vo lt for-10 dBV is rounded of and given as 0.3 Vo lt , and0.775 Volt for O dBu as 0.8 Vol t) .Changes in specifications and features may be madewith out notice or obligation.


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Stereo OutputXLR Type, unbalanced

ELECTR ICAL CHARACTER ISTICS

Mic InputSource lmpedance

Input lmpedanceNominal Inpu t LevelMinimum Input LevelMaximum Input Level

Line InputInput lmpedance

Norninal Inpu t LevelMinimum Input LevelMaximum Input Level

MicILine PadChannel Overload Indicator

Tape lnputInput lmpedanceNominal Input LevelMaximum Input Level

Effect Return InputInp ut lmpedanceNominal Inpu t LevelMinimum Input Level

Sub lnput (STEREO)Inp ut lmpedanceNominal Input LevelMaximum Input Level

PGM OutputXLR Type, unbalancedOutput lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output LevelRCA, unbalanced

Output lmpedanceMinimum Load ImpedanceNominal Load ImpedanceNominal Output LevelMaximum Output Level

XLR Type, balanced200 ohms to 600 ohmsnominal2.8k ohms-60 dBV (1 m V )-70 dBV (0.3 m V )+28 dBV (25 V ) / T R I Mto min ., PAD on1/4", unbalanced22k ohms

-10 dBV (0.3 V ) / PA D o n-50 dBV (3 m V ) l PA D o ff+35 dBV (56 V ) l T R I Mto min ., PAD on30 dB attenautionSe t to l igh t at 25 d Babove nominalRCA Type10k ohms-10 d B V (0.3 V )+ l 8 d B V (8 V )114"4.3k ohmsO dB u (0.8 V )-10 d B u (0.25 V )RCA Type22k ohms-10 d B V (0.3 V )+18dBV (8 V )

100 ohms2k ohms10k ohmsO dBu (0.8 V )+20 dB u (8 V )

490 ohms2k ohms10k ohms-10 dBV (0.3 V )+ l 0 dB V (3 V )

Output lmpedance 100 ohmsMinimum Load Impedance 2k ohmsNominal Load Impedance 10k ohmsNominal Output Level O dBu (0.8 V )Maximum Outpu t Level +20 dBu (8 V )114", unbalancedOutput lmpedance 100 ohmsMinimum Load Impedance 2k ohmsNominal Load Impedance 10k ohmsNominal Output Level O dBu (0.8 V )Maximum Output Level +20 dBu (8 V )

Effect Output 114"Output lmpedance 100 ohmsMinimum Load Impedance 2k ohmsNominal Load Impedance 10k ohmsNominal Output Level O dBu (0.8 V )Maximum Output Level +20 dBu (8 V )

Foldback Output 114"Output lmpedance 100 ohmsMinimum Load Impedance 2k ohmsNominal Load Impedance 10k ohmsNominal Output Level O dB u (0.8 V )Maximum Output Level +20 d B u (8 V )

Headphone OutputLoad lmpedance 8 ohms, stereophonesMaximum Output Level 1.5 W + 1.5 W

Insertion 114"Output lmpedance 100 ohmsMinimum Load Impedance 2k ohmsNominal Load Impedance 10k ohmsNominal Output Level -10 dBV (0.3 V )Maximum Output Level + l 8 dBV (8 V )Input lmpedance 5.2k ohmsNorninal Input Level -10 dB V (0.3 V )Maximum Input Level + l 8 dBV (8 V )

EqualizerTYpe Shelving-High, Low

Sweepable-MidFrequency 10 kHz (High)

250 - 5 k Hz ( M id )100 Hz (Low )

BoostICut f 2 dB (High, Low)I 1 5 d B ( M id )

Peak Indicator Level 10 dB above nomina1

Power RequirementsU.S.A./CANADA 120 V AC, 60 Hz , 33 WEurope 220 V AC, 50 Hz , 33 WU.K./Australia 240 V AC, 50 Hz , 33 WGeneral Export 10011 2012201240 V AC,

