High-end Tascam 20 input, 8 output 16 channel split monitoring recording console. Seperate rack mountable power supply, custom oak side panels and monitor shelf, original manual, cover and included. Original box. Works well. Sold as is.
M-520 SPECIFICATIONS:
INPUT SECTION
MIC ATT ---- 30,0
Switches in a 30 dB pad so that very “hot” mics and line level sources do not overload the preamp.
Phase----Reverse, Normal
Reverses the polarity of the XLR input connector so you don’t have to rewire a cable or use an adaptor when the source is “out of phase.”
INPUT
MIC refers to the XLR input on each channel, and is a balanced Mic/Line input. INSTrument is an unbalanced instruument input (built in direct box). PHONO is an RIAA phonograph input. LINE, TAPE, and 2TR A-B are unbalanced line level inputs.
TRIM
These two concentric controls independently set the gain of the XLR input (for mic or line level sources) and of the selected TAPE, INST, PHONO or LINE input. The channel fader then does not need readjustment when changing sources.
OVERLOAD LED
The overload LED turns on just before the post-preamp peak signal level becomes high enough to cause distortion; aids in optimum setting of the TRIM controls.
AUX 1, 2, 3, 4
The inputs to the 4 auxiliary (mono) submixing systems may be selected and muted in pairs. PRE position is used to create a cue mix or effects send mix that does not vary when the fader is operated. POST position is used to create a rough monitor mix for the engineer or effects send which does track the fader. TAPE position is used to create a cue mix from the tape machine’s output (which includes the previously recorded and current “live” mics) for use during overdubbing. TAPE also may be used to derive effects sends from previously recorded tracks. LINE can be used for effects sends from line level sources, or to “loop” an effect returned to the channel into another signal processor.
EQUALIZATION
The three EQ bands each have concentric GAIN and frequency (FREQ) knobs. The frequency bands overlap for full coverage of the audio spectrum. Center frequencies may be swept from 50 Hz to 500 Hz, 100 Hz to 5 kHz, and 2.5 kHz to 15 kHz. The GAIN controls pro vide 15 dB of boost or cut at the selected center frequency. Because the center frequencies are sweepable, precise “pinpoint” corrections of the sound can be made using a minimum of boost or cut. This differs from fixed-frequency EQ, which often requires excessive boost or cut at the nearest available (but possibly incorrect) center frequency in order to have sufficient effect on the desired frequency. ON switches the channel equalizer into the signal path and lights up the adjacent LED. This is useful for “A-B” comparisons of the EQ’d and “dry” sound. When off, the circuit is bypassed.
ASSIGN---1, 2, 3, 4, 5, 6, 7, 8:
Pressing these buttons assigns the post-fader, post-EQ signal to the respectively numbered program mixing busses. To provide for stereo signal assignment, if any combination of odd and even numbered busses is selected, the PAN pot then sets the balance between them.
CHANNEL ON
Pressing this button opens (turns on) the channel’s contribution to all 8 program mixing busses, regardless of ASSIGN switch positions. It also turns on the post fader signal to the AUX systems. The LED above the ON switch is lighted when the channel is open.
SOLO
Pressing this button mutes the stereo MASTER A signal (applied to the control room monitor output), and permits the engineer to hear only the channel or channels whose SOLO buttons are depressed. The LED above the button lights to indicate that the channel is “soloed.” This is a stereo solo, so the signal is heard in the position set by the PAN pot. Since SOLO does not affect the Buss or Aux outputs, it is useful for identifying an input, critical adjustment of the signal’s placement in the stereo perspective, of the EQ or fader levels, or troubleshooting a bad mic, etc., during the session.
PFL
Pre Fader Listen is similar to the SOLO function, except that a mono signal is derived ahead of the channel fader and PAN pot. The “SOLO” LED is on when PFL is selected.
PAN
This pot pans the channel’s output between any assigned odd numbered (Left) and even numbered (Right) mixing busses.
FADER
Smooth, noise-free 100mm fader adjusts the level of the signal selected by the INPUT switch.
MONITOR SECTION
MONITOR 1-8
A group of monitor mix con trols is provided for each of the multitrack tape inputs; each group consists of a MON switch, a LEVEL control and a PAN pot. Together, these monitor circuits permit a stereo mix to be derived from the 8 program busses, from an 8 (or 16) track tape machine’s output, or from a combination thereof. This section can produce a cue mix for overdubbing, or a reference mix for the engineer.
MONITOR--MONO
This switch combines the Left and Right sides of the stereo monitor signal so that monaural compatibility can be verified (i.e., phase cancellations can be detected before they cause record cutting or broadcast problems). The LED turns on to indicate when the monitor is in “mono” mode.
