Tascam 238

  • Thread starter Thread starter David Benson
  • Start date Start date
Of course there's a way...

But not with the 238 and M-200 alone...You'll need to have a multi-channel audio interface for your computer to do multiple tracks at once...at the very least you can just use the soundcard that is on most computers, but the quality is usually pretty poor with standard soundcards. Try it and see.
 
HighLighter said:
is there an easy way to get this music (once mixed) to my computer
Click to expand...

If all you want to have is a mono or stereo master, dumped to PC, then all you need is this:
http://www.zzounds.com/a--2676837/item--HOSCMP15

I believe the 200 series has 'stereo out' as 1/4" unbalanced. So you take those and go into 'line in' of your sound-card and if it's decent, you'll get a nice simple solution. You then use your software to record it as a wav file or mp3 or whatever.

--
 

Attachments

  • hosa.webp
    hosa.webp
    14 KB · Views: 114
cjacek said:
If all you want to have is a mono or stereo master, dumped to PC, then all you need is this:
http://www.zzounds.com/a--2676837/item--HOSCMP15

I believe the 200 series has 'stereo out' as 1/4" unbalanced. So you take those and go into 'line in' of your sound-card and if it's decent, you'll get a nice simple solution. You then use your software to record it as a wav file or mp3 or whatever.

--
Click to expand...

Thanks. Yeah, that is exactly what I am looking to do for now with older recordings.

I just got both hooked up and am ready to test out :)

This is a really great board.
 
How do you use the "Monitor" section on the M-30 as an effects send?

Hi ARP,
I've been looking at this thread all day, and many of your other posts, too. Thanks for being so welcoming and helpful. That's the reason I joined.

So I'm wondering about this:
the alternative is to use the "Monitor" section as an effects send, PLUS there is an ACCESS-SND/RCV patch point on every channel and every buss,... which makes up for not having a dedicated "Aux" section with knobs. If you know a little about mixers and patching, you'll be able to implement the Access-Snd/Rcv patch points as effects loops.

I've been over the thread, been this way and that through Google and the M-30 manual, and been trying as many possible patches as seem logical over the last 2 days. Followed the manual as closely as possible, but when it gets to where to actually plug in the RCAs the manual kind of drops out..



Here's the plan:
488 8-track out 2,3,4 into the M-30 - no problem there
Using a Realistic MPA-95 Amp just cause I like the sound, as an effect.

No problem with the 488 - been using it for years. The Realistic is also easy to use - no problem there either. I've used the Realistic to effect the tracks through the 488, and it works, and that set-up would work, but I've got a hunch it'll sound better if I use it through the M-30 (because it's further along in the effects chain, and you can EQ the effect, from what the manual says).

I'd like to be able to effect each of the 3 tracks, and not have them bounced together. Is this possible? I think so, but I think I just don't know how to patch it correctly. After that I need the tracks to go out to a recorder, and I need to know which outs to use to hear the effects on the separate tracks.

Been working on this for the last 2 or 3 days and imagine I will be for the next little while tonight again.

I think that's as detailed as possible.

Thank ya!
 
edge59 said:
Whats the deal with this Tascam/Teac Series 5 B? Is it along the lines of older 70's-ish, something like the Teac model 3? Just wanted to throw this one at ya.... :rolleyes:
Click to expand...

The Model 5 was came to market before the Model 3 and was originally designed to go with a 4 channel machine. Hence only 4 channels of dedicated tape returns on it.

The 5B was a minimally updated version with different colored knobs & slightly faster/quieter IC's.

The Model 1 line-level mixer was brought out primarily to compliment/augment the Model 5's tape monitor section but obviously had many other uses.

The Model 35 is the Model 5 with sweep eq and an 8-track monitor/aux section.

The Model 5, 5B, and 35 were fully modular - a real plus when it comes to servicing.

The Model 3 and Model 30 share the same platform. The 30 has sweep eq. The 3 doesn't. Neither of these are modular. The whole unit needs to be taken apart for servicing.

All of the above boards are transformer isolated on the mic inputs.
 
Okay,...

Say, F/I, you're bringing a TAPE source thru the board for remix (RMX). You could ASSIGN this channel to BUSS-1. Then, from Monitor-Out-1, take a feed from the monitor output section & run it thru your reverb unit, and from the reverb unit's output back into BUSS-2 input on the M30. You then have the dry signal on Buss-1 and the reverb signal on Buss-2.

