Tascam M520 Story...

Does the M-One XL just have two inputs and two outputs? If so, then yes you could just bring the output of channel 1 on the effects box back to channel 17 on the M-520, and channel 2 of the effects box back to channel 18 of the M-520. Or if you already have the LINE inputs of channels 17 & 18 on a patchbay, then you could bring those two outputs from the effects box to the patchbay, sure. But consider RFR’s advice about getting a simple setup going first, with direct connections to the console backplane and get stuff going, and then you can branch out from there. It does three things: 1. Gets you up and running, 2. Helps you focus on the console’s operation without too many external variables/distractions, and 3. May redirect what you *think* you need now and reveal to you more patently what you really want to do with your setup.

You could alternatively, if you’re not using both 2TR A *and* 2TR B inputs, use 2TR B L&R on channels 19 & 20…they are the same type of inputs as the LINE inputs, but you have some enhanced monitoring capabilities there…direct monitoring in the MONITOR SELECT switchrack, as well as inline monitoring via the AUX 3/4 busses. You may not need this, but if you’re not using them they’re there…you just have to make DAMN sure, whatever channels you bring the effects box back in on, you do NOT turn up the send knobs of whatever AUX busses you are using to feed the effects box. That will result in a feedback loop. Like if you’re using AUX 1/2 to feed the inputs of the effects box, and you turn those knobs up on the console channels that input the outputs of the effects box, you’ll be directly feeding the outputs of the effects box right back to its inputs.
 
sweetbeats said:
Does the M-One XL just have two inputs and two outputs? If so, then yes you could just bring the output of channel 1 on the effects box back to channel 17 on the M-520, and channel 2 of the effects box back to channel 18 of the M-520. Or if you already have the LINE inputs of channels 17 & 18 on a patchbay, then you could bring those two outputs from the effects box to the patchbay, sure. But consider RFR’s advice about getting a simple setup going first, with direct connections to the console backplane and get stuff going, and then you can branch out from there. It does three things: 1. Gets you up and running, 2. Helps you focus on the console’s operation without too many external variables/distractions, and 3. May redirect what you *think* you need now and reveal to you more patently what you really want to do with your setup.

You could alternatively, if you’re not using both 2TR A *and* 2TR B inputs, use 2TR B L&R on channels 19 & 20…they are the same type of inputs as the LINE inputs, but you have some enhanced monitoring capabilities there…direct monitoring in the MONITOR SELECT switchrack, as well as inline monitoring via the AUX 3/4 busses. You may not need this, but if you’re not using them they’re there…you just have to make DAMN sure, whatever channels you bring the effects box back in on, you do NOT turn up the send knobs of whatever AUX busses you are using to feed the effects box. That will result in a feedback loop. Like if you’re using AUX 1/2 to feed the inputs of the effects box, and you turn those knobs up on the console channels that input the outputs of the effects box, you’ll be directly feeding the outputs of the effects box right back to its inputs.
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Yes, just two inputs and outputs on the FX. Good info all around. I love how flexible this CAN be but simple is best! I’m going to play around with these methods to see what works best For me.
RFR said:
Well good you’re ahead of the game!
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The awesome bit about using the Tascam PB-32P patch bays on D OUT & TAPE IN for the MS-16 is: 1. They look great with the rest of the vintage Tascam stuff (Cory, you mentioned that!). 2. With just 16 IN/OUT, it just covers the needs of my MS-16. And 3. It makes sending the OSC signal to each channel of the MS-16 super easy for calibrating and I can redirect, for example, Ch. 5/6 M-520 inputs to record on another track on the MS-16 with just a couple of patch cables, especially good when I want to record something to tracks 1-4 and I’m not using INST or PHONO or MIC inputs on those channels. I actually fed my drum machine L/R into tracks 1 & 2 on the MS-16 that way and it was great!
 
flyingace said:
Yes, just two inputs and outputs on the FX.
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Most effects (delay reverb, etc.) are fake stereo. Not a dedicated left right. The stereo comes about from the processing.

So the aux sends can feed up to 4 effects if you choose. But you gotta bring them back in mono. But, you can also bring one back in stereo using the ‘spare’ jacks but you have no mixer control, you have to control the amount on your Fx unit.

A co
 
Next question:
At Tape Camp at the Welcome to 1979 studio in Nashville, the owner there, Chris, said that they never turn off any equipment in the studio. That the compressors, preamps, console, tape machine, etc. all stay on 24/7 365… Claimed that it did more damage turning them off and on regularly.

What is the consensus here, especially as it relates to powering down the M-520 after every use?
 
We’ll belt someone else chime in on the technicals if that one.

For me if it’s in daily use, yes, I’ll keep it powered up.

But I have concerns. My electricity is not as regulated as it is in pro studios. In the summer when everyone is running ac, brown outs are common.

But generally this gear likes juice running through it.
 
My Bryston amp doesn't have an off/on switch. I bought it in 1980. We had gear at the college radio station that was on 24/7 for at least 6 years. The station was relocated a few years after I left. I don't know how much of the original equipment was kept.

Consider what Rob said in his post about the Shure SR101:

The strange thing is that despite the facilities, it was installed stage left in the wings. The lighting control was moved from the stage out front, where the operator could see at about the time this was installed backstage. It’s replacement was put at the back of the auditorium in 1984, and went up to 16 channels. The Shure then remained backstage, mixing three mics into loudspeakers in the dressing rooms and was left turned on 24/7 until two years ago when it was put it in a skip, then, I rescued it and took it home!

