Tascam M-3500 series Operating and installation instructions

TASCAM M-3500 MIXING CONSOLE
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Figure 1
Figure 2
INPUT SECTION
The mixer is able to select two seperate user inputs, the
line input jack or the mic input jack. The line input
jack is a 1/4” female jack and the the mic input jack is
an XLR female jack (See figure 1). Figure 2 shows the
input section controls, the first section of the mixing
board. The red knob adjusts the input level from the
mic input jack and the gray knob adjusts the input level
from the line input jack. If these knobs do not reduce
the input level enough, the “PAD” button can be
pressed to reduce the level by -30 dB. Pressing the
“LINE” button selects the line input jack. If it is not
depressed, the mic input jack is selected.
The “PWR” button activates the phantom power on the
mic input jack. The “FLIP” button will retard the
phase of the input by 180 degrees. The “HPF” button
is used to activate a high pass filter for the mic input
jack, in order to compensate for proximaty effects.

TASCAM M-3500 MIXING CONSOLE
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EQUILIZERSECTION
Each channel has a seperate equilizer section to adjust the levels
of certain frequencies on that channel. To activate this section,
press the “EQ” button so that the green LED is lit (See figure
3).
The high and low frequency eqs are graphic, set to 10 kHz and
100 Hz, respectively. These are the tan knobs.
The hi-mid and low-mid frequency eqs are semi-parametric.
These knobs are green and blue, respectively. The upper knobs
of each range selects the frequency, 420 Hz to 13 kHz for the
hi-mids and 42 Hz to 1.3 kHz for the low-mids. The lower
knobs adjust the attenuation or amplification of the selected
frequency bands. Figure 3
AUXILARY SEND SECTION
Each channel has the ability to send a specific amount of a
duplicate signal to the aux send masters, to send signal to
outboard effect units, such as delays and special effect units.
Each knob sends signal to 1 of 6 different aux send outputs.
The first two knobs send stereo signals to aux sends 1/2 or 3/4.
If the “3-4” button is depressed, these knobs send signal to aux
sends 3 and 4, otherwise they go to sends 1 and 2.
The “MON” button sends a copy of this signal to the STUDIO.
The “POST” button allows the signal level to be varied by the
fader (See figure 7). Figure 4
The “MUTE” button stops all aux sends from this channel and, when engaged, lights the yellow LED.
“AUX 1” is used, at AIC, to send a mono signal to the Lexicon multieffects unit. “AUX 5” and
“AUX 6” are used to send a stereo signal to the Eventide harmonizer. Both outputs are dependent
upon the settings of the “AUX MASTER” settings (See figure 8).
Unlike the EQ section, the AUX section has no effect upon the levels or sound of any specific chan-
nel. The AUX section is mixed back into the final stereo output.

TASCAM M-3500 MIXING CONSOLE
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STUDIO MONITOR SECTION
Each channel has the capability of sending a copy of itself to the
Isolation Booth, otherwise known as the Studio. This can be
independant of the Control Room sound, or be a copy of it,
depending upon the settings of the monitor section.
The “INP” button, when depressed, sends an exact copy of the
input section, without EQ or AUX sounds, to the Studio.
Figure 5
The “PRE” button, when depressed, uses this section to adjust the levels sent to the Studio. If it is
not depressed, the faders control the Studio volume of this channel.
The fader control adjusts the volume to the Studio when this section is used to adjust the Studio
volume seperate from the Stereo volume.
The “PAN” knob adjusts the left/right panning of this channel. The “MUTE” button stops all Studio
sends from this channel and, when engaged, lights the yellow LED.
OUTPUT SECTION
This is where each signal is split into two, stereo, pieces of signal
and assigned where it will go to next. The first four buttons can
send the channel to one of the 8 (eight) busses, for premixing.
Busses 1/2, 3/4, 5/6 and 7/8 act as stereo pairs. The “L-R” button
sends the channel directly to the left and right channels of the
Stereo Output. One of these buttons must be depressed or no
output from this channel will be heard.
The “PAN” knob adjusts the levels sent to the output. In the center,
it sends equal amounts to the stereo pairs.
The “SOLO” button prevents all other channels from being sent to the headphone jack, to isolate
each channel and, when engaged, lights the red LED and the “SOLO” LED in the CONTROL
ROOM section (See figure 10).. The “MUTE” button stops all Studio sends from this channel and,
when engaged, lights the yellow LED.
The “OL” LED lights whenever the final signal from this channel is clipped. It is advisable to adjust
all setting in such a way as to NOT light this LED. This is a different signal than that shown when the
“PEAK” LEDs are lit in the Main Meters (See figure 17).
Figure 6

