Hey all you old school mixer users. I need some help with the basic use of my Tascam M30 Mixer. I'm tracking to a Tascam 38 and unsure how to assign channels to the buss, how to submix, and how to route effects through the mixer. Anyone? Thanks for your help.
MIXING 101--Need Help mixing with my Tascam M30
- Thread starter amphead
- Start date
A Reel Person
It's Too Funky in Here!!!
There are many ways to skin a cat!
In general, the M30 mixes 8 inputs to 4 busses (ASSIGN 1-4).
The buss outputs are labelled "Line Out/Aux Out, (1-4)".
The Line Out and Aux Out are the same signal in parallel, for each buss (1-4).
You'd typically hook from the Line Out/Aux Out's on each buss to the Inputs on the Tascam 38.
The typical mixer to recorder patching using busses would be as follows:
Buss 1's Line Out to Input 1; Buss 1's Aux Out to Input 5.
Buss 2's Line Out to Input 2; Buss 2's Aux Out to Input 6.
Buss 3's Line Out to Input 3; Buss 3's Aux Out to Input 7.
Buss 4's Line Out to Input 4; Buss 4's Aux Out to Input 8.
With a 4-buss board like the M30, you may record up to 4 discrete tracks simultaneously in "buss mode". For live tracking to more than 4-tracks, you'd have to make use of the Direct-Outs on each channel.
The Aux-Snd>Rcv jacks on each channel and each buss is where you'd plug your effects inline.
If I were to record a live band that consisted of drums, bass, 2-guitars and vocals, I'd probably do it like this, although this is only a suggested setup.
Kick_Drum> Mic_1> Chan_1> D_Out_1> Tape_Input_1
Snare_Drum> Mic_2> Chan_2> D_Out_2> Tape_Input_2
Overhead_Drum_Kit> Mic_3> Chan_3> D_Out_3> Tape_Input_3
Bass> Mic_4> D_Out_4> Tape_Input_4
Guitar1> Mic_5> D_Out_5> Tape_Input_5
Guitar2> Mic_6> D_Out_6> Tape_Input_6
Vocal1> Mic_7> D_Out_7> Tape_Input_7
Vocal2> Mic_8> D_Out_8> Tape_Input_8
With a live-to-8 recording, the busses (Assign 1-4) don't figure into the picture at all,... it's all implemented using the Direct-Outs.
Two of your inputs will be on 1/4" phone plugs, by virtue of the #7 & #8 inputs being 1/4" jacks. For purposes of keeping this description very straight forward, you'd probably consider using (2) Hi-Z mics with 1/4" plugs, and that suits me fine. Otherwise, you may often use the 1/4" inputs for DI guitar or bass.
You could take the basic patch I've described above for live-to-8 recording, and change it as necessary.
The Monitor and Submix sections don't really figure into the picture when doing live-to-8 recording, but in general, the Submix section would be used for your "cue" monitor when overdubbing, as the main "traffic center" of the board. The separate Monitor section may be used for a "straight" offboard buss monitor, or it may be pressed into use as an "effects" send, in some circumstances.
The situation of track-by-track recording with overdubs is quite another application than live-to-8 on the M30. For track-by-track overdubbing, you'd use the Assign-section and Submix quite extensively. The beauty of the M30 is that you should be able to go from recording, to overdubbing, to mixdown with the flip of a switch, that doesn't require a lot of repatching.
There's nothing cast in stone about setting up, patching & using the M30 for recording, but hopefully that gives you some guidelines and food for thought.
In general, the M30 mixes 8 inputs to 4 busses (ASSIGN 1-4).
The buss outputs are labelled "Line Out/Aux Out, (1-4)".
The Line Out and Aux Out are the same signal in parallel, for each buss (1-4).
You'd typically hook from the Line Out/Aux Out's on each buss to the Inputs on the Tascam 38.
The typical mixer to recorder patching using busses would be as follows:
Buss 1's Line Out to Input 1; Buss 1's Aux Out to Input 5.
Buss 2's Line Out to Input 2; Buss 2's Aux Out to Input 6.
Buss 3's Line Out to Input 3; Buss 3's Aux Out to Input 7.
Buss 4's Line Out to Input 4; Buss 4's Aux Out to Input 8.
With a 4-buss board like the M30, you may record up to 4 discrete tracks simultaneously in "buss mode". For live tracking to more than 4-tracks, you'd have to make use of the Direct-Outs on each channel.
The Aux-Snd>Rcv jacks on each channel and each buss is where you'd plug your effects inline.
If I were to record a live band that consisted of drums, bass, 2-guitars and vocals, I'd probably do it like this, although this is only a suggested setup.