The biggest reason for turning equipment off these days is energy conservation. Besides drawing current at idle, they produce heat, which is then counteracted by the AC in the summer. It's a double whammy monetarily and isn't "green".
 
Update on the AUX1/2 for Effects Unit:
I got it connected and it all works! I have Aux 1 set for channel 1 (reverb) and Aux 2 for channel 2 (delay) on the M-One XL. I'm feeding those into channels 17/18 on the M-520... You're both (@sweetbeats & @RFR ) right about the versatility of this and being able to EQ the effects. I have all the AUX Mutes on for safety to keep from feedback loops too. Awesome that it works!! THANK YOU!!
 
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Also, I got MIC IN 1/16 installed today using an XLR patchbay to make it easy to connect from the front of the console by my patch bay, and I connected it to a balanced TRS patchbay that is Normalled. And next up will be to plug a condenser mic in input 4 through XLR patch bay, then patch that (bypassing M-520) through my ART MPAII Preamp with phantom, out of that over to ART VLAII Compressor, then back into LINE input 7 on the M-520 to record on Track 7 on my MS-16!!! So complicated but I love all the choices I'm going to have. Wish me luck!
 
Just scored a free M-520 10 minutes away. A school had one donated without power supply, so they don't know if it works, looks clean but it's taking up space. They wanted $100 but I told the guy it wasn't worth it without a power supply. He said, he didn't want anything for it, just put the price to keep the scavengers away. Looks like I"m going to need to get some climate controlled storage for all my Parts & Projects!
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Found a few power supplies around but no cable. @sweetbeats I remember you had to make yours in this thread, did you ever find the plug ends or was the one you made the only one?
 
That’s amazing! Congrats!

For the longest time the power supply umbilical connector parts were globally unobtanium. That’s changed in the last few years for whatever reason. They are made by Hirose, it’s their Sumicon 1600 series connectors. Search “Hirose 1620” at Mouser for the 20-pin headers and hoods. I think they’re all in stock. Expect to pay close to $50 for the connector parts shipped. The cable you’re just going to have to hunt for it. Teac spec on the original cable is unshielded 20AWG 20-conductor stranded straight cable (no twisted pair). If it was me, rather than spend the $250-350 plus time and trouble for the second PS-520 and umbilical, only to result in a redundant operational M-520, I’d hook the new M-520 console up to your existing supply and umbilical to test functionality, document any issues, and put it in storage for spares, get your M-50 cleaned up and working and sell that. I think there’s some accumulation going on here. Takes one to know one. :)
 
sweetbeats said:
That’s amazing! Congrats!

For the longest time the power supply umbilical connector parts were globally unobtanium. That’s changed in the last few years for whatever reason. They are made by Hirose, it’s their Sumicon 1600 series connectors. Search “Hirose 1620” at Mouser for the 20-pin headers and hoods. I think they’re all in stock. Expect to pay close to $50 for the connector parts shipped. The cable you’re just going to have to hunt for it. Teac spec on the original cable is unshielded 20AWG 20-conductor stranded straight cable (no twisted pair). If it was me, rather than spend the $250-350 plus time and trouble for the second PS-520 and umbilical, only to result in a redundant operational M-520, I’d hook the new M-520 console up to your existing supply and umbilical to test functionality, document any issues, and put it in storage for spares, get your M-50 cleaned up and working and sell that. I think there’s some accumulation going on here. Takes one to know one. :)
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Ha ha was just telling my wife that it might be getting out of control!! I like your solution and think I’ll do that exactly! I am super in love with my console and it’s the heart of my studio, knowing I’ll have parts for years will help!
 
Good news! The free Tascam M-520 that I picked up, sans power supply or umbilical cable WORKS! all lights light up, tones work on all busses, STR Master A & B as well. I haven't put sound through it yet but it's looking good, just dirty. I don't even think I'll clean it up much after I open up the underside to make sure there aren't any spiders or other bugs, dirt, etc. I'll then lean it agaisnt the wall and have the peace of mind that I have a, for all appearances at this time, fully working backup unit for parts!!
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I was Watching Dave Grohl’s Sound City documentary and noticed that he had a rack mounted tuner located in the center of his console between the monitors. Someone locally has a Korg one for sale and I was thinking of adding it on my right hand side of my console. Where would I output signal from the M-520 so that it was always detecting tuning?
 
That is perfectly awesome (that the free M-520 works)…awesome!!

I love “Sound City.”

Hey on the source for the tuner input, honestly I’d put it on a patchbay if you have an open jack set…just temporarily patch from your source channel to the tuner input. Otherwise you’d have to use one of your PGM groups or an AUX buss. Those are the only busses that can source any of the 20 inputs.
 
flyingace said:
I was Watching Dave Grohl’s Sound City documentary and noticed that he had a rack mounted tuner located in the center of his console between the monitors. Someone locally has a Korg one for sale and I was thinking of adding it on my right hand side of my console. Where would I output signal from the M-520 so that it was always detecting tuning?
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I have one it’s wired into channel 1 which I use for a direct guitar input that can be routed to whatever tape track I choose.
 
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