I've had this teac 80-8 reel to reel, and this soundcraft s200 mixer for about a year now and I have no idea how to hook them to each other. the mixer has 8 1/4' returns, and the recorder has two rca inputs for each input. I tried using a trs cable with a rca adaptor at the other end, but got no signal. Another problem im having is with the fx returns on the mixer. They don't seem to do anything. Am I doing something wrong? I must be. I might have more questions later if anyone can help me. Digital technology has failed me and this is all I have to record on now, and I know very little about this setup. Any help you could give would be great..
Teac 80-8/Soundcraft s200 8 ch. mixer trouble, please help
- Thread starter Stingme
- Start date
cjacek
Analogue Enthusiast
I did a search for the S200 mixer but nothing matches. I also went to the soundcraft 'discontinued' product page but nothing [hoping to d/l the manual]. There's the 200B series and a few other close matches. Is the S200 the exact model number for the soundcraft mixer? Sorry, I'm not familiar with this mixer but it would help to know its connections and its specs, before trying to help.
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ausrock
Well-known member
LOL.......I did exactly the same thing just after Stingme's first post, Just didn't get a chance to come back here and ask questions.
Sting,
Can you give us a rundown on what the connections on each channel are........I presume there's an XLR Mic In and a Line In but what else is there. Also, you say it's only 8 channel, does it have any sub groups, etc., etc........any details would help.
Sting,
Can you give us a rundown on what the connections on each channel are........I presume there's an XLR Mic In and a Line In but what else is there. Also, you say it's only 8 channel, does it have any sub groups, etc., etc........any details would help.
The 80-8 has 1 input and 1 output jack per channel. Connect its outputs to the tape machine inputs of the Soundcraft.
Connect the Soundcraft's Buss Outs or direct outs to the 80-8 inputs. The buss outs will be more convenient (assuming it has 8) but the directs should be a tad cleaner sounding because of the shortened signal path.
Teac/ soundcraft
the soundcraft has four group outputs and 8 "returns". nothing that says output. I'd like to go direct with all the channels and just have each channel going to tape. Does return mean, maybe, that tip=in and ring=out? that's what I was thinking, but then I tried it. Or, do I have to use the group outs as my only outs? I also can't get the fx to work so that they work on everry channel. heres the manual. don't know what to make of it really, but someone might. thanks for the help guys.
http://www.soundcraft.com/download.asp?filename=pdf/user_guides/series_200b/200b_user_guide_1-2.pdf
the soundcraft has four group outputs and 8 "returns". nothing that says output. I'd like to go direct with all the channels and just have each channel going to tape. Does return mean, maybe, that tip=in and ring=out? that's what I was thinking, but then I tried it. Or, do I have to use the group outs as my only outs? I also can't get the fx to work so that they work on everry channel. heres the manual. don't know what to make of it really, but someone might. thanks for the help guys.
http://www.soundcraft.com/download.asp?filename=pdf/user_guides/series_200b/200b_user_guide_1-2.pdf
Tape Returns are clearly marked on page 19 and are inputs for your machine's line outs. You will need to adapt from male rca to male trs connectors following the convention in the manual.
Same graphic shows the Group (aka Buss) outs on XLR's. (Pin 2 hot btw) You will need to adapt from XLR to rca for this.
I don't see any direct outs on this board.
You should also check the manual to see how to set the operating level to -10 so it matches the Tascam.
sweetbeats
Reel deep thoughts...
Stingme,
If you aren't using the channel inserts for anything else (compressors for instance) you can use a mono TS 1/4" cable inserted to the first dentent and it should provide a direct out without breaking the signal to the busses on the board. You would then just need 8 TS to RCA cables connected from the 8 channel inserts to the inputs on the 80-8.
If you aren't using the channel inserts for anything else (compressors for instance) you can use a mono TS 1/4" cable inserted to the first dentent and it should provide a direct out without breaking the signal to the busses on the board. You would then just need 8 TS to RCA cables connected from the 8 channel inserts to the inputs on the 80-8.
This works but as long as you are willing to send to the machine pre fader.
sweetbeats
Reel deep thoughts...
Oh right!!
