.

, TASCAM
Professional Division
TEAC

Mixing Consoles

OWNER'S MANUAL

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 The guarantee provided for the 200 Series TABLE OF CONTENTS
Mixers has severa1 restrictions. The Series 200
Mixers will perform properly only if they . .. . ...
Introduction.. . . . . . . . . . . . . . . . . 3
are adjusted properly and we guarantee that A Systern of Sub-systems . . . . . . .. .. . . . . 3
such adjustment is possible. Setup is not covered Hook Up the Series 200 Mixer . . . . . . . . . . . 7
by the Warranty. If your attempts a t interna1 .
Sound Reinforcernent . . . . . . . . . . . . . . . 7
adjustment are unsuccessful, we will charge you . . . .
Recording.. . . . . . . . . . . . . . . . . . . . . 10
for readjustments. Recording the basic tracks . . . . . . . . . . . . 10
. . . .. .
Overdubbing . . . . . . . . . . . . . . . . . 10
Mixing for sound reinforcement, recording or .. . . . . .
Ping-ponging . . . . . . . . . . . . . . . . 12
other audio endeavours is an art as well as a . ... . . .
Remixing . . . . . . . . . . . . . . . .. . 12
science. As a result, your finished product rnay Video Post Production and Audio
by judged more by artisticcriteria than technical . . .. .
Sweetening . . . . . . . . . . . . . . . . . . . 13
performance. Art is the province of the artist Work Methods: Getting a Satisfactory
and TASCAM can make no guarantee that the Recording. . . . . . . . . . . . . . . . . . . . . . . . . . 14
200 Series Mixers, by themselves, will assure the Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
quality of the work you produce. Apparent and Absolute Values ... .. . .. . . 18
Using the Series 200's Equalizer . . . . . . . . . 18
Your skill as a technician and your abilities A Word of Mixing Advice.. . . . . . . . . . . . . 20
as an artist will be significant factors in the Calibrating the Series 200 Mixer . . . . . . . .. 21
results that you achieve. Features and Controls . . ...
......... ... 22
. .
Accessories . . . . . . . . . . . . . . . . . . . . . . . . 28
Understanding what is going on inside your .
Voltage Conversion . . . . . . . . . . . . . . . . . . 31
equipment will help improve your sound. Think . . . . .
Note f or U. K. Custorners . . . . . . . . . . 31
of this manual as a reference book. You won't Specif ications . . . . . . . . . . . . . . . . . . . . . . . . 32
need to mernorize it to get started, but try to . .
Pictograrn . . . . . . . . . . . . . . . . . . . . . . . . . 36
find the time to read it thoroughly at least once. Block Diagrarn . . . . . .... .. . . . . . . . . . . . . 37
That way, you will be familiar with i t s contents, . .
Level Diagrarn . . . . . . . . . . . . . . . . . . . . . 40
and if you need answers, you'll know where to . . .
Dirnensions . . . . . . . . . . . . . . . . . . . . . . . 41
find them.

" @ Copyright 1985, TEAC Corporation"

All rights reserved under international and Pan
American copyright conventions.
This book may not be reproduced in whole or
in part, by mimeograph or any othe means,
without permission.

ER (OR BACK). NO USER-SERVICE-

T0 PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE T0 RAIN OR

amation point within an equilatera1 triangle is intended t o

user of the presence of important operating and main-
tvicing) instructions in the literature accornpanying the

-2-

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 Introduction

The TASCAM 200 Series Mixers were de- A SYSTEM OF SUB-SYSTEMS

signed to provide the maximum flexibility and
performance. They are equipped with a com- Your mixer is a system, a group of individua1
bination of features that allow them to be used elements working together as a unified whole.
successfully in a broad range of applications All audio systems have three things in common:
including: Sound Reinforcement, Studio Re- Input, Process, and Output. In audio production
cording, Broadcast Production, and Video systems, the Input consists of electrical signals
Assembly. from microphones, instruments, VCRs, turn-
tables, tape recorders, etc. These signals are
The more flexible a mixer is, the greater value Processed electronically to balance their levels
it has. Flexibility on the scale of the Series and tonal qualities. The resulting signals are then
200 Mixers can make a mixer seem complicated converted into sound, Output by amplifiers,
because of the tremendous number of features speakers, and headphones.
and controls. All mixers share some fundamental
principles that are not difficult to understand. A mixer functions as a traffic contro1 center
This understanding, particularly when combined for audio signals on the move. I t takes multiple
with some experience, will insure that your inputs, processes them for level and tone, and
Series 200 Mixer will be a powerful creative tool sends, or routes, them to multiple outputs. So
that is also easy to use. the mixer controls "where" signals go to and
come from, and "how much" signal goes there.
i.n
Production Audio Systern

Your Mixer is the Control Center.

J-7 Stage Monitor

Finished Product

I nstrurnents v (Reverb, Delay,

Echo, Cornp., etc.)

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 Large systems may be broken down into them through the input channels to one or more
sub-systems - each of which is a system in its program groups. The group faders then contro1
own right. Your Series 200 Mixer is actually how much signal goes t o the rear panel output
made up of severa1 of these sub-systems, known connectors. This gives you the ability to com-
as sub-mixers, each of which posesses the system bine severa1 mic or line inputs into one group so
requirements of Input, Process, and Output. that the overal level is controlled by one fader.
The signal present in each group also feeds the
The largest of these is the MAIIV IVIIX. I t re- Stereo, or House Mix.
ceives signals from multiple inputs and routes

MASTER FADERS EXTERNAL

POWER AMP
\@ P m ouT

The Stereo Mix gets i t s signals from the four controls. Foldback Mixes are used so that the
groups, routing them through the group PAN talent on stage can hear their music through a
controls to the Left and Right outputs. These separate set of amps and speakers (stage moni-
are used to create a House Mix for sound rein- tors) during live performances, or so that the
forcement, or as a Control Room Monitor when talent can hear previously recorded and new
recording. material while overdubbing. For the purposes
of sound reinforcement, this mix is called a
The Foldback (FLB) Mix takes i t s signals Monitor Mix, and in recording it is sometimes
from the input channels or a recorder's playback. called a Cue Mix.
These signals are routed through their own level

MASTER
FLB OUTPUT

EOUALIZER FADER

The Effect (E F F) Sub-mixer's signals come the INSERTion jack in each channel. But
from the Main Mix system. Let's assume you suppose you want to use your reverb on your
have a digital delay, reverb, or another signal voice and your instrument, which you're run-
processor that you want to use on some of the ning through different channels of the mixer,
material you're performing or recording. If you but using a t the same time. Your Series 200
only want the effect on one channel, you could Effect Mixer is able to send the combined signal
plug your instrument into the effect and plug to the effect output on the back of the unit.
the output of the effect into the mixer, or use

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 This output is then plugged into your reverb
unit and the reverb's outputs are connected to
either or both of the effect return (EFF R'rIV)
inputs on the back panel. So we see that the
Effect Sub-mix system lets you decide "How EFF OUTPUT
Much? " reverb will be used on which channel
("where? ).

INPUT EOUALIZER FADER ASSIGN " \ F A I

EFF
STEREO. OUT
RTN

MASTER
FADER

The Solo System gets i t s signals from the selected sources through the headphones. In
Main Mix channels. The Pre Fader Listen (PFL) recording applications, Solo i s used to adjust
switch in the channel sends that channel's TRIM, level and tone in an individua1 channel or
signal to the Solo Master Control. The PFL group of channels. In sound reinforcement, Solo
switch automatically bypasses the Monitor is very useful for setting levels and tone, as well
Select switches and sends the Solo Mix to the as for finding feedback and cable problems.
headphone jack. This lets the user listen to

\I INPUT I EOUALIZER I FADER I ASSIGN (

TO Monitor

Signals SOLO
from \

STEREO
W

Monitor
Select
with
MON Switches

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 il Your Series 200 Mixers combines al1 these
mixer systems into a complete audio production
1 system.