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CHANNEL FADER SECTION
The FADERS allow easily adjustable control of the amplitude of
each individual channel. Based upon earlier “PRE” and “POST”
selections, this can effect other sections, such as the MONI-
TOR, AUX and BUS signals.
Each fader is marked to show the 0 dB level settings. To adjust
the input gain structure, each fader should be set to 0 dB and its
level should be adjusted using the INPUT level knob. This will
allow the best S/N ratio for each channel to continue to the final
output. Figure 7
The following controls effect all channels, unless otherwise specified. These controls allow the
engineer to adjust CONTROL ROOM, STUDIO and STEREO INPUTS/OUTPUTS, as well as to
control the effects units.
MASTER AUXILARY SEND SECTION
While each channel may send a signal to the aux send, when they are all sent, the levels
may be excessive. This section allows the engineer to adjust the summed level to better
fit the effect unit. Each AUX SEND has an individual master control. If these levels
are not set, no sound may be sent to an effect unit.
MASTER EFFECTS RETURN SECTION
While there are 6 AUX SENDS, there are only 4 AUX RETURNS, or
EFFECTS RETURNS, each a mono, single signal source. EFFECT RE-
TURN 1 is the Lexicon multieffects unit. ER 2 is unused and ER 3 and 4 are
the stereo returns from the Eventide harmonizer. The faders allow adjust-
ment of each returns volume level. Each fader is marked to show the 0 dB
level settings. Adjust these levels as described above. The BUS buttons
work as in the OUTPUT section of the individual channels.
The “PAN” knob adjusts the levels sent to the output. In the center, it sends
equal amounts to the stereo pairs.
The “SOLO” button prevents all other channels from being sent to the head-
phone jack, to isolate each channel and, when engaged, lights the red LED
and the “SOLO” LED in the CONTROL ROOM section (See figure 10)..
The “MUTE” button stops all sends from this channel and, when engaged,
lights the yellow LED.
Figure 8
Figure 9

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BUS FADER SECTION
The BUS FADERS and STEREO FADER allow easily adjust-
able control of the amplitude of each bus and the stereo output.
Each fader is marked to show the 0 dB level settings. To adjust
the input gain structure, each fader should be set to 0 dB. This
will allow the best S/N ratio for each channel to continue to the
final output.
Figure 10
OSCILLATOR SECTION
The “OSC” controls provide an oscillator signal to the stereo output. This allows the
engineer to provide reference and test tones to the output device. Frequencies are
selectable from 40 Hz, 100 Hz, 1 kHz, 10 kHz and 16 kHz. The “TONE” button must
be depressed to provide this output to the Stereo Output. When not being used, turn
the knob to the “OFF” position.
When recording tones, use the red STEREO fader to adjust the tone level to 0 db on
the STEREO METERS (See figure 12). Figure 11
STEREO METERS
The STEREO METERS show the VU levels of
various stereo signals, depending upon the
settings of the METER SELECT section (See
figure 13).
The “PEAK” LED is used to show that an
audio peak has occured. It should light on oc- Figure 12
Figure 13
casion but should not stay lit. The meter should stay between the -3 db and +6 dB
levels. Lower levels will mean that the S/N ratio will be lowered.
Use the METER SELECT buttons to tell the meter which signal to display. The
“STUDIO” button shows the Monitor or Studio levels. “CR” displays the VU of the
Control Room and “STEREO” displays the Main Stereo Output of the mixer.

