Tascam M520 Story...

flyingace

Active member
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.
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.
I don’t “output” signal from the M520.

Guitar into tuner, tuner output into M520.
All good ideas. I do have extra patchbay connections, I’ll use one. Thanks!
 

Dahoxic

New member
Hey awesome thread !



maybe a dumb question but right now I have a tascam M520 - > aux out 1 -> behringer ha 8000 direct in (8 channel headphone amp with a respective direct in for each headphone output.)

The signal is very very quiet. However, when I go into the main in of the behringer, (or direct in) from the stereo master B, I get the proper volume.

It was my understanding you can use the 4 auxiliary outs pre fader to get four individual aux sends while tracking and the behringer headphone amp powers this signal? Or is monitoring for the talent only supposed to come from the stereo master B channel
Any help is appreciated.
 

sweetbeats

Reel deep thoughts...
Hey awesome thread !



maybe a dumb question but right now I have a tascam M520 - > aux out 1 -> behringer ha 8000 direct in (8 channel headphone amp with a respective direct in for each headphone output.)

The signal is very very quiet. However, when I go into the main in of the behringer, (or direct in) from the stereo master B, I get the proper volume.

It was my understanding you can use the 4 auxiliary outs pre fader to get four individual aux sends while tracking and the behringer headphone amp powers this signal? Or is monitoring for the talent only supposed to come from the stereo master B channel
Any help is appreciated.
I replied to your question you posted on my YouTube video about the M-520. Did you see it?
 

flyingace

Active member
It’s not that the monitor mixer is incorporated into the final mix, unless that’s how you choose to set it up. Technically it’s that the PGM groups are available sources to the monitor mixer for…drum roll…monitoring. And as we are discussing the intended setup is for the master recorder to be connected to a pair of the PGM groups at mixdown, and the PGM group outputs are upstream from the monitor mixer inputs.
I have been re-reading parts of this thread, trying to learn more now that I’m more fully using the M-520 with my MS-16. Man, so many ways you can set up the M-520 to work. I’ve learned a great deal from you and others on this thread.
This (above) sparked a question: If I was wanting to take something recorded on my MS-16, mix it on the 520, what is the best way to get a two track mix down out? I have my Tascam 32-2B 2 Track 1/4” that I was wanting to use for fun but could easily patch out the “mix” output into my interface or cassette or CDR, etc.
Would I use PGM groups 1 & 2 for the 2 track final mix? and then set each channel on the 520 to output to busses 1 & 2 (L/R)? would my effects from AUX go thru the PGM busses, right? Or would it be best to use the secondary Stereo Master A outputs for that 2 track out?
As always, I don’t know if I’m asking the right questions or making enough sense, but I really appreciate your advice and help! Thanks!
 

sweetbeats

Reel deep thoughts...
Yeah so if it was me I’d have the 16 outputs of the MS16 connected to the 16 TAPE IN jacks on channels 1 ~ 16 of the M-520. I would assign channels 1 ~ 16 to PGM groups 1 & 2, setting the PAN controls to taste. Then the PGM GROUP OUT jacks 1 & 2 would be connected to the master recorder inputs. I would monitor my stereo mix by setting the sources of the MONITOR mixer channels 1 & 2 to BUSS, PAN channel 1 hard L and channel 2 hard R. I would then set the source of the MONITOR SELECT switchrack to MON. I would then be able to monitor the stereo mix in the headphones and in my studio monitors via the STEREO A buss. I would connect the outputs of any send effects devices that are fed by the AUX busses to M-520 channels 17 ~ 20, and also assign those to PGM groups 1 & 2, again setting the PAN controls to taste. That’s how you get your wet final mix, and you’re feeding the master recorder with the most direct summing path (vs using the STEREO A or B busses, which go through the MONITOR mixer and additional circuitry all downstream of the amp stages that fee the PGM GROUP outputs), but also have the independent flexibility to monitor that mix as well as setup separate monitor mixes if needed using your unused PGM groups, and of course you can always solo-in-place any input.