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 Hook Up the Series 200 Mixer

There are a few things you will need in order microphone cables short, particularly if you're
t o hook up your new mixer. You may want to using high impedance units.
read through the following paragraphs so that
you get what you need before you start. All Instruments: You may want t o run direct
connections should be made with the power off. boxes on some instruments. Be sure you have
them before you start. Some instruments put
AC Power: You'll need some outlets, obvious- out very hot .signal levels and should be moni-
ly. Try NOT t o use outlets that are on the same tored closely. Synthesizers, drum machines, and
circuit as air conditioners and old refrigerators. al1 percussion instruments fall into this catagory.
These things may introduce noise to your Even though drums may be miked, they create
system. Keep al1 the elements of your system transient levels that need watching.
Plugged into the same circuit, but not the same
plug. Have some three prong t o two prong, Headphones: They should be Stereo head-
ground liftladapters on hand. You may need phones. Never use monophonic headphones with
them for some of your other equipment. AC your 200 Mixer.
outlet testers are handy t o have around and can
be inexpensively purchased a t electronics stores.
SOUND REINFORCEMENT
Cables: You will need a vareity of cables in-
cluding: RCA-type, quarter inch phone-type, The IVl-208 and M-216 Mixers are ideal for use
XLR-type, speaker wire, and TASCAM Insert in sound reinforcement, P.A. applications.
Cables (mode1 PW-2YlPW-4Y). You will also Today's performers need a mixer that will
need some RCA-to-phone adapters. These allow them t o reproduce in live performance the
cables are used for the following: sounds of contemporary recordings. Such a
RCA: Use TASCAM cables, or equivalent mixer must provide: the ability t o accept in-
shielded, low capacitance, high RF resistant puts from microphones, instruments, tape
cables t o connect PGM Outputs, effect devices, recorders, sub-mixers, other line leve1 sources,
and tape recorders (you will need some RCA/ and effects devices; a stereo house mix; a stage
phone adapters for recorder hook ups.) monitor mix; effect patch points for individua1
Quarter-lnch Phone Cables: These should be instruments and the overall mix; and the con-
shelded and are used t o hook up musical in- venience of fader grouping for quick and easy
struments, unbalanced PGM Outputs, Effect Out sound adjustments during the performance by
and Returns, and Line Level Inputs. a sound man or from the stage. IVlany groups or
XLR: These three pin connector cables individuals will also need the same unit t o
should be shielded and are used t o connect double as a multi-track recording mixer. The
Low Impedance microphones, Input trans- Series 200 mixers were designed t o meet these
formers, PGM Outputs, and Stereo Outputs. needs.
These connector cables are also used with some In our application example, we used the
effects devices, direct boxes, and electronic M-208 with eight input channels. Instrumenta-
musical instruments. tion for our example will be a multi-keyboard
Speaker wire: This wire need not be shielded setup using i t s own sub-mixer, an acoustic
and i t s connectors will vary with the amplifier guitar, with piezo-pickup, acoustic drums with
and speakers used. three microphones, and three vocal microphones.
The group also has electric bass and electric
Cables should always be as short as is possible guitar, but these are not run through the mixer
t o do the job. It's also a good idea t o keep in our example. Electric guitar and bass generate
cables that do similar jobs together, audio input enough stage volume that they can be left out
cables, output, effect send, etc. Use plastic cable of the house and monitor mixes.
ties t o bundle them together. It's neat and it's
quiet. The vocal microphones are low impedance
units that use the balanced XLR connectors
Microphones: Use high quality microphones in channels 1 - 3. The vocal microphone chan-
with your TASCAM mixer. The fine electronics nels will be grouped on PGM Fader number 1.
in your Series 200 IVlixer will only sound as This grouping of the vocal mics will allow
good as the input source will let them. Keep you t o make changes of level for al1 three mics

-7-

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 using a single fader and a single PAN control. inputs. Effects that are intended t o be used on
The acoustic guitar with the piezo pickup individual instruments should utilize the IN-
uses the MIC INput of channel 4. The electric SERTion jacks.
guitar could be "close miked" a t the amp and
share the same channel as the acoustic guitar, if This system's set up procedures are as follows:
the acoustic is run through a direct boxlpre- 1. Put al l speakers, instruments, effects de-
amp and the TAPE INput. You can then change vices, and amplifiers in their proper positions.
the channel feed from acoustic to electric by 2. Make al1 cable and wire connections. The
using the TAPE button in the input channel. power for al1 units in the system, including the
The guitar(s) will be assigned to PGM Fader and M-208 should be off, and the fader controls on
PAN number 2. The PGM Fader can then be the M-208 should be a t zero, off.
used to adjust for level differences between 3. Begin turning the power on for the system.
the acoustic guitar and electric guitar sources. The M-208 goes on first followed by the sub-
Microphones are used to pickup the acoustic mixer, effects devices, and finally the power
drums. One mic will pickup the kick drum. amps.
Another will be mounted overhead to pickup 4. Set the M-208 EQcontrols to the 12 o'clock
the cymbals and toms. The third will be stand position. You will feel a center detent on the
mounted and positioned to pick up the snare and control a t this position.
hi-hats. The drum mics are connected to chan- 5. Make cure the TAPE switches are up, in
nels 6, 7 and 8 and are grouped on PGM Fader the off position.
4. 6. Leave the FLB controls in their zero posi-
The keyboard sub-mixer's outputs will be tion, fully counterclockwise.
plugged into the SUB BUSS IlVputs. This as- 7. Assign the signal in the input channels, to
sumes the keyboard sub-mixer is stereo. The PGM (Group) Faders by pressing the 1-2, 3-4
monitor, or mono output of the sub-mixer buttons in each of the eight input channels t o
will then be connected to the LINE INput of the down position. Assign the vocals, channels
channel 5. The TASCAM M-1B, or MX-80 1, 2, and 3, to group 1 and rotate the PAN
makes a great keyboard mixer. The channel 5 controls in these channels fully left, counter-
connection is necessary so that the keyboards clockwise. Assign the acoustic guitar, channel 2,
can be heard in the stage monitor rnix that will to group 2 rotating PAN fully right, clockwise.
originate a t the FLB OUTput of your M-208. Assign channel 5, the keyboard mono mix, to
If the keyboard mixer is mono, then i t s output group 3 rotating PAN fully left. Assign the
can be connected directly to channel 5 LINE IN- drums to group 4 rotating PAIV fully right.
put, disregarding the SUB BUSS INputs. The 8. Set the PAN controls for PGM to the
keyboards will be grouped on PGIVI Fader 12 o'clock position. All PF L switches should be
number 3. You can use PGM Fader 3 to add in the up position, off.
mono keyboard mix support to the stereo house 9. Raise the L and R Stereo Master controls
mix should you need it. The electric bass could to the shaded area between the 7 and 8 mark-
use a direct box and ,an extra channel of the ings.
keyboard sub-mixer, if it is needed in the house 10. Begin setting the individual channel
mix. volumes using the channel faders labeled 1 - 8.
The House Mix will come from the Stereo The level is set while the talent plays the in-
IVIaster Outputs via the main power amp and the strument or uses the microphone that is plugged
speakers. The talent on stage will hear them- into the channel. If the signal is too high,
selves by means of the F LB OUTput, power amp, the OL indicator will be lighted. If the OL is
and stage monitor speakers. on constantly, press the PAD switch. This
should allow you to raise the channel fader to
Effects devices such as reverb, digital delays, the proper position, but if the OL indicator
compressor/limiters, chorus effects, etc. can be continues to flash, or the channel fader cannot
connected to the mix a t the INSERTion jacks in be raised high enough, then adjust the TRIM
the individual channels or the EFFects sub- control counterclockwise until proper adjust-
mixer system. Reverb and delays are often used ment of the channel fader is possible.
for the house mix so they are best connected to The input level will be right when the meters
the EFFect OUTput with the reverb andlor read a t or near O and the channel faders and
delay output(s) connected to the EFF RTN LIR faders are in the shaded area between 7

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 and 8. If the faders cannot be placed in their Certain elements of the mix may be eliminated
proper positions, then the input signals are too entirely from the monitor. The drummer will
high, or too low. need to hear his bass drum in the monitor, but
Remember that musicians and singers tend the snare and cymbals can often be left out of
to perform "harder" when they are in front of the monitors. Electric guitars and basses have
an audience than in sound checks. So your very high stage levels and need not be present
levels may have to be readjusted slightly once in the monitors, should you be close-miking
the performance begins. them for the main mix. In our sample mix,
11. Stage monitor levels are set in the same the vocals and acoustic guitar will need t o be
way as the house mix, except that the FLB very strong in the monitor mix.
channel and MASTER controls are used in- 12. Effects levels are set using the EFFect
stead of channel and LIR faders. Set the FLB controls in each channel and the EFFECT RTN
MONITOR switch to the on, down position 1 and 2 controls. You may also position the
so that your meters and phones will be following effect signals using the. Effect PAN controls.
the Foldback mix. Many effects have gainllevel controls, so if
I f howling or feedback occurs, reduce FLB proper levels can'not be achieved using the
levels and reposition your monitor speakers M-208 controls, adjust the levels on the effect
or microphones. You may have to experiment a device. Devices using the channel INSERTion
few times to determine the proper positions for jack should also be adjusted with their own
speakers and mics. Keep in mind that monitor level controls.
levels need not be as high as program levels.

