Tascam M-300 Series, Operation & Maintenance Manual

Page: 39 / 167

BASIC RECORDING PROCEDURE
In the preceeding section on Live Sound Rein­
forcement, we went into some detail regarding
the proper set-up and usage/procedures of the
various submix systems. When using the
300
Series for mixing audio for mu ltitrack record­
ing, these same systems and procedures can be
used, although not necessarily for the same
purposes or reasons. While sound reinforce­
ment mixing requires two mixes (house &
stage monitor). recording is divided into THREE
separate mixing tasks.
1 .
We must route the input signals to the desired
tracks of the recorder at the proper level to
achieve the best signal-to-noise ratio. This is
NOT always consistent with the best
sounding
mix.
2.
We need one or more CUE mixes for the artists.
3.
We must create a MONITOR MIX in the con­
trol room for the engineer and/or producer .
To be most effective, these three
(3)
mixes must
be independent of each other.
We will not repeat the basics of setting levels,
routing AUX signals, using effects, etc. Here
we will describe the techniques primarily ap­
plicable to recording.
AUX. 2 (PRE)
CHANNEL INPUTS
36
Basic Connections
In our examples for recording, we will assume
you are using a four track recorder. When we
discuss the basic mixdown procedure, we will
assume you will use a standard two track re­
corder. Later in this section, we will discuss
using the
300
Series in conjunction with an eight
track multitrack recorder.
The first step is to connect the four track to the
mixer. Since the
300
Series has 4 PGM OUTputs,
the simplest method is to connect PGM OUT
1
to track
1
input of the recorder, PGM OUT 2
to the track 2 input, etc.
Next, connect the four track outputs of the
recorder to the TAPE IN jacks 1-4 found on the
rear of the
300
Series. Again, the simplest way
is to connect the corresponding numbers; track
1
to TAPE IN
1 ,
and so on. Once these connec­
tions are complete, you can proceed to calibrate
your system (see page
42) .
Since both the recording engineer and the in­
studio performers will need to hear the mix, our
example shows both a CONTROL ROOM
monitor system and a STUDIO monitor system.