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The following controls only change the listening sources/environment, without effecting the output
signal(s).
CONTROL ROOM SECTION
This section allows the engineer to change what is being heard in the CON-
TROL ROOM. The buttons select the signal being heard. The first six (6)
buttons allow the engineer to hear what is being sent to any of the six (6) AUX
SENDS. The “EXT” button selects an external source, not used at AIC, as is
the “2 TR” button, which monitors the external tape return signal. The “STE-
REO” button selects the MAIN STEREO OUTPUT, being sent to the output
rack. This is the button that is mainly used.
The “CR” knob adjusts the volume of the CONTROL ROOM speakers. This
is the control to use to turn the listening environment up and down. Pressing
the “MONO” button will mix the STEREO OUTPUTS together, allowing the
engineer to hear a non-stereo mix of the program. The “A” and “B” buttons
allow the engineer to select the large, reversed speakers, A, or the smaller
studio monitors, B. Pressing both buttons allows the sound to be monitored
through both sets of speakers. The “DIM” button will cut the volume to the
control room by -60 dB, without effecting the STEREO OUTPUT, for com-
munication with control room occupants.
The “SOLO” knob adjusts the volume level of all soloed channels to the CONTROL ROOM. When
this control is active, as based upon a soloed channel, the “SOLO” light will be lit. The “PFL” knob
adjusts the level of the CONTROL ROOM signal, as monitored at the headphone jack when the
“PFL”, or PERSONNAL FEEDBACK LOOP button is depressed. If the “PFL” button is not
pressed, the output to the headphone jack is the STEREO OUTPUT.
Figure 14
STUDIO SECTION
This section selects what is heard in the STUDIO. If the “CR” button is depressed, the
STUDIO will hear the same thing as the CONTROL ROOM, otherwise, it will hear the
signals sent by the MONITOR section. If the “MONO” control is depressed, the signal
will be mixed, evenly, to both Studio channels, left and right.
The “PHONES” knob and “STUDIO” knob must be adjusted to a comfortable listening
level within the STUDIO.
To activate the STUDIO sound, the “ON” button must be depressed and the green LED
must be lit.

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TALK BACK SECTION
This section is used to communicate with the STUDIO.
When the engineer would like to speak to the STUDIO, press the “TB” button. The
volume sent to the STUDIO is based upon the settings of the “MIC” knob. This is con-
trolling the volume of the built-in mic, located above the “OSC” section.
The “SLATE” button will send this mic signal to the STEREO OUTPUT, allowing the
engineer to record memos and take information. The “AUX 1-4” button will allow the
STUDIO to hear the AUX RETURN signals, as adjusted by that section.
BASIC RECORDING
All sections are used for full implementation of this console. However, not all sections are required
to record from this mixing board. The “EQUILIZER”, “AUXILARY SEND”, “STUDIO MONI-
TOR”, “MASTER AUXILARY SEND”, “MASTER EFFECTS RETURN”, dark gray “BUS FAD-
ERS”, “STUDIO SECTION” and “TALK BACK SECTION” are only used when recording more
advanced signals and when using the ISOLATION BOOTH (STUDIO).
All recordings will need to use the “INPUT”, “OUTPUT”, “CHANNEL FADER”, “STEREO
FADER”, “STEREO METERS” AND “CONTROL ROOM” sections.
The “INPUT” section adjusts the input signal levels. The “OUTPUT” section selects the output path
of the signal. The “CHANNEL FADER” sets the individual channel levels. The “STEREO FADER”
sets the final STEREO output, as seen by the “STEREO METERS” and the “CONTROL ROOM”
section allows the engineer to hear and monitor these signals. This is essential to providing a profes-
sional output sound signal.
When recording in this room, monitor the final sound quality at the recording output device. These
will normally be the headphone output of the DAT or the cassette recorders. Listening to the speak-
ers or the mixer headphone outputs may not allow you to evaluate the actual recorded signal.
After all analog, mixer signals are adjusted for good signal processing procedures, use the recording
device’s input levels to make sure that you are recording the loudest signal possible, without clipping.
The TASCAM M-3500 MIXING CONSOLE is an inline recording mixer, designed to support 8, 16,
and 24 channel recording requirements, as well as to support a studio, control room and stereo
output environment, up to +6 dB recording levels. Levels above this specifiacation may become
distorted and be unrecordable, without proper compensation.