111 Drum Mashine

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 RECORDING recorder is set t o record only the drummer's
Our recording application example will use a performance. A click, or metronome track can
TASCAM model 234 Syncaset, a four track re- be recorded first, if the drum tracks are t o be
corder, and your M-208. Although eight track recorded after other parts are layed down. The
recording using an M-208 and TASCAM models click track helps the musicians, who will record
38, 48 or 58 is possible, the M-216 is better later, t o play in the proper tempo so that the
suited to eight track work. Many of the tech- music will f i t together properly.
niques used in the preceding Sound Reinforce- A cue mix andlor control room monitor mix
ment example may also be used in the recording must be available for the musician or musicians
application. So we won't repeat the basics of recording subsequent tracks to hear and play
level setting. with previously recorded tracks. This mix can be
We will have to connect the 234 Syncaset set up by using the FLB system and speakers
so that it both receives signals for recording and as we did in the sound reinforcement applica-
sends signals back t o the M-208 for overdubbing, tion, or a headphone amp and headphones.
ping-ponging, remix, and playback. All con- Additional cue mixes are possible using the
nections should be made with the power off in CUE OUTputs of the Syncaset and a TASCAM
al1 the units involved. Connect the LINE OUT- MH-406 Headphone Amplifier.
puts 1 - 4 of the Syncaset t o the TAPE IN- The Buss Assignment switches (1-2 and 3-4)
puts 1 - 4 of the M-208. Connect PGM OUT- and PAN controls of your mixer will determine
puts of the IVI-208 t o the LINE I Nputs of the the track destination of your music on the
234. For the sake of clarity and reference, con- Syncaset. If you connected them the way we
nect number 1 connectors on the mixer to suggested, the Buss Assignment, PAN, and
number 1 connectors on the Syncaset, and so on track numbers should be consistent. Track 1
through number 4. of the Syncaset will come from Buss Assign-
Once these connections have been made, you ment switch 1, Program Fader l,etc.
will want to calibrate your system. Turn to the
Work Methods section of this manual, page 21 Overdubbing
for the exact procedures. For the sake of this example, let's assume that
you have recorded your first track, click or
Recording the Basic Tracks drums, onto track 3 of the 234 Syncaset. The
One of the primary differences between the process of recording your subsequent tracks
sound reinforcement application and the re- i s called "Overdubbing."
cording application is a conceptual as well as l.In order to hear your clickldrum track
practical one. In sound reinforcement, the ac- while recording your next track, you will need
tion takes place simultaneously; what you hear t o press the TAPE switch located juct below
is what you get. The recording process takes the the FLB control in channel 3 of your mixer.
music beyond the limitations of time. In the This brings the playback from the recorder back
sense that a completed project sounds like al1 into the FLBICue system.
the tracks were cut a t the same time, as in sound 2. Use the Buss Assignment switches and PAIV
reinforcement. The multi-track recording pro- controls t o determine the track destination of
I
cesses of tracking, overdubbing, bouncing, and your new material.
remix are used t o make music that was recorded 3. Press the Record Function Select switch on
on Monday and Wednesday sound like it was the recorder for the new track, let's say track 1.
recorded a t the same time and place. One of Press PLAY and RECord and the recorder will
the many advantages of multi-track recording i s playback your click track (3) while recording
that one musician can sound like many by your new track (1). Consult the owner's manual
playing the various instruments and performing of your recorder for the specifics of its opera-
the vocals one-at-a-time until the project is tion.
complete. 4. Record track 2 in the same manner. You
The first track t o be recorded i s the rhythm can continue t o fill up al1 the tracks of your
or click track. Since our group has a drummer, recorder (fourISyncaset, eightlmodel 38) in this
the drum tracks would be recorded first. The way, but another recording technique will
drummer may not wish to play without accom- greatly expand your track capability. So record
paniment. I f not, the keyboardist and bass track 2 and proceed t o "ping-ponging."
can play the track with the drummer while the

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 Stereo

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 Ping-ponging 1. Press the TAPE switches for channels 1 - 4
Assuming that you have recorded music on to the tape (down) position.
tracks 1 and 2, and that you have your click 2. Press the Buss Assignment switch 3-4 in
on track three, we will now merge the material al1 four channels of the mixer that are receiv-
on tracks 1 and 2 together onto track 4. We will ing multi-track tape signal. Adjust PGM PAN
leave the click track where it is since we don't controls for 3 and 4 full left and right respective-
want it in the final mix. This merging of two or IY.
more tracks onto one is called Ping-ponging, 3. Adjust the PAN and levels in the channels
Collapsing, or Bouncing, and i t s purpose is to as desired. You may want to rehearse this
free the old tracks, in this case 1 and 2, so that a few times. The pan of a signal is i t s relative
new material may be recorded there. placement (left or right) in the stereo panorama.
1. Press the TAPE switches in channels 1 There is no "right way" to do this, whatever
and 2. You may not want to listen to the click sounds right to you is the only criteria.
track again, so turn off (up) the TAPE switch in 4. Playback the multi-track tape and adjust
channel 3. Press the 3-4 Buss Assignment the L and R Faders on the mixer. Check the re-
switches in channels 1 and 2 of your mixer. cord levels on the mastering deck. The mixed
2. Rotate the PAN controls in channels 1 signal reaching it should register close to O on
and 2 al1 the way t o the right, clockwise. i t s meters.
3. Make sure that channel 3, the click track, 5. When the levels have been adjusted pro-
has no buss assigned. So that it will not be re- perly so that the meters show the levels near 0,
corded in the m i ~ . press Record, Play, and Pause on the mastering
4. Press the Record Function switch for deck. Then press PLAY on the Syncaset. Release
track 4 of the recorder. Press PLAY and R ECord. the Pause on the mastering deck. Repeat the
Your multi-track recorder will now record both process if necessary until you get the mix you
tracks 1 and 2 onto track 4. When this process want.
is finished, you may record new material on Effects can be added during any of these
tracks 1 and 2. recording procedures. See t he Sound Reinforce-
You may also add new parts during the ping- ment segment for effects level setting.
pong process. Connect the new sources to the
mixer, make the proper Buss Assignments, and
perform the new parts as the tracks are being
bounced.
Repeat the process as often as desired but
remember, that once material has been merged
together through ping-ponging, and new material
has been recorded on the old tracks, you will
not be able to separete the original tracks to
perform a new mix.
When you have completed your tracking,
overdubbing, and ping-ponging, you will want to
create a stereo master tape through the process
of Remixing.

Rernixing
You have filled the tracks of your multi-
track recorder, and now you want to remix the
four or eight tracks down to two tracks (stereo).
You will need another recorder such as the
TASCAM 122 or equivalent recorders. This new
recorder is your "mastering" deck. Before you
start, be sure to calibrate the mastering deck.
You will use the Stereo Master L and R OUT-
puts of your mixer to feed signal to the master-
ing deck.

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 VIDEO POST PRODUCTION AND AUDIO a typical audio-follow-video session. The Fold-
SWEETENING back send on the Series 200 can be used for
The TASCAM Series 200 Mixers have al1 the cueing the V 0 announcer, while the effects
necessary features to fulfill the audio contro1 send and return system can be used as a side-
needs of the independent production house or chain for special effects.
editinglsweetening facility. Virtually al1 popular In the example shown, two stereo source
brands and models of 314 inch and 112 inch VCRs are shown in a typical A-B roll editing
VCRs will interface directly with the Series 200 situation while a V 0 mic is running through in-
Mixers. put 6. A cart or cassette machine could be
Mono or stereo audio signals from four connected t o input 5 if needed for hot rolling
(M-208 stereo) to sixteen (M-216 mono) can be effects onto the mix. Monitoring of the mix is
mixed simultaneously. These signals could be done through the L and R Stereo Master Out-
combined with various other audio sources such puts, while cues are sent via the Foldback
as voice-over (VO) mics, turntables, cart ma- system to the V 0 booth. The master record
chines, etc., and assigned t o the program out- machine i s being fed signal from Program
puts feeding the edit master record VCR. Since Outputs 1 and 2, while an international dub
the M-208 has four program busses, a mix- (mix-minus-narration and VO) is being recorded
minus of the various ambient and wild track from Program Outputs 3 and 4. Additional dubs
sources can be created simultaneously, without could be cut simultaneously from the parallel
adding the narration and V 0 material. This can output jacks of the Program Outputs.
then be dubbed later in a different language in

Edit Bay Effects Side

Monitor

Voice-Over Mic

Source VCR-A

VCR-2
(Mix-Minus Master) (Sound Effect)
Source VCR-B

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 Work Methods: Getting a Satisfactory Recording

As we mentioned on the first page of this PLANNING

manual, recording is an art as well as a science.
Art has a special and intangible quality that sets Planning is an obvious necessity when con-
it apart. In order to create art, the artist must sidering how many sources you need to mix,
have the proper tools, command of the tech- how many monitor mixes are required, when
niques of those tools, and a healthy dose of ping-pong and remix will happen, and which
inspiration. Your Series 200 Mixer is the tool. tracks will be ping-ponged, etc. Track sheets are
The command of the techniques will involve handy sketch pads that will aid you in planning.
some practice and some thought on your part. Although track sheets are designed with record-
Inspiration is a matter for you and your muse. ing in mind, they are very useful in sound
reinforcement. Successful setups can be notated
The following paragraphs are here to provide on track sheets for later reference.
you with information, suggestions, and some
perspectives regarding the mixing processes and Plan your work environment. If you are re-
your M-208 or M-216. There are three funda- cording, you will need a room that is quiet
menta1 notions upon which these suggestions and has sufficient electrical power. If there are
are based; Planning, Apparent and Absolute appliances or air conditioners plugged into the
Values, and Common Sense. We'll talk in detail same circuits as your mixer, they will probably
about Planning and Apparent and Absolute cause hum, clicks, or other noises when their
Values, we hope that you bring Common Sense motors come on. More valuable tips regarding
to al1 your endeavours. the recording environment can be found in
TASCAM's "Multitrack Primer." If you're
mixing for live performance in a night club,
make sure the mixer isn't using the same circuit
line as the espresso machine and the blender.
Your mixer and al1 the stage equipment should
be using the same circuit line.

