Tascam M-200 Series User manual

., TASCAM
TEAC Professional Division
MixingConsoles
OWNER'S MANUAL

The guarantee provided for the 200 Series
Mixers has severa1 restrictions. The Series 200
Mixers will perform properly only if they
are adjusted properly and we guarantee that
such adjustment
is possible. Setup is not covered
by the Warranty. If your attempts
at interna1
adjustment are unsuccessful, we will charge you
for readjustments.
Mixing for sound reinforcement, recordingor
other audio endeavours
is an art as well as a
science. As
a result, your finished product rnay
by judged more by artisticcriteriathantechnical
performance. Art
is the province of the artist
and TASCAM can make no guarantee that the
200 Series Mixers, by themselves, will assure the
quality of the work you produce.
Your skill
as a technician and your abilities
as an artist will be significant factors in the
results that you achieve.
Understanding what
is going on inside your
equipment will help improve your sound. Think
of this manual as
a reference book. You won't
need to mernorize it to get started, but try to
find the time toread
it thoroughly at least once.
That way, you will be familiar with
its contents,
and if you need answers, you'll know where to
findthem.
" @ Copyright 1985,TEAC Corporation"
All rights reserved under international and Pan
American copyright conventions.
This book may not be reproduced in whole or
in part, by mimeograph or any othe means,
without permission.
T0 PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE T0 RAIN OR
TABLE OF CONTENTS
Introduction..
. .... . . . . . .. . ..... . . .. .
3
A Systern of Sub-systems
. ..... . . . . . . . . 3
Hook Upthe Series
200 Mixer ....... . ...
7
Sound Reinforcernent
...... . . . . . . . . . . 7
Recording..
..... .. . . . . . . ..... . . . . . . 10
Recordingthe basic tracks
... . ..... . ..
10
Overdubbing
. . .... . .... . . . .. . . . . . . . 10
Ping-ponging
.. .......... . . . .. . .. . .. 12
Remixing
........ . .. . . .. .. . . . . . . . . 12
Video Post Productionand Audio
Sweetening
. . .... .. ........... . . . . . 13
Work Methods: GettingaSatisfactory
Recording. ...... .. ......... . ....... 14
Planning
........................... 14
Apparent and Absolute Values
... . . . . ... 18
Usingthe Series 200's Equalizer
. .. . . . . . . 18
A Word of MixingAdvice..
. . . . . . .. .. .. 20
Calibratingthe Series 200 Mixer
. . . . . . . . . 21
Featuresand Controls
. . ... ........ . ... 22
Accessories
.. . .... . . . ................ 28
Voltage Conversion
... . ..... . ......... 31
Notefor U.
K. Custorners . . . .. . .. . . . ... .
31
Specifications
........ . .... . ..... . .... 32
Pictograrn
. . . . ............ . . . . .. . . . . . 36
Block Diagrarn
.. . . .. .. . . ............. 37
Level Diagrarn
. .... . ..... . ..... . . .. ..
40
Dirnensions
... . . . . . ... . .. . . . .. . ...... 41
ER (OR BACK). NO USER-SERVICE-
amation point within an equilatera1 triangle is intended to
user of the presence of important operating and main-
tvicing) instructions in the literature accornpanying the
- 2 -

Introduction
The TASCAM 200 Series Mixers were de-
signed to provide the maximum flexibility and
performance. They are equipped with
a com-
bination of features that allow them to be used
successfully in
a broad range of applications
including: Sound Reinforcement, Studio
Re-
cording, Broadcast Production, and Video
Assembly.
The more flexible
a mixer is, the greater value
it has. Flexibility on the scale of the Series
200 Mixers can make
a mixer seem complicated
because of the tremendous number of features
and controls. All mixersshare some fundamental
principles that are not difficult to understand.
This understanding, particularly when combined
with some experience, will insure that your
Series 200 Mixer will be
a powerful creative tool
that
is also easy to use.
i. n
Production Audio Systern
A SYSTEM
OF SUB-SYSTEMS
Your mixer
is a system, a group of individua1
elements working together as a unified whole.
All audio systems have three things in common:
Input, Process, and Output. Inaudio production
systems, the Input consists of electrical signals
from microphones, instruments, VCRs, turn-
tables, tape recorders, etc. These signals are
Processed electronically to balance their levels
and tonal qualities. The resultingsignals are then
converted into sound, Output by amplifiers,
speakers, and headphones.
A mixer functions
as a traffic contro1 center
for audio signals on the move. Ittakes multiple
inputs, processes them for level and tone, and
sends, or routes, them to multiple outputs. So
the mixer controls "where" signals go to and
come from, and "how much" signal goes there.
Your Mixer
is the Control Center.
Finished
Stage Monitor
J-7
Product
I nstrurnents v
(Reverb, Delay,
Echo, Cornp., etc.)

