M
miroslav
Cosmic Cowboy
Keep the second one for parts. 
Or you could set up one going to the Fostex inputs for recording, and the other for the Fostex outputs for your cue mix, and/or for final mixing...not having to change any default setting on either mixer...though that's kinda of a stretch for getting use out of both.
It all depends on how you want to work and your process.
You have to figure out your needs, and then decide what you need and how best to use it.
Or you could set up one going to the Fostex inputs for recording, and the other for the Fostex outputs for your cue mix, and/or for final mixing...not having to change any default setting on either mixer...though that's kinda of a stretch for getting use out of both.
It all depends on how you want to work and your process.
You have to figure out your needs, and then decide what you need and how best to use it.
sweetbeats
Reel deep thoughts...
+1 to all that ^^^^.
If you like the M-216 and what you've got is so-so shape, a second unit in better shape for a good price could be a good replacement with your current as a backup or spare parts source...you are familiar with using the M-200 series and that in and of itself has value to your workflow.
In addition to Miro's suggestion for using both (using #2 as a tape return/cue mixer/mixdown console), if you had need for more than 16 live inputs and 4 mix busses you could put the two side-by-side for 32 inputs and 8 mix busses...you would then connect the R-L main outs of #1 to the SUB IN R-L jacks of #2, and be able to monitor all 8 mix busses by using #2 for monitoring when the selecting STEREO source in the monitor select switchrack of console #2...master monitor audition of both console's mix busses.
You would then also have a total of 16 TAPE return jacks for cue mixes of all 16 tracks on the G16.
If you like the M-216 and what you've got is so-so shape, a second unit in better shape for a good price could be a good replacement with your current as a backup or spare parts source...you are familiar with using the M-200 series and that in and of itself has value to your workflow.
In addition to Miro's suggestion for using both (using #2 as a tape return/cue mixer/mixdown console), if you had need for more than 16 live inputs and 4 mix busses you could put the two side-by-side for 32 inputs and 8 mix busses...you would then connect the R-L main outs of #1 to the SUB IN R-L jacks of #2, and be able to monitor all 8 mix busses by using #2 for monitoring when the selecting STEREO source in the monitor select switchrack of console #2...master monitor audition of both console's mix busses.
You would then also have a total of 16 TAPE return jacks for cue mixes of all 16 tracks on the G16.
M
M216
New member
Thanks guys, I guess your suggestions are all there´s to it. Having 2 for tracking and mixing is a bit of a stretch but good point.
Using them for 32 inputs and 8 mix busses is just brilliant, wasn´t aware of that option but I guess my work flow will go around
tracking (for now) 4-12 channels drums (I´m a drummer). I want to use the M216´s preamps and check out the mojo but I have
15 other preamps (neve, api, millennia, ssl flavours and tube pres) to fall to if I want something more "expensive".
But for now it´s all about getting out of DAW tracking wise and I really don´t care how the Fostex/Tascam combo sounds,
I´m going to use the mojo it gives me. (I haven´t started tracking with that combo)
Also I have a Yamaha PM430 mixer, 8 channels and 4 out which I´m pretty excited about given the amount of transformers in there.
I could plug it in SUB IN on the M216 or is it a total and utter nonsense?
Thanks again, happy to be here
(Yeah, and sorry for my sloppy English.)
Using them for 32 inputs and 8 mix busses is just brilliant, wasn´t aware of that option but I guess my work flow will go around
tracking (for now) 4-12 channels drums (I´m a drummer). I want to use the M216´s preamps and check out the mojo but I have
15 other preamps (neve, api, millennia, ssl flavours and tube pres) to fall to if I want something more "expensive".
But for now it´s all about getting out of DAW tracking wise and I really don´t care how the Fostex/Tascam combo sounds,
I´m going to use the mojo it gives me. (I haven´t started tracking with that combo)
Also I have a Yamaha PM430 mixer, 8 channels and 4 out which I´m pretty excited about given the amount of transformers in there.
I could plug it in SUB IN on the M216 or is it a total and utter nonsense?
Thanks again, happy to be here
(Yeah, and sorry for my sloppy English.)
M
M216
New member
Yeah, maybe I´ll try that sweetmeats.
What tapes are you guys using for G16?
Mine was calibrated with GP9 in it and I can get Studiomaster 911 tape for it for cheap.
Would that be a problem or a good fit?
Thanks!
What tapes are you guys using for G16?
Mine was calibrated with GP9 in it and I can get Studiomaster 911 tape for it for cheap.
Would that be a problem or a good fit?
Thanks!
sweetbeats
Reel deep thoughts...
The SM911 is what it was designed to use, so it is a very appropriate fit. You will need to reset the bias and recalibrate. You have a reproduce calibration tape, yes?
M
M216
New member
No, I don´t have it. Am I in trouble?
M
Mack Caster
Banned
It is highly recommended that you have this tape to be able to adjust (fine tune) your recorder. This website may help you out. The video below is from another recorder but the just of the need to be able to adjust your recorder is the same. It is like using a calibrated sine wav to fine tune or check your audio meters.
M
M216
New member
Thanks guys for the replies, I´m going to search for some info how to set it up.