RECORDING DATE REEL OF

CLIENT
ARTIST
O TIME CODE
PRODUCER
U MASTER O COPY
ENGINEER 2nd ENGINEER
TITLE

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 The condition of the AC circuit that you in- grounding screw on the outlet. These adapters
tend to use with your mixer is very important. are also useful as ground lifts. A ground lift i s
IVoise and safety problems can be both annoying used in the event that a "ground loop" is created
and dangerous. There are a couple of inex- within the wiring of al1 the elements of your
pensive tools that you should have with you system. A ground loop will create a hum or buzz
whenever and wherever you set up your mixer: that will not go away no matter what remedy
an AC Outlet Tester, AC AdapterIGroud Lift, is used. Ground lifts should only be used as a
and an AC Neon Lamp tester (better yet, a last resort, since failure to have equipment
VoltIOhm Meter). properly grounded can create safety problems.

A Neon Lamp Tester, or VoltIOhm Meter can

be used to check the grounding of individual
instruments and amplifiers. Guitar and bass
Outlet Tester amps are particularly vulnerable to grounding
and shock problems when the guitarist or
bassist is also using a microphone. Check the
grounding by putting one of the tester or
meter's probes on the metal chassis of the
amplifier, or the strings of the guitar or bass
and touching the other probe to the micro-
phone. If the lamp or meter registers the pos-
sibility of a shock, reverse the ground of the in-
strument's amplifier by using the amplifiers
Neon Lamp Tester
polarity switch or reversing i t s AC plug. If the
amp has a three prong plug and doesn't provide
a polarity switch, which i s rare, use one of your
AC AdapterIGround Lifts t o reverse the plug.

"Snakes" are very helpful when your mixer is

used in a sound reinforcement application. A
snake uses a connection box on one end of a
properly shielded cable with individual cables and
VoltIOhm Meter connectors on the other end. Snakes are very
convenient, but the shielding in the cable
can be damaged if the cable i s bent, or kinked.
Keep snakes out of the way so that people and
equipment aren't banging them about.

AC Adapter
All your wiring should be neat. A snake is
obviously neat and convenient, but provides
an additional advantage. When cables that carry
The AC Outlet Tester is very easy to use, just a similar signal (input, output, effects, etc.)
plug it into the outlet and its.LEDs will signal are grounded together, there is less danger of
whether or not the circuit is properly wired. creating a noise source called a ground loop. We
If it is not, do not under any circumstances use mentioned an AC ground loop above, and a
that outlet. Faulty wiring in an AC circuit is similar situation can be created with your audio
potentially hazardous. cables. I t follows that cables that carry different
kinds of signals should be kept away from one
AC AdapterIGround Lifts are used in two another. A neat arrangement of cables also keeps
ways. They are useful if you are using older them from being damaged by keeping them out
equipment that uses two prong plugs that are of the way of the performers and audience.
not properly grounded. Your Series 200 uses a Damaged cables are the most frequent problem
two prong plug, but it will present no gounding you will encounter during sound reinforcement.
problems by itself. The wire on the two t o So keep the cable layout neat, and always
three prong adapter must be connected to the have spare cables on hand.

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 If you intend t o use effects devices with your three types of illustrations: the first is a line
mixer and amplifiers, then a rack-mount cabinet drawing of the unit; the second is called a picto-
is a wise investment. The "rack" should have gram, which is a representation of the controls
metal rails, these help ground al1 the chassis' of and features placed in the proper sequence of
the amps and effects together, decreasing noise signal flow; the third is a block diagram, which is
problems. the same as the pictogram using a different set
of symbols for the individua1 features and con-
Understanding the inner workings and signal trols. Learning t o read a block diagram can be a
flow of your Series 200 Mixer will help you tremendous help in your future dealings with
to maximize the features and functions of the audio equipment. An experienced studio en-
mixer, find problems quickly, and, perhaps, gineer can usually operate even the most so-
come up with new applications. To help you in phisticated equipment with only a block dia-
this understanding, we have provided you with gram as a guide.

OL Indicater
PAD

1 O@ INSERTion @

O
Tn
Channel Fader

.APE

'
P--

E0
Buss Assign

l:@
10.Hi i*
PGM 1 Fader

r@
YID

'@-
,M". I
I1 I1 EFFect Send Level

.@L
Q or

TAPE Switch FLB Send Leve1

FLB@

.T..

EF:@.

m-z
I

I CHANNEL l % 8 I@
I
.A& PFL
I

1 60681

I
l v
m
250n5kHI

I IIOdB 0

I
I
u-
-- & +-
: SOLO

- - - - SESE
I
1
I I

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 The following is an example of the applica- 2 can then be connected to the stereo effects
tions that can be discovered through a block device. The devices stereo output is connected
diagram. Using an M-216 Mixer, we will create to input channels 15 and 16. Channels 15 and
a stereo effect send using the program busses 1 16 are assigned t o the 3 and 4 busses, and they
and 2. All your input channels can be routed t o are used for your stereo master mix.
the 1 and 2 buss. The PGM Outputs for 1 and

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 APPARENT AND ABSOLUTE VALUES There are a t least two sides t o every story and
the EQ story is no different. The ability t o
The ear and the Series 200 Mixer perceive the favorably change one signal may result in an
same program materia1 in very different ways. unfavorable alteration in another. When using
The ear deals in apparent, subjective values, EQ, care must be taken not t o " overdo it. "
while your mixer deals in absolute, objective With the exception of boosting a signal t o the
values. This difference leads t o the fundamental point that it registers on the OL LED, EQ is
rule: trust your mixer, the meters and O L in- a process for the apparent, subjective values of
dicators, when the destination of your mix (the the ears. Your conception of what is good, will
"where to") is another machine (recorder, probably differ from ours. Make EQ adjust-
amplifier, signal processor, etc.); and trust your ments t o please yourself.
ears when the destination is the realm of the ears
(the air, reached via speakers or headphones). Your mixer's EQ controls perform in an
Remember too, until your ears reach the level of interactive way. What is meant by that is, the
perception attained by experienced audio tone or timbre of the sound in a channel can be
engineers, trust your mixer whenever in doubt. altered t o bring about a similar change by using
any of the three EQ controls. How so? Suppose
The METERS show both the average pro- you want to change the "balance" of the timbre
gram level with the needle of the meter and the by accentuating the bass. Before your reach for
peak program level and transients by means of the 100 Hz control and start adding bass, con-
peak LEDs built into the meters and overload sider reaching for the 10 kHz and mid-range
LEDs in the channels. Percussive instruments controls to "roll off" the highs and mids a bit.
and synthesizers can be difficult to mix pro- These three controls epitomize the team work
perly. Believe your meters! Keep your levels approach to problem solving. Always consider
under control when you mix these instruments. al1 three alternatives whenever an EQ adjust-
Their apparent loudness is not usually greater ment is necessary.
than other instruments, but their absolute signal
value is much higher than the average program EQ controls tend t o be over used rather than
level. If these levels reach your tape or ampli- under utilized. If the sound is acceptable as it
fiers without being trimmed, they will cause comes into the mixer, then don't EQ it. And
your sound quality t o go down. don't over adjust any control. Be careful, only
make the adjustments that are absolutely neces-
sary. Less is definitely more when considering
EQ.

The EQ system in your Series 200 Mixer is

a combination of a shelving-type, the 10 kHz
and 100 Hz controls, and a sweep-type mid-
range equalizer. All three controls provide both
cut and boost capability within their frequency
ranges. The treble, 10 kHz, and bass, 100 Hz,
have frequency ranges that are fixed. Your
midrange, 250 Hz t o 5 kHz, control is variable
USING THE SERIES 200's EQUALIZER and will provide i t s cut or boost t o a selected
frequency within i t s outside limits. How do you
EQ can be used t o change the tonalityltimbre tell the frequency range that needs attention?
of a signal in an individua1 channel of your
mixer. The 10 kHz control affects the relative Most of us can tell that Michael Jackson's
"brilliance or brightness' of the signal, while the voice is higher than Bruce Springsteen's. If
100 Hz control affects the "boominess or you're not familiar with these singers, consider
bassiness" of the sound. Between these ex- the roar of the lion and squeek of the mouse.
temes is the midrange 250 Hz - 5 kHz control. These examples are extreme and, therefore,
This control affects the relative "presence" of distinctions are easily made. Consulting the
the sound within the range of the voice, guitar frequency range chart provided here, you can
and other midrange sources. see that Michael and the mouse will be much

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 more affected by an adjustment in the 10 k H z placed in the 400 H z range. A bass drum will be
contro1 than Bruce or the lion would be. Bruce more affected by the 100 H z contro1 than a
and the lion will get more help from a contro1 cymbal would be, and so on.