This is very simplified, but it's the basic principal I was alluding to, of using the Monitor Outs as an efx send. The only thing is to watch out not to feed a signal thru an efx loop and back into it's original buss, or you'll create an unwanted feedback loop.

To help isolate your efx sends better, you might consider using BUSS-3 and BUSS-4 for sends, while keeping the "standard" of using BUSS-1 and BUSS-2 for your final stereo remix. You'd get a bit more discrete control using 3/4 for sends and 1/2 for receives,... but again this example is not very complicated.

There's always the option of using the ACCESS-SND/RCV patch points for add'l efx loops, especially for compression and the types of effects you'd prefer to have "inline" as opposed to "looped" externally.

Also, be advised that if you assign to Buss 1 & 2 or 3 & 4 in a single pair, it breaks out L/R, but if you simultaneously select more than 2 Assign-Busses, the L/R split breaks out as 1/2(L) and 3/4(R). That's just an inbuilt quirk about the M30 mixer, and I was told once it was split that way to accommodate "Quad",... but I just feel it's inherent in the internal architecture of the way the Busses split out. Maybe not relevant, but FYI.

Likewise, depending on how you work, the SUBMIX section might also be employed as an EFX-Snd, and it provides more inherent isolation from the Busses, thus reducing somewhat the peril of creating feedback loops.

Hope that helps.

The other questions I'd have to analyze for a bit. THx.:eek:;)
 
Last edited:
Thanks, I'll start with that

Thanks for your reply, ARP. That gives me a few more ideas that I might try.

To be more concise, I guess what I'm looking to do is be able to use an effect loop on the M-30 the same way I can on my 488 - ie. be able to add as much effect to each track as I want, and have the tracks come out that way (they're being dumped to digital and I want to keep them separate for further remixing).

So, basically, running the the 3 tracks out of the 488, through the M-30, adding the M-30s EQs and SOMEHOW running the effects loop through that Realistic back into the M-30, then into a firebox to record. (Firebox isn't a problem either).

I should note: The Realistic only has 1 in and out. I don't think I'd be having this problem if it had more. I've run it through the 488 as an effect though, and had it effect each of the 3 tracks separately, and like the sound, so I know the process works, I just don't know how to do it with the M-30..

Thanks for the ideas today, and any future ones!

I got this M-30 maybe a year ago, this is my first 'real' attempt at doing anything serious or overly complicated with it, and I think it'll be awhile before I really get the hang of it.
 
And why are you not just using the eq's and effects loops on the 488 direct to the Firebox?
 
Okay. So I have my 238 hooked up to the M-208 (which appears to be in working condition)...

the only (its a big one!) issue that i have is that it doesnt seem to be adjusting anything from the tapes. i have the two connected through "tape in" and it plays just fine. i can hear in my headphones through mixer. any ideas on what im missing here? is there a certain button/setting that i should be using that anyone knows of? no manual yet so just fiddling around.
 
maybe I should..

Hey SB - Thanks for your input. Appreciated. I suppose the short answer is: because I'm kind of new at working with mixers, and would like to find out what kind of capacities this one has.
I'll probably end up going through the 488, unless I find a way to route them through the M30.

Here's the long answer:
1. Ideally I think I'd like to run this set-up for live off-the-floor 4-track to firebox 4-ins, and I do like the sound of the MPA-95, but unfortunately it can only do one send-receive (which works as an effect through the 488 - previously noted - but not through the M30, yet - until it can be figured out if it's possible).
2. From what I've heard/learned, it's better to hit the compressors post-EQ, and the MPA-95 would be acting as a compressor/boost. Please don't hesitate to correct me if I'm wrong here, or have an opinion.. I like to learn..

Finally, I've considered running the MPA-95 through the Firebox, and trying to figure out how to effect the tracks that way with the MPA-95, if possible. That'd be in Nuendo. If anyone has an easy answer, I guess that'd be another question.

BTW, SB - the tracks I'm dumping in are a jazz drummer playing freestyle to be cut for samples - just thought you might like to know.

Thanks again!
 
So let me get this straight...

You have three tracks recorded on the 488, and you'd like to get those to Nuendo through the Firebox wet (effected with the MPA-95)?

What exactly does the MPA-95 do you for you?

Since the MPA-95 is a single channel unit, there is no way to have a 100% wet signal to Nuendo and not have it mixed to 1 track. The alternative is to mix the wet and dry signals, keep the three dry tracks separate and use that fourth channel on the Firebox to bring in a mono mix of the three tracks through the MPA-95.