MONITOR SELECT MATRIX
These pushbuttons select the signal which actually feeds the three monitor system outputs (i.e., Stereo Master A & B Out, and the Head phone Out). MON derives signal from the mix created by the MONitor GAIN and PAN controls. SPARE selects signal from a pair of rear-panel, external input connec tors. 2TR A and 2TR B select stereo tape returns from the corresponding ly labeled jacks on the last four input channels. AUX 1/2 and 3/4 select the respective AUX buss output signals. One, two, three or all of these MONITOR SELECT buttons may be engaged at the same time to monitor multiple signal sources .
STEREO MASTER A & B
Each of these faders adjusts the level of the respective Stereo Master output jacks, deriving signal from the MONITOR SELECT switches. The only difference between ‘A’ and ‘B’ is the way the solo and talkback signals are treated. The ‘A’ output is intended for control room monitoring, so both SOLO and PFL signals feed this output, but not the ‘B’ output, which is intended for studio monitoring. The Talkback mic therefore feeds the B’ output, while the’A’output is automatically muted to avoid feedback. The’B’output is useable as a broadcast clean feed or a masters stereo record output.
HEADPHONES
The HEADPHONES control adjusts the sigal level at the adjacent stereophone jack. The signal is the same as that feed to the Stereo Master A output; however, it is subject only to the HEADPHONES control and not to the Master fader. This jack is convenient when mixing in the presence of performers (with out acoustic isolation), or when a monitor speaker system is unavailable. Any 8 ohm or higher impedance stereo headphones may be utilized.
SOLO
This is a master level control for the solo and PFL signals applied to the monitor system. It pe mits the solo volume to be balanced to match the normal monitor mix (unless, of course, you prefer a distinct level change). The SOLO light is located on the upper right portion of the panel. As a further reminder that normal control room/ headphone monitoring is temporarily inte rupted, the light is on whenever any SOLO or PFL button is engaged.
THE BUSS MASTER SECTION
AUX 1, 2, 3 & 4 MASTER FADERS
You can use these four master faders to set the level of their respective Aux outputs. Thus, depending on how you are using the Aux systems, these can be output masters for cueing, effects sends, clean feeds, and so forth.
BUSS MASTER (GROUP) FADERS
You can adjust the output levels of the program mixing busses with these 100 mm faders.
METER SELECT SWITCHES
You can press either of these switches so the corresponding group of 4 meters displays either an external signal (patched into one of 8 rear panel jacks) or the meter’s “normal” internal signal. (“Normal” internal signals may be either the program buss level or, with the M-512’s last 4 channels, the Aux or Stereo Master level if that has been selected with the AUX/BUSS/ST MASTER Meter Select Switch.)
When you select EXT position, an adjacent LED turns on so you know you are monitoring external signals. Foldback jacks on the meter inputs allow you to continue the external signal path without interruption, and without “Y” adaptors.
You can use EXT position to monitor tape machine returns, effects sends and/or returns, remotes, etc., all at the push of a button.
THE TALKBACK SYSTEM
TEST TONE
Use this switch to set the frequency of the built-in test oscillator. You can use 1 kHz for general level calibration and troubleshooting; both 1 kHz and 10 kHz are helpful in checking tape machine alignment. 40 Hz is primarily useful for a slate tone to mark edit points on a tape so you can hear them clearly during high speed winding.
SLATE, OFF, TEST TONE
Use this switch to assign the slate and test tone oscillator as follows: SLATE position assigns the talkback mic signal to the SLATE/ TEST TONE assign switches (where it can be assigned to various mixing busses). TEST TONE position applies the test oscillator signal to the SLATE/TEST TONE assign switches and the OSC OUT jacks.
SLATE/ TEST TONE, AUX 1/2 and AUX 3/4
You can use these switches to assign the slate tone (test tone) or vocal slate signal (from the talkback mic) to any of three locations: BUSS applies signal to the 8 program buss outputs (for labeling a tape, calibrating level or laying down cue tones). AUX 1/2 and AUX 3/4, apply signal to their outputs (for calibration, testing, etc.).
SLATE VOLUME
Slate adjusts the signal level applied from the talkback mic to the 8 program busses and the 4 Aux busses.
T/B (TALKBACK) VOLUME
T/B adjusts the signal level applied from the talkback mic to the studio monitors (i.e., to the Stereo Master B output) when the T/B switch is depressed.
SIZE
43"W X 9.5"H X 31.5"D
103 LBS
ADDITIONAL SPECS ARE AVAILABLE ON REQUEST