Stingme, check RRuskins comment...he's totally right! My head was stuck on the scenario where your mixer is mixing for a live gig (front of house or FOH) AND tracking to digital...in that case having pre-fade sends direct off the preamp is more ideal where you are setting your preamp gain to be sensitive to the DAW's 0dB clipping point anyway...THIS IS ANALOG ONLY SWEETBEATS!!
Thanks for bringing this up RRuskin.
Okay...so then the next option, and its not a bad one (sorry if this was mentioned above already and I'm duplicating...) is to send channels 1~4 to groups 1~4, and send channels 5~8 to auxes 1~4...I don't have the manual in front of me right now...are there jacks on the back for direct outs from the groups? My memory says there are on XLR jacks...are those auxes selectable pre/post fader? If they are, switch them to pre. Are the groups able to be routed only to the group out jacks (i.e. not routed to the main buss)? If so, route channels 1~2 to group 1-2 AND the main buss (pan channel 1 hard L and channel 2 hard R), route channels 3~4 to group 3-4 AND the main buss (pan channel 3 hard L and channel 4 hard R). Now you can send groups 1~4 direct to tracks 1~4 on the 80-8 (via the direct out jacks on the back) and you'll have semi-independent control over the level to tape and the monitor level via the main buss. Be aware though that if you make changes to the level in the main buss via the channel fader, you'll need to adjust the group fader opposite to maintain the level to tape. If you need to track more than 4 channels at a time, this is where the aux busses come in. If they can be switched pre fader, do so. Route channels 5~8 only to the main buss, and send channel 5 signal to aux 1, channel 6 to aux 2 and so on. Here again you'll have independent control over your level to tape via the aux send pots on the channel strips and the aux master levels in the master section, and your montior level via the channel 5~8 faders, which will send to the main buss for monitoring. Connect the inputs for tracks 5~8 on the 80-8 to the aux 1~4 output jacks on the mixer. Sorry there are so many caveats here with me giving advice without the manual in front of me...
The one for sure piece is to connect the outputs of the 80-8 to the tape returns 1~8 on the back of the mixer.
Stingme, check RRuskins comment...he's totally right! My head was stuck on the scenario where your mixer is mixing for a live gig (front of house or FOH) AND tracking to digital...in that case having pre-fade sends direct off the preamp is more ideal where you are setting your preamp gain to be sensitive to the DAW's 0dB clipping point anyway...THIS IS ANALOG ONLY SWEETBEATS!!
Thanks for bringing this up RRuskin.
Okay...so then the next option, and its not a bad one (sorry if this was mentioned above already and I'm duplicating...) is to send channels 1~4 to groups 1~4, and send channels 5~8 to auxes 1~4...I don't have the manual in front of me right now...are there jacks on the back for direct outs from the groups? My memory says there are on XLR jacks...are those auxes selectable pre/post fader? If they are, switch them to pre. Are the groups able to be routed only to the group out jacks (i.e. not routed to the main buss)? If so, route channels 1~2 to group 1-2 AND the main buss (pan channel 1 hard L and channel 2 hard R), route channels 3~4 to group 3-4 AND the main buss (pan channel 3 hard L and channel 4 hard R). Now you can send groups 1~4 direct to tracks 1~4 on the 80-8 (via the direct out jacks on the back) and you'll have semi-independent control over the level to tape and the monitor level via the main buss. Be aware though that if you make changes to the level in the main buss via the channel fader, you'll need to adjust the group fader opposite to maintain the level to tape. If you need to track more than 4 channels at a time, this is where the aux busses come in. If they can be switched pre fader, do so. Route channels 5~8 only to the main buss, and send channel 5 signal to aux 1, channel 6 to aux 2 and so on. Here again you'll have independent control over your level to tape via the aux send pots on the channel strips and the aux master levels in the master section, and your montior level via the channel 5~8 faders, which will send to the main buss for monitoring. Connect the inputs for tracks 5~8 on the 80-8 to the aux 1~4 output jacks on the mixer. Sorry there are so many caveats here with me giving advice without the manual in front of me...
The one for sure piece is to connect the outputs of the 80-8 to the tape returns 1~8 on the back of the mixer.
sweetbeats
Reel deep thoughts...
Stingme...okay I think I've got it now. I just read the pertinent sections of the manual.