Large systems may be broken down into them through the input channels toone or more
sub-systems
- each of which is a system in its program groups. The group faders then contro1
own right. Your Series 200 Mixer is actually how much signal goes to the rear panel output
made 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 into one group so
requirementsof Input, Process, and Output. that the overal level
is controlled by one fader.
The signal present in each group also feeds the
The largest of these
is the MAIIV IVIIX. It re- Stereo, or House Mix.
ceives signals from multiple inputs and routes
R
MASTER FADERS EXTERNAL
POWER AMP
\@ Pm ouT
The Stereo Mix gets its signals from the four
groups, routing them through the group PAN
controls to the Left and Right outputs. These
are used to create
a House Mix for sound rein-
forcement, or as a Control Room Monitor when
recording.
The Foldback (FLB) Mix takes its signals
from the inputchannels or
a recorder's playback.
These signals are routed through their own level
controls. Foldback Mixes are used so that the
talent on stage can hear their music through
a
separate set of amps and speakers (stage moni-
tors) during live performances, or so that the
talent can hear previously recorded and new
material while overdubbing. For the purposes
of sound reinforcement, this mix
is called a
Monitor Mix, and in recording it is sometimes
called
a Cue Mix.
MASTER
FLB OUTPUT
EOUALIZER FADER
The Effect (EFF) Sub-mixer's signals come
from the Main Mix system. Let's assume you
have a digital delay, reverb, or another signal
processor that you want to use on some of the
material you're performing or recording. If you
only want the effect on one channel, you could
plug your instrument into the effect and plug
the output of the effect into the mixer, or use
the INSERTion jack in each channel. But
suppose you want to use your reverb on your
voice and your instrument, which you're run-
ning through different channels of the mixer,
but using
at the same time. Your Series 200
Effect Mixer
is able tosend the combined signal
to the effect output on the back of the unit.

This output is then plugged into your reverb
unit and the reverb's outputs are connected to
either or both of the effect return (EFF R'rIV)
inputs on the back panel. So we see that the
Effect Sub-mix system
lets you decide "How EFF OUTPUT
Much? " reverb will be used on which channel
("where?
).
INPUT EOUALIZER FADER ASSIGN " \ FA I
EFF
RTN
MASTER
L
STEREO. OUT
R
FADER
The Solo System gets its signals from the selected sources through the headphones. In
Main Mix channels. The Pre Fader Listen (PFL) recording applications, Solo is used to adjust
switch in the channel sends that channel's TRIM, level and tone inan individua1channel or
signal to the Solo Master Control. The PFL group of channels. Insound reinforcement, Solo
switch automatically bypasses the Monitor
is very useful for setting levels and tone, as well
Select switches and sends the Solo Mix to the as for finding feedback and cable problems.
headphone jack. This lets the user listen to
\I INPUT I EOUALIZER I FADER I ASSIGN (
TO Monitor
Signals SOLO
from
\
W
STEREO
Monitor
Select
with
MON Switches

i Your Series 200 Mixers combines al1 these
l
1
mixer systems into a complete audio production
system.