To do that on the 488 you bring your three tracks out as you noted earlier and then use EFFECT1 or EFFECT2 to make that mono mix to the MPA-95 and then out of that into the 4th channel on the Firebox. Make sense?

Now, with the M-30, since you are wanting to bring that into the mix :rolleyes:, if I were doing it I'd bring the three tracks out from the 488 as before to channels 1 ~ 3 on the M-30, use the direct outs on channels 1 ~ 3 to the Firebox. Then I'd use the SUBMIXer as an effects send. In the SUBMIX section set SUBMIX channels 1 ~ 3 to PRE if you want your eq adjustments on channels 1 ~ 3 to make it to the MPA-95 (i.e. setting it to PRE will send a post eq pre fader signal to the MPA-95), or for pre eq pre fade to the MPA-95 connect the CUE OUT jacks on mixer channels 1 ~ 3 to their respective TAPE IN jacks, and then set SUBMIX channels 1 ~ 3 to TAPE. In either case, pan the SUBMIX channels 1 ~ 3 hard L or hard R and then use the respective SUBMIX OUT jack (i.e. if you panned them all L, use the SUBMIX OUT L jack). That's your mono mix send to the MPA-95 (actually, as a sort of afterthought, for monitoring your SUBMIX you could rather leave them all panned center and just connect up either the R or L OUT jack to the MPA-95...that way you still have a mono send to the MPA-95but when you monitor the SUBMIX buss with your headphones it is in both ears...)

Then you can either connect the output of the MPA-95 straight to the Firebox, or bring it back to an open channel on the M-30 for eq'ing and then use the direct out on that channel as the send to the Firebox. After all is said and done you've still got 4 mixer channels open. You could use those for additional inputs, or as returns from Nuendo. You could assign channels 1 ~ 4 to 1 & 2, and then returns from the DAW to 3 & 4 to keep them isolated, or keep them all together on groups 1 & 2.

Lotsa options. Neat little mixer.

Ulimately though I'd look to minimize the number of compenents in the signal path...I'm sure you are thinking along those lines and are gravitating toward using the M-30 with the Firebox/Nuendo, and you've got the 488 in there right now since that's where the raw tracks reside for the current project and you're wanting to toy with the M-30 to get acclimated. I get that now. :)
 
Quite the reply :)

That's a really extensive and in-depth reply, SB. Thanks so much, man. I'll be copying it, pasting it, and trying out the combinations and let you know how it works.

The MPA-95 is a really basic PA, as I'm sure you've guessed. I just like the overall sound of it. Something about the built-in EQs ad signal boosts, I think. I find it's just 'noisy' enough to really bring a live sound to something that's recorded. Thanks for asking :)

Hey - I really really appreciate the information, and I can tell you worked on it and thought about it. I'll definitely let you know how it turns out.

Thanks again man!
 
Thanks, JCO. I hope it helps and do let us know.

Not that it means much to anybody, but I have to share that I have a mono PA mixer/amp made by Realistic as well. Might even be the same on you have. I need to look at the modelnumber... Anyway, it has gone kaput...no idea why but it might be a blown cap or more. It actually sounded pretty good when it worked...might be the same one you have. I was really surprised when I opened it up recently to find what I found...the power supply has really big caps, good quality jacks are used, I see TL072 and NJM4556 opamps and a host of polystyrene caps. It was really noisy, but that again could support a cap or two or more going bad.
 
This Realistic..

When I read up on this Realistic online it said something about it being used to for large-scale events for politicians, that kind of thing.. I don't know much about fuses and all that, but I've had at least a few people who kind of know about these kinds of things tell me that it's a good amp, and worth using - also fairly inexpensive, I think (a quick check sees they usually go for around 70-120$). Obviously I didn't hit it to my raw analog 488 tracks, but I'll definitely be considering using it when I'm hitting hard drives in the future. Unfortunately, being a 1-channel mixer, it means I'll have to make a decision about what I want to use it on, won't I? I'm sure I'll be doing experiments to see what that decision (if I have to make it) will be.

So I ran it as an effects send through the 488 last night, and it really does bring a kind of 'live' or amped/boosted feel in. I mean, it's not the best top-of-the-line piece of gear, but I like it for home recording, for now. Also tried the tracks through the M30, through some preamps, and a combination of all of the above. I'll be trying your ideas today, tomorrow - just thought I'd start with what I was comfortable with.

Hey - thanks again, man! I like it here!
 
You must log in or register to reply here.
Back
Top