Check out the last section of page 23. It is a nice narrative summation about which I'm writing.
Your board is setup to feed eight discreet sources to an 8-track recorder.
As stated above, route channels 1~4 to groups 1~4 respectively, but ONLY TO THE GROUPS. I'll explain why in a moment...
Your aux sends can be confirgured pre or post fader via internal jumpers. There's a diagram on the page that talks about the channel aux controls to show you which jumper position does what, but you have to open the board up. IF YOU ARE NOT PLANNING ON NEEDING TO USE POST-FADE SENDS DURING TRACKING OR MIXDOWN, I SUGGEST CONFIGURING ALL SENDS TO BE PRE-FADE. I'm not shouting...just trying to add emphasis. If you DO need post-fade sends for your projects, let's discuss further.
Anyway, got yer auxes configured pre-fade? Okay. Channels 5~8 get routed to nowhere (all routing assignment switches unlatched or up). I'll explain why in a moment. As stated earlier send channel 5 to aux 1, channel 6 to aux 2, etc.
Now you have complete control over 8 discreet signals going from mixer channels 1~8 to 80-8 tracks 1~8 via the group 1~4 outs and the aux 1~4 outs.
This does tie up your aux buss, but it is, as far as I can tell in the manual, the way the manufacturer designed the board to work in your application. They even go to the point of emphasizing that the aux circuitry is the same as the group circuitry.
The idea now is to monitor what is going to tape via the 80-8's sync head. If you simply monitor the sync head during recording, select which tracks get monitored via the controls on the 80-8, then you can monitor those via the tape returns on the mixer for record monitoring, overdubs, etc. Just make sure all the RET buttons are latched (down...this will send your tape 1~8 returns directly to the main buss), and make sure that the SUB switches above the group faders are unlatched (up). This will ensure that the groups only go direct to the 80-8 (via the group out jacks) and not to the main buss. In this way your 8 mixer channels go solely to the 80-8 with full level control, and the only signals present at the main faders are the returns from the 80-8 which you can selectively monitor during tracking via the sync controls on the 80-8.
If you need separate headphone mixes you could accomplish this (albeit with a headphone amp) by panning your tape returns L and R as needed. This will give you two discreet mono mixes present at the L and R main outs with individual fader control for overall level. These would then go to two separate channels of a headphone amp.
Again, if you need post-fade effects during tracking, let's discuss further because there are options. Also, if you are printing effects on a track or two consider using your inserts for these as many outboard send effect processors do have mix capability allowing them to operate as a send effect on an insert patch, keeping your auxes free for tape sends.
If you decide to do it this way, you will need an 8-channel RCA to 1/4" TS snake for your tape returns, and a snake (or individual cables) with 4 XLR-F on one end (pins 2 and 3 jumpered together) and RCA's on the other, and another 4-channels of 1/4" TS to RCA for your mixer to 80-8 connections.
Hope this helps. Neat little mixer. Has some nice features for its small format.
Check out the last section of page 23. It is a nice narrative summation about which I'm writing.
Your board is setup to feed eight discreet sources to an 8-track recorder.
As stated above, route channels 1~4 to groups 1~4 respectively, but ONLY TO THE GROUPS. I'll explain why in a moment...
Your aux sends can be confirgured pre or post fader via internal jumpers. There's a diagram on the page that talks about the channel aux controls to show you which jumper position does what, but you have to open the board up. IF YOU ARE NOT PLANNING ON NEEDING TO USE POST-FADE SENDS DURING TRACKING OR MIXDOWN, I SUGGEST CONFIGURING ALL SENDS TO BE PRE-FADE. I'm not shouting...just trying to add emphasis. If you DO need post-fade sends for your projects, let's discuss further.
Anyway, got yer auxes configured pre-fade? Okay. Channels 5~8 get routed to nowhere (all routing assignment switches unlatched or up). I'll explain why in a moment. As stated earlier send channel 5 to aux 1, channel 6 to aux 2, etc.
Now you have complete control over 8 discreet signals going from mixer channels 1~8 to 80-8 tracks 1~8 via the group 1~4 outs and the aux 1~4 outs.
This does tie up your aux buss, but it is, as far as I can tell in the manual, the way the manufacturer designed the board to work in your application. They even go to the point of emphasizing that the aux circuitry is the same as the group circuitry.