+ 20
+ 15
+ 10
-m
-0
+5

W
zO 0
a
m
W
a -5

- IO

-15

- 20
20 50 1 O0 500 Ik 5k IOk 20k
FREQUENCY (Hz)

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 Once you have deterrnined that 1) the signal A WORD OF MIXING ADVICE
does require EQ and 2) the proper frequency
range has been identified, the final steps in- All finished tapes or live perforrnances rnust
volve turning the proper controls. Sounds be balanced for level. Do al1 the instrurnents
sirnple, doesn't it? If the frequency to be and voices blend together in a way that is
adjusted falls within the range of the rnixer's appealing? Is the lion roaring so loud that the
rnidrange control, 250 Hz t o 5 kHz, there are rnouse is "lost in the rnix"? Your signal levels
two controls to work. To determine exactly will affect the entire recording and rnastering
where the rnidrange control should be set, turn process, including the EQ process. So make sure
the Gain, the lower of the two knobs rnarked that your levels are properly acljusted when re-
MID, t o an exagerated position, almost al1 the cording or mixing for performance. This will let
way up. Then, slowly sweep the frequency you use your EQ system t o "fine tune" the
range by turning the frequency control from i t s rnusic. You can't fix it if you can't find it.
minirnum t o maximum settings in a clockwise If your rnixer's faders end up looking like
motion. As the control is turned, you will hear this, then you're overloading your outputs. Pull
the change in the signal's content. When the down the input channel faders and raise the pro-
desired frequency is isolated, reset the Gain gram rnaster faders.
control t o the necessary amount of boost or cut.
Avoid rnaking these changes during a per-
formance or recording. The sweeping action can
create undesireable timbral effects.

When EQing a track, rernember that the con-

trol you use will affect al1 the rnusic passing
through the control's circuit. You may find that
the necessary boost on one instrument also
boosts another instrurnent on the channel in
an unfavorable way. Experience will help you If this is the look your rnixer is projecting,
learn the limits of the EQ process. then you're pushing the rnaster too hard. Your
rnix will be undistorted, but will have a lot of
noise in it.

T00
high

T00
low

This picture is the reasonable compromise.

I t will give you the best results.

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 CALIBRATING THE SERIES 200 M I X E R 5. Raise the PGM 1 - 4 faders to the shaded
area between 7 and 8.
I
Calibrating your Series 200 Mixer is the pro- 6 . Set the channel 6 TRIM to 12 o'clock posi-
cess of matching i t s output to the rest of the tion.
equipment being used in the system. In this 7. Raise the channel 6 fader until meters 1 -
example we will assume you are using a four 4 read O VU. The channel fader should be in the
track recorder, the 234 Syncaset. The method shaded area. If i t isn't adjust the TRIM contro1
l
used here can be used with virtually any type of until it is correct. Use the PAD also if necessary.
1 equipment you are likely to encounter. 8. Raise the input level controls on the front
1
panel of the Syncaset recorder until the re-
The first step is to connect the PGM OUT-
I puts from the Series 200 to the inputs of the
corder's meters read O VU.
9. Using a fresh tape, record the O VU tone on
recorder. Once the equipment is connected, you al1 four tracks for about a minute.
can begin the calibration. A test tone generator. 10. Disconnect the tone source, and connect
TO-122A, or test tape is handy to have for this the outputs of the recorder t o the first four
purpose. I f you have a constant tone test tape TAPE I Nputs of the Series 200 Mixer.
skip to step number 12 in the following se- 11. Make sure al1 EQ controls are a t their 12
quence. Assuming you have a tone generator, o'clock settings.
or constant tone tape, set the frequency t o 12. Rewind the tape and play the tone. Set
1 kHz then proceed as outlined below: the recorder's output level controls so that the
recorder's meters read O VU.
1. Connect the tone source t o the channel 6 13. Pan channel 1 full left, channel 2 full
LINE INput. Any channel will do, we picked right. Turn off the 3-4 Assign switch in channels
channel 6 a t random. 1 and 2.
2. Set the EQ and PAN t o the 12 o'clock posi- 14. Pan channel 3 full left, channel 1 full
tion. right. Turn off the 1-2 Assign switch in channels
3. Press both Assign switches, 1-2 and 3-4. 3 and 4.
4. Raise the channel 6 fader to the shaded 15. Raise the channel 3 and 4 faders until the
area between 7 and 8. meters read O VU. Do the same for channels 1

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 Features and Controls

O Power Switch
This onloff switch is located on the back
panel of the mixer. Make al1 connection with the
power off. The correct sequences for turning
your mixer and any power amps used with it on
and off is as follows: turn mixer on before
power amps: turn power amps off before mixer.

MAIN MIX SYSTEM

Q MIC INput
These three pin XLR connectors are for use
with balanced signals having an impedance
range of 50 to 600 ohms. Balanced line level
signals may also be plugged in here.

Q L I N E INput
These quarter-inch phone jacks accept un-
balanced signal from a microphone or instru-
ment with an impedance of 10 kohms or less.
Guitars and basses may be connected directly
to these inputs. Instruments used with direct
boxes may be connected here or to the NIIC
INputs. Or effects returns can be patched
into these jacks to be controled as if they were
a regular line input. Don't use both the MIC
and LINE IlVputs in the same channel a t the
same time. Disconnect one when the other is
used.

O TAPE INput
These RCA jacks route signals from tape re-
corders, or other line level sources, to channels 1
through 8. Then pressing the TAPE Select
Switch is al1 that is necessary t o bring the sig-
nals into the mix. In sound reinforcement ap-
plications these inputs can be used for line level
sources. The TAPE switches then function as
an input selector, turning the sources plugged in
to the TAPE INputs on and off in the mix.

Q TAPE Select Switches

There are two buttons marked TAPE on each
of the 1 - 8 input channels of y o u ~mixer. They
are used t o bring the signal from the mixers
TAPE INputs into the mix a t two different
points. The first of these, located near the TRIM
control, brings the tape signal into the mixer
before the EQ controls. The signal is processed
by the mixer in the same way that a micro-
phone or instrument input would be.
The second of these TAPE buttons is located
near the FoLdBack control. The tape signal is

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 brought into the mixer a t this point and is C
---
used only by the foldback mix subsystem. The
FLB OUTput is usually used for a talent cue -+
*vl] &$!: C---
--- ! ----
a ----
--

mix via headphones or monitor speakers. INSERT

O PAD Button
The PAD button is used to lower an incoming
signal from the MIC or LIIVE IlVputs. PAD is
particularly useful when microphone signals are
very hot, the 200 Mixers will accept signals up
I
to +28 dBm when the PAD is used in conjunc-
tion with the TRIM control.

OTRIM T - Tip, send signal

TRIM is a variable control that increases or R - Ring, receive signal
decreases the amount of signal coming from the S - Sleeve, ground
MIC and LINE INputs. I t should be used in
conjunction with the PAD button when a signal
is high.
Q) Input Channel Faders
O EOualizer Controls These linear, or slide, faders vary the amount
These controls adjust the timbre, bassiness or of signal that is passed on t o the PAN and Buss
brightness, of your input signals. As rotary Assignment switches. They also control the
controls, they affect the various frequency amount of signal that reaches the EFFect
ranges by reducing (counterclockwise move- control.
ment) or increasing (clockwise movement) the
presence in their ranges. The 10 kHz control is a @ PAN
shelving type that gives a 12 dB cut or boost a t This control is similar to a "balance" control
high frequency signals. The mid frequency that is found on most home stereo receivers,
range is affected by two rotary controls that radios, or amplifiers. They affect the degree t o
make up a sweep-type EQ. One selects the which a signal will be present in the left (and
frequency t o be affected, from 250 Hz to 5 kHz, busses 1 and 3) and right (even busses 2 and 4)
and the other controls the amount of cut or of the mixers busses.
boost, 15 dB plus or minus. The low, or bass
frequencies are affected by a shelving-type @Buss (Group) Assignment Switches
control with a center frequency of 100 Hz. These switches turn the signal t o the PGM
12 dB of cut or boost is possible. busses off and on. In the down position they
are ready to receive signal from the PAN con-
O Over Load Light trol. In the up position they are closed t o signals
This light lets you know if the signal level in from the PAN.
the channel is too high when it leaves the equal-
izer. If the light stays on, you must reduce the
signal with the TRIM and PAD controls. If
these controls don't lower the signal sufficient-
ly, then you have boosted the signal too much
with the EQ controls. Lower the boost settings
of your EQ controls.

@ INSERT Jack
These are located on the back panel of the
mixer. They allow you t o place a signal pro-
cessar into the signal flow a t this point in the
mix. This i s done using a single jack via the
TASCAIVI PW-2YlPW-4Y cables that access both
a send and receive from the INSERT jack.