Hook Up the Series 200 Mixer
There are a few things you will need in order microphone cables short, particularly if you're
to hook up your new mixer. You may want to using high impedanceunits.
read through the following paragraphs so that
you get what you need before you start. All Instruments: You may want to run direct
connections should be madewiththe power off. boxes on some instruments. Be sure you have
them before you start. Some instruments put
AC Power: You'll need some outlets, obvious- out very hot .signal levels and should be moni-
ly. Try NOT to use outlets that are on the same tored closely. Synthesizers, drum machines, and
circuit
as air conditioners and old refrigerators.
al1 percussioninstruments fall intothis catagory.
These things may introduce noise to your Even though drums may be miked, they create
system. Keep
al1 the elements of your system transient levelsthat need watching.
Plugged into the same circuit, but not the same
plug. Have some three prong to two prong, Headphones: They should be Stereo head-
ground liftladapters on hand. You may need phones. Never use monophonic headphoneswith
them for some of your other equipment. AC your 200 Mixer.
outlet testers are handy to have around and can
be inexpensivelypurchased at electronicsstores. SOUND REINFORCEMENT
Cables: You will need
a vareity of cables in-
cluding: RCA-type, quarter inch phone-type, The IVl-208and M-216 Mixersare ideal for use
XLR-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 will
need some RCA-to-phone adapters. These allow them to reproducein live performancethe
cables are used for the following: sounds of contemporary recordings. Such
a
RCA: Use TASCAM cables, or equivalent mixer must provide: the ability to accept in-
shielded, low capacitance, high RF resistant puts from microphones, instruments, tape
cables 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 stage
phone adapters for 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 for quick and easy
struments, unbalanced PGM Outputs, Effect Out sound adjustments during the performance by
and Returns, and Line Level Inputs.
a sound man or from the stage. IVlany groups or
XLR: These three pin connector cables individuals will also need the same unit to
should be shielded and are used to connect double
as a multi-track recording mixer. The
Low Impedance microphones, Input trans- Series 200 mixers were designed to meet these
formers, PGM Outputs, and Stereo Outputs. needs.
These connector cables are also used with some In our application example, we used the
effects devices, direct boxes, and electronic M-208 with eight input channels. Instrumenta-
musical instruments. tion for our example will be
a multi-keyboard
Speaker wire: This wire need not be shielded setup using
its own sub-mixer, an acoustic
and
its connectors will vary with the amplifier guitar, with piezo-pickup, acoustic drums with
and speakers used. three microphones,andthree vocal microphones.
The group also has electric bass and electric
Cables should always be
as short as is possible guitar, but these are not run through the mixer
to do the job. It's also
a good idea to keep in our example. Electricguitar and bass generate
cables that do similar jobs together, audio input enough stage volume that they can be left out
cables, output, effect send, etc. Use plastic cable of the houseand monitor mixes.
ties to bundle them together. It's neat and
it's
quiet. The vocal microphones are low impedance
units that use the balanced XLR connectors
Microphones: Use high quality microphones in channels
1 - 3. The vocal microphone chan-
with your TASCAM mixer. The fine electronics nels will be grouped on PGM Fader number 1.
in your Series 200 IVlixer will only sound as This grouping of the vocal mics will allow
good
as the input source will let them. Keep you to make changes of level for al1 three mics
-7-

using a singlefader and a single PAN control.
The acoustic guitar with the piezo pickup
uses the MIC INput of channel 4. The electric
guitar could be "close miked"
at the amp and
share the same channel
as the acoustic guitar, if
the acoustic
is run through a direct boxlpre-
amp and the TAPE INput. You can then change
the channel feed from acoustic to electric by
using the TAPE button in the input channel.
The guitar(s) will be assigned to PGM Fader and
PAN number 2. The PGM Fader can then be
used to adjust for level differences between
the acoustic guitar and electric guitar sources.
Microphones are used to pickup the acoustic
drums. One mic will pickup the kick drum.
Another will be mounted overhead to pickup
the cymbals and toms. The third will be stand
mounted and positioned to pick upthe snare and
hi-hats. The drum mics are connected to chan-
nels 6, 7 and 8 and are grouped on PGM Fader
4. The keyboard sub-mixer's outputs will be
plugged into the SUB BUSS IlVputs. This
as-
sumes the keyboard sub-mixer is stereo. The
monitor, or mono output of the sub-mixer
will then be connected to the LINE INput of
channel
5. The TASCAM M-1B, or MX-80
makes
a great keyboard mixer. The channel 5
connection is necessary so that the keyboards
can be heard in the stage monitor rnix that will
originate
at the FLB OUTput of your M-208.
If the keyboard mixer is mono, then its output
can be connected directly to channel 5 LINE IN-
put, disregarding the SUB BUSS INputs. The
keyboards will be grouped on PGIVI Fader
number
3. You can use PGM Fader 3 to add
mono keyboard mix support to the stereo house
mix should you need
it. The electric bass could
use
a direct box and ,an extra channel of the
keyboard sub-mixer, if
it is needed inthe house
mix.
The House Mix will come from the Stereo
IVIaster Outputs via the main power amp and the
speakers. The talent on stage will hear them-
selves by meansof the FLBOUTput, power amp,
and stage monitor speakers.
Effects devices such
as reverb, digital delays,
compressor/limiters, chorus effects, etc. can be
connected to the mix
at the INSERTionjacks in
the individual channels or the EFFects sub-
mixer system. Reverb and delays are often used
for the house mix so they are best connected to
the EFFect OUTput with the reverb andlor
delay output(s) connected to the EFF RTN
inputs. Effects that are intended to be used on
individual instruments should utilize the IN-
SERTion jacks.
This system's set upprocedures are
as follows:
1. Put all speakers, instruments, effects de-
vices, and amplifiers intheir proper positions.
2. Make al1 cable and wire connections. The
power for al1 units in the system, including the
M-208 should be off, and the fader controls on
the M-208should be
at zero, off.
3. Begin turning the power on for the system.
The M-208 goes on first followed by the sub-
mixer, effects devices, and finally the power
amps.
4. Set the M-208EQcontrolstothe 12 o'clock
position. You will feel
a center detent on the
control
at this position.
5. Make cure the TAPE switches are up, in
the off position.
6. Leave the FLB controls in their zero posi-
tion, fully counterclockwise.
7. Assign the signal in the input channels, to
PGM (Group) Faders by pressing the 1-2, 3-4
buttons in each of the eight input channels to
the down position. Assign the vocals, channels
1, 2, and
3, to group 1 and rotate the PAN
controls 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, to
group
3 rotating PAN fully left. Assign the
drums togroup
4 rotating PAIV fully right.
8. Set the PAN controls for PGM to the
12 o'clock position. All PF L switches should be
inthe up position, off.
9. Raise the L and R Stereo Master controls
to the shaded area between the
7 and 8 mark-
ings.
10. Begin setting the individual channel
volumes using the channel faders labeled
1 - 8.
The level
is set while the talent plays the in-
strument or uses the microphonethat is plugged
into the channel. If the signal
is too high,
the OL indicator will be lighted. If the OL
is
on constantly, press the PAD switch. This
should allow you to raise the channel fader to
the proper position, but if the OL indicator
continues to flash, or the channel fader cannot
be raised high enough, then adjust the TRIM
control counterclockwise until proper adjust-
ment of the channel fader
is possible.
The input level will be right when the meters
read at or near O and the channel faders and
LIR faders are in the shaded area between 7

