TASCAM TEAC Production Products M-50 Mixing Console eon Le 0 ia OPERATION/MAINTENANCE 5700041000WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. The guarantee of performance that we provide for the M-50 must have several restrictions. We say that the M-60 will perform properly only if it is ad justed properly and the guarantee is that such ad- justment will be possible. However, we cannot guarantee your skill in adjustment or your technical comprehension of this manual. Therefore, setup is not covered by the Werranty. If your attempts at in ternal adjustment are unsuccessful, we must make a sorvice charge to correct your mistakes. Recording is an art as well es a science. A success- ful recording is often judged primarily on the quality of sound as art, and we obviously cannot guarantee ‘that. A company that makes paint and brushes for artists cannot say that the paintings made with their products will be well received critically. The artis the province of the artist. TASCAM can make ‘no guaranteo that the M-50 in itself will assure the quality of the recordings you make. ‘Your skill as a technician and your abilities as an ar- tist will be significant factors in the results you achieve, for your records. Model number Serial number i This apparatus has a serial number located on the rear panel. Please record the model umber and serial number and retain themTABLE OF CONTENTS INTRODUCTION TO THE MANUAL, AND HOW TO USE IT ‘THE DB; WHO, WHAT, WHY... ‘SIMPLIFY THE DB AND ITS MANY VARIATIONS. IMPEDANCE MATCHING AND LINE LEVELS .. Finding Impedance Values ‘on Other Brands of Equipment REFERENCE LEVELS. ‘THE BLOCK DIAGRAM ‘AND GAIN BLOCK DIAGRAM. INPUT SECTION 1. Mic Input Section ... 2. 8 Multi-Purpose Tape inputs— Channels 1 through 8. 3. 2TR ARB Tape Inputs— Channels 9 through 12... 4. Secondary Inputs— Channels 1 through 8 5. Secondary Multi-Purpose Inputs— Channels 9 through 12. Trim Input Select Switch . Pro out RCA Jack Overload LED..... Access Send-RCV Jacks Three Section Semi-Parametric ‘Typa (Sweep) Equalizer. 12. Equalizer Bypass Switch, LED Indicator. 13. PFL (Pre-Fader-Liston} Switch, LED Indicator. nnn 14. Input Fader. 15. Input Channel Buffer Amp... 16. Direct out RCA Jack .. 17. Mute Switch, LED indicator 18. Pan Pot (Buss Select) 19. Solo Button, LED Indicator. 20. Solo Input Jacks 21. Buss Assign Switchas ‘AUX SECTION. 22. AUX A&B Signal Select Switch... 23. AUX A or B Gain (Upper Section, Dual Concentric Control) 24, AUX A or B Mute Switch, LED Indicator, 25. AUX A or B Pan (Lower Section, Dual Concentric Control)... 26. AUX In A or B, L/R RCA Jacks. 27. AUX A or BL/R Stereo Master Fader : 28. AUX A or BL/R Out RCA Jacks . BUSS MASTER SECTION 29. Program Buss Ins, 1 through 8. ZSeene 2 16 17 17 18 19 19 20 20 25 28 26 26 26 26 27 27 28 28 28 28 30 30 31 32 32 35 35 35 35 35 35 36 36 30, Master Buss 1 through 8 Combining Network and Summing Amplifier. 31. Master Buss Access Send/RCV RCA Jacks 32. Buss Master Fader 33, Line/AUX Output RCA Jacks (Busses 1 through 8... MONITOR SECTION 34, VU Meters 1 through 8 36, Peak LEDs : 36. AUX A Meter, AUX A/SUSS/ST MSTR A Switch, 37. AUX 8 Meter, AUX B/BUSS/ST MSTRB Switch. 38, MON BUSS/ NOFF)/TAPE Signal Select Switches, 1 through 8 39, MON Gain Control (x8)... 40. MON Pan Control (x8) 41. MON In L/R RCA Jacks. 42, Monitor Select Switch Rack. 43, Monitor Buffer Amp. 44, Headphones Volume Control 45. Headphones Tip-Ring-Sleeve Stereo Output Jack... 46. Stereo Master Faders, A&B..... 47. Monitor Buffer Amp. 48, +4/48 Balance Ampl. Output L/R Connectors if 49. ST MSTR A Out L/R RCA Jacks 50, ST MSTR B Out L/R RCA Jacks TALKBACK SECTION 51. Talkback Mic. 52, Slate Volume Contral 53, Talkback Volume Control 54, Slate/ MOFFY/Test Tone Switch 56, Test Tone Signal Select Switch 56. Slate Select Switch Rack 57. OSC Out RCA Jacks. PATCH INTRO...... RECOMMENDED 8 TRACK BASIC PATCH nono EXPANDING SECONDARY FUNCTIOI WITH THE MODEL 1 MINIMUM LOSS PATCH FOR MAXIMUM QUALITY IN MIXDOWN.. WORKING METHODS FOR THE M- Simple Record Check Cus System... Calibration RMX (Remix) Effects Return Method ACBUEION san ‘A Word or Two of Reality Using Two Channels For More EQ. Pro & Post EQ When using A Limiter. 36 36 38 36 37 37OTHER USEFUL ACCESSORIES. The PB-64 Patch Bay... Professional Low Loss Cable A Final Word of Mixdown Advice. ‘MORE INFORMATION IS AVAILABLE. BIBLIOGRAPHY. fl SPECIFICATIONS BLOCK DIAGRAM LEVEL DIAGRAM........ VOLTAGE CONVERSION........ NOTE FOR U.K. CUSTOMERS MAINTENANCE ... 1, LEVEL SETTING ‘AND OPERATION CHECK... 1-1 MICIN = PRE OUT (ACCESS SEND) 1-2 INST IN > PRE OUT (ACCESS SEND} for Channels 1 and 2... 14 74, 75 41-3 PHONO IN-» PRE OUT (ACCESS SEND) for Channels 3 and 4... 1-4 LINE IN -» PRE OUT (ACCESS SEND) for Channels 5 through 12 1-5 TAPE IN [2TR A&B (L/R)] = PRE QUT (ACCESS SEND)... 1-6 Input Section OVERLOAD LED. 1-7 TAPE IN [2TR A&B (L/RI] + Direct) OUT, 1-8 PROGRAM BUSS IN LINE OUTPUT. 1-9 Meter Calibration and. ‘The LED Circuit, 1-10 SPARE IN + STMSTR A/B, 1-11 2TRA/B > ST MSTRA/B. 1-12 MON IN = ST MSTR A/B. 1-13 PROGRAM BUSS IN — STMSTR A/B. 1-14 BALANCE AMPL INPUT — BALANCE AMPL OUTPUT... 1-18 AUX IN A/B + AUX A/B Out... 1-16 AUX IN A/B + ST MSTR A/B 1-17 TAPE IN [2TR A&B (L/RI| = LINE OUTPUT. : 1-18 SOLO Circuit and HEADPHONES Circuit. 1-19 PFL Circuit 1-20 TAPE IN [2TR A&B (L/RI] — AUX A/B. 1-21 TALKBACK Circuit 2. EXPLODED VIEW AND. PARTS LIST. 2-1 Exploded View 1 (Main Frame}, 2-2 Exploded View 2 (Input AMPL) 2-3 Exploded View 3 (Monitor Amp} 75 76 76 7 7 78 2-4 Exploded View 4 (Buss Ampl)....... 2-5 Exploded View 6 (Meter Section). 2-6 Exploded View 6 (Main Chassis) 2-7 Exploded View 7 (Rear Pano)... 3. ELECTRONICS—PCB's AND ELECTRONIC COMPONENTS “1 IN/OUTPUT A PCB Ass'y (1,2). -2. IN/OUTPUT 8 PCB Ass'y (A,B,C.D}... 110 -4 JACK PCB Ass'y -5 BUSS AMPL. PCB Ass’ : -6 INPUT A through G PCB Assy. 3-6-1 SW8 PCB 3-6-2 SWAPCB. +7 MOTHER B PCB ASS'Y. nnn 8 MONITOR AMPL. B PCB Ass'y -3 MONITOR AMPL. C PCB Ass'y -10 LED APCB Assy... LED B PCB Ass'y POWER SWITCH PCB Ass'y MONITOR AMPL. A PCB Ass‘y TALKBACK PCB Ass'y METER AMPL. PCB Assy. MOTHER A PCB Ass'y POWER SUPPLY PCB Assy. SWC PCB Assy... SW D PCB Ass'y SWE PCB Assy. 4. SCHEMATIC DIAGRAM -1 Monitor Ampl. (C) PCB... 2 Talkback PCB 3 In/Output (A} PCB. -4 Mother (A) PCB... 5 6 3. 3. 3-3 IN/OUTPUT C PCB Ass'y (A—D).. 3. 3 3 3 3 3. 3. 34 34 34 34 34 34 34 31 34 3 Séeivanran Power Supply PCB Meter Ampl PCB/SW (C) PCB JACK PCB. nrn 7 Mother (B) PCB. -8 Monitor Ampl. (A) PCB. -9 Buss Ampl, PCB. 10 Monitor Ampl. (8) PCB. : 4-11 Inout Amp. (/8/C/D/E/F/6) 4-12 Wiring Diagram — 1. 4-13 Wiring Diagram - 2..... BLOCK DIAGRAM Note: If you notica any differences, either on the outside or the inside of the unit from the illustrations and de~ scriptions in this manual, talk to your daaler. He may have revision sheets that will show manufacturing changes, or notifications of how to deal with any ‘changes in set-up or maintenance procedures. Save this manual, refer to it when necessary, and 100 102 104 . 107 110 110 110 110 or 4 4 14 114 120 123 123 123 124 128 126 128 129 129 132 132 132 133 133 135 137 139 141 143 145 148 181 154. 187 . 160 - 163 166 {good luck with your M50.seaeesee~INTRODUCTION TO THE MANUAL, AND HOW TO USE IT ‘The Model 50 Mixing Console has been de- signed to satisty the requirements of the mo- dem multichannel recording process. In addi- tion to the eight channels of switchable con- trol room monitor, two auxiliary mixing sys- tems are “built in.” These Submix sections, AUX A and AUX B, can be assigned and re- routed to do more than one task. Complete and convenient multitrack operation can usually be accomplished directly from the top panel without re-patching. However, the process of multitrack recording is constantly changing, growing more complex a an art with each advance of technology. No matter how many inputs, outputs and special functions that we provide, no console can ever be built so large that it will be capable of cop- ing with all of the switching and routing prob- lems with a “one button” top panel solution Someone will always be able to come up with ‘that unique situation requiring just one more mix. ‘The design of the Model 50 recognizes the fact that your signal processing needs may ro- quire @ unique arrangement of subsystems. In order to cope with these changing needs, patch points are provided throughout all signal pathways of the M-50. As our mixing console becomes more flexible, the amount of time needed to understand the available functions increases. The main signal path from “mic in” to “line out’ is still fairly straightfoward as the requirements have not changed much since the days of "mono," but the routing for effects sends, cue feeds, and stereo monitoring can be hard to visualize. It's often possible to over- look the significance of unfamiliar connections that are immediately obvious to the exper- enced recording engineer. If you expect to find that “extra mix” quickly, you must be prepared to study the layout of the M-50 thoroughly. In most instances, the physical arrangement of the controls on the top panel has very little to do with the se quence of electronic parts inside. The actual “wiring order” will determine what goes where and how, so this is the information you need in order to use the M-50 successfully. As an ex- ample, if the controls on an Input Channel were actually placed in the sequence of the signal flow, the top panel would look like this. We'll include the patch points from the back panel in ! oO r their wiring order as well as the faders and switches. Here's the comparison While this arrangement of controls might help the first time user to understand the flow of signals in an Input Channel, it would be very in- convenient to operate. Still, the wiring so- quence must be understood before the more ‘complex functions of the M-50 can be used, so along with the documentation you will need for service (schematic diagrams, mother board layouts, and mechanical disessembly informe- tion), we include a simplified electrical se- quence chart called a Black Diagram.Hane cuaN.