50160 Hz, 33 W

- 34 -

1


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PERFORMANCE CHARACTERISTICS

Equivalent Input Noise LINWTD (20 - 20 KHz)/IHF A WTD

150 ohm source -128 dB1-130 dBSignal-to-Noise Ratio

Input - Output UNWTD (20 - 20 kHz)/IHF A WTD

16 Mic - PGM 57 dB/58 dB1 Line - PGM 81 d Bl83 d B16 Line - PGM 67 d B/69 d B1 Line - EffectIFoldb ack 78 dBl80 dB1 Line - Stereo 80 dBl81 dB1 Tape - PGM 83 dB/84 dB

Total Harmonic Distortion (THD)1 Mic to 1 PGM Out put l, 3) 0.03 %, 20 Hz - 20 kHz1 Line t o 1 PGM Output2.3) 0.025 %, 20 Hz - 20 kHz

Intermodulation Distortion (IM D)1 Mic t o 1 PGMOutputl, 3) 0.06 % SMPTE1 Line t o 1 PGM Output2,3) 0.045 %, SMPTE

Frequency ResponseAny Input to Any Output 20 Hz - 25 kHz

nominal levelCross-Talk (1 kHz) Better than 60 dBDimensions (W x H x D) 650 x 132 x 425 mm

(25-911 " x 5-311 6" x16-314")

Weight 12 kg (26-7116 Ibs.) net

1) Level for measurement - 50 dB above nominal withPad engaged; EQ off.2) Nominal input level used for measurement; EQ off.3) 30 kHz Low Pass Filt er connected during test.

In these specifications: O dBV is referenced to 1 O Volt;O dBu is referenced to 0.775 Volt. Actual voltagelevels are also given in parenthesis (0.316 Volt for-1 0d BV is rounded of and given as 0.3 Volt , and0.775 Volt for O dBu as 0.8 Volt).Changes in specifications and features may be madewithout notice or obligation.


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Pictogram

OL Indicater

F LB

TAPE Switch FLB Send Level

LEV EL PA N

EFFect RTN 1

STEREO OUT L

Stereo Buss L

STEERO OUT R

Means: This buss continues.

L eans: This i s a continuation.

l - -

Sub Busses

METERSwitch


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Block Diagram


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Level Diagram1


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\ PGM / x TEREOSTEREO / PAD

EFF RT NPAN

PGM,EFF,FLB,STEREO OUTi 0 d B " l

PGM OUTi - l O d 8 V I


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Dimensions

442 rnrn (1 -3/81 (M-208)650 rnrn (25-9/16") (M-216)

438 rnrn (17-1/4") W-208)646 rnrn (25-7/16") (M-216) -

408 mrn (16-1/16',) (M208)616 rnrn (24-1/4") (M-216)L -

" I L = 405 rnm (15-15/16") -I 425 mrn ( 16-3/4") I


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TASCAMTEAC Professional Division

-

MAIN OFFICE: 3-7-3 NAKACHO MUSASHINO TOKYO PHONE (0422) 53-1 11 1TEAC CORPORATION SALES OFFICE. 4-1 5-30 SHIMORENJAKU MITAKA TOKYO PHONE (0422) 45-7741

TEAC CORPORA-TION OF AMERICA 7733 'TELEGRAPH ROAD MONTEBELLO CALIFORNtA 90640 PHONE (21 3) 726-0303

TEAC CANADA LTD. 3610 NASHUA DRIVE UNIT 1 8 2 MISSISSAUGA ONTARIO L4V 1 L2 PHONE 416-673-3303

TEAC AUSTRALIA PTY., LTD. 1 15 WHITEMAN STREET SOUTH MELBOURNE VICTORIA 3205 PHONE 699-6000

Tascam M-200 Series Owners Manual

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Transcript of Tascam M-200 Series Owners Manual