miroslav
Cosmic Cowboy
Mine has 24 Tape Returns too, but they are not much different than the Line Inputs. The only differences is that the Tape Returns have an impedance of 10k ohms, and the Line Inputs 16k...but their input levels/range is the same.
I always just use the Line Inputs for everything. If I was recording multiple sources and going through the board to the deck...then yeah, the Tape Inputs would be more useful for monitoring back off the deck....but in my situation, I record direct to the deck from my outboard pres, and I'm only doing at most 4-5 tracks at a time so I never need/use the 3500 for signal routing to the deck, but just for monitoring from the deck....and therefore the outputs of the deck just come back to the Line Inputs. Actually...all the I/Os go to my bays, and I just patch as needed.
Then there are the dumps from deck to DAW...and so I just patch the deck's outputs to my A/D boxes (also on the bays).
I mean...it's like six of one, half dozen of the other...Tape Returns or Line Inputs.
I don't think the impedance difference is all that much of an issue...it's a minor difference...although, I'm curious how you are controlling the input level to the 3500 Tape Returns, since the Trim knob is pre-Tape Return input and has no effect on the Tape Return level....???
At what levels are you recording to your deck...???
See...I'm using the deck at +4 going in, and I'm using 499 tape and hitting it for all it is worth...so the output from the deck is naturally high, and meant for +4 inputs...which is why I need to trim down the Line Inputs on the 3500.
There is no Trim for the Tape Returns...you get the full level coming off the deck...so where are your recording levels on the deck?
I'm just trying to formulate the "best practices" SOP for my situation...though I do think from what I described in my last post that it's OK for me to do it either way...High output (+4dBm) from the deck and trim down the Line inputs on the console, or switch to Low output (-8dBm / -10dBV) on the deck and set the trim where it normally falls for -10dBV signals.
The real kick is that I have the LA-3500 +4dBm Balancing Kit...though not installed, as I never needed it...but what sucks is that they only made it for 16 tracks of returns even though the console has 24 Tape Returns...yet they doubled up on the output board, and gave you two sets of 8 at +4dBm Balanced, which can give you 16 Balanced Group outs...but like WTF, the board has only an 8-Channel assignment matrix, so both sets of 8 +4dBm outputs would have the same signals. DUH!
Makes no sense to me.
They should have given one 8-channel output PCB, and three 8-channel input PCBs for 24 Tape Returns.
I've been staring at the LA-3500 Balancing Kit considering if there was a way to "reverse" one of those Group Output boards for Tape Return use.......but I don't see any possible way...it's just a wish.
I don't want to install it for just 16 Tape Returns, and then when I'm using more tracks...having to futz with the remaining output levels a differerent way...though I guess it wouldn't be that bad.
And then there is the other option...the one that is actually recommend in the 3500 manual...and the is to use the Mic inputs which are already +4dBm and Balanced...turn down the trim all the way and engage the Mic Pad.
My only hassle with that is currently all of my 24 mic channels on the 3500 are wired to my preamp patchbays...and not my Line patchbays....they are at opposite ends of my console desk....soooooooo...it would take a lot of rewiring to make that a usable option. I'm not motivated....but I may try at least a couple of channels just to hear it. Heck, I NEVER use my 3500 preamps anyway...but then, not sure how much they would change/color the signal off the deck.
The stock 3500 preamps don't get a lot of good press from folks who have been able to compare them to better pres.
Anyway...I may be splitting hairs with all this...but at least when I can talk it out here and get a few responses, it helps me clear out all the hash in my head and come to a conclusion about which way to go.
I always just use the Line Inputs for everything. If I was recording multiple sources and going through the board to the deck...then yeah, the Tape Inputs would be more useful for monitoring back off the deck....but in my situation, I record direct to the deck from my outboard pres, and I'm only doing at most 4-5 tracks at a time so I never need/use the 3500 for signal routing to the deck, but just for monitoring from the deck....and therefore the outputs of the deck just come back to the Line Inputs. Actually...all the I/Os go to my bays, and I just patch as needed.
Then there are the dumps from deck to DAW...and so I just patch the deck's outputs to my A/D boxes (also on the bays).
I mean...it's like six of one, half dozen of the other...Tape Returns or Line Inputs.
I don't think the impedance difference is all that much of an issue...it's a minor difference...although, I'm curious how you are controlling the input level to the 3500 Tape Returns, since the Trim knob is pre-Tape Return input and has no effect on the Tape Return level....???
At what levels are you recording to your deck...???
See...I'm using the deck at +4 going in, and I'm using 499 tape and hitting it for all it is worth...so the output from the deck is naturally high, and meant for +4 inputs...which is why I need to trim down the Line Inputs on the 3500.
There is no Trim for the Tape Returns...you get the full level coming off the deck...so where are your recording levels on the deck?
I'm just trying to formulate the "best practices" SOP for my situation...though I do think from what I described in my last post that it's OK for me to do it either way...High output (+4dBm) from the deck and trim down the Line inputs on the console, or switch to Low output (-8dBm / -10dBV) on the deck and set the trim where it normally falls for -10dBV signals.
The real kick is that I have the LA-3500 +4dBm Balancing Kit...though not installed, as I never needed it...but what sucks is that they only made it for 16 tracks of returns even though the console has 24 Tape Returns...yet they doubled up on the output board, and gave you two sets of 8 at +4dBm Balanced, which can give you 16 Balanced Group outs...but like WTF, the board has only an 8-Channel assignment matrix, so both sets of 8 +4dBm outputs would have the same signals. DUH!
Makes no sense to me.
They should have given one 8-channel output PCB, and three 8-channel input PCBs for 24 Tape Returns.
I've been staring at the LA-3500 Balancing Kit considering if there was a way to "reverse" one of those Group Output boards for Tape Return use.......but I don't see any possible way...it's just a wish.
I don't want to install it for just 16 Tape Returns, and then when I'm using more tracks...having to futz with the remaining output levels a differerent way...though I guess it wouldn't be that bad.
And then there is the other option...the one that is actually recommend in the 3500 manual...and the is to use the Mic inputs which are already +4dBm and Balanced...turn down the trim all the way and engage the Mic Pad.
My only hassle with that is currently all of my 24 mic channels on the 3500 are wired to my preamp patchbays...and not my Line patchbays....they are at opposite ends of my console desk....soooooooo...it would take a lot of rewiring to make that a usable option. I'm not motivated....but I may try at least a couple of channels just to hear it. Heck, I NEVER use my 3500 preamps anyway...but then, not sure how much they would change/color the signal off the deck.
The stock 3500 preamps don't get a lot of good press from folks who have been able to compare them to better pres.
Anyway...I may be splitting hairs with all this...but at least when I can talk it out here and get a few responses, it helps me clear out all the hash in my head and come to a conclusion about which way to go.
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