You’re right. Lots of flexibility with the M-50/M-500 consoles. And as I’ve said before you can do whatever you want to do, but the functions and features of the STEREO A and STEREO B busses make them ideal to be used as your control room and studio feeds respectively, which is what Teac intended.
 

flyingace

Active member
Yeah so if it was me I’d have the 16 outputs of the MS16 connected to the 16 TAPE IN jacks on channels 1 ~ 16 of the M-520. I would assign channels 1 ~ 16 to PGM groups 1 & 2, setting the PAN controls to taste. Then the PGM GROUP OUT jacks 1 & 2 would be connected to the master recorder inputs. I would monitor my stereo mix by setting the sources of the MONITOR mixer channels 1 & 2 to BUSS, PAN channel 1 hard L and channel 2 hard R. I would then set the source of the MONITOR SELECT switchrack to MON. I would then be able to monitor the stereo mix in the headphones and in my studio monitors via the STEREO A buss. I would connect the outputs of any send effects devices that are fed by the AUX busses to M-520 channels 17 ~ 20, and also assign those to PGM groups 1 & 2, again setting the PAN controls to taste. That’s how you get your wet final mix, and you’re feeding the master recorder with the most direct summing path (vs using the STEREO A or B busses, which go through the MONITOR mixer and additional circuitry all downstream of the amp stages that fee the PGM GROUP outputs), but also have the independent flexibility to monitor that mix as well as setup separate monitor mixes if needed using your unused PGM groups, and of course you can always solo-in-place any input.

You’re right. Lots of flexibility with the M-50/M-500 consoles. And as I’ve said before you can do whatever you want to do, but the functions and features of the STEREO A and STEREO B busses make them ideal to be used as your control room and studio feeds respectively, which is what Teac intended.
Perfect! I’m already set up for all that with the MS-16 IN/OUT, you confirmed the use of the PGM OUT 1/2 and thank you for the AUX set to PGM too for the wet mix. All very helpful and makes total sense… it also means I’m “almost” getting it. You fleshed out the rest for the AUX and the best way to output to 2 trk.
Yeah, since I’ve no live room, just my one room, I’m using Stereo Master A for all my needs since I won’t be using talkback, etc. That feeds my monitors.

Then I’ll need to figure out where I’m going to place the 2 trk coming back to listen back, I’m guessing use a set of 17/18 or 19/20? I currently have my rackmount Tascam cassette/CDR on 19/20 2 TRK B input. I could use 17/18 2 TRK A input for that?

Thank you!
 

sweetbeats

Reel deep thoughts...
Perfect! I’m already set up for all that with the MS-16 IN/OUT, you confirmed the use of the PGM OUT 1/2 and thank you for the AUX set to PGM too for the wet mix. All very helpful and makes total sense… it also means I’m “almost” getting it. You fleshed out the rest for the AUX and the best way to output to 2 trk.
Yeah, since I’ve no live room, just my one room, I’m using Stereo Master A for all my needs since I won’t be using talkback, etc. That feeds my monitors.

Then I’ll need to figure out where I’m going to place the 2 trk coming back to listen back, I’m guessing use a set of 17/18 or 19/20? I currently have my rackmount Tascam cassette/CDR on 19/20 2 TRK B input. I could use 17/18 2 TRK A input for that?

Thank you!
Yeah your 17/18 2TR A is where I’d return the master recorder…notice your have dedicated monitor source switches for that in the MONITOR SELECT switchrack for quick access.

If you ever get a second set of monitor speakers you could always feed those with STEREO B to audition multiple monitor types.
 

sweetbeats

Reel deep thoughts...
Next question would be about the AUX switch setting PRE or POST? I usually have it set for POST.
Typically a send effect is post-fader. If you set it to pre fade then if you pull down the fader for that channel, the dry input will diminish but the reverb or delay or whatever is going to stay the same level. Which you might want for a special effect. But generally you would have the effect level stay in tandem with the dry level…post fade AUX send. Pre fade sends are typically used for monitor mixes or cue feeds for the talent…pre fade so as you adjust your mix at the channel faders you don’t change the cue mix for the talent set by the AUX send level knobs on the input channel strips. Hope that makes sense.
 

flyingace

Active member
Thanks, that settles that! I thought I was doing right but no matter how many times I read the manual, sometimes it confuses me and I second guess myself. I’ll keep going to the manual first before buggin’ you, so thanks for your help. I’m every so happy with my 520 and MS-16, they are such a good pair, it’s starting to become second nature again and I’m super stoked to just start putting down tracks. I wanted to play with the analog workflow with the 2 trk for shits and giggles, but all I have to do is patch in my 16 ch interface (which is connected to a patchbay and tested already!) and dump the files to the computer. My hope is to get my MOTU 16A (which is backordered at Sweetwater due to chip shortages) and then I can send 16 channels from the computer to tape too.

I’m sad that I have never had the opportunity to really work with my Tascam 388, besides testing that it was fully working. I’m putting it in climate controlled storage on saturday to free up space in my studio and either use it someday when I have more space or sell it. I’ve read your thread on that one too! Thanks for that!
 
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