| This drawing shows all the controls, switches, amplifying stages, and connectors in their ac- tual sequence. Learning to read it will pro- vide the answers to any questions concerning ‘what comes where" on the inside. Things like “does the DIRECT OUT jack come before the EQ circuit or after it?”, can be answered quick- ly. Yes, the DIRECT OUT jack is shown con- nected after the EQ section, so you will have EQ on any signal derived from that point. If you have no prior experience in reading block diagrams, you can use the three illustra- tions we have provided here as a translator. Compare the reconstructed (as wired) Input Channel with legend to find out what each ‘symbol represents. Even though the block dia- gram can indicate what is available in the way of extra circuit flexibility, it can’t exp- lain why a connection or switch has been in- cluded, or suggest a standard layout for your initial setup, In the following sections of this manuel, we do our best to describe the individual functions and controls of the M-50 and how they can be arranged in more than one sequence. In the final analysis, your mixing needs may be best served by an arrangement of inputs and sub- systems that you work out for yourself. Some reference to the scientific terms used by our engineers will be necessary. The M-50 does nothing useful unless it is connected pro- perly to quite alot of sophisticated equipment. Mics, tape recorders, power amps, and loud- ‘speakers all play a part in the process of mix ing/recording and each piece of equipment has its own technical vocabulary. We have tried to en co re wh make this reference manual as simple as tech- nology will allow. Each section and topic will give you some basic instruction in the termino- logy as well as a list of “what plug” goes into “which jack”. Even though there is a substantial amount of information available to the recording engine- er, much of it assumes that the reader already. has an engineering or scientific background and is comfortable with “The Math.” Practical rules of thumb are not generally avai- lable, and in fact, to operate a mixer no degree in science is necessary. You don’t have to build a mixer “from scratch”, you just need to know how to find the right control function to get the job done, To begin our manual, we'll start with some ba- sic information about Sound and the number- ing systems used to describe energy levels in and out of the systems. Impedance, what the term means and how to deal with the details when you must connect the M-50 to other equipment. Many aspects of scientific termin- ology will be discussed in the most basic terms we can. Whenever possible, the scienti- fic terms will be related to understandable common references. Understanding what is going on inside your equipment will help im- prove your sound. Think of this manual as reference handbook. You won't need all of what is here to begin, and it is certainly not ne- cessary to memorize it, but do try to find the time to read it thoroughly at least once. That way you will be familiar with its con- tents and if you need the numbers they will be here waiting, Good luck with your sound.THE DB; WHO, WHAT, WHY No matter what happens to the signal while it is being processed, it will eventually be heard ‘once again by a human ear. So the process of converting a sound to an electrical quantity {and back to sound again must follow the logic of human hearing, The first group of scientists and engineers to deal with the problems of understanding how the ear works were telephone company re- searchers, and the results of their investiga- tions form the foundation of all the measure- ment systems we use in audio today. The folks at Bell Laboratories get the credit for finding ‘out how we judge sound power, how quiet a sound an average person can hear, and almost all of the many other details about sound you must know before you can work with it suc- cessfully. From this basic research, Bell Labs developed a system of units that could be applied to all phases of the system. Sound traveling on wires as electrical energy, sound on tape as magnetic energy, sound in air; anyplace that sound is, or has been stored as energy until some future time when it will again be sound, can be described by using the human ear- related system of numbers called “bels” in honor of Alexander Graham Bell, the inventor of the telephone. What is @ bel and what does it stand for? ft means, very simply, twice as loud to the hu- man ear. Twice as loud es what? An obvious ‘question. The bel is always a comparison be- ‘tween two things. No matter what system of units of measure you ate working with at the time, you must always state @ value as a refer- ence before you can compare another value to it by using bels, volts, dynes, webers — it doesn’t matter, a bel, or ear-related statement of “twice as loud” is always a ratio, not an ab- solute number. Unless a zero, or “no differ- ence” point is placed somewhere, no compari- son is possible. There are many positive and definite state- ments of reference in use today. But before we ‘go over them, we should divide the “bel” into smaller units. “Twice as toud” will be a little crude to be used all the time. How about one tenth of a bel? Okay, the decibel it is, and 0 means "no difference, same as the reference”. It seldom means “nothing”. Now, if you double the power, is that twice as loud? No, it is only 3 dB more sound. If you double an electrical voltage, is it twice 4s loud? No, it is only 6 dB more sound, The unit quantities must follow nonlinear progressions to satisty the ears’ de- mand. Remember, decibels follow the ears. Al other ‘quantities ‘of measure must be increased in whatever units necessary to satisfy the human. requirements, and may not be easy to visua- lize. Sound in air, our beginning reference, is the least sound the human ear young men) can detect at 1000 to 4000 Hz. Bell Labs measured this value to be .0002 microbar, 50 we say 0 dB = .0002 microbars and work our way up from the bottom, or “no perceivable sound to humans” point. Here is a chart of sounds and their ratings in dB, using 0002 mi- ‘crobar pressure change in air as our reference for 0 dB spl (Sound Pressure Level) Sound and Music ReferenceSince the reference is assumed to be the lo- west possible audible value, dB spl is almost always positive, and correctly written should have a+ sign in front of the number. But it is frequently omitted. Negative dB spl would in- icate so low an energy value as to be of inter- fest to a scientist trying to record one cricket at 1000 yds. distance, and is of no significance to ‘tho multichannel recordist. Far more to the point is the question “What is a microbar?” It is a unit of measurement related to atmospher- ic pressure and although it is extremely small it must be divided down quite a lot before it will indicate the minimum pressure change in air that we consider minimum audible sound This will give you a better idea of the sen- sitivity of the human ear. ‘One whole atmosphere, 14.70 pounds per square inch, equals 1.01325 bars. So one whole atmosphere in microbars comes out to be 1,013,250. One microbar of pressure change is slightly less than one millionth of an atmosphere, and you can find it on our chart as 74 GB spl. It is not terribly loud, but it is cer- tainly not hard to hear. As a matter of fact, it represents the average power of conversation- al speech at 6 feet. This level is also used by the phone company to define normal earpiece volume on a standard telephone. Now think about that minimum audible thresh- hold again: 0.0002 microbar. That's two ten thousandths of a millionth part of one atmosphere! This breakdown of one reference is not given just to amaze you, or even to provide a feel for the quantity of power that moderate levels of sound represent. Rather it is intended to exp- lain the reason we are saddied with a ratio/ logarithm measurement system for audio. Ad- ding and subtracting multi-digit numbers might be easy in this age of pocket calculators, but in the 1920's when the phone company began its research into sound and the human ear, a more easily handled system of numbers became an absolute necessity. Convenience for the scientist and practical engineer, how- ‘ever, has left us with a system that requires a great deal of complex explanation before you can read and correctly interpret a “spec sheet” for almost any piece of gear. Here are the formulae for unit increment, but they are necessary only for designers. And un- less you build your own gear, you won't have to deal with them. For power (watts) increase or loss, calculate by the following equation: P2. 10 LOG p= N (AB) For voltage, current or pressure calculations: v2 20 L0G,» 5-=N (a8) ‘Once we have this chart, we can see the differ- ‘once between the way humans perceive sound and the amount of force it takes to change air pressure. Unfortunately, the result is not a simple “twice as much pressure” of sound to be heard as “twice as loud”. If you plot deci- bels as the even divisions on a graph, the unit, increase you need is a very funny curve. VOLTAGE. CURRENT OF PRESSURE ~, - ee a xv 4 20 loay9 YP VE eb 363s ‘pareae” Rist never a8 Unie This is how the ear works, and we must adapt our system to it. We have no choice if we ex- ect our loudspeaker to produce @ sound that, resembles the original sound we begin with. ‘The high sensitivity to sound of the humen ear produces a strong “energy” illusion that has confused listeners since early times. How powerful are the loudest sounds of music in real power? Can sound be used as a source of energy to do useful work, such as operating a car? For any normally “loud” sound, the answer is, regrettably, no! Perhaps not so re- grettably, consider what would happen if one pound of pressure was applied not to your head, but directly to your inner ear. One pound of air pressure variation is 170 dB spll This amount of “power” might do some useful work but not much, it’s still only one pound and to 9make use of it you will have to stand one mile ‘away of you will go deaf immediately. If we reduce our sound power to realistic mu cal values, we will not be injured, but we will have almost nothing {in real power terms) to run the mic with! This low available eneray is the reason that high gain amplifiers ere re- quired for microphones. When we take a microphone and “pick up” the sound, we do have some leeway in deciding how much energy we must have in order to operate the electrical part of our system. If we can decide that we don’t have to truly hear the signal while we are processing it from point to point and we can wait until the electronic de- vices have done all their routing and switching before we need audible sound, we can lower the power of the signal. What is a good value for a reference here? Well, we need to have enough energy so that the signal is not ob- scured by hiss, hum, buzz or other unpleasant ‘things we don’t want, but not so high that it, costs a fortune in “juice” or electrical power. This was @ big consideration for the telephone ‘company. They now have the world’s biggest audio mix- ing system, and even when they started out, electricity was not free. They set their elect cal power signal reference as low as was prac- tical at the time, and it has lowered over the years as electronic equipment has gotten bet- ter. In 1939 the telephone company, radio broadcasting, and recording industry got to- gether and standardized 1 milliwatt of power as 0 dBm, and this is still the standard of relat- ed industries. Thus, a 0 dBm signal at a 600 chm line impedance will present a voltage of 0.778 volts Once again, we owe you an explanation. Why Goes it say ZERO on the meter? What is an ‘ohm? Why 600 of them and not some other