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 (DPGM Master (Group) Faders 1 - 4 OPGM OUTputs
These faders vary the amount of signal that There are three outputs for each of the four
i s sent on the Master PAN controls and PGM PGM busses. An XLR connector provides an
MASTER OUTputs after it is received from the unbalanced output. Two RCA parallel connectors
Buss Assignment onloff buttons. with line' level signals are available for each buss.
These are usually used to feed tape recorders.
@PGM Master METERS 1 - 4
These meters give you a visual representation (D Master PAN Controls
of the signal level as it appears a t the PGM These rotary controls accept signal from the
MASTER OUTputs and Master PAN controls. PGM Master Faders and determine the amount
The METERS will show you two conditions: of signal that will be passed along to the left
the average signal level, which is shown by the and right sides of the STEREO Buss.
needle, and the peak or transient program level,
which is shown by a PEAK Light.

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 OSUB Buss INputs MONITOR SECTION
A stereo tape recorder, video recorder or
other source may be connected a t this point in @METER 3-4IMONitor Switch
the mix. I t is also possible to "stack" or "cas- This switch affects the 3/L and 4/R meters.
cade" mixers by using the SUB Buss INputs to I t determines whether the meters display the
bring the stereo outputs of another mixer into signal level on the numbers 3 and 4 PGM Busses,
your Series 200. The connectors, located on the or whether the meters will read the signals
back panel, are RCA type. determined by the MONitor Select Switch in-
cluding: the STEREO Master, FoLdBack, or
@Stereo Master Faders L and R EFFect mix.
These faders vary the signal level that they
receive from the Stereo Buss (a mixture of @ MONitor
signals from PGM 1 - 4, SUB Buss INputs, This is a level control for the MONITOR sec-
and EFFect ReTurlV 1 and 2). The signal goes to tion. The MONitor Level controls the volume
the STEREO OUTputs and R/L OUTPUTS. level a t the Headphone jack on the front panel.

@STEREO OUTputs and R/L OUTPUTS @ MONitor Select Switches

'rhese are the outputs that you will use to STEREO
feed your main power amp and speakers, if If the METER button is in the MONitor posi-
you're using the 200 for sound reinforcement. tion, pressing the STEREO button will allow
The STEREO OUTputs use XLR connectors and the 3/L and 4/R meter t o display the signals as
provide an unbalancedsignal. The R/L OUTPUTS they appear a t the STEREO OUTputs. This also
use quarter-inch phone connectors and supply switches the Headphone jack to the same source.
an unbalanced signal. You will also use these FLB (Foldback)
outputs for your stereo remix during audio or With the METER button in the MONITOR
video mastering. position, the FLB button will switch the meters
to display the foldback mix. The foldback rnix
8 M O N O Button will also be available a t the Headphone jack.
This button is located just above the SOLO EFFECT
Level control. I t is used to override your stereo If the METER button is down, pressing the
mix, placing the same monophonic mix a t al1 EF F ECT button will cause the meters to display
stereo outputs and the stereo headphone output. the effect rnix signals. I t will also make the
A mono rnix is used t o discern phasing problems effect mix available a t the Headphone jack.
and for mono sound reinforcement applica-
tions.

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 FOLDBACK MIX the FLB control. The foldback mix originates
after the EQ section and prior to the Input
@ FLB Controls Fader. The Input Fader, therefore, has no affect
These rotary controls are present in each of on the Foldback signal.
the input channels fo your mixer. I t controls
the amount of signal that will be passed on to @ MASTER FLB Control
the MASTER FLB control. These controls are This is the final control in the foldback mix
used to create the foldback mix in the same system. I t controls the level of the signals from
manner as your input channel faders are used al1 your input channels that will be available
to create the main mix. A foldback mix is used a t the FLB OUTPUT and FLB button in the
as a control room monitor mix, or cue mix in MONITOR section.
the recording process. I t may be used as a stage
monitor mix for sound reinforcement. @FLB OUTPUT
This output may be connected t o an amplifier
@ TAPE Select Switch (# 2) to drive stage monitor or control room monitor
This switch determines whether the foldback speakers. I t may also be connected to a MH-406
system will take its signal from the TAPE IN- Headphone Amp fora talent cue mix.
puts or MICILINE INputs. I t is located below

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 EFFECT MIX @ EFF RTN Connectors 1 and 2
These are located on the back panel of your
@ EF F Controls mixer. Why are there two of them and only
The rotary EFFect controls are present in one EF Fect OUTPUT? Many devices are capable
each of the input channels and are located of producing two or more signals from a single
just below the FLB and TAPE controls and just input. Often these signals will be a dry, un-
above the Buss Assignment switches. These affected signal and the effect signal. In some
level controls take their signal from the input chorus devices, there is a stereo image, complete
channels a t a point just after the Input Faders with panning, created from a single input. In
and before the PAN controls. They determine any of the above cases, your 200 mixer gives
how much signal will be sent t o the MASTER you the opportunity to utilize these extra effect
EFFect control. Just as in the main mix and fold- outputs.
back mix, these controls create the overall
balance (the mix) of the effect mix system. @EFFECT RTN 1 and 2 LEVEL Controls
These controls are present so that the signals
@MASTER EFF Control returning from your effects devices can be
The MASTER EFFect contro1 receives the adjusted so that their levels will match those of
signal from the EFF controls in the individua1 the other signals in your mixer. Equalizers can
channels and determines the level of signal that create signal levels that need attention.
it passes to the EFFect OUTPUT on the back
panel. 4DEFFECT RTN PAN 1 and 2
The signals coming from your effects will be
@EFF OUTPUT entering the mix a t the Stereo Buss. As in other
Located on the back panel of your mixer, this PAN controls, these rotary knobs contro1 the
is the source for your signal processing equip- placement in the stereo panorama of your effect
ment (reverb, delays, compressors, etc.). Since signals. The signals are passed on to the Stereo
some devices do not have level or gain controls, Master Faders, and Stereo Master Outputs.
the level of signal present a t this output de-
termines how hard the devices in the effects
chain will be driven. The MASTER EFFect SOLO SYSTEM
control becomes your gain control for the
effects chain. @ PF L Buttons
These Pre-Fader Listen buttons are where the
Solo system originates in each of the input
channels of the mixer. These buttons may be
used one-at-a-time or in any combination. Their
purpose is to allow the user to listen t o any
channel or group of channels in order t o set
levels, adjust EQ, or find problems.

@SOLO LED
This light is located near the SOLO control
just above the Stereo L and R Faders. If any of
the PFL buttons are activated, this light will
come on.

@SOLO Control
This rotary control varies the level that the
Solo system will send to the Headphone jack on
the front panel.

Qi) Headphone Jack

This quarter-inch stereo phone jack is located
on the front panel of your Series 200 mixer.
Never use mono headphones with this jack!
They will cause circuit damage.

- 27 -

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 Accessories

RM-208 Rack Mount K i t the cable is bent or compressed. You don't get
noise or degraded results when the cable has
been used a while. Our cable's long-term stabili-
t y is provided by a special insulator that is as
flexible as foam core dielectrics, but far more
resistant to extreme cold or heat, and it doesn't
let the center strands migrate. I t also avoids the
possibility of shearing the center conductor
when the cable is crushed, so that cable does
not suddenly fail.

Rather than loosely braided shield or spira1

The RM-208 is designed especially for the wrapped shield that can open up, we use bare
TASCAM 208 and allows it t o be mounted on copper braided shield with 97 % coverage. This
an EIA standard 19" rack. excludes electrostatic noise (buzz) and RFI (CB
interference, etc.). We also use a 7-strand center
conductor: 4 pure copper strands for minimum
PW-2YlPW-4Y Insertion Cable resistance and 3 copper weld stainless steel
strands for strength. The multiple strands in-
crease flexibility and strength while offering less
resistance a t ultra high frequencies due t o in-
creased surface area for the "skin effect." This
improves transient response.

The outer PVC insulating jacket resists abrasion,

and is tightly fitted t o the shield so it will not
elongate. The connectors are special, too. Their
nickel-plated brass center pins are a bit longer
than most to establish good contact in al1 RCA
jacks. The cadmium-plated steel outer shell
includes a gentle ridge which burnishes the
The TASCAM PW-2YlPW-4Y is a connecting mating jack when the connector is twisted to
cable that allows signal processing such as a ensure good contact. For maximum RF shield-
graphic equalizer to be inserted a t specific points ing, the braid is terminated inside the shell and
of the signal 'path of the Series 200 Mixers. Its 2-radian soldered, not just spot soldered, for
tip-ring-sleeve plug connects t o the INSERT jack maximum strength. The plugs are clad with an
while i t s "Y'ed" end accommodates connection oval jacket of molded plastic t o further increase
t o the input and output terminals of the out- strength and make the ends easier to handle.
board equipment being used. Available in two TASCAM cable is available in lengths from 6
lengths - 2 m (PW-2Y) and 4 m (PW-4Y). inches t o 20 feet, or in color-coded sets of 8
for fast channel or function identification.
TASCAM cable is also available in 500 foot
TASCAM Cables spools.
Cable, because of i t s inherent capacitance and
resistance, is an active component in an audio If TASCAM professional cables are not available
system. There are vast differences in cable design in your area, please try t o find the next best
and performance that have significant effect on cables. It really does make a difference in system
the sound quality you'll get from your equip- performance.
ment. TASCAM Professional Audio Cables are
the best available.

