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1) Basically, if you're tracking live to 5 or more TRACKS, then use the direct outs. Correct?
>> That would probably be the most straight forward thing to do. However, there's nothing stopping you from using "buss"/track assignment for the first 4 tracks, then "direct-out" for the 5th, 6th, 7th & 8th.
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2) But i'm not prohibited from tracking more than 4 INPUTS at once.
>> That's right. The M30 is capable of mixing 8 inputs to 4 busses.
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2A) For example, if I have 3 drum mics, 2 guitar mics, and 2 vocal mics (total of 7 inputs), I could assign the 3 drum mics to Buss 1, the 2 guitar mics to Buss 2, and the 2 vocal mics to Buss 3.
>> Yes, exactly. That's a valid example of using the busses. Just for grins, I might suggest putting the kick mic on it's own track, then the remaining 2 drum mics carefully mixed and recorded to a second track. At least then you'd have separate control of the kick-to-kit ratio in the mix. That being said, I've often tracked the drums to one single track with good results, but the downside is that the drum sound and it's relative mix of drum mics is fixed on that one track. If the production allows you to suck up extra tracks, then it's often preferrable to separate the drum mics,... say separate the kick mic on it's own track for starters, and maybe separate the snare mic onto it's own track, then a 3rd track for a single overhead mic,... if you determine you have the spare tracks. That decision is made in the pre-production stage. But hey, if you have to track the drums to one single track, just make sure you're perfectly happy with the drum mix, 'cause once it goes to tape on a single track, it's fixed that way. Maybe more explanation on that than necessary,... but you get it, I'm sure.
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2B) Then I just patch 3 of the 4 line outs in the Buss section to tracks 1,2,& 3. Correct? And I would do this by assigning each channel (input) to a Buss?
>> Ehm,... let me study that phrase for a bit. While I do that, I'll reiterate that each buss has a Line Out and an Aux Out. These are essentially two outputs of exactly the same buss signal, in parallel. It's NOT representative of a stereo output on the buss. Line Out is Aux Out. Aux Out is Line Out. It's just two spigots for the same audio signal, for each buss.
>> Okay, I've studied that question some more, and you're right. Patch 3 of the 4 Line Outs from the Buss Output section to tracks 1, 2 & 3. Then you'd assign your channels to those busses, accordingly. I'm on board with that statement, as being correct in concept.
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2C) Also, are you saying that "aux out" can be used as a "line out"?
>> Aux Out and Line Out are the same identical mono buss output, in parallel.
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2D) Thus I could use the LINE OUT and AUX OUT on buss 1 to go to tracks 1 and 2 (making the drums in stereo)?
>> No, what you'd get by doing that is 2 identical tracks of mono drum signal off buss 1. What you'd want to do to get stereo drums, is use 2 busses and mix in a stereo pair, then use either the Line Outs or Aux Outs off 2 busses, routed to 2 tape tracks.
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3) I'm a little unclear on overdubbing and use of "cue". How do you patch and how do you monitor while overdubbing? How does the submix section come into play?
>> There are several ways to achieve this. Bear with me for a minute.
Say, you're ready to record your very first (primary) tracks to tape.
Patching would be the "buss/assign" patching model, as I've described in the previous post:
Buss 1: Tracks 1/5 (Line Out/Aux Out)
Buss 2: Tracks 2/6 (Line Out/Aux Out)
Buss 3: Tracks 3/7 (Line Out/Aux Out)
Buss 4: Tracks 4/8 (Line Out/Aux Out)
Assume at this point your inputs are assigned to busses how you want them, the mix is set, and each tape track is responding to the signals you want them to.
So, on the Submix section, for the active Channel #'s, (corresponding to your inputs) you'd set the Submix select switch to "POST",... (adjust Submix levels 1-8, Pan, and Master Submix level)... which brings a "post-fader" signal from the "Main" mix (input) section into the stereo Submix. (Switch headphones to "Submix). At this point, you should be listening to your Inputs, from the Main mix section thru the Submix section, to the phones.
Having previously adjusted the Inputs-to-Buss levels using the VU meters switched to "Buss", you'd also need to switch the VU meters to "Submix" to verify proper Submix levels, which should be a good, strong signal but not overloading.
Press "Record", and record your inputs/buss-mix to tape.
Your primary tracks have been recorded, and now it's time for overdubs.
SO,... (at this point) for ANY previously recorded tape tracks that you wish to monitor, you'd set the Submix select switch to "TAPE". For the channels you want to use for Inputs, you'd set the Submix select switch to "POST", (again).
That's the simplest, most straight forward use of "Submix" for "cue monitor".
However, you may also to use the Submix section for cue monitor, by using the Submix/"Tape" setting on ALL Submix channels and monitoring tape tracks AND live-inputs THRU the tape machine,... with: <<(recorder set on SYNC/REC FUNCTION enabled/Tape transport on REC/PAUSE)>>.
THAT's a little more advance of a monitoring concept, but it's simple nonetheless. Believe me, it's way more difficult to explain it than it is to implement. You'll just have to experiment with these two monitoring concepts, to get familiar and comfortable with them. That may be a lengthy explanation, but it's not complicated, trust me.
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4) For effects, i'm also abit lost. What's the best/easiest way to patch effects?
>> The M30 provides an "ACCESS-SND>RCV" patch point on EACH channel and EACH buss. These snd>rcv patch points should normally be jumpered together when not in use. That's what those 12 little 2p jumpers are on the back of the M30. If you don't have 12 jumpers on the back, you have a problem and need to get some.
ANYWAY,... you make your choice on whether you want to patch your effects to a single channel or a buss, and use the Access-Snd>Rcv patch points to patch your effects. That's as simple as it gets.
There's also another method available, which is to use the BUSS MONITOR as an Effects-Send, and then take the output of the effects processor, and patch it into either an unused channel, a Buss input patch point, or the Submix Inputs,... whichever fits your mix and patching best, based on your immediate configuration. The only thing to watch out for when doing this, is not to patch a feedback loop. Otherwise, using the Buss Monitor section as an Effects-Send kinda makes up for the fact that the M30 doesn't have a dedicated Effects-Send section.
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Hope that helps!!! /DA