value? What's a volt? Let's look at one thing ata time, 1. The logic of ZERO on the meter is another hangover from the telephone company practice. When you start a phone call in California, the significant information to a telephone company technician in Boston is = did the signal level drop? If so, how much? When the meter says ZERO it indi- 10 2. cates (to the phone company) that there has been no loss in the transmission, and all is, well. The reference level is one milli-watt of power, but the gain or loss is in the informa- tion the meter was supposed to display, so the logic of ZERO made good sense, and that's what they put on the dial. We still use it even though it's not logical for anything else, and the idea of a reference level de- scribed as a “no loss” ZERO, no matter what actual power is being measured is so firmly set in the minds of everyone in the audio world that it is probably never going to change. One ohm is a unit of resistance to the pas- sage of electrical energy. The exact reasons for the choice of 600 ohms as a standard are connected to the demands of the cir- cuits used for long distance transmission and are not simple or easy to explain. Suf- fice it to say that the worst possible thing you can do to a piece of electronic equip- ment is to lower the resistance itis expect- ‘ed to work into (the load). The lower the number of ohms, the harder it is to design a stable circuit. When you think about “load”, the truth is just the opposite of what you might expect! O ohms is @ "short circuit’, no resistance to the passage of signal. If this condition occurs before your signal gets from California to Boston, you won't be able to talk — the circuit didn't “get there”, it “shorted out”. Once again, telephone com- pany logic has entered the language on a permanent basis. Unless the value for ohms is infinity (no contact, no possible energy flow) you will be better off with a higher va- lue, and many working electronic devices have input numbers in the millions or bile lions of ohms. A volt is a unit of electrical pressure, and by itself is not enough to describe the electrical power available, To give you an analogy — that may help, you can think of water in a hose. The pressure is not the amount of water, and fast flow will depend upon the size of the hose (impedance or resistance) as well, Increase the size of the pipe (lower the resistance, or Z) and pressure (volts) will drop unless you make more water (current) available to keep up the demand, This ana- logy works fairly well for DC current and voltage, but alternating current asks you toImagine the water running in and out of the nozzle at whatever frequency your “circuit is working at, and is harder to use a mental aid, Water has never been known to flow ‘out of a pipe at 10,000 cycles per second. This reference level for a starting point has been used by radio, television, and many other groups in audio because the telephone com- pany was the largest buyer for audio equip- ment. Most of the companies that built the gear started out working for the phone com- pany and new audio industries, as they came along, found it economical to use as much of the ready-to-hand stuff as they could, even ‘though they were not routing signals from one end of the world to the other. Must we use this telephone standard for re- cording? Its use in audio has been so wide- spread that many people have assumed that it was the only choice for quality audio. Not so. A600 ohm, 3-wire transformer-isolated circuit a necessity for the telephone company, but the primary reason it is used has nothing to do with audio quality. It is noise, hum and buzz rejection in really long line operation (hundreds and hundreds of miles) Quality audio does not demand 600 ohm, 3-wire circuitry. In fact, when shielding and isolation are not the major consideration, there are big advantages in using the 2-wire system that go well beyond cost reduction. It is, as @ ‘system, inherently capable of much better per- formance than 3-wire transformer-isolated cir- cuits Since TASCAM M-50 mixer is designed to route a signal from a mic to a recorder, we think that the 2-wire system is a wise choice. The internationally accepted standard (IEC) for electronics of this kind uses a voltage refer- ence without specifying the exact load it is ex- pected to drive. The reference is this: volt This is now the preferred reference for all elec- tronic work except for the telephone company and some parts of the radio and television bu- siness. Long distance electronic transmission still is in need of the 600-ohm standard. If your test gear has provision for inserting 600 ohm load, be sure the load is not used when working on TASCAM equipment. Now that we have given a reference for our point, we can print the funny curve again, with numbers on it, and you can read voltages to go ‘along with the changes in 4B. "SIMPLIFY THE DB AND ITS MANY VARIATIONS When it comes to describing the level of audio. signal in a circuit, the whole issue of “dB's” may seem very complicated to anyone but a mathematically skilled engineer. However, by comparing audio signals to water flowing through a pipe (a “circuit"), we can simplify the concopt of dB and audio level so that itis less “magic” and more understandable (we hope). First, let's define our terms for this compari- soni VOLTAGE: It is similar to WATER PRESSURE. If vol- tage were truly water pressure, we would express it in pounds per square inch. Ac- tually, another term for voltage is “EMF; Which stands for “electromotive force, Which really is the pressure on the electrons which causes them to flow through a circuit IMPEDANCE It is similar to the RESISTANCE OF THE WATER PIPE TO THE FLOW OF WATER. Electrically, impedance “impedes” or works against the flow of electrons in an AC cir- uit, so the restriction to water flow caused by the pipe’s diameter and internal surface friction is like impedance. Electrical “resist- ance,” while similar to impedance, applies to DC current. A speaker, for example, may have a 3 ohtn DC resistance, but an 8 ohm impedance at 1 kHz. POWER: It is similar to the AMOUNT OF WATER THAT FLOWS THROUGH THE PIPE. if we were actually measuring water level, we might use a unit of volume such as liters, milters, gallons, quarts, ounces, ete. With electrical circuits, we uso a unit of power ~ the watt, 1/1000 watt (the milliwatt). ‘We can consider the pipe to be the electrical input or output circuit. The pipe’s diameter de- termines its resistance to water flow; a smaller diameter pipe (wire) has 2 higher resistance {analogous to impedance) because it makes it more difficult for the water (electrons) to flow. If we aim the pipe up in the air and measure the height of water column that emerges from the ond of the pipe, we have a lavel (power With a pipe of a given diameter (impedence), the amount of water flowing is proportional to the water pressure (voltage). if you increase the pressure, you increase the height of the ‘water stream emerging from the pipe. 12 Look at Figure 1. Note that a 0.775 volt “pump pressure” pushing water through a 600 ‘ohm “pipe” causes the water “level” to reach 1 milliwatt in height. We'll call that level of water (1 milliwatt of power) a level of 0. dBm. 4 mitt dom “ever 0778 volt “pump pressure’ Figure 1 AN ESSENTIAL POINT TO REMEMBER: 0 dBm IS ALWAYS EQUAL TO ONE MILLIWATT. It doesn’t matter how much water pressure (vol- tage) it took to achieve that level, or what pipe diameter (impedance) the water had to flow through ... if the water level reaches 1 mil watt, the level is 0 dBm, Any other dBm value is merely a relative power level expressed in re- ference to the 1mW level. Look at Figure 2. Here the same 0.775 volt “pump pressure” is pushing water through a pipe of 1200 ohm impedance. Since less water can flow through the smaller pipe, the water level emerging from the pipe is cut in half: 1/2 milliwatt ~ half the power. Since, with regard to power, half the level is a de- crease of 3 dB, the level is now -3 dBm, not 0 dBm. As you can see, WHEN YOU INCREASE THE IMPEDANCE WITHOUT CHANGING THE VOLTAGE. YOU GET LESS POWER (fewer dBm). Conversely, if you decrease the impe- dance (large pipe), you'll increase the power (more dBm). 1/2 miliware =3.dBm "evel 1200 ohm “pipe 0.775 volt Figure 2. IFORGET THE NOTION THAT dBm REQUIRES A 600 OHM “PIPE”. While dm results from a combination of impedance and voltage, it refers only the end result ... The power {water column height) Look at Figure 3. Notice that we can obtain a “level” of © dBm with a 1200 ohm pipe .. it simply takes more pump pressure than with 600 ohm pipe. Since we doubled the impe- dance relative to Figure 1 {from 600 to 1200 ohms), we also have to increase the voltage to 1.1 volts (multiplying 0.778 V by 1.414, which is the square root of 2). The end result is the same, 1 milliwatt of power (water), which is O dBm, 1 att (dm “evel” 1200 ohm “pie” 1.4 yok "pump pressure! Figure3. It should now be clear that defining a level in dBm only defines the power. If you want to use dBm to describe a voltage, youll have to specify a particular impedance or resistance (oipe), which is typically given as 600 ohms, but could be any impedance or resistance. \F YOU HAVE A CIRCUIT WHICH DOES NOT USE MUCH POWER, BUT IS INSTEAD SENSITIVE TO VOLTAGE, EXPRESSING LEVEL IN dBm IS NOT PARTICULARLY USEFUL. For this rea- son, other “dB” terms have been devised, A high impedance input will not draw much power from 2 circuit unless the voltage is in- creased to a very high level. Why? Remember that the greater the impedance or resistance {the smaller the pipel, the less current can flow. Today, most mixers, power amplifiers, and other signal processors are no longer de signed for 600 ohm input impedance. Instead, they have high impedence inputs which are sensitive to the voltage (pressure) of the input signal, not the power {water level). When you double the level voltage-wise, you increase it 6 dB, whereas if you double the lev- ‘et power-wise, you increase it by 3 dB. The reason for this apparent discrepancy is not all that complex, but it involves some mathema- ties that well omit here to avoid getting too technical. Suffice it to say that the difference has to do with the fact that power is propor- tional to voltage squared, and "dB" is ¢ loga- rithmic quantity. To keep the terms and num- bers more appropriate to a voltage sensitive circuit, not a power sensitive one, a “dB” term which’ refers to voltage was developed ~ "dBV." The “V" in “dBV" denotes “voltage.” (The “m” in “dBm” denotes “milliwatt.”) The 0 dBV reference is 1 volt. It was chosen because it's easier to work with than 0.775 volts when manipulating equations. 