Kick_Drum> Mic_1> Chan_1> D_Out_1> Tape_Input_1
Snare_Drum> Mic_2> Chan_2> D_Out_2> Tape_Input_2
Overhead_Drum_Kit> Mic_3> Chan_3> D_Out_3> Tape_Input_3
Bass> Mic_4> D_Out_4> Tape_Input_4
Guitar1> Mic_5> D_Out_5> Tape_Input_5
Guitar2> Mic_6> D_Out_6> Tape_Input_6
Vocal1> Mic_7> D_Out_7> Tape_Input_7
Vocal2> Mic_8> D_Out_8> Tape_Input_8
With a live-to-8 recording, the busses (Assign 1-4) don't figure into the picture at all,... it's all implemented using the Direct-Outs.
Two of your inputs will be on 1/4" phone plugs, by virtue of the #7 & #8 inputs being 1/4" jacks. For purposes of keeping this description very straight forward, you'd probably consider using (2) Hi-Z mics with 1/4" plugs, and that suits me fine. Otherwise, you may often use the 1/4" inputs for DI guitar or bass.
You could take the basic patch I've described above for live-to-8 recording, and change it as necessary.
The Monitor and Submix sections don't really figure into the picture when doing live-to-8 recording, but in general, the Submix section would be used for your "cue" monitor when overdubbing, as the main "traffic center" of the board. The separate Monitor section may be used for a "straight" offboard buss monitor, or it may be pressed into use as an "effects" send, in some circumstances.
The situation of track-by-track recording with overdubs is quite another application than live-to-8 on the M30. For track-by-track overdubbing, you'd use the Assign-section and Submix quite extensively. The beauty of the M30 is that you should be able to go from recording, to overdubbing, to mixdown with the flip of a switch, that doesn't require a lot of repatching.
There's nothing cast in stone about setting up, patching & using the M30 for recording, but hopefully that gives you some guidelines and food for thought.
sloom
New member
Cool! And now...
Hey, I just got an M-30 also, and that was a fine summary of the basic functions. Thank-you very much, you all have saved me a post!
Much appreciated.
And now, one Q further, if I may: Why, if you're recording 4 tracks from the M-30 to the '38, are you assigning Buss 1's Line out out to track 1, and that same Buss's Aux out 1 to track 5? Is this needful- or are you saying that's how you'd handle recording using Aux-sent FX?
Hey, I just got an M-30 also, and that was a fine summary of the basic functions. Thank-you very much, you all have saved me a post!
Much appreciated.
And now, one Q further, if I may: Why, if you're recording 4 tracks from the M-30 to the '38, are you assigning Buss 1's Line out out to track 1, and that same Buss's Aux out 1 to track 5? Is this needful- or are you saying that's how you'd handle recording using Aux-sent FX?
Last edited:
A Reel Person
It's Too Funky in Here!!!
Okay!
I'll try to answer what I think are the questions you've asked! (Heh).
1) Implied above, but maybe not explained fully, is that when working solo or recording from 1-to-4 tracks simultaneously, you may use the "Assign" (busses) 1-4 to route any input to any track. Also implied in this statement, is that you may "submix" or "pre-mix" inputs-to-busses, to combine like-parts, or add sound enhacing factors.
... An example of this would be if you submix 3-drum mics onto buss 1, and route that 3-mic drum mix out to be recorded together onto track 1 on the recorder, (or to 2-busses and 2-tracks for recording a stereo submix of drums onto tape).
... Another example, is that if you have your electric guitar or bass plugged directly into the board on channels 7 or 8, and then you want to mix a "close-mic" sound off the body of the guitar to the direct-line-in sound, to add a measure of "ambience" or "air" to the DI line-in guitar sound, then routing this mixed signal to track 3, (or any single tape track).
... These examples above would be common uses of "submixing" parts down to busses, and routing the submixed signals to a single track, or even a pair of tracks,... your choice. I'd say this is a very common practice among experienced recordists.
2) The reason you'd plug Buss 1 to both Tracks 1 & 5 is by simple math, to overcome the inherent limitations of a 4-buss architecture, and as a matter of convenience. Configured this way, each buss may route signals to 2 tape tracks, in groups of "4",... the magic number of "busses".
So,... (the obvious ones)...
Buss 1: Track 1;
Buss 2: Track 2;
Buss 3: Track 3;
Buss 4; Track 4;...
-and-... (the not-so-obvious ones)...
Buss 1: Track 5;
Buss 2: Track 6;
Buss 3: Track 7;
Buss 4: Track 8.
What this means, in it's most basic sense,... (restated from above),... is that you may route any input to any track,... through a combination of "Assign 1-4" and "Pan" controls,... (not made clear above),... by simple button pushing and knob twiddling, and without repatching the cables!