and 8. If the faders cannot be placed in their
proper positions, then the input signals are too
high, or too low.
Remember that musicians and singers tend
to perform "harder" when they are in front of
an audience than in sound checks. So your
levels may have to be readjusted slightly once
the performancebegins.
11. Stage monitor levels are set in the same
way as the house mix, except that the FLB
channel and MASTER controls are used in-
stead of channel and LIR faders. Set the FLB
MONITOR switch to the on, down position
so that your meters and phoneswill be following
the Foldback mix.
If howling or feedback occurs, reduce FLB
levels and reposition your monitor speakers
or microphones. You may have toexperiment
a
few times to determine the proper positionsfor
speakers and mics. Keep in mind that monitor
levels need not be
as high as program levels.
Certain elements of the mix may be eliminated
entirely from the monitor. The drummer will
need to hear his bass drum in the monitor, but
the snare and cymbals can often be left out of
the monitors. Electric guitars and basses have
very high stage levels and need not be present
in the monitors, should you be close-miking
them for the main mix. In our sample mix,
the vocals and acoustic guitar will need to be
very strong inthe monitor mix.
12. Effects levels are set using the EFFect
controls in each channel and the EFFECT RTN
1 and 2 controls. You may also position the
effect signals using the. Effect PAN controls.
Many effects have gainllevel controls, so if
proper levels can'not be achieved using the
M-208 controls, adjust the levels on the effect
device. Devices using the channel INSERTion
jack should also be adjusted with their own
level controls.
111
Drum Mashine