0 dBV is, always associated with 1 volt, regardless of ‘the impedance. It so happens that 0 dBV (vo ‘tage) will produce 0 dBm? (power) only in a cir- cuit with 1,000 ohms impedance (assuming voltage and current are in phase}. Refer to Fig- ure 4. NOTE: The “purist” engineers among you will recognize the fact that all dB numbers always refer to a power level, but in practical terms, BV is used to describe voltages, regardless of the actual circuit impedance. “eve” or SI power not significant igniicant fi! assumed to be El high impedan me | TASCAM input and output levels have tradi- tionally been rated in dBV because the equip- ment has high impedance circuitry which senses voltage, not power. There's only one slight complication in our practice of using BV velues, and it comes up when you inter- face a piece of TASCAM equipment to equip- ment which another manufacturer rated using ‘an assumed 600 ohms impedance. The equip- ment will usually work properly, but the level calibration may be slightly inaccurate due to 1.0 voit “pump prossure =O a5v 13the differences between the dBm and dBV “0 dB" references, Let's look at a practical example. Rofer to Figure 5. Suppose the TASCAM out- put is rated at 0 dBV, and the other equip- ment's input to which the TASCAM output is. connected is rated at 0. dBm. Guess what hap- pens. The 0 d8V output (1 volt), upon encoun- tering a lower impedance (600 ohms rather than 1,000 ohms}, causes more power to flow .-+2.2 dBm instead of 0 dBm. it's not a big dif- ference, and it can usually be adjusted with a level control - assuming the output circuit is capable of driving 600 ohms (which may or may not be the case). However, the level which causes a0" indication on the TASCAM output meter will drive the input meter to “42.2” since it is calibrated based on a 0.775 volt “zero” into 600 ohms assumed impe- dance. * 1.67 mitivans “evel” or 422 48m 1600 ohm “pipe” LO volt ‘pump pressure” =0 dBV Figure 6 Look at Figure 6. To avoid the possible error of he term “dBv" was introduced. Like ““dBv" is used to describe voltage, not power, but 0.775 volts is the “O d8v" refer- ence. The only difficulty with “dBv" was that many people ignore capitalization and confuse dB “big V" with GB "small v," so the 2.2 dB er- ror persists. For this reason, we are now changing to “dBu" instead of “dBv.” They're 14 the same term (0 dBu = 0.775 volts), but hope- fully people won't confuse a "u" with a "V". “evel” oF power not im Signeant “pipe’not significant 0778 volt “pump pressure"=0 dBu Figure 6. Ifa TASCAM output is rated at O dBu, it means it puts out 0,775 volts into a high impedance {it may also do so into a low impedance, if so specified). Connect a 0 dBu output to a 0 dBm nominal input, and the meters should match ‘one another. Different correction factors: 0 dBm=0.775V/ 600 2 oasv=tv | Voltage | 9 geo 75v/ higher than 600 2 4608 : 48208 41.78 68 1408 SOMESSSSSSTVS +2.2 dB 2.208 |:G77EMSeSsS0-aBs 6 0B -3.8 dB -6 dB -78.d8IMPEDANCE MATCHING AND LINE LEVELS All electronic parts, including cables end non- Powered devices (mics, passive mixers and such}, have impedance, measurable in ohms (symbol @ or Z). Impedance is the total oppo- sition a part presents to the flow of signal, and it's important to understand some things OUTPUTS ———-—» plug into It is generally said that the output impe- dance (Z) should be as low as possible. 100 ‘ohms, 10 ohms. The lower, the better, in theory. A circuit with 2 low output impe- dance will offer a low resistance to the pas- sage of signal, and thus will be able to sup- ply many multiple connections without a loss in performance or a voltage drop in any part of the total signal pathway. Low impe- dance values can be achieved economically by using transistors and integrated circuits, but other considerations are still a problem in practice, such as: 1. The practical power supply is not infin- italy large. At some point, even if the circuit is capable of supplying more en- ergy you will run out of “juice”. 2.Long before this happens, you may burn out other parts of the circuit. The output impedance may be clase to the theoretically ideal “ohms” but many parts in the practical circuit are not. Passing energy through a resistance generates heat and too much current will literally burn parts right off the cir- cuit card if steps are not taken to pre~ vent catastrophic failure. 3. Even if the circuit does not destroy it- self, too high a demand for current may seriously affect the quality of the audio, Distortion will rise, frequency response will suffer, and you will get poor results. about this value when you are making connec- tions in your mixing system. The outputs of circuits have an impedance rating and so do inputs. What's good? What values are best? It depends on the direction of signal flow, and in theory, it looks like this: INPUTS, Inputs should have very high impedance numbers, es high as possible (100,000 ohms, 1 million ohms, or more if it can be arranged) A high resistance to the flow of signal at first sounds bad, but you are not go- ing to build the gear. If the designer tolls you his input will work properly and has no need for a large amount of signal, you can assume that he means what he says. For you, a high input impedance is an unalloyed virtue. It means that the circuit vill do its job with a minimum of electrical energy as a beginning. The most “economi- cal” electronic devices in use today have in- put impedances of many millions of ohms, test gear for example, voltmeters of good quality must not draw signal away from ‘what they are measuring, or they will distur the proper operation of the circuit. A design engineer needs to see what is going on in his design without destroying it, so he must have an “efficient” device to measure with SOURCE (output) Plugs into____ tap (input) The classic procedure for measuring output impedance is to reduce the loac's impedance until the output voltage drops 6 dB (half the original power) and note what the load value is. In theory, you now have a load impedance that is equal to the output impedance. If you gradually reduce the load (increase the input impedance, the dB reading will return slowly to its original value. How much drop is accep ‘table? What load will be left when an accepta- ble drop is read on the meter? 16Traditionally, when the load value (input 2) is approximately seven times the output impe dance, the needle is still a little more than 1 dB. lower than the original reading Most technicians say, “1 dB, not bad, that's ac- ceptable.” We at TASCAM must say that we do not agree. We think that a seven-to-one ra- tio of input (7) to output (1) is not @ high e- ough ratio, and here's why: 1. The measurement is usually made at a mid- range frequency and does not show true loss at the frequency extremes. What about the drop at 20 Hz or 30 kHz? 2. All outputs are not measured at the same time. Most people don’t have twenty meters, we do. Remember, everybody plays. together when you record and the circuit demands, in practice, are simultaneous. All draw power at the same time Because of this widely misunderstood rule of thumb — the seven-to-one ratio, we will give you the values for output impedance. True Output Impedance Even though the true output impedance may be low, say 100 ohms, it takes a lab to check the rule of thumb, so for the practical reasons ‘we have explained, the use of the ratio method of impedance calculation must be changed to a higher ratio. We prefer 100:1 if possible and we consider 50:1 to be the minimum ratio that we think safe. Because of this, we will give you a number for ohms that you can match, Minimum Load Impedance. No calculations, ‘we have made them already. Minimum Load Impedance MAKE CERTAIN THAT YOU CONNECT NO TO- TAL LOAD IMPEDANCE LOWER (numerically) THAN THESE FIGURES. Line Outout/AUX A/B Output 2k ohms Monitor Output (ST MSTR 4/8) 2k ohms Monitor Output (Balance type) 600 ohms Direct Output 2k ohms ‘Access Send Output 2k ohms: Pre Output 2k ohms Nominal Load Impedance Our specifications usually show 10,000 ohms as a Norminal Load Impedance. This load will assure optimum performance. Remember, any 16 Impedance lower than 10,000 ohms is more load. Input Impedance Input impedance is more straightfoward and require only one number. Here are the values for the M-50: Mic input 600 chms Instrument Input 100k ohms. Tape [2TR A/B (L/R)] Input 47k ohms, Phono Input 47k ohms. Line Input 22k ohms: Program Buss input 22k ohms, Aux Buss Input 22k ohms. Solo Buss Input 22k ohms, Monitor input 22k ohms. Access Receive Input 10k chms Spare Input 100k chms fone output is to be “Y” connected to two in- puts the total impedance of the two inputs must not be lower than the minimum load impedance, mentioned above, and if it be- ‘comes necessary to increase the number of in- puts with slight reduction of the load specifica- tions, you must check for a drop in level, a loss. of headroom, low frequency response, or else suffer from a bad recording, If one input is 10,000 ohms, another of the same 10,000 ‘ohms will give you a total input impedance (load) of 5,000 ohms. To avoid calculations you can do the following when you have ‘two inputs to connect to one output. Take the lower value of the two input impe- dances and divide it in half. If the number you have is greater than the minimum load impe- dance, you can connect both at the same time. Remember, we are not using the true output impedance we are using the adjusted number, the minimum, output load impedance. If you must have exact values here is the for- mula for dissimilar 2 loads or inputs: ax = Blxh2 R1+R2 When you have more then two loads (in- puts), just dividing the lowest impedance by the number of inputs will not be accurate unless they are all the seme size. But if you still get a safe load then the minimum load impedance by this method, you can connect without worry,If you must have exact values, here is the for- mula for more than 2 loads or inputs: 1 Bea are ee EE ai * Ro * RS Rn RX = Value of Total Load Finding Impedance Values on Other Brands of Equipment ‘When you are reading an output impedance specification, you will occasionally see this kind of statement: Minimum load impedance = X ohms. ‘Maximum load impedance =X ohms These two statements are trying to say the same thing, and can be very confusing, The minimum load impedance says: Please don’t make the NUMBER of ohms you connect to this output any lower than X ohms. That's the lowest NUMBER. The second statement changes the logic, but says the exact same thing. Maximum load impedance refers to the idea of the LOAD instead of the number, and says: please don't make the LOAD any hea- vier. How do you increse the load? Make the number lower for ohms. Maximum load Means minimum ohms, so read carefully When the minimum/maximum statement is made, you can safely assume that the manu- facturer has already done his calculations, and the number given in ohms does not have to be multiplied. You can MATCH the value of your input to this number of ohms successfully; but as always, higher ohms will be okay {less load). Occasionally, @ manufacturer will want to show you that 7 