This was a fundamental design goal and challenge of the M-30 mixer and beyond, to design a board that may move from inputs, to tracking, to overdubbing, to final mixdown without repatching,... which may seem commonplace today, but was cutting edge design in 1982! (Put it in perspective).
I'll restate from above, that the "Assign 1-4" (buss) section, and the above patching example, is an example based on either solo recording of 1-or-2 tracks at a time, or of a small group recording of up to 4-tracks simultaneously. Any live recording demanding over 4-tracks simultaneously would inherently lend it'self more to using the "Direct-Outs" more than the "Assign" busses.
3) Through the Submix section alone,... you may, by virtue of toggle switches, listen to "Inputs" (Pre/Post), and "Tape Tracks" (Tape),... independently of the "Main Mix" (Input Channels) section of the board.
Also using the Submix, you may affect a final mixdown "patch" by setting each "Main Mix" channel to "ReMiX" (Tape) setting, then set the Submix section to "Post". By doing this, the Submix acts as the final or "master" section, but the recorded program is coming through the top of the board, through the channels using EQ, then to the Submix where gets "Pan" and "Master" fader function. This may be hard to describe on paper, or hard to grasp in words, but trust me, it's very simple.
4) The "Monitor" section is a true Buss Monitor, the outputs of busses 1-4. It's easy to conceive of using this section to monitor the busses, but it may also be brought into play as a makeshift "Effects-Send", in which you'd then route the output of the effects back to the Submix, or any unused channel or buss, as long as you're careful not to patch a feedback loop into the system.
You'll find that by virtue of the simplicity and open architecture of the M-30, that it gives you the freedom for many creative patching, and the possibility of patching a feedback loop,... which is undesirable. I guarantee that in your exploratory patching of the M-30, as you grow into it's capabilities, that you'll definitely patch a feedback loop into the system, at one time or another. I'd be guilty of doing that myself, once in a blue moon.
Hope that's more useful details that you can take to the studio and use!
/DA
I'll try to answer what I think are the questions you've asked! (Heh).
1) Implied above, but maybe not explained fully, is that when working solo or recording from 1-to-4 tracks simultaneously, you may use the "Assign" (busses) 1-4 to route any input to any track. Also implied in this statement, is that you may "submix" or "pre-mix" inputs-to-busses, to combine like-parts, or add sound enhacing factors.
... An example of this would be if you submix 3-drum mics onto buss 1, and route that 3-mic drum mix out to be recorded together onto track 1 on the recorder, (or to 2-busses and 2-tracks for recording a stereo submix of drums onto tape).
... Another example, is that if you have your electric guitar or bass plugged directly into the board on channels 7 or 8, and then you want to mix a "close-mic" sound off the body of the guitar to the direct-line-in sound, to add a measure of "ambience" or "air" to the DI line-in guitar sound, then routing this mixed signal to track 3, (or any single tape track).
... These examples above would be common uses of "submixing" parts down to busses, and routing the submixed signals to a single track, or even a pair of tracks,... your choice. I'd say this is a very common practice among experienced recordists.
2) The reason you'd plug Buss 1 to both Tracks 1 & 5 is by simple math, to overcome the inherent limitations of a 4-buss architecture, and as a matter of convenience. Configured this way, each buss may route signals to 2 tape tracks, in groups of "4",... the magic number of "busses".
So,... (the obvious ones)...
Buss 1: Track 1;
Buss 2: Track 2;
Buss 3: Track 3;
Buss 4; Track 4;...
-and-... (the not-so-obvious ones)...
Buss 1: Track 5;
Buss 2: Track 6;
Buss 3: Track 7;
Buss 4: Track 8.
What this means, in it's most basic sense,... (restated from above),... is that you may route any input to any track,... through a combination of "Assign 1-4" and "Pan" controls,... (not made clear above),... by simple button pushing and knob twiddling, and without repatching the cables!
This was a fundamental design goal and challenge of the M-30 mixer and beyond, to design a board that may move from inputs, to tracking, to overdubbing, to final mixdown without repatching,... which may seem commonplace today, but was cutting edge design in 1982! (Put it in perspective).
I'll restate from above, that the "Assign 1-4" (buss) section, and the above patching example, is an example based on either solo recording of 1-or-2 tracks at a time, or of a small group recording of up to 4-tracks simultaneously. Any live recording demanding over 4-tracks simultaneously would inherently lend it'self more to using the "Direct-Outs" more than the "Assign" busses.
3) Through the Submix section alone,... you may, by virtue of toggle switches, listen to "Inputs" (Pre/Post), and "Tape Tracks" (Tape),... independently of the "Main Mix" (Input Channels) section of the board.