RECORDING
Our recording application example will use
a
TASCAM model 234 Syncaset, a four track re-
corder, and your M-208. Although eight track
recording using an M-208and TASCAM models
38, 48 or 58 is possible, the M-216 is better
suited to eight track work. Many of the tech-
niques used in the preceding Sound Reinforce-
ment example may also be used inthe recording
application. So we won't repeat the basics of
level setting.
We will have to connect the 234 Syncaset
so that
it both receives signals for recordingand
sends signals back tothe M-208for overdubbing,
ping-ponging, remix, and playback. All con-
nections should be made with the power off in
al1 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 to the LINE INputs of the
234. For the sake of clarity and reference, con-
nect number 1 connectors on the mixer to
number 1connectorson the Syncaset, and so on
through number4.
Once these connections have been made, you
will want to calibrate your system. Turn to the
Work Methods section of this manual, page 21
for the exact procedures.
Recordingthe Basic Tracks
One of the primary differences between the
sound reinforcement application and the re-
cording application
is a conceptual as well as
practical one. In sound reinforcement, the ac-
tion takes place simultaneously
; what you hear
is what you get. The recording processtakes the
music beyond the limitations of time. In the
sense that
a completed project sounds like al1
the tracks were cut at the same time, as in sound
reinforcement. The multi-track recording pro-
cesses of tracking, overdubbing, bouncing, and
remix are used to make music that was recorded
on Monday and Wednesday sound like it was
recorded at the same time and place. One of
the many advantages of multi-track recording
is
that one musician can sound like many by
playing the various instruments and performing
the vocals one-at-a-time until the project
is
complete.
The first track to be recorded
is the rhythm
or click track. Since our group has
a drummer,
the drum tracks would be recorded first. The
drummer may not wish to play without accom-
paniment. If not, the keyboardist and bass
can play the track with the drummer while the
recorder
is set to record only the drummer's
performance. A click, or metronome track can
be recorded first, if the drum tracks are to be
recorded after other parts are layed down. The
click track helps the musicians, who will record
later, to play in the proper tempo so that the
musicwill fittogether properly.
A cue mix andlor control room monitor mix
must be available for the musician or musicians
recording subsequent tracks to hear and play
with previously recorded tracks. This mix can be
set up by using the FLB system and speakers
as we did in the sound reinforcement applica-
tion, or
a headphone amp and headphones.
Additional cue mixes are possible using the
CUE OUTputs of the Syncaset and
a TASCAM
MH-406 HeadphoneAmplifier.
The Buss Assignment switches (1-2 and 3-4)
and PAN controls of your mixer will determine
the track destination of your music on the
Syncaset. If you connected them the way we
suggested, the Buss Assignment, PAN, and
track numbers should be consistent. Track 1
of the Syncaset will come from Buss Assign-
ment switch 1, Program Fader
l, etc.
Overdubbing
For the sake of this example, let's assume that
you have recorded your first track, click
or
drums, onto track 3 of the 234 Syncaset. The
process of recording your subsequent tracks
is called "Overdubbing."
l. In order to hear your clickldrum track
while recording your next track, you will need
to press the TAPE switch located juct below
the FLB control in channel 3 of your mixer.
This brings the playback from the recorder back
intothe FLBICuesystem.
2. Use the Buss Assignment switchesand PAIV
controls to determine the track destination of
your new material.
I
3. Press the Record FunctionSelect switch on
the recorder for the new track, let's say track 1.
Press PLAY and RECord and the recorder will
playback your click track (3) while recording
your new track (1
). Consult the owner's manual
of your recorder for the specifics of its opera-
tion.
4. Record track 2 in the same manner. You
can continue to fill up al1 the tracks of your
recorder (fourISyncaset, eightlmodel 38) inthis
way, but another recording technique will
greatly expand your track capability. So record
track 2 and proceedto "ping-ponging."

Stereo

Ping-ponging
Assuming that you have recorded music on
tracks 1 and 2, and that you have your click
on track three, we will now merge the material
on tracks 1 and 2 together onto track 4. We will
leave the click track where
it is since we don't
want
it in the final mix. This merging of two or
more tracks onto one
is called Ping-ponging,
Collapsing, or Bouncing, and
its purpose is to
free the old tracks, in this case 1 and 2, so that
new material may be recordedthere.
1. Press the TAPE switches in channels 1
and 2. You may not want to listen to the click
track again, so turn off (up)the TAPE switch in
channel 3. Press the 3-4 Buss Assignment
switches inchannels 1and 2 of your mixer.
2. Rotate the PAN controls in channels 1
and 2
al1 the way tothe right, clockwise.
3. Make sure that channel 3, the click track,
has no buss assigned. So that
it will not be re-
corded inthe mi~.
4. Press the Record Function switch for
track 4of the recorder. Press PLAY and
R ECord.
Your multi-track recorder will now record both
tracks 1 and 2 onto track 4. When this process
is finished, you may record new material on
tracks 1and 2.
You may also add new parts during the ping-
pong process. Connect the new sources to the
mixer, make the proper Buss Assignments, and
perform the new parts
as the tracks are being
bounced.
Repeat the process
as often as desired but
remember, that once material has been merged
together through ping-ponging,and new material
has been recorded on the old tracks, you will
not be able to separete the original tracks to
perform
a new mix.
When you have completed your tracking,
overdubbing, and ping-ponging,you will want to
create
a stereo master tape through the process
of Remixing.
Rernixing
You have filled the tracks of your multi-
track recorder, and now you want to remix the
four or eight tracks down to twotracks (stereo).
You will need another recorder such
as the
TASCAM 122 or equivalent recorders. This new
recorder
is your "mastering" deck. Before you
start, be sure tocalibrate the masteringdeck.
You will use the Stereo Master L and
R OUT-
puts of your mixer to feed signal to the master-
ingdeck.
1. Press the TAPE switches for channels 1
- 4
to the tape (down)position.
2. Press the Buss Assignment switch 3-4 in
al1 four channels of the mixer that are receiv-
ing multi-track tape signal. Adjust PGM PAN
controls for 3 and 4 full left and right respective-
IY.
3. Adjust the PAN and levels in the channels
as desired. You may want to rehearse this
a few times. The pan of a signal is its relative
placement (left or right) in the stereo panorama.
There
is no "right way" to do this, whatever
sounds right to you
is the only criteria.
4. Playback the multi-track tape and adjust
the L and R Faders on the mixer. Check the re-
cord levels on the mastering deck. The mixed
signal reaching
it should register close to O on
its 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 mastering
deck. Then press PLAY on the Syncaset. Release
the Pause on the mastering deck. Repeat the
process if necessary until you get the mix you
want.
Effects can be added during any of these
recording procedures. See
t he Sound Reinforce-
ment segment for effects level setting.

