Tascam 388 +4 -10 signals

[7upPartridge]

I love this forum so very much. You have saved me and my 388 more times than I could count. Bless this place.

I record and mix exclusively on my 388, but with a host of outboard gear. This means I am mainly using the line inputs which I understand to be -10dbv (right?). And then I’m assuming most of my line level gear is +4. Usually this works out fine, but I do have to be cautious of the low input headroom. How are other folks dealing with this? Do you pad your line level signals down to -10?

And as a follow-up question, I also mix to a Tascam 32 stereo deck, which I also believe is -10(?). The main outs of my 388 go to my patchbay, then are typically routed through more outboard gear, and then to the 32. Am I mixing up -10 and +4 signals here as well?

Overall, this system works out fine for me, but I am curious what other folks are doing and if I can further optimize by matching signal levels.

Thanks a million in advance!

 

[sweetbeats]

You are correct the line level I/O on the 388 is all -10dBV, except for the balanced STERO OUT jacks which are +4dBu.

The Tascam 32 is also -10dBV I/O.

Don't assume most of your outboard gear is +4dBu. Look at the manual for each device. And then also consider that whether its -10dBV, 0dBu, +4dBu *whatever*, that's a nominal level...the reference standard for the device, and typically the device features some kind of level matching control. So if one device is -10dBV, and another is +4dBu, look at the level matching controls for each device and see what the sweep range is for each device. 9 times out of 10 the sweep range of the devices allows for them to be matched up even if their nominal levels are mismatched. So...in most cases, it doesn't matter if its mix-and-match at the patchbay or wherever...you'll know by looking at the manual abnd then beyond that in actual practice (i.e. you've got an overloaded input and you can't turn the source output down enough to avoid it, or conversely you're wishing it went "up to 11" because there's not enough oomph at the source to get a good signal), and then you can deal with it then. And if you actually run into that problem then there are "bump boxes", level matching devices that convert unbalanced -10dBV to balanced +4dBu and vice-versa. I have a trio of Tascam LA-40mkII units for this. The handle 4 channels of bi-directional level matching each. You may not even need one of those, but its a handy device to have in the rack. You can also find single channel units.

Hope that helps.

 

[7upPartridge]

Thank you that’s very helpful. In practice I find most preamps at “appropriate” gain are too hot for the line inputs, but I usually follow with a compressor. The exception has been my LA610 which I have to run at pathetic levels to accommodate the 388 line in - I’ve been following it with a 15db pad, don’t know if there’s a more clever way to bring it into range for the 388?

The other main issue has been the 32 when I’m mixing with BAE 10DCs on the stereo bus - the output gain on those absolutely sings and it’s really special so I want to use as much as possible, but even at low levels I have to trim down the 32 input and I fear I may be pushing the input too hard (it sounds ok but there’s no overload indicator) - maybe a pair of pads is in order there as well?

 

[sweetbeats]

What is the purpose of the compressor you say you usually follow "too hot" preamps? And by preamp are you talking about outboard mic preamps? I'm just not clear what the relevance is there of a compressor on a "too hot" line source. If the line source is too hot the compressor won't help because it would be inserted after the input stage of the line input. It won't mitigate an overload at the line input of the 388.

And back to "preamp". If I'm correct in assuming by "preamp" you mean outboard mic preamps, don't they usually have a line output level control? Or do you have an outboard mic preamp you like to use that only has gain control for the mic head amp and the line output level is fixed in direct relation to the gain setting for the mic amp?

Your LA610...can you be more specific which make/model LA610 you are using? Is it a Universal Audio unit? mkI? mkII? I DIY kit?

The question about the BAE 10DC...so when you are saying "the output gain...sings", are you saying that the way you like to use those is to push the output stage of the 10DCs resulting in a hot signal coming out of the 10DC and hitting the 32 inputs? Is that what you mean? And you say you fear you may be pushing the 32 inputs too hard but then you say in the same sentence it sounds okay...screw the absence of the OL indicator. If it sounds okay...it...sounds okay, right? Use your ears as an OL indicator. And anyway IIRC those OL indicators on most Tascam machines that have them or mixing consoles are set to trigger at something like +12VU. I might be wrong about that, but they are peak sensing and up there...they can be helpful, but just because you don't have them is not a deal breaker...I would just trust your ears and not worry about padding the inputs. What are you seeing on the VU meters on the 32? If you are using the 10DCs they are managing peaks to some degree...I mean...that's why you're using them right?? So trust the averaging function of the 32 VU meters, set for stun and hit PLAY/REC. Am I missing something?