Also using the Submix, you may affect a final mixdown "patch" by setting each "Main Mix" channel to "ReMiX" (Tape) setting, then set the Submix section to "Post". By doing this, the Submix acts as the final or "master" section, but the recorded program is coming through the top of the board, through the channels using EQ, then to the Submix where gets "Pan" and "Master" fader function. This may be hard to describe on paper, or hard to grasp in words, but trust me, it's very simple.
4) The "Monitor" section is a true Buss Monitor, the outputs of busses 1-4. It's easy to conceive of using this section to monitor the busses, but it may also be brought into play as a makeshift "Effects-Send", in which you'd then route the output of the effects back to the Submix, or any unused channel or buss, as long as you're careful not to patch a feedback loop into the system.
You'll find that by virtue of the simplicity and open architecture of the M-30, that it gives you the freedom for many creative patching, and the possibility of patching a feedback loop,... which is undesirable. I guarantee that in your exploratory patching of the M-30, as you grow into it's capabilities, that you'll definitely patch a feedback loop into the system, at one time or another. I'd be guilty of doing that myself, once in a blue moon.
Hope that's more useful details that you can take to the studio and use!
/DA
Last edited:
A Reel Person
It's Too Funky in Here!!!
...
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.
==============
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.
=============
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.
=============
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.
=============
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.
============
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.
============
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.
============
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.
.......................
Hope that helps!!! /DA
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.
==============
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.
=============
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.
=============
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.
=============
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.
============
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.
============
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.
============
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.
.......................
Hope that helps!!! /DA
Thank you very much for the big bag of clues.
cjacek
Analogue Enthusiast
Shit, I'll also be priniting out this great info for future reference. Thanks again Dave! See, the M-30 is not like many of todays boards or even ones which were release after it. It is a bit of getting used to but the patching capabilities are endless. Nothing is set in stone. Plus I thought the phono inclusion on the M-30 was a nice touch 'cause I can hook up my turntable. 
~Daniel
~Daniel
A Reel Person
It's Too Funky in Here!!!
Funny about the Phono Preamps,...
You'd have to hook your turntable to the Phono Inputs, then patch the Phono Out's to any Line In, Buss In or Sub In, with an RCA/RCA patch cable.
The Phono In's don't go anwhere on their own, except directly to the Phono Out jacks, where you'd then patch it further thru the mixer with cables.
Clever, huh?
Talk about an M30 feature that's not obvious!
You'd have to hook your turntable to the Phono Inputs, then patch the Phono Out's to any Line In, Buss In or Sub In, with an RCA/RCA patch cable.
The Phono In's don't go anwhere on their own, except directly to the Phono Out jacks, where you'd then patch it further thru the mixer with cables.
Clever, huh?
Talk about an M30 feature that's not obvious! 
cjacek
Analogue Enthusiast
A Reel Person said:You'd have to hook your turntable to the Phono Inputs, then patch the Phono Out's to any Line In, Buss In or Sub In, with an RCA/RCA patch cable.
The Phono In's don't go anwhere on their own, except directly to the Phono Out jacks, where you'd then patch it further thru the mixer with cables.
Clever, huh?
Yup, I found this out the hard way when I couldn't get a signal going from my turntable. I then had to read the manual 'cause there is no way in hell would I have known otherwise you have to go "out" from the phono into one of the channels.
~Daniel
A Reel Person
It's Too Funky in Here!!!
Sometimes,...
despite our best intentions,... you just have to read the manual!
...............
despite our best intentions,... you just have to read the manual!
...............
A Reel Person
It's Too Funky in Here!!!
...
For tracking or mixing?
There are several ways to approach that question, depending on what your goal is.
For tracking or mixing?
There are several ways to approach that question, depending on what your goal is.
Fromthenorthwest
Member
Are you still there Dave? I see this thread is quite old but there was a 'new' post about 7 years ago. I was actually wondering the same thing as the last poster. My previous machine was a Tascam 424, with effect send and return jacks. Each Channel then had an effects level knob, so I could have one reverb machine hooked up and individual control of the reverb levels on each channel. Is there a way to do this with the m30?. Thanks for any feedback you have on top of all the info you already posted earlier.
Fromthenorthwest
Member
I got the original manual that came with the machine (very cool and fun to read) and have read about effect sending in several different sections but I still couldn't wrap my brain around it the way it was explained. I see on page 37 the page titled 'An unorthodox patch for remix with stereo Echo capability' is this along the lines of what I'm looking for?
grimtraveller
If only for a moment.....
A master of understatement !
A Reel Person
It's Too Funky in Here!!!
The M30 is a relatively simple mixer, but can be patched in a number of ways. You'll have to improvise a bit, because it doesn't have a dedicated "this" section or "that" section, but what it has is a fairly open architecture that's meant to be flexible.