Help me Reel Person, you're my only hope

[formerlyfzfile]

OK.
So I get some new RCA cords for the M-30 and rearrrange the furniture.

I hook up the Delta 44 outs 1-4 to TAPE IN of channels 1-4.
And I put the Monitors on the Monitor Outs.

Only the Submix sections 1-4 gain/pan knobs affect the sound.
And only in the PRE or TAPE position.

this makes sense .....except why doesnt POST allow EQ and channel Faders to affect the sound.

How would you mixdown??????

Now I hook the Delta outs to the LINE IN's of channels 1-4.

Same deal......fader does nothing....nor does the EQ.

I moved the monitor switches in all positions and still only the Submix controls work.

I hooked the Delta to the ACCESS INs and got nada.

What the heck am I not doing to engage the channel strip????

-mike

 

[The Ghost of FM]

While your waiting for A Reel Person to show up, try putting the channels 1 through 4 into the REMIX position so that the strip will be turned on to the tape return inputs.

Cheers!

 

[A Reel Person]

Well, it's a bit confusing at first,...

I believe you'll have to get the gist of what the submix does, and how it's central to your interaction during the recording process.

But, just based on your post & details,...

The input channels 1-4 should be set to REMIX, AND you must then assign the channels to the buss, either 1-4, and then you'll get signal on the monitor section. The MONITOR only monitors the BUSS itself, buss 1-4, BUT IMO the SUBMIX is the crossroads of the board, for purposes of switching between tracking, input, cue and remix functions.

There's a bit more to it, but it might be best for now to hook your audio reciever to the SUBMIX OUTs, and not the MONITOR outs.

I can't explain any more at this moment, with out picking all your details apart, and practically re-engineering your session.

I do believe, however, that the SUBMIX section is like the central switching and traffic section of the board. IMO, the MONITOR section itself is there for auxilliary monitoring, second independent monitor feed, or even effects send.

What's so great about it, is that the M30 is open enough architecture, that you can do each task several different ways, and that's why they always say, YMMV.

 

[A Reel Person]

Depends where you are, 'cause I could surely show you quicker/easier than explaining

 

[formerlyfzfile]

Thanks guys...got the REMIX assignments down....

With the Delta hooked to TAPE IN and the switch at REMIX the Submix gain/pan work in both PRE and TAPE positions but no sound from POST regardless of channel fader position or MIC ATTEN position.

With Delta hooked to LINE IN, Submix only passes sound in PRE.
Nothing from POST or TAPE and still no affect from fader.

One assumption that I have is that there are 4 recording busses AND a stereo mix buss.
Is that not the case????????????

I live in Glenville NY...near Albany/Schenectady BTW....feel free to stop by any time I could all the help I can get.

Basically for home recording purposes I want to hook the DELTA outs to 4 channels and leave 4 free for whatever.
But hopefully this will soon be hooked to a VSR880HD or DA-88.

Where are the "trim" knobs for channel gain.
The MIC ATTEN is like a 3 pos. PAD yes????

-mike

 

[A Reel Person]

Well, as I said, there's BUSS/MON/SUBMIX, which would be 8x4x2x2

and there's more than one way to skin the recording cat on the M30.

I think you should leave the Delta 44's LINE OUTs to the M30's TAPE INs, fwiw, but not sure on the input side, 'cause it's such a flexible situation. There's more than one solution, for sure.

The main advantage with the submix section, is this is the place you'll be switching to TAPE for CUE operation when overdubbing, since, key point, the SUBMIX section is an 8x2 mixer that switches between pre-fader, post-fader, and tape. FWIW, that is your cue mixer, straigh out, although I also route my main mix [final remix] through the submix section.

The monitor section is a separate 4x2 section that mixes the 4 busses only, and that's a valuable section, no doubt about it. You may absolutely listen to that source, if you want.

I would tend, however, to try to keep my cue function on the submix, where it's completely separated from the 4-buss matrix.

Just a word of advice.

If I think of more, or can address any more of your questions, I'll try. Thanx for asking, pick my brains on the M30, if u want, but we'll bore everyone to death.

It's a helluva nice board for a deal price.

BTW, I think the -30db switchable pad on on the inputs is adequate, and the rest you do with the faders. Continuous sweep TRIM pot is advantageous, but the M30 was otherwise designed without it.

 

[formerlyfzfile]

Thanks a lot.

To put this into a little perspective......before I dumped my $80 wad on the M-30, the bulk of my mixer experience came from my 424MKII and Behringer 802a with a short stint as a sound guy (i.e. turn the horns up during the solos and bridge riffs and down for the verses) on an old 16x2 unit I cant recall the name of.

For the moment I want to hook the Delta through 4 channels and be able to test out the EQ.
I want to figure out how the channels sound and its easier to put up some pre-recorded tracks from CEP and "ghost-mix".

Basically use the computer as a band and get to know the mixer...since I am usually a one man operation.

Maybe I need to monitor the busses directly for now.

Ultimately I want to set up a home rec version of how Michael Brauer uses buss compression in the latest Tape Op (probably one of the most informative issues of any mag I've ever read).....but instead of Distressors I'll only have an RNC, a Penta, Composer, and a 286a.


That would also allow me to learn my measley compressors.

Thanks for your help.

The questions will multiply, I'm sure.

You wouldn't happen to have an extra manual laying about, would you?

-mike