times the output Z is not quite the right idea and will give the output impe- dance and the correct load this way, they will call the output impedance the True Output Impedance and then will give the recommend- ed minimum LOAD impedance. It may be a higher or lower ratio than 7 times and will be whatever the specific circuit in question re- quires. REFERENCE LEVELS We should talk about one more reference, a practical one. ‘Anyone who has ever watched a VU meter bounce around while recording knows that “real sound” is not a fixed value of energy, It varies with time and can range from “no rea- ding” to “good grief’ in less time than it takes to blink. In order to give you the numbers for gain, headroom and noise in the M-50, we ‘must use @ steady signal that will not jump around. We use a tone of 1,000 cycles and start it out at a level of ~60 dB at the mic input, ‘out beginning reference level. All levels after the mie input will be higher than this, showing that they have been amplified, and eventually we will come to the last output of the M-5O — the line-out and the reference signal there will be -10 dB, our “line level” reference, From this you can see that if your sound is louder than 94 dB spl, or your mic will produce: more electricity from a sound of 94 dB spl than -60 dB, all these numbers will be changed. We have set this reference for mic level fairly low. If you examine the sound power or sound pressure level (spl) chart on. Page 8 you will see that most musical instru- ments are louder on the average than 984 dB spl, and most commercial mies will pro- duce more electricity than the -60 dB for a sound pressure of 94 dB, so you should have no problems getting up of “0 VU" on your re= corder, We should also make a point of mentioning that the maximum number on this chart repre- sents “peak power” and not average power, ‘The reason? Consider it even some momen- tary part of your recording is distorted, it will force a re-recording and it is wisest to be pre- pared for the highest values and pressure even if they only happen “once in a while”. On this, point, statistics are not going to be useful, the average sound pressure is not the whole story. ‘The words themselves can be used as an ex- ample. Say the word “statistics” close to the mic while watching the meters and the peak LED level detector. Thon say the word “avera- ge”. What you are likely to see are two good examples of the problems encountered in the “real world” of recording. The strong peaks in the “s” and "t” sounds will probably cause the LED’s to flash long before the VU meter reads 7anywhere near “zero” while the vowel sounds that make up the word “average” will cause no such drastic action. To allow peaks to pass undistorted through @ chain of audio parts, the individual gain stages must all have a large reserve capability. If the average is X then X, + 20 dB is usually safe for speech, but extremely percussive sounds may require as much as 40 dB of “reserve” to insure good results, Woodblocks, castanets, latin percussion (guido, afuche) are good examples of this short term violence that will show a large difference between “LED fiash” and ac~ tual meter movement. When you are dealing with this kind of sound, believe the LED, it is telling you the truth Ifyou aro going to record very loud sounds you may produce more electrical power from the mic than the M-50 can handle as an input. How can you estimate this in advance? Well, the spl chart and the mic sensitivity are tied to- gether on a one-to-one basis. If 94 dB spl gives ~60 dB {1 mV) out, 104 dB spl will give you ~50 dB out, and so forth. Use the number, on our chart for sound power together with your mic sensitivity ratings to find out how much jovel, then check that against the maxi- mum input levels for the various jacks on the 'M-50. If your mie is in fact producing -10 48 or line level, there is nothing wrong with plug ging it into the line level connections on the mixer. You will need an adaptor, but after that it will work! Most mic manufacturers give the output of their mies as a minus-so-many-d8 number, but they don't give the loudness of the tost sound in dB, it's stated as @ pressure reference (usual- ly 10 microbars of pressure). This reference ‘can be found on our sound chart. It is 94 dB spl, 10 microbars, 10 dynes per cm? or 1 New- fon per square meter. For mics, the reference ‘0" is 1 volt (dB). So, if the sound is 94 dB spl, the electrical output of the mic is given as —60 dB, meaning so many dB less than the refer- ence 0 = 1 volt, in practice, you will ‘see levels of -60 dB for low level dynamics, up to about ~40 dB or slightly higher for the bet- ter grade of condenser mics available today. TASCAM recorders and mixer work at a level of -10 dB referenced to 1 volt (0.3 volt) so, for 94 dB spl, a mic with a reference output of -60 4B will need 50 dB of amplification from your 18 M-50 or recorder in order to see “0 VU" (-10 dB} on your meter. Nowy, if the sound you want to record is louder than 94 dB spl, the output from the mic will be more powerful and you will need less amplification from your M-5O to make the needles on your recorder read “O wu". ‘THE BLOCK DIAGRAM AND GAIN BLOCK DIAGRAM Before you begin reading the next section of this manual, flip out the extra fold on page 63, 64. On this page, we have printed the block diagram. It shows the signal flow through the M-50 and it represents in simple form, the ac- tual electronic arrangement of all the jacks, controls and gain stages from mic-in to line- out. The diagram on page 65 ~ 70 indicates the gain of a reference signal, the noise level, and the available reserve gain or headroom at any point in the signal chain, An experienced audio ‘engineer would be able to operate the M-50 successfully with just these diagrams and a list of input and output specifications. Any question about function or gain can be an- swered by studying the drawings. Will the accessory send signal change in level if the in- put fader is moved? No, the signal is shown leaving the main line before the input fader. You read both diagrams from left to right, in- put to output.INPUT SECTION In multitrack recording consoles, a description of signal “sequence” or flow is made more confusing by the multiple uses of the same cir- Cuit, depending on what point in the process you are considering. Broadly speaking, multi- track recording has three stages: Basie track ‘ng recording the initial track or tracks; Over- dubbing ~ adding more to the “Basic” and fin- ally, when all recording is complete, Remixing to the desirad final format, stereo, mono, etc. Obviously, there is no real need to duplicate functions that can use the same parts at a later stage in the process. For example, you don't need a separate EQ section for the LINE IN or TAPE IN function, a simple re-routing switch to select the input signal, MIC, LINE, or REMIX (TAPE) will be all that is necessary. If we were 10 ignore the logic of the recording process, this description of signal flow in the M-50 would be much easier for us and we could disregard the extremely large number of differ- cent possibilities. So that you will understand ‘why a specific jack or function was incorporat- ed we'l tell you what we had in mind when we built the M-50. To save space, we use the wiring sequence as ‘our logical “guide” to organize this manual and ‘well describe the signal flow “options” as we come to them on a “once through” basis, which means that the wiring description will be logical, but the benefit or purpose of tho feature may not be in the logical sequence of multitrack work. Because the M-50 will use many of the same circuits more than onee in the 3 step multitrack process, we will have to talk about overdub or mixdown related fes- tures at the beginning of this section before we have completed one complete signal path through the mixer to the recorder! This manual presumes nothing about your past experience with the multichannel process ex- cept a willingness to learn. An expert in the field might see the significance of a control or jack with just a simple statement of its loca tion, but in this manual we will point out “the obvious The terms that wo use in the Index may not re- late the use of the Model 60 to the field that you already know. For example, @ musician will call the beginning of the tape the "top", because it relates to the top of @ piace of music paper. An Audio-Visual producer would refer to the beginning of the program as “home” as in “return home" when thinking of the rewind function. This variation in the “jargon” makes the use of a conventional Index or Table of Contents difficult, and you have no guarantee of finding the help you need easily. Our job re- lated sequence of instruction is solf indexing to a much larger extent. Its likely that more than ‘one person will be involved in the recording process sooner or later, but we have written this manual with the assumption that the first time user will start all alone. If you can comprehend the “solo” use of the M-50 you should have no troubles converting the logic of the unit to accommodate extra “studio staff’. There are a total of 36 basic signal input con- nectors on the twelve Input Channels: 12 MIC INS, 8 MULTI-PURPOSE TAPE INS, 4 INPUTS (2TR A&B, L/R), 8 SECONDARY INPUTS, and 4 ‘SECONDARY MULTI-PURPOSE INPUTS. 1, Mic Input Section: There is one MIC IN on each of the 12 Input Channels. a. MIC IN Connector A balanced three conductor transformerless microphone input circuit is provided. Any mic with an output impedance from 60 to 600 ‘ohms will work, b. PHANTOM Power On/Off Switch The phantom power supply in the M-50 con- forms to the DIN standard #45 596, 48 volts DC applied to both pins 2 and 3 simultaneous- ly through a pair of current limiting resistors (6.8k ohms}. Since there are many other meth- ‘ods that are referred to as “phantom” that re- quire a different voltage, or a different method of applying the voltage to the pins of the MIC IN connector, we strongly recommend that you check the manuals for the mics that you pian on using. Make sure that this phantom method is correct before you plug in. For some ‘examples that may help you “cross reference”, this 48V duplex phantom power circuit is cor- rect for: NEUMANN 80 series, such as km84, UB7, 89. SONY mics that use 48V (some useless, but will work on 48V without causing problems). This method WILL NOT operate condenser mics with AB standard such as the Sennheiser 408, 406 or 416; AKG condenser microphones except those with EB after the model number. Caution: Some other phantom power micro- phones will ground one side of the common BV line we provide and your 48V mics will all tum off! You must isolate the input that has the other standard connected! 