Our cables feature very low capacitance (under

15 picofaradslfoot) so they don't act as low-pass
filters and roll off high frequencies. The capaci-
tante is also consistent; it doesn't change when

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 TO-122A Test Tone Oscillator PB-64 Patch Bay

This compact, battery powered unit can be used

I to check the inputloutput levels, channel bal- When your system begins to expand beyond the
T
ance, and electronic alignment calibration of basic, sorting out where things go can take much
the Series 200 Mixers. I t has an RCA jack out- time away from the recording process. This
put, switchable output levels of -10dBV (line accessory will allow you to speed things up and
level) or -40 dBV (mic/instrument level). Fre- get back to what you really want to do. Sixty-
quency is switchable to 40 Hz, 400 Hz, 1 kHz, four RCA pins on a panel. So you can bring al1
4 kHz, 10 kHz or 15 kHz. The TO-122A is also those jacks t o where you are. I t will get you off
useful for calibration and troubleshooting of the floor and back to recording. Connect al1
entire recording systems. your inputs and outputs to the back, and you
can reroute your signals with short jumpers
quickly.
PB-32 Series Patch Bays

GE-20B Graphic EQ

The PB-32 patch bay is today's simplest and

most effective way to dea1 with the ever-
l
increasing tangle of wires necessary for the
recording and signal processing you want t o do. The GE-20B is a 2-channel, 10-band graphic
Instead of leaning over, walking around, or equalizer offering an easy means of controlling
turning consoles, racks, recorders and other the tonal balance between channels. Rack
equipment, you can bring al1 those confusing mountable (19" EIA).
l
cable ends t o one single spot in your rack, or
next to your mixer, and get them under control.
You can label inputs and outputs on the PB-32, PE-40 Parametric EQ
l
and wan't have to guess anymore a t what you

find more flexibility in your recording setup.

The PB-32 comes in your versions. The PB-32P The PE-40 is a 4-channel, 4-band parametric
is equipped with 114" phone jacks only, the equalizer providing precise contro1 over the
PB-32R with RCA jacks only, the PB-32H with frequency characteristics of any line level pro-
114" phone jacks on one side and RCA jacks gram. Rack mountable (19" EIA).
on the other, and the PB-32W with 114" phone
jacks for 6 channels and RCA jacks for the re-
maining 10 channels.

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 a-

M-1B Line Mixer MH-40B Headphone Amp

The M-1B is an 8-in, 2-out line mixer that pro- The MH-40B is a headphone distribution ampli-
vides you with an easy and practical way of fier that can be used to feed four sets of studio
creating an independent mix such as cue or cue headphones and can be mounted in a 19"
monitor mixes. Rack mountable (19" EIA). EIA rack.

MX-80 Mixer

This is an 8-in, 2-out miclline mixer useful as

a fully functional, ingenious submixer for ob-
taining an extra mic or line mix. Versatility
of your system will be considerably enhanced.
Rack mountable (19" EIA).

Bescheinigung des Herstellers/lmporteurs

Hiermit wird bescheinigt. da6 derldieldas

AUDIO MISCHPULT TASCAM M-208IM-216

in Ubereinstimmung rnit den Bestimmungen der

AMTSBLATT 163/1984, VFG 1045/1984

funk-entstort ist.

Der Deutschen Bundespost wurde das Inverkehrbr~ngen

dieses Gerates angezeigt und die Berechtigung zur Uber-
prufung der Serie auf Einhaltung der Bestimmungen eingeraumt.

TEAC CORPORATION
Name des Herstellers/lrnporleurs

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 Voltage Conversion Note for U.K. Customers

This unit is adjusted to operate on the electric U.K. CUSTOMERS ONLY:

voltage specified on the unit, power cord tag, or
packing carton. Due to the variety of plugs being used in the
U.K., this unit i s sold without an AC plug. Please
NOTE: This voltage conversion is not possible request your dealer to install the correct plug t o
on models sold in the U.S.A., Canada, UK, match the mains power outlet where your unit
Australia or Europe. will be used as per these instructions.

For genera1 export units, if it is necessary to

change the voltage requirements of your mixer
to match your areas, use the following pro-
cedure~. ALWAYS DISCONECT THE POWER
LINE CORD BEFORE MAKIIVG THESE
CHANG ES.

1. Locate the voltage selector on the bottom of

your mixer.
2. Using a regular (slot blade) screwdriver, turn
the selector until the numerals corresponding
the voltage requirements of your area appear.

This product is manufactured t o comply with the

radio interference of EEC directive "82/499/EEC."

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 Specifications

Stereo Output
XLR Type, unbalanced
Output lmpedance 100 ohms
Minimum Load Impedance 2k ohms
Nominal Load Impedance 10k ohms
Nominal Output Level O dBu (0.8 V)
ELECTRICAL CHARACTERISTICS Maximum Output Level +20 dBu (8 V)
114". unbalanced
0utput lmpedance 100 ohms
Mic Input XLR type, balanced Minimum Load Impedance 2k ohms
Source lmpedance 200 ohms to 600 ohms Nominal Load Impedance 10k ohms
nominal Nominal Output Level O dBu (0.8 V)
Input lmpedance 2.8k ohms Maximum Output Level +20 dBu (8 V)
Nominal Input Level -60 dBV (1 mV) Effect Output 114"
Minimum Input Level -70 dBV (0.3 mV) Output lmpedance 100 ohms
Maximum Input Level +28 dBV (25 V)/TRIM Minimum Load Impedance 2k ohms
to min., PAD on Nominal Load Impedance 10k ohms
Line Input 1/4", unbalanced Nominal Output Level O dBu (0.8 V)
Input lmpedance 22k ohms Maximum Output Level +20 dBu (8 V)
Nominal Input Level -1 0 dBV (0.3 V)/PAD on Foldback Output 114"
Minimum Input Level -50 dBV (3 mV)/PAD off Output lmpedance 100 ohms
Maximum Input Level +35 dBV (56 V)/TRIM Minimum Load Impedance 2k ohms
to min., PAD on Nominal Load Impedance 10k ohms
MicILine Pad 30 dB attenuation Nominal Output Level O dBu (0.8 V)
Channel Overload Indicator Set to light a t 25 dB Maximum Output Level +20 dBu (8 V)
above nominal Headphone Output
Tape lnput RCA Ty pe Load lmpedance 8 ohms, stereophones
Input lmpedance 10k ohms Maximum Output Level 1.5W+1.5W
Nominal Input Level -10 dBV (0.3 V) Insertion 114"
Maximum Input Level +l 8 dBV (8 V) Output lmpedance 100 ohms
Effect Return Input 114" Minimum Load Impedance 2k ohms
Input lmpedance 4.3k ohms Nominal Load Impedance 10k ohms
Nominal Input Level O dBu (0.8 V) Nominal Output Level -10 dBV (0.3 V)
Minimum Input Level -10 dBu (0.25 V) Maximum Output Level +l 8 dBV (8 V)
Sub lnput (STEREO) RCA Type Ir.put Impedance 5.2k ohms
Input lmpedance 22k ohms Nominal Input Level -10 dBV (0.3 V)
Nominal Input Level -10 dBV (0.3 V) Maximum Input Level +l 8 dBV (8 V)
Maximum Input Level +l 8 dBV (8 V) Equalizer
PGM Output TYP~ Shelving-High, Low
XLR Type, unbalanced Sweepable-Mid
Output lmpedance 100 ohms Frequency 10 kHz (High)
Minimum Load Impedance 2k ohms 250 - 5kHz (Mid)
Nominal Load Impedance 10k ohms 100 Hz (Low)
Nominal Output Level O dBu (0.8 V) + l 2 dB (High, Low)
Maximum Output Level +20 dBu (8 V) + l 5 dB (Mid)
RCA, unbalanced Peak Indicator Level 10 dB above nominal
Output lmpedance 490 ohms Power Requirements
Minimum Load Impedance 2k ohms U.S.A./CANADA 120 V AC, 60 Hz, 27 W
Nominal Load Impedance 10k ohms Europe 220 V AC, 50 Hz, 27 W
Nominal Output Level -10 dBV (0.3 V) U.K./Australia 240 V AC, 50 Hz, 27 W
Maximum Output Level + l 0 dBV (3 V) General Export 100/120/220/240 V AC,
50160 Hz, 27 W

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 PERFORMANCE CHARACTERISTICS

Equivalent Input Noise UNWTD (20 - 20 kHz)/

IHF A WTD
150 ohm source -1 28 dB/-130 dB
Signal-to-Noise Ratio
Input - Output UNW'TD (20 - 20 kHz)/
IHF A WTD
8 Mic - PGM 60 d B/62 d B
1 Line - PGM 81 dB183 dB
8 Line - PGM 72 d B/74 d B
1 Line - EffectIFoldback 80 dB/82 dB
1 Line - Stereo 80 dB/81 dB
1 Tape - PGM 83 d Bl84 d B
Total Harmonic Distortion (THD)
1 Mic t o 1 PGM Outputl. 3) 0.03 %, 20 Hz - 20 kHz
1 Line to 1 PGM Output2.3) 0.025 %, 20 Hz -20 kHz
Intermodulation Distortion (IMD)
1 Mic t o 1 PGM Outputl, 3) 0.06 %, SMPTE
1 Line t o 1 PGM Output2, 3) 0.045 %, SMPTE
Frequency Response
Any Input t o Any Output 20 Hz - 25 kHz :E
norninal level
Cross-Talk (1 kHz) Better than 60 dB
Dirnensions (W x H x D) 442 x 132 x 425 mm
( 17-318" x 5-3116" x
16-314")
Weight 8.5 kg (18-12116 Ibs.) net

1) Level for measurement - 50 dB above norninal with

Pad engaged; EQ off.
2) Nominal input level used for measurernent; EQ off.
3 ) 30 kHz Low Pass Filter connected during test.