VIDEO POST PRODUCTIONAND AUDIO
SWEETENING
The TASCAM Series 200 Mixers have al1 the
necessary features to fulfill the audio contro1
needs of the independent production house or
editinglsweetening facility. Virtually al1 popular
brands and models of 314 inch and 112 inch
VCRs will interface directly with the Series 200
Mixers.
Mono or stereo audio signals from four
(M-208stereo) to sixteen (M-216
mono) can be
mixed simultaneously. These signals could be
combined with various other audio sources such
as voice-over (VO) mics, turntables, cart ma-
chines, etc., and assigned to the program out-
puts feeding the edit master record VCR. Since
the M-208 has four program busses, a mix-
minus of the various ambient and wild track
sources can be created simultaneously, without
adding the narration and V0 material. This can
then 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 for
cueing the V0 announcer, while the effects
send and return system can be used
as a side-
chain for special effects.
In the example shown, two stereo source
VCRs are shown in
a typical A-B roll editing
situation while
a V0 mic is running through in-
put 6. A cart or cassette machine could be
connected to input
5 if needed for hot rolling
effects onto the mix. Monitoring of the mix
is
done through the L and R Stereo Master Out-
puts, while cues are sent via the Foldback
system to the V0 booth. The master record
machine is being fed signal from Program
Outputs
1 and 2, while an international dub
(mix-minus-narrationand VO)
is being recorded
from Program Outputs 3 and 4. Additional dubs
could be cut simultaneously from the parallel
output jacks of the Program Outputs.
Edit Bay Effects Side
Monitor
Voice-Over Mic
Source VCR-A
VCR-2
(Mix-Minus Master) (Sound Effect) Source VCR-B

Work Methods:Gettinga Satisfactory Recording
As we mentioned on the first page of this
manual, recording
is an art as well as a science.
Art has
a special and intangible quality that sets
it apart. In order to create art, the artist must
have the proper tools, command of the tech-
niques of those tools, and a healthy dose of
inspiration. Your Series 200 Mixer
is the tool.
The command of the techniques will involve
some practice and some thought on your part.
Inspiration
is a matter for you and your muse.
The following paragraphs are here to provide
you with information, suggestions, and some
perspectives regarding the mixing processes and
your M-208 or M-216. There are three funda-
menta1 notions upon which these suggestions
are based; Planning, Apparent and Absolute
Values, and Common Sense. We'll talk in detail
about Planning and Apparent and Absolute
Values, we hope that you bring Common Sense
to 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 will happen, and which
tracks will be ping-ponged,etc. Track sheets are
handy sketch pads that will aid you inplanning.
Although track sheets are designed with record-
ing in mind, they are very useful in sound
reinforcement. Successful setups can be notated
on track sheets for later reference.
Plan your work environment. If you are re-
cording, you will need
a room that is quiet
and has sufficient electrical power. If there are
appliances or air conditioners plugged into the
same circuits as your mixer, they will probably
cause hum, clicks, or other noises when their
motors come on. More valuable tips regarding
the recording environment can be found in
TASCAM's "Multitrack Primer." If you're
mixing for live performance in
a night club,
make sure the mixer isn't using the same circuit
line as the espresso machine and the blender.
Your mixer and al1 the stage equipment should
be using the same circuit line.
RECORDING
CLIENT
ARTIST
O TIME CODE
PRODUCER
U MASTER O COPY
ENGINEER 2nd ENGINEER
TITLE
DATE REEL OF