19Even though duplex 48V phantom is safe for dynamic mics in theory. in practice, your mic cables may not allow exactly 48V to get all the way up to the mic, If there is any difference in the voltage supplied to pins 2 and 3 at the mio end of the cable you will have some voltage offset in the dynamic mic that can cause dam- age to the sound, or damage to the mic! TURN OFF the phantom power ON/OFF switch {on the back panel) on all the inputs that don’t need it! ¢. MIC ATT Switch ‘Two positions are provided. 1) Set center, there is no effect. 2) Set fully left, a 304B pad is inserted (the sig- nal is reduced by 30d). Switch in this pad when counterclockwise rotation of the MIC TRIM (full attenuation) cannot correct an ‘overioad condition originating at the MIC IN. d. Differential Microphone Amplifier This transformer substitute circuit does not show on the outside, but its contribution to the system is considerable, The low power signal ‘that the mic generates must often be protect- ed and isolated from other low power signals in the real world. Radio, power line hum, buzz, crackles, and switching noise when motors start up. (Do you have an air conditioner on you AC line}? — all these unwanted signals must be kept out of the very high gain ampli- fiers that are needed to raise the mic signal to a working level. The balanced or three-wire circuit and input isolation transformer be- ‘comes one way to deal with the problem. A circuit using a single Differential amplifier can do the same thing as a transformer, cancel any signal that is the Same on both incoming lines. A difference in signal on the two inputs is amplified, a common signal (anything that is the same on both pins), is not passed, and you get only the signal provided by the mic. e. PHASE Reverse Switch Since the MIC IN circuit is balanced at this point, it is possible to invert the “phaso” or po- larity of the incoming signal. Set center, the phase is unaltered. Set left, the switch re- routes pin 2 to wire 3, and pin 3 to wire 2, and thus the polarity of the incoming signal is re- versed When a sound source is picked up by more than one microphone, the time displacement between each microphone's “hearing” of the signal can be different enough that the micro- phones actually cancel or add to each other to a greater or lesser degree; i.e, the sound may 20 appear thinner or even fatter than anticipated due to the mic placement. Should this occur, “flipping” the phase on one or more of the mi- crophones may cure the problem and eliminate the need to re-position the mics. Also, phase reversal may help to eliminate leakage from adjacent should sources into a given. micro- phone, The PHASE reverse switch will affect only the MIC input circuit. 2. 8 Multi-Purpose Tape Inputs ~ Channels 1 through 8 The TAPE INPUT provides signal to the chan- nel’s INPUT select switch and the AUX A and AUX B systems. The fact that the AUX A and AUX B systems have their own SIGNAL SE- LECT switch means that you may have a MIC IN selected as a source to feed the channel and also have a tape track feeding one or both AUX systems at the same time! You may split the functions on the channel and each system can be used to do its own job. TAPE INs 1 through 8 also provide signal to their respective BUSS/NOFF)/TAPE switches in the MONITOR SECTION for monitoring the ‘output of the 8 track recorder without having to alter the controls or settings on the /nput Channels. 3.2TR A&B Tape Inputs - Channels 9 ‘through 12 Located on the back panel of Input Channels 9 through 12, each of these inputs provides sig nal to the channel's INPUT select switch. It also provides signal to the MONITOR SELECT swtich rack where 2TR A selects the 2TR A, UR inputs from channels 9 and 10 and 2TR B selects the 2TR B, L/R inputs from channels 11 and 12. We suggest that you consider using these two stereo inputs to the MONITOR as @ two-track master monitor during Remix or 2s an effects return during Overdub. In this way it is possible to monitor the Mx. down directly from the two-track or add ef- fects return to your MONITOR mix without re- cording them. 02 . es G oO Ny oo* 0000 ,o codaa y vvYVyV r | sma @ TAPE IN Signal Routes waa: @ 2TR A&B Signal Routes© LINE IN Signal Routes4, Secondary Inputs - Channels 1 through 8 Located on Input Channels 1 through 8, these secondary inputs provide signal exclusively to their respective /nput Channel's INPUT select switch. They include Instrument, Phono, and Line inputs: a. INST INput~ Channels 1 and 2 Input Channels 1 and 2 each have a pair of INST IN jacks. 1}INST IN (RCA connector) 2) INST IN (1/4 phone jack} The two jacks are parallel wired. However, when a signal source is connected to the INST IN 1/4" phone jack, the jack will disconnect the parallelled INST IN RCA connector from the circuit. The INST INs will accept the signal “direct” from most electric guitars and basses. With some “hot” pickups you may have to tum down the instrument volume control to avoid overload, or adjust the RMX (LINE) TRIM con- trol b, PHONO Input - Channels 3 and 4 The PHONO input on /nput Channels 3 and 4 allows the use of a stereo turntable without ‘the need for the purchase of a separate preamp. AIAA EQ is provided, and the input impedance is 50k ohms. the PHONO input has been incorporated for convenience in pro- duction which require Library materials to be incorporated; ie., Multi-Image, Non-Syne film- work, wild track, or to check a test pressing. ¢. LINE INputs ~ Channels 5 through 8 The LINE INs on Input Channels 5 through 8 will accept signal from any line lovel source. Many electronic pianos and synthesizers are compatible with these inputs. 4b 5. 4 Secondary Multi-Purpose Inputs ~ Channels 9 through 12 ‘The LINE INput on channels 9 through 12 pro- vides signal to the respective /nput Channel's INPUT select switch and the channel's AUX A and B systems. You can have either of the other two inputs (MIC IN or 2 TR input) on these channels feeding the channel and simul- taneously select LINE IN to feed the AUX A or AUX B system. In this way the functions on the channel may be split and each system can be used separately as required, 256. Trim Used in conjunction with the OVERLOAD LED, ‘TRIM will reduce the level of those /nput sig- nals which would otherwise overload the subsequent electronics in the signal chain. Each Input Channel is equipped with a MIC TRIM and @ RMX (LINE} TRIM to avoid having to reset the trim or fader when alternating be- tween the MIC IN and enother of the inputs to the channel. a. MIC TRIM (Upper Section) This control provides variable attenuation to signal originating at the MIC IN. If additional gain reduction is needed, insert the MIC ATT. b, RMX (LINE) TRIM (Lower Section} Provides variable attenuation to signal origin- ating at inputs to the channel other than the MIC INput. 7. Input Select Switch This three position switch determines which input is to be routed through the channel, and the pre and post feeds to the AUX A and B sys- tems. a. Set Left Select the MIC IN (all channels). b. Set Right Selects the MULTI-PURPOSE TAPE IN. on channels 1 through 8 and the 2TR A & B, L/R. input on channels 9 through 12. 1) RMX (Remix) Channel 1 through 8 This position provides the mixer's full con- trol capebility (EO, effects, mixing, etc) for final Remix or fine tuning of the playback of the multitrack tape. 2) 2TR Aand B— Channels 9 through 12 Playback from the mixdown deck or any other stereo recorder requiring the mixer’s full control capability would be the logical use for this position. However, we suggest you consider using this position as an ef- fects return. You may wish to use 27R A, L/R to return the effects and 2TR B, L/R for playback of your two-track master. ©. Set Center Selects the SECONDARY INPUT on channels 1 through 8 and the SECONDARY MULTI- PURPOSE INPUT on /nput channels 9 through 12, 1)INSTrument Channels 1 and 2 The INST INs may be considered as direct boxes. 2) PHONO — Channels 3 and 4 Select this position to preamplify the output from o turntable. 26 3} LINE - Channels § through 12 Selects signal from the LINE IN to the chan- nel. 8. Pre Out RCA Jack Is the preferred point for Cue mixes, A mix made from this point by adding an accessory mixer (Model 1) will not change if you move the input fader, use the MUTE function, or adjsut the EQ. The only thing that is more frustrating to a player than having the Cue “jump around” in the headphones is to have the sound of a critical part disappear entirely. ‘The PRE QUT avoids this problem. 9. Overload LED When signals high enough to make the PRE QUT and ACCESS SEND outputs exceed +150B are applied to the channel, this LED will light. Adjust the appropriste gain reducing control (TRIM, or MIC ATT) until this LED re- mains out when signal is present. When work- ing with extremely percussive transient mate- rial, maximum TRIM and MIC ATT may be re- quired to prevent this LED from flashing on strong “peaks”. Changing to a less sensitive mic may help. 2 i i oaca oooo ois one©®© eae Oren 10. Access Send-Rev Jacks The high gain provided by the mic preamplifier allows us to place our first “patch point” in this useful location. A limiter connected to this point in the M-5O can be set to a range of ‘compression that will not be altered when the input fader is moved, or the EQ is adjusted. When no accessory device is bridged from the ‘SEND jack to the RCV jack, the jumpers provid ‘ed MUST be in place for signal to flow to the EQ amps and on through the M-50. There is no “normal” or automatic intemal connection when the jumpers are removed. 11. Three Section Semi-Parametric Type (Sweep) Equalizer The classical definition of the word parameter Is a variable, such as; weight, length, height, etc, In our case the term “parameter” refers to the adjustable frequency point. The "parame- ters" or “rules” are not fixed at any specific number, but are continuously variable. Two aspects of the circuit, the frequency center point and the “boost” or “cut” in gain are ad- justable without “steps”. Here are three graphs showing the control ranges of each of the three sections, Each section provides some “overlap” of the previous section in re- gards to the frequency range. cry om oo : as “ aE a aT F988, ieee mt errr na || 27The great advantage of a parametric or con- tinuously “tunable” equalizer over the more conventional "fixed center frequency” types is ‘that you can adjust the frequency center point to the precise area you need and then the cut, ‘or boost you use will be more effective. You get the result needed with less rotation of the control, and this puts less “strain” on the elec- ‘tronics. No matter how many “frequencies” there are on a “set” type EQ it is unlikely that any one will prove to be “Just right” end many more ranges are needed to do the job. “Less” is always the best working concept in audio, so use the EQ after all other methods have been exhausted, ‘Move the mic, change the mic, and finally — ‘ry the “cut” functions of the EO first. Even experienced engineers have a tendency to forget that “cutting” the lows will have a similar effect to “boosting” the highs, and puts less of a strain on the electronics. The results are not indentical but they are close enough to ‘warrant trying. Cut bass, raise the overall gain and see if it sounds better than just "boosting the highs. 