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You're probably thinking of "The Multitrack Primer," written by my friend and producer, Dick Rosmini.

The simplest thing to do would be to leave a jumper in full time until you need to insert a device. The signal isn't going to care.

Before tearing into it, try burnishing the contacts with a trs plug. I need to do this at times on my console.

I was involved with TASCAM for a number of years back then and am very well versed in the history. The reason some features are added or left out a particular piece of gear is a matter of meeting a price point. Yes, the M-35 has individual submix faders and a master. It is also fully modular...

The # of knobs & faders is not necessarily an indication of fuller features. In this instance, the M-30 has 8 inputs vs the 106's 6. Furthermore, 6 of the 30's mic ins have transformers for low-impedance mics while there are none on the 106. The single master fader on the 30 makes for easier...

The M-30 has a single fader controlling all 4 submaster outputs. The `106 has individual faders for each submaster out.

The 512 should not behave that way. Something is either wrong with it or the way you are using it.

I don't understand the purpose of using 1 device's headphone out into a console at all. That being said, bringing a line level signal into a channel receive drops the signal directly onto the channel fader, thereby bypassing the entire front-end circuitry. I had a Tascam Model 15 board that...

I'm thinking you need to understand the gear you have now. Your mics should be connected to the mic ins of your Soundcraft before passing the signal on to any other device.

Dynamic mics do need a preamp. What they don't need is phantom power.

Thanks! Glad you enjoyed it.

Come Back Baby

It means the direct outs are active regardless of the switch position.

If you want 8 discreet signals going out, use the direct outs instead of the buss outs. Use the busses only if are combining signals to go to a given channel or pair of channels.

Can you describe your entire signal chain from source to monitor? What is your source - music or a tone or tones?

Are you using new tape? Also, the XLR in/outs on this machine have no bearing on the signal that get recorded on the tape. They are an added feature for easy compatibility with equipment operating @ +4. In short, it's a built-in bump box.

Old or new tape? If old, try reformatting it to see if it makes a difference.

RADAR 24 user for years now. I do sessions on it but edit in Audition 3. Final mixes are done through an analog console.

A totally complete recording console has many discreet functions in a single package. Mic preamps, eq, cue, effects mixes & returns, machine monitoring, & mixdown capabilities. The typical small-foot print mixer is not capable of all of this. The combination of something like a TASCAM Model 1...

What about this scenario: Discreet preamps for getting signal into your 38. An 8X2 line-level mixer with foldbacks for monitoring the machine. (Plenty of TASCAM & Fostex units are out there.) An 8 or more input Mackie or similar mixer for final mix downs to whatever device with analog inputs...