The condition of the AC circuit that you in-
tend to use with your mixer is very important.
IVoise and safety problemscan be both annoying
and dangerous. There are
a couple of inex-
pensive tools that you should have with you
whenever and wherever you set up your mixer:
an AC Outlet Tester, AC AdapterIGroud Lift,
and an AC Neon Lamp tester (better yet,
a
VoltIOhm Meter).
Outlet Tester
Neon Lamp Tester
VoltIOhm Meter
AC Adapter
The AC Outlet Tester is very easy to use, just
plug it into the outlet and its.LEDs will signal
whether or not the circuit is properly wired.
If it is not, do not under any circumstancesuse
that outlet. Faulty wiring in an AC circuit
is
potentially hazardous.
AC AdapterIGround Lifts are used in two
ways. They are useful if you are using older
equipment that uses two prong plugs that are
not properly grounded. Your Series
200 uses a
two prong plug, but it will present nogounding
problems by itself. The wire on the two to
three prong adapter must be connected to the
grounding screw on the outlet. These adapters
are also useful
as ground lifts. A ground lift is
used inthe event that a "ground loop" is created
within the wiring of al1 the elements of your
system. A ground loopwill create
a humor buzz
that will not go away no matter what remedy
is used. Ground lifts should only be used
as a
last
resort, since failure to have equipment
properly groundedcan createsafety problems.
A Neon LampTester, or VoltIOhm Meter can
be used to check the grounding of individual
instruments and amplifiers. Guitar and bass
amps are particularly vulnerable to grounding
and shock problems when the guitarist or
bassist
is also using a microphone. Check the
grounding by putting one of the tester or
meter's probes on the metal chassis of the
amplifier, or the strings of the guitar or bass
and touching the other probe to the micro-
phone. If the lamp or meter registers the pos-
sibility of a shock, reverse the ground of the in-
strument's amplifier by using the amplifiers
polarity switch or reversing
its AC plug. If the
amp has
a three prong plug and doesn't provide
a polarity switch, which is rare, use one of your
AC AdapterIGround Liftsto reverse the plug.
"Snakes" are very helpful when your mixer
is
used in a sound reinforcement application. A
snake uses
a connection box on one end of a
properly shielded cablewith individualcables and
connectors on the other end. Snakes are very
convenient, but the shielding in the cable
can be damaged if the cable is bent, or kinked.
Keep snakes out of the way so that people and
equipment aren't banging them about.
All your wiring should be neat. A snake is
obviously neat and convenient, but provides
an additional advantage. When cables that carry
a similar signal (input, output, effects, etc.)
are grounded together, there
is less danger of
creating
a noise source called a ground loop. We
mentioned an AC ground loop above, and
a
similar situation can be created with your audio
cables. It follows that cables that carry different
kinds of signals should be kept away from one
another. A neat arrangementof cables also keeps
them from being damaged by keeping them out
of the way of the performers and audience.
Damaged cables are the most frequent problem
you will encounter during sound reinforcement.
So keep the cable layout neat, and always
have spare cables on hand.

If you intend to use effects devices with your
mixer and amplifiers, then
a rack-mount cabinet
is a wise investment. The "rack" should have
metal rails, these help ground al1 the chassis' of
the amps and effects together, decreasing noise
problems.
Understanding the inner workings and signal
flow of your Series
200 Mixer will help you
to maximize the features and functions of the
mixer, find problems quickly, and, perhaps,
come up with new applications. To help you in
this understanding, we have provided you with
1
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three types of illustrations: the first is a line
drawing of the unit; the second is called a picto-
gram, which is a representation of the controls
and features placed in the proper sequence of
signal flow; the third
is a block diagram, which is
the same as the pictogram using a different set
of symbols for the individua1features and con-
trols. Learning to read
a block diagramcan be a
tremendous help in your future dealings with
audio 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 Assign PGM
1 Fader
I 1 I 1 EFFect Send Level
TAPE Switch FLBSend Leve1
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The following is an example of the applica- 2 can then be connected to the stereo effects
tions that can be discovered through
a block device. The devices stereo output
is connected
diagram. Using an M-216 Mixer, we will create to input channels 15 and 16. Channels 15 and
a stereo effect send using the program busses 1 16 are assigned to the
3 and 4 busses, and they
and 2. All your input channels can be routedto are used for your stereo master mix.
the 1 and 2 buss. The PGM Outputs for 1 and