12. Equalizer Bypass Switch, LED Indicator This switch is provided to bypass the chan- na'’s entire EQ section with a single control. A. setting can be compared to “flat” by alternate- ly switching in and out, or, the setting can be bypassed until needed and “dropped in” with a single action, Up, the equalizer is engaged. Down, the equalizer is bypassed. When the EQ BYPASS switch is depressed, the LED will light to remind you that the EQ has been disabled (bypassed), 13. PFL {Pre-Fader Listen) Switch, LED Indi- cator In radio and PA, there are many instances when it is desirable to check a signal before ‘opening the fader and committing the signal to broadcast or a "House feed”. Is the mic work- ing? Do you wish to talk to an announcer be- fore going “on the air” or do you need to ask a vocal group a question (and hear the answer) about the Cue balance while doing a back- ground vocal? Use this PFL function. When this push switch is depressed, the pre-fader signal goes directly to the SOLO circuits, re- placing whatever signal group or groups you have selected on the MONITOR SELECT switch rack. PFL signal will be heard “center 28 mono”, and more than one PFL may be de- pressed at a time, Push to enable, push again to release. The switches latch to make a "Mix". Depressing the PFL switch will activate the channel's SOLO LED. In addition, depressing one or more PFL switches will turn on the large SOLO LED on the upper right side of the console to warn you that the MONITOR SELECT switch rack has been bypassed. Why? if the MONITOR has been bypassed by the accidental depression of a SOLO or a PFL button, and, there is no signal in the circuit that is soloed, THE MIXER MAY APPEAR TO BE INOPERATIVE! No other MON- TOR function or mixing control can affect the signal sent to the ST MSTR A L/R OUTS or the HEADPHONES jacks until you release the un- wanted SOLO or PFL funotion. Even if you are Positive that there /S signal in a soloed chan- nel, you may forget to advance the separate SOLO volume and you will stil hear nothing. The PFL signal is affected by the EO BYPASS switch, which changes the signal pickoff point. You can't hear the effect of equalization if the EQ BYPASS switch is de- pressed, 14. Input Fader The main mixing control for individual signals on the M-50. Faders, also called “pots” (potentiometers) or attenuators always cause loss in order to con- trol signal 15. Input Channel Buffer Amp ‘This amplifier has a gain of 8dB, but its primary purpose is not really signal “boosting”. It is here to isolate the input fader from the ef- fects caused by the connection and discon- nection of the circuits that follow, 16. Direct Out RCA Jack ‘The specifications of the M-80's gain stages and summing networks are as close to ideal as we can offer. However, the fewer the number of parts, amplifiers, and summing networks that the signal passes through, the lower the amount of noise and distortion. Therefore, consider using the Direct OUT (D. OUT} to feed ‘a one mic per track signal to the recorder. This output can also be used in combination with an outboard mixer to make up an addi- tional post fader mix. a i ea esaere| ) He parsraeiinnes A 2 guua aaae aoe© Solo and PFL Signal Routes Stereo monitor © Typical Example of Direct Out Usage DY | I f Le ae i 29 17. Mute Switch, LED Indicator a. Located after the input fader in the signal chain, the MUTE switch simultaneously di rupts the flow of signal to the PAN control and the POST position of tho AUX A and B signal select switch. b, The MUTE switch can be used to assign a channel that has been preset and EQed with- ut having to reset the input fader accurately when you are rushed. The LED indicator will remain lit until the MUTE switch is released. ¢. The MUTE switch does not affect the Di- RECT OUT, PRE OUT, or the PRE position of the AUX A and AUX B signal select switch. 18. Pan Pot (Buss Select) This knob works two rotary faders that are wired "back to back". As you rotate, one is ‘turned up as the other is turned dawn, and the signal is shifted in stepless fashion from one BUSS to the other. When the control is “dead center’, each fader is still reducing the signal slightly so that the signal transition through “center” does not become louder as you pan ‘through it. Panning is possible only between odd and even numberred BUSSES. 19. Solo Button, LED Indicators Depressing this button will cause the signal on the Input Channel's main line to go directly to the SOLO master volume control, and then, to the ST MSTR A QUTs L&R. The SOLO signal will temporarily replace the signal selected at the MONITOR SELECT switch rack. Because the SOLO signal is taken off after the action of the PAN pot, this SOLO is a true ste- re0 function and in Remix you will hear the ef- fect of stereo placement as well as EQ. and {evel set by all other prior Input Channel con- trols.When only one BUSS has been selected. the PAN pot still affects the stereo SOLO, and may be panned as desired without affecting the as- signment to the particular BUSS. SOLO affects only the ST MSTR A OUTs L&R, and may be safely used when working. SOLO does not in- terrupt the ST MSTR B OUTs L&R, BUSS OUTs 1 through 8, AUX A&B outputs L&R, or the channel's DIRECT OUT or PRE OUT. The same cautions apply to the SOLO function as the PFL in regard to a possible confusion about whother the mixer is operating or not. Recall that when either SOLO or PFL is engaged on a Channel that has no signal in it, you will hear nothing in the MONITOR. To warn you, there is a mastor SOLO/PFL indicator on the upper right side of the M-50, and, for each input, a smaller LED on each channel to show when SOLOs or PFLs are active, 20. Solo Input Jacks a. SOLOINL b. SOLO INR ¢. SOLO CONTROL IN ‘These inputs are the stereo audio and FET con- trol switching access points to the M-50's SOLO system. They may be used to combine ‘the SOLO function output from another com- patible mixer or expander with the SOLO sys ‘tem of the M-50, Should the external SOLO audio feed be mono, “Y"ing it to the M-50's SOLO INs L&R will insure center placement in the stereo SOLO field. © ‘Sloe at ©0/66|66) “To Anothar Minar's (Ex. M-35 EX} SOLO OUT ToM-s0s SOLO CONTROL IN Tom-50s SOLOIN UR Solo Cable 21. Buss Assign Switches This rack of eight switches is arranged in two columns; odd numberred, left, even aum- berred, right, indicating which “side” of the PAN pot thoy will be assigned to, As in all TASCAM mixers before the M-5O, it is still possible to assign a channel to a single BUSS by depressing just one switeh and avoid the inevitable increase in crosstalk caused by us- ing the PAN as a part of the basic signal as- signment scheme. |e ‘deo G6 AUX SECTION ‘The two AUX systems consist of a pair of ste- Teo non-dedicated busses which can be used as CUE BUSS, EFFECTS SEND, ECHO, SECON- DARY MONITOR, BROADCAST REMOTE FEED, and REFERENCE RECORDING. 22. AUX A & B Signal Select Switches a. Set Left (PRE) Pre-fader signal is taken from the stage pre- ceding the fader and EQ, so it is not affected by the channel's fader or EQ settings, making this setting useful for stable Cue mixes. b. Set Center (POST) Selects post-fader signal from the point in the channel right after the MUTE switch, Because signel feeding this position will be subject to any adjustments to that channel's input fader, this position is usually preferred for effects or echo mixes. ¢. Set Right 1) TAPE—Channels 1 through 8. Selects the MULTI-PURPOSE TAPE IN. This AUX master 32 AUX A master is the preferred position to set up the per- former's Cue mix for overdubbing which re- quires the ability to combine the already re- corded tracks with the new material, By monitoring the recorders output while in Syne mode, you will have both the new and pro-recorded material available for an inde- pendent Cue mix. ‘When checking the overdub, the Cue sys tem will now be fed all of the recorded tracks at relatively the same mix levels as ‘occurred during the recording, 2) LINE ~ Channels 9 through 12 Selects the channel's SECONDARY MULTI PURPOSE LINE IN. This line level input can be selected to feed either or both of AUX systems while one of the other remaining input separately feeds the channel. ‘The LINE setting is very useful as a way to return submixes or effects into either or both of the AUX systems. \ AUX BGAINPAN To AUX A GAIN PAN© AUX Signal Routes 2099 #00 OOON a‘23. AUX A or B Gain (Upper Section, Dual Concentric Control) Individual gain controls are provided for each circuit. 24. AUX A or B Mute Switch, LED Indicator The AUX MUTE switch will interrupt the flow of signal to the AUX PAN control, light the LED and will affect all options of the AUX signal se- lect switch. By pre-setting the level of the AUX GAIN and then depressing the AUX ‘MUTE switch, a one button “drop in” can be performed by releasing the AUX MUTE switch at the desired moment. 25. AUX A or B Pan (Lower Section, Dual Concentric Control) The AUX A and AUX B PAN each accept signal from its respective AUX signal selact switch. Each AUX system is stereo and the AUX PAN determines the placement of the signal within the system's stereo perspective. Stereo echo devices ted by cither AUX system may be panned independently of the channel PAN as- signment when performing a stereo mix. 26. AUXIN A or B, L/R RCA Jacks Any line level signal may be introduced into the AUX systems at these patch points. These inputs may also be used to cascade the output from another mixer into the AUX A or AUX B. mix, Since there is no separate volume control just for these patch points, level control for these additions to your AUX mixes must come from, the device that you have “patched in’. 66/6e ee 36 27. AUX Aor B L/R Stereo Master Fader Each of these dual straight line controls pro- vides overall level adjustment of the stereo AUX signal sent to its respective AUX L/R out- put jacks, the AUX A and B METER select ‘switch, and to its MONITOR SELECT switch. 28, AUX Aor B L/R Out RCA Jacks Each of these stereo output pairs can be used for a variety of accessory functions; effects sends, Cues, monitor mixes, and the like. What you connect here will depend on the job you need done by the AUX A or AUX B systems at the time,BUSS MASTER SECTION 29. Program Buss Ins, 1 through & ‘These inputs may be used to accept the output of another mixer or any other line level source you wish to add, Since there is no separate volume control just for this patch point, level control for additional signal in- troduced here must come from the device that you have “patched in”. 