In these specifications: O dBV is referenced to 1.O Volt;

O dBu is referenced to 0.775 Volt. Actual voltage
levels are also given in parenthesis (0.316 Volt for
-10 dBV is rounded of and given as 0.3 Volt, and
0.775 Volt for O dBu as 0.8 Volt).
Changes in specifications and features may be made
without notice or obligation.

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 Stereo Output
XLR Type, unbalanced
Output lmpedance 100 ohms
Minimum Load Impedance 2k ohms
Nominal Load Impedance 10k ohms
ELECTR ICAL CHARACTER ISTICS Nominal Output Level O dBu (0.8 V )
Maximum Output Level +20 dBu (8 V )
114", unbalanced
Output lmpedance 100 ohms
Mic Input XLR Type, balanced Minimum Load Impedance 2k ohms
Source lmpedance 200 ohms to 600 ohms Nominal Load Impedance 10k ohms
nominal Nominal Output Level O dBu (0.8 V )
Input lmpedance 2.8k ohms Maximum Output Level +20 dBu (8 V )
Nominal Input Level -60 dBV (1 m V ) Effect Output 114"
Minimum Input Level -70 dBV (0.3 m V ) Output lmpedance 100 ohms
Maximum Input Level +28 dBV (25 V)/TRIM Minimum Load Impedance 2k ohms
t o min., PAD on Nominal Load Impedance 10k ohms
Line Input 1/4", unbalanced Nominal Output Level O dBu (0.8 V )
Input lmpedance 22k ohms Maximum Output Level +20 dBu (8 V )
Norninal Input Level -10 dBV (0.3 V)/PAD on Foldback Output 114"
Minimum Input Level -50 dBV (3 mV)lPAD off Output lmpedance 100 ohms
Maximum Input Level +35 dBV (56 V)lTRIM Minimum Load Impedance 2k ohms
t o min., PAD on Nominal Load Impedance 10k ohms
MicILine Pad 30 dB attenaution Nominal Output Level O dBu (0.8 V )
Channel Overload Indicator Setto light at 25 dB Maximum Output Level +20 dBu (8 V )
above nominal Headphone Output
Tape lnput RCA Type Load lmpedance 8 ohms, stereophones
Input lmpedance 10k ohms Maximum Output Level 1.5 W + 1.5 W
Nominal Input Level -10 dBV (0.3 V ) Insertion 114"
Maximum Input Level + l 8 dBV (8 V ) Output lmpedance 100 ohms
Effect Return Input 114" Minimum Load Impedance 2k ohms
Input lmpedance 4.3k ohms Nominal Load Impedance 10k ohms
Nominal Input Level O dBu (0.8 V ) Nominal Output Level -10 dBV (0.3 V )
Minimum Input Level -10 dBu (0.25 V ) Maximum Output Level + l 8 dBV (8 V)
Sub lnput (STEREO) RCA Type Input lmpedance 5.2k ohms
Input lmpedance 22k ohms Norninal Input Level -10 dBV (0.3 V )
Nominal Input Level -10 dBV (0.3 V ) Maximum Input Level + l 8 dBV (8 V )
Maximum Input Level +18dBV (8 V ) Equalizer
PGM Output TYpe Shelving-High, Low
XLR Type, unbalanced Sweepable-Mid
Output lmpedance 100 ohms Frequency 10 kHz (High)
Minimum Load Impedance 2k ohms 250 - 5 kHz (Mid)
Nominal Load Impedance 10k ohms 100 Hz (Low)
Nominal Output Level O dBu (0.8 V ) BoostICut f 12 dB (High, Low)
Maximum Output Level +20 dBu (8 V ) I 1 5 dB (Mid)
RCA, unbalanced Peak Indicator Level 10 dB above nomina1
Output lmpedance 490 ohms Power Requirements
Minimum Load Impedance 2k ohms U.S.A./CANADA 120 V AC, 60 Hz, 33 W
Nominal Load Impedance 10k ohms Europe 220 V AC, 50 Hz, 33 W
Nominal Output Level -10 dBV (0.3 V ) U.K./Australia 240 V AC, 50 Hz, 33 W
Maximum Output Level + l 0 dBV (3 V ) General Export 100112012201240 V AC,
50160 Hz, 33 W

- 34 -

1
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 PERFORMANCE CHARACTERISTICS

Equivalent Input Noise LINWTD (20 - 20 KHz)/

IHF A WTD
150 ohm source -128 dB1-130 dB
Signal-to-Noise Ratio
Input - Output UNWTD (20 - 20 kHz)/
IHF A WTD
16 Mic - PGM 57 dB/58 dB
1 Line - PGM 81 d Bl83 d B
16 Line - PGM 67 d B/69 d B
1 Line - EffectIFoldback 78 dBl80 dB
1 Line - Stereo 80 dBl81 dB
1 Tape - PGM 83 dB/84 dB
Total Harmonic Distortion (THD)
1 Mic to 1 PGM Outputl, 3) 0.03 %, 20 Hz - 20 kHz
1 Line to 1 PGM Output2.3) 0.025 %, 20 Hz - 20 kHz
Intermodulation Distortion (IMD)
1 Mic t o 1 PGMOutputl, 3) 0.06 % SMPTE
1 Line to 1 PGM Output2,3) 0.045 %, SMPTE
Frequency Response
Any Input to Any Output 20 Hz - 25 kHz
nominal level
Cross-Talk (1 kHz) Better than 60 dB
Dimensions (W x H x D) 650 x 132 x 425 mm
(25-9116" x 5-3116" x
16-314")
Weight 12 kg (26-7116 Ibs.) net

1) Level for measurement - 50 dB above nominal with

Pad engaged; EQ off.
2) Nominal input level used for measurement; EQ off.
3) 30 kHz Low Pass Filter connected during test.

In these specifications: O dBV is referenced to 1.O Volt;

O dBu is referenced to 0.775 Volt. Actual voltage
levels are also given in parenthesis (0.316 Volt for
-10dBV is rounded of and given as 0.3 Volt, and
0.775 Volt for O dBu as 0.8 Volt).
Changes in specifications and features may be made
without notice or obligation.

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 Pictogram

O L Indicater

F LB

TAPE Switch FLB Send Level

LEVEL PA N

EFFect R T N 1

STEREO O U T L

Stereo Buss L

STEERO O U T R

Sub Busses
METER
Switch

Means: This buss continues.

L Means: This is a continuation.

l--

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 Block Diagram

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 Level Diagram
1

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 PGM,EFF,FLB,
STEREO OUT
i 0dB"l

\ PGM
STEREO /
/ x STEREO
PAD
PGM OUT
i-lOd8VI

EFF RTN
PAN

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 Dimensions

442 rnrn (17-3/81 (M-208)

650 rnrn (25-9/16") (M-216)

438 rnrn (17-1/4") W-208)

646 rnrn (25-7/16") (M-216) -
-

L-408 mrn (16-1/16',) (M208)

616 rnrn (24-1/4") (M-216)

" IL=
I
405 rnm (15-15/16")

425 mrn ( 16-3/4")

-

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 TASCAM
Professional Division
TEAC

-
MAIN OFFICE: 3-7-3 NAKACHO MUSASHINO TOKYO PHONE (0422) 53-1 111
TEAC CORPORATION SALES OFFICE. 4-1 5-30 SHIMORENJAKU MITAKA TOKYO PHONE (0422) 45-7741
TEAC CORPORA-TION OF AMERICA 7733 'TELEGRAPH ROAD MONTEBELLO CALIFORNtA 90640 PHONE (213) 726-0303
TEAC CANADA LTD. 3610 NASHUA DRIVE UNIT 1 8 2 MISSISSAUGA ONTARIO L4V 1L2 PHONE 416-673-3303
TEAC AUSTRALIA PTY., LTD. 115 WHITEMAN STREET SOUTH MELBOURNE VICTORIA 3205 PHONE 699-6000

- PRINTED I N J A P A N 1 2 8 5 U l . D 4852D

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