APPARENT AND ABSOLUTE VALUES
The ear and the Series 200 Mixer perceive the
same program materia1 in very different ways.
The ear deals in apparent, subjective values,
while your mixer deals in absolute, objective
values. This difference leads to the fundamental
rule: trust your mixer, the meters and OL in-
dicators, when the destination of your mix (the
"where to")
is another machine (recorder,
amplifier, signal processor, etc.); and trust your
ears when the destination
is the realm of the ears
(the air, reached via speakers or headphones).
Remember too, until your ears reach the level of
perception attained by experienced audio
engineers, trust your mixer whenever indoubt.
The METERS show both the average pro-
gram level with the needle of the meter and the
peak program level and transients by means of
peak LEDs built into the meters and overload
LEDs in the channels. Percussive instruments
and synthesizers can be difficult to mix pro-
perly. Believe your meters! Keep your levels
under control when you mix these instruments.
Their apparent loudness
is not usually greater
than other instruments, but their absolutesignal
value
is much higher than the average program
level. If these levels reach your tape or ampli-
fiers without being trimmed, they will cause
your sound quality togo down.
USING THE SERIES 200's EQUALIZER
EQ can be used tochangethe tonalityltimbre
of a signal in an individua1 channel of your
mixer. The 10 kHz control affects the relative
"brilliance or brightness' of the signal, while the
100 Hz control affects the "boominess or
bassiness" of the sound. Between these ex-
temes
is the midrange 250 Hz - 5 kHz control.
This control affects the relative "presence" of
the sound within the range of the voice, guitar
and other midrangesources.
There are
at least two sides toevery story and
the EQ story
is no different. The ability to
favorably change one signal may result in an
unfavorable alteration in another. When using
EQ, care must be taken not to
" overdo it. "
With the exception of boosting a signal to the
point that
it registers on the OL LED, EQ is
a process for the apparent, subjective values of
the ears. Your conception of what
is good, will
probably differ from ours. Make EQ adjust-
mentstoplease yourself.
Your mixer's EQ controls perform in an
interactive way. What
is meant by that is, the
tone or timbre of the sound in
a channel can be
altered to bring about
a similar change by using
any of the three EQ controls. Howso? Suppose
you want to change the "balance" of the timbre
by accentuating the bass. Before your reach for
the 100 Hz control and start adding bass, con-
sider reaching for the 10kHz and mid-range
controls to "roll off" the highs and mids
a bit.
These three controls epitomize the team work
approach to problem solving. Always consider
al1 three alternatives whenever an EQ adjust-
ment
is necessary.
EQ controls tend to be over used rather than
under utilized. If the sound
is acceptable as it
comes into the mixer, then don't EQ it. And
don't over adjust any control. Be careful, only
make the adjustments that are absolutely neces-
sary. Less
is definitely more when considering
EQ.
The EQ system in your Series 200 Mixer
is
a combination of a shelving-type, the 10kHz
and 100 Hz controls, and a sweep-type mid-
range equalizer. All three controls provide both
cut and boost capability within their frequency
ranges. The treble, 10kHz, and bass, 100 Hz,
have frequency ranges that are fixed. Your
midrange, 250 Hz to 5 kHz, control
is variable
and will provide
its cut or boost to a selected
frequency within
its outside limits. Howdo you
tell the frequency rangethat needsattention?
Most of us can tell that Michael Jackson's
voice is higher than Bruce Springsteen's. If
you're not familiar with these singers, consider
the roar of the lion and squeek of the mouse.
These examples are extreme and, therefore,
distinctions are easily made. Consulting the
frequency range chart provided here, you can
see that Michael and the mouse will be much

more affected by an adjustment in the 10 kHz placed in the 400 Hz range. A bass drum will be
contro1 than Bruce or the lion would be. Bruce more affected by the 100 Hz contro1 than a
and the lion will get more help from a contro1 cymbal would be, and so on.
+ 20
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FREQUENCY (Hz)

Once you have deterrnined that 1) the signal
does require EQ and 2) the proper frequency
range has been identified, the final steps in-
volve turning the proper controls. Sounds
sirnple, doesn't
it? If the frequency to be
adjusted falls within the range of the rnixer's
rnidrange control, 250 Hz to 5 kHz, there are
two controls to work. To determine exactly
where the rnidrange control should be set, turn
the Gain, the lower of the two knobs rnarked
MID, to an exagerated position, almost al1 the
way up. Then, slowly sweep the frequency
range by turning the frequency control from
its
minirnum to maximum settings in a clockwise
motion. As the control
is turned, you will hear
the change in the signal's content. When the
desired frequency
is isolated, reset the Gain
control tothe necessary amount of boost or cut.
Avoid rnaking these changes during
a per-
formance or recording. The sweeping action can
create undesireabletimbral effects.
When EQing
a track, rernember that the con-
trol you use will affect al1 the rnusic passing
through the control's circuit. You may find that
the necessary boost on one instrument also
boosts another instrurnent on the channel in
an unfavorable way. Experience will help you
learnthe limitsof the EQ process.
A WORD OF MIXING ADVICE
All finished tapes or live perforrnances rnust
be balanced for level. Do al1 the instrurnents
and voices blend together in
a way that is
appealing? Is the lion roaring so loud that the
rnouse
is "lost in the rnix"? Your signal levels
will affect the entire recording and rnastering
process, including the EQ process. So makesure
that your levels are properly acljusted when re-
cording or mixing for performance. This will let
you use your EQ system to "fine tune" the
rnusic. You can't fix
it if you can't find it.
If your rnixer's faders end up looking like
this, then you're overloading your outputs. Pull
down the input channel faders and raise the pro-
gram rnaster faders.
If this is the look your rnixer is projecting,
then you're pushing the rnaster too hard. Your
rnix will be undistorted, but will have a lot of
noise in it.
T00
low
T00
high
This picture is the reasonable compromise.
Itwill give youthe best results.