The idea now is to monitor what is going to tape via the 80-8's sync head. If you simply monitor the sync head during recording, select which tracks get monitored via the controls on the 80-8, then you can monitor those via the tape returns on the mixer for record monitoring, overdubs, etc. Just make sure all the RET buttons are latched (down...this will send your tape 1~8 returns directly to the main buss), and make sure that the SUB switches above the group faders are unlatched (up). This will ensure that the groups only go direct to the 80-8 (via the group out jacks) and not to the main buss. In this way your 8 mixer channels go solely to the 80-8 with full level control, and the only signals present at the main faders are the returns from the 80-8 which you can selectively monitor during tracking via the sync controls on the 80-8.
If you need separate headphone mixes you could accomplish this (albeit with a headphone amp) by panning your tape returns L and R as needed. This will give you two discreet mono mixes present at the L and R main outs with individual fader control for overall level. These would then go to two separate channels of a headphone amp.
Again, if you need post-fade effects during tracking, let's discuss further because there are options. Also, if you are printing effects on a track or two consider using your inserts for these as many outboard send effect processors do have mix capability allowing them to operate as a send effect on an insert patch, keeping your auxes free for tape sends.
If you decide to do it this way, you will need an 8-channel RCA to 1/4" TS snake for your tape returns, and a snake (or individual cables) with 4 XLR-F on one end (pins 2 and 3 jumpered together) and RCA's on the other, and another 4-channels of 1/4" TS to RCA for your mixer to 80-8 connections.
Hope this helps. Neat little mixer. Has some nice features for its small format.
Get a patch bay so you can re-route things as needed without having to crawl around to the backs of your other gear.
You might also mult (Y cord) from the group outs so that group 1 out feeds tracks 1 & 5, group 2 feeds 2 & 6; etc. This assumes that you will not be needing to record more than 4 tracks at a time.
If in your situation, I'd do both of the above.
sweetbeats
Reel deep thoughts...
You could also route channels 1~2 to group 1-2, channels 3~4 to group 3-4, and channels 5~6 to the MIX buss...you'd have individual fader control over 6 channels to tape, and all your auxes free. You could then use two auxes for tape sends to get your full 8 count and still have two auxes for effects, but things get tricky with monitoring in this scenario because you are tying up your main buss. You could get a simple 8x2 line mixer to handle this though.
Like RRuskin asked, how many channels do you need to track at any one time? 4? 6? 8? If it is 4, Its no problem. Your board excels at 4-track production, but for 8 tracks it requires a little creativity and compromise. If it had post-fade direct outs on each channel you'd be in business. You could, depending on your skill level, mod the board and put these in. That would be the ideal and would solve all your problems.
For 4-track production use the groups 1~4 for your tape sends, latch the SUB switches to also route these to the main buss for monitoring, or bring the 80-8 tracks back on the tape returns and handle monitor control via the sync controls on the 80-8 as mentioned before and latch all the RET switches in the master section to send the tape returns to the main buss. Either way, the auxes are not used at all and are free to use as you please. If you monitor via the SUB routing rather than monitoring through the 80-8 then the tape returns can be used as your aux returns. So you've got lots of options if you only need to record 4 tracks at a time. As soon as you go over 4 you start making things tricky for monitoring while tracking/overdubbing.
I guess you could make things work pretty well if you were needing to track up to 6 channels simultaneously: route channels 1~4 to groups 1~4 as previously mentioned, but ALSO route channels 1~4 to the MIX (main) buss. Leave the group SUB switches unlatched...this will send the groups only to the group out jacks, but channels 1~4 are also being routed to the MIX buss for monitoring. The channel faders can be used to set the monitor mix, and the group faders will be used to set the level to tape (again, just be aware that if you make changes to the channel faders, you'll need to make the opposite changes on the group faders to maintain the same level to tape). Then route channels 5~6 to the MIX buss and also send them to auxes 1~2 pre-fade. Again, this will give you independent control over the levels going to tape (via the aux 1~2 channel pots and the aux 1~2 master pots), and the monitoring levels via the channel faders. Channels 5~6 will have true independent monitoring and tape level control, while, as mentioned above, channels 1~4 will be pseudo independent since the group faders receive their signal post channel fader. In this scenario you still have two auxes left over. The struggle would be that they BOTH have to be either pre or post fade. If you needed one pre and one post you'd have to do some creative swapping of the auxes and group faders. It can be done.