30. Master Buss 1 through 8 Combi Network and Summing Amplifiers These amplifiers don't show on the outside but their contribution to the system is considera- ble. These devices allow the twelve channels to add their signals together without one chan- nel distorting the output of another. When you wish to “combine” or “sum” two or more vary- ing volteges that are being used to represent sounds, @ simple “joining together” of the wires will not work. This type of circuit pro- tecting “summing amplifier” also appears in several other places inside the M-50: AUX A, L/R; AUX B, L/R; MONITOR, L/R. 31, Master Buss Access Send/RCV RCA Jacks This pair of jacks is used to add an accessory or effects device (echo, flanger, what have you) to the entire group of signals on a BUSS. This, feature is not provided on the AUX A or B ste- reo busses, When no device is “bridged” across these jacks, the jumpers must be in place for signal to flow, as there is no “normal” or internal connection, 36 32. Buss Master Fader There are eight of these straight line faders, one for each of the eight BUSSes. Each BUSS. MASTER fader controls the output from its buss summing amplifier. It is a “grand master” for all signals that have been assigned to the BUSS, from /nput Channels, BUSS ACCESS ‘SEND/RCV, or the PROGRAM BUSS IN. Use it to simultaneously adjust these three differant “feeds” a. The level sent to the LINE/AUX OUTPUTS 1-8. b. The level shown on the meters when their switches are set to read BUSSes 1-8. ©. The level sent to the MONITOR control group. 33. Line/AUX Output RCA Jacks (Busses 1 through 8) ‘The final output of your mix. All functions have been applied to the signals. The only controls that remain are the sections of the mixer that allow you to see and hear what you are doing: the meters and the monitor feeds. We'll go to the block diagram and deal with the outputs first (p.63~-64), ‘©! o oy 6 ©MONITOR SECTION 34. VU Meters 1 through 8 ‘These eight meters have the standard volume Unit ballistic. They respond to the AVERAGE level of the signal not the PEAK level. The 0 VU point is set to equal 0.3 volts (-10dB refer- enced to 1 volt). Because the signal level sent to the meter amplifier procedes the parts thet switch the BUSS OUT (LINE JAUX OUTPUTs, AUX A, L&R OUTs, AUX B L&R OUTS) reference level from —10dBV (0.3 volts) to OdBu (0.775 volts), it is not necessary to adjust the meter amps or the LED driver circuits when you wish to change reference levels. 36. Peak LEDs These light emitting diodes will react much mote quickly than the meters, and are set to “flash” 10dB above “OVU". They will show you the difference between average and peak levels. On most percussion material (kick drum, latin percussion such as castanets or the Brazilian instrument called an afuche} you wil see these LEDs flash fong before the VU meters read anywhere near zero. Short term peak distortion may be hard to detect. Use discretion and experiment with the final meter level when you see these lights flash. They are telling you the truth about the REAL level that is being sent to the final output and “average” is not always @ safe concept. For example, castanets should be recorded with no more than a -20 indication showing on the averag- ‘ng VU meter. Even when the meter reads this low you may still see the LED flash, Take care and avoid overload It is normal for the M-50 meters to jump when AC power is first applied, and the headphone amplifier may produce a substantial transient “pop” even if the HEADPHONES master pot is rotated fully leftwards (off. Patching in mics and accessories with the power off will insure that you don’t damage your ears, the M-5O or any other equipment that you may be using. Take care. 36. AUX A Meter, AUX A/BUSS/ST MSTR. A Switch This three-position switch affects meters 5 and 6. a. Set Left— AUX A Meters 6 and 6 will now indicate the vel appearing at the AUX A, L/R outputs. b. Set Center~ BUSS Meters 5 and 6 will now indicate the signal level appearing at the BUSS OUTs (LINE/ AUX OUTPUT} 6 and 6. ¢. Set Right- ST MSTR A (Stereo Master A) Meters 5 and 6 will now indicate the signal le- vel appearing at the ST MSTR A QUTs L/R. nal lo- 37. AUX B Meter, AUX B/BUSS/ST MSTR B ‘Switch This three-position switch affects Meters 7 and 8. a. Set Left - AUX B Meters 7 and 8 will now indicate the signal le- vel appering at the AUX 8, L/R outputs. b, Set Center- BUSS Meters 7 and 8 will now indicate the signal, level appearing at BUSS OUTS {LINE/AUX OUTPUT) 7 and 8. ¢. Sot Right - ST MSTR B (Stereo Master B) Meters 7 and 8 will now indicate the signal le- vel appearing at the ST MSTR B OUTs L/R, 738. MON BUSS/IOFF)/TAPE Signal Select ‘Switches, 1 through 8 These three-position switches determine which signals will be used to feed your MONI. TOR mix, a. Set Left- BUSS Signal appearing at the BUSS OUT (LINE AUX OUTPUT} having the same number as the switch will be made available to the 8 x 2 MONITOR mix via the MONitor GAIN and PAN controls located directly below the switch. 39, MON Gain Control (x8) This pot controls the level of signal slected to ‘appear in the 8 x 2 MONITOR mix by its corre- sponding MON BUSS/1(OFF}/TAPE signal se- lect switch. 40. MON Pan Control (x8) This pot determines the stereo placement of signal selected to appear in the 8 x 2 MONI- TOR mix by its respective MON BUSS/1(OFF)/ 38 b. Set Center— OFF) Signal is muted. ¢. Set Right TAPE Routes signal from the MULTI-PURPOSE TAPE IN of the same number to the switch’s corre- sponding MONitor GAIN and PAN controls. TAPE signal select switch and MON GAIN con- trol 41. MON In L/R RCA Jacks This input is provided in order to add any ap- propriate signal to the 8 x 2 MONITOR mix. Level control of this signal must come from the device that you are feeding in. There is no idividual gain or pan on this input pair.42, Monitor Select Switch Rack If you examine the Block Diagram you will see that this signal select determines what will ap~ pear at both the ST MSTR A and 8 OUT, L/R RCA jacks and the HEADPHONES tip-ring- sleeve final stereo output. There are 7 options, and since this switch rack can combine sig- nals, any or all switches may be depressed si- multaneously. There are several combinations ‘of two or more of these switches that will solve listening problems that are common to the multitrack process, so we'll detail each op- tion and it's benefit. a, MON Switch The first position selects the output of the 8 x 2 MONITOR section. Since this BUSS/ KOFF)/ TAPE group is the Basic 8-track working sys- tem for the whole mixer, you will probably have it selected almost all of the time. b. SPARE Switch When depressed, selects the SPARE IN L/R jacks on the rear panel. Any stereo input such ‘as a submix or a two-track patched in to the ‘SPARE IN L/R jacks can be switched in and out of the STEREO MASTER A&B busses. ¢. 2TRA Switch Selects the 2TR A, L/R input jacks on channels 9 and 10 (both at once}. This position can be used to quickly switch the monitor to a two- track to check a mix-down, or, to listen to a signal group without recording it as we stated in the previous section 2TR A&B, L/R input. d, 2TRB Switch Selects the 2TR B, L/R IN jacks on channels 11 and 12 (both at once}. Basically a duplicate of the function provided by the 2TR A switch, but for channels 11 and 12. e. AUX A Switch Selects the AUX A L/R final mix after the AUX AUR master fader. This position will allow monitoring and adjustment of the AUX A ste- reo mix as itis sent out to a cue amp or effects device. 0 roles ee: o ¥. AUX B Switch Selects the AUX B L/R final mix after the AUX B L/R master fader. This position will allow monitoring and adjustment of the AUX B st reo mix as itis sent aut to a cue amp or effects device. These two switches (AUX A and AUX B) are basic multitrack necessities. And, when any session that depends on a good Cue (headset) mix begins, either of these switches should be your first selection so you can listen to the Cue system balance, and set the rehearsal sound. g. MONITOR MONO (L+8} Switch, LED In cator When the final format is mono, such as a radio spot, rather than force you to “center” all the MONitor PANS, we provide this switch. It will sum together both sides, left and right, of the stereo signal present in the MONITOR SELECT switch rack and will show you what your mix will sound like BEFORE it is broadcast. In ste- reo recording for disc release, it is useful to know in advance what will happen when a stereo sound is combined to mono, even though no mono mix is planned. Remember that radio is often mono, and much difficulty with mics wired “out of phase” or effects re- turn added to the mix unwisely can be avoided by listening to a mono in the monitor while you still have a chance to change the approach. Disc cutters don't like too much out of phase stereo, and this one error can be the major cause of disappointment with a test pressing. Since a cutting tip is not capable of moving in two directions at the same time, and since two loudspeakers are truly independent systems, you can get a teriffic sounding tape that makes a Vary poor record if you dan’t check for mono compatibility. What to listen for? A mix that doesn't loose most of it's high frequency brill ance when you select mono with the switch we provide here. Phase is a difficult subject and there are no simple repairs that we can guarantee. You will have to experiment to find solutions one at a time. Moving the mic 1/2 inch may change everything. Using the PHASE Reverse switch may also help solve this type of problem fh, MONO LED Indicator This LED is provided to remind you that the MONITOR MONO (L+R) switch is on. 43. Monitor Buffer Amp Isolates the MONITOR from the multiple con- nections that follows. 3944, Headphones Volume Control This rotary control will allow independent ad- jutment of the headphone volume. 45. Headphones Ti Output Jack Use only stereo phonest CAUTION! MONO (2 WIRE] HEADPHONES WILL CAUSE EVENTUAL CIRCUIT FAILURE If your “phones” have this connector, DON'T use them. 1 1/8" phone 2 section connectér) To be safe, the headset connector must have three sections. We realize that in any patch- able system, accidents can happen. We do build protection circuits in to assure that a mo- mentary mis-connection will not cause instant failure, but just because the circuit seems to ‘work OK when you try it for a moment or two, don't assume that we are overly cautions and keep on. Sooner or later, it WILL fail (2 to 3 minutes). The reason? When the “sleeve” of the 2 wire phone jack is inserted, it will con- nect both outputs together “head to head’ and this is not a usable signal combining method =a} 1 1/8” phone 3 section connector) 40 46. Stereo Master Faders, A&B Each dual slide fader (stereo) adjusts the over- all level of the signals selected at the MONI- TOR SELECT switch rack. The signal level apearing at the ST MSTR A OUTs L/R is deter- mined by the STEREO MASTER A fader while the STEREO MASTER B fader determines the signal level appearing at the ST MSTR B OUTS UR. 47. Monitor Buffer Amp For signal isolation,