Another tip: to keep your tape/aux returns free as aux returns you can connect the the outputs of the 80-8 to the LINE inputs on channels 1~8. You can then use the PAD switches on channels 1~8 to monitor those connections. This assumes you don't need the LINE inputs during tracking. Its a nice arrangement that, according to the manual, the PAD switch actually switches between the XLR input and the 1/4" input. If you don't use those 1/4" LINE inputs during tracking you don't have to do any repatching when it is time to mixdown...just latch all the PAD switches and setup your mix.
Like RRuskin asked, how many channels do you need to track at any one time? 4? 6? 8? If it is 4, Its no problem. Your board excels at 4-track production, but for 8 tracks it requires a little creativity and compromise. If it had post-fade direct outs on each channel you'd be in business. You could, depending on your skill level, mod the board and put these in. That would be the ideal and would solve all your problems.
For 4-track production use the groups 1~4 for your tape sends, latch the SUB switches to also route these to the main buss for monitoring, or bring the 80-8 tracks back on the tape returns and handle monitor control via the sync controls on the 80-8 as mentioned before and latch all the RET switches in the master section to send the tape returns to the main buss. Either way, the auxes are not used at all and are free to use as you please. If you monitor via the SUB routing rather than monitoring through the 80-8 then the tape returns can be used as your aux returns. So you've got lots of options if you only need to record 4 tracks at a time. As soon as you go over 4 you start making things tricky for monitoring while tracking/overdubbing.
I guess you could make things work pretty well if you were needing to track up to 6 channels simultaneously: route channels 1~4 to groups 1~4 as previously mentioned, but ALSO route channels 1~4 to the MIX (main) buss. Leave the group SUB switches unlatched...this will send the groups only to the group out jacks, but channels 1~4 are also being routed to the MIX buss for monitoring. The channel faders can be used to set the monitor mix, and the group faders will be used to set the level to tape (again, just be aware that if you make changes to the channel faders, you'll need to make the opposite changes on the group faders to maintain the same level to tape). Then route channels 5~6 to the MIX buss and also send them to auxes 1~2 pre-fade. Again, this will give you independent control over the levels going to tape (via the aux 1~2 channel pots and the aux 1~2 master pots), and the monitoring levels via the channel faders. Channels 5~6 will have true independent monitoring and tape level control, while, as mentioned above, channels 1~4 will be pseudo independent since the group faders receive their signal post channel fader. In this scenario you still have two auxes left over. The struggle would be that they BOTH have to be either pre or post fade. If you needed one pre and one post you'd have to do some creative swapping of the auxes and group faders. It can be done.
Another tip: to keep your tape/aux returns free as aux returns you can connect the the outputs of the 80-8 to the LINE inputs on channels 1~8. You can then use the PAD switches on channels 1~8 to monitor those connections. This assumes you don't need the LINE inputs during tracking. Its a nice arrangement that, according to the manual, the PAD switch actually switches between the XLR input and the 1/4" input. If you don't use those 1/4" LINE inputs during tracking you don't have to do any repatching when it is time to mixdown...just latch all the PAD switches and setup your mix.
Yes! I really hope this works, cause this is how I need it to work. thank you so much, it makes perfect simple sense. Sucks though, I need the wires. until then could you tell me how I would get reverb, headphone, and other various effects through the aux returns?
sweetbeats
Reel deep thoughts...
1. How many sets of headphones?
2. How many tracks do you want to record simultaneously?
3. Connect the aux output of the mixer to the input of the effect box, and then connect the output(s) of the effect box to the tape/aux return(s). Latch the RET switch for whatever jack the effect box is connected to. That will route it to the main buss.
2. How many tracks do you want to record simultaneously?
3. Connect the aux output of the mixer to the input of the effect box, and then connect the output(s) of the effect box to the tape/aux return(s). Latch the RET switch for whatever jack the effect box is connected to. That will route it to the main buss.
All the info you need is in the manual. I think it's time you sat down and read it.