Tascam M-300 Series, Operation & Maintenance Manual, Page: 49 / 167

Pre & Post EO When Using a Limiter
Many engineers like to EO the low end before
limiting to help avoid excessive "pumping" of
the signal. If this is what you want to do, and,
you have another channel free, do this: Take
the Dl RECT OUT from the first
Input Channel,
go to the limiter, use the first channel for your
send, and
Don't Assign The First Channel To
Any Output!
It is not going to have all of your signal control
modifications and wil l not be limited. To reach
a BUSS, patch from the limiter out to the se­
cond
Input Channel's
INSERT jack. Now you
can set the limiter input level with the first
channel's T R I M and fader, do part of your
EO, and run your final signal with the second
channel's fader. You will have EO available both
before and after the limiter with the minimum
of electronic stages. This "patch" is also recom­
mended when pre & post EO are desired for use
with any signal processing unit and will also give
you "double EO" using the smallest possible
electronic package for those stubborn processing
jobs that onlv brute force will fix.
A WORD OF MIXING ADVICE
All finished mixes must be balanced - each
individual signal and its contents judged by how
well it blends and augments the other signals.
Don't rely on EO to create the "perfect" in­
dividual sound, because the minute you add
your perfect sound back into the remaining mix,
the signal's tone may not be so "perfect".
Always try to make the mix as near to ideal as
possible before beginning the equalization
process. The results will be superior to those
mixes which rely heavily on extreme EO settings.
Also keep in mind the important relationships
between the input T R I M controls and the chan­
nel faders as well as the relationsh ip between
the channel and PGM G ROUP faders. It the
T R I M is too low, the channel fader may have
to be set too high. This can result in poor signal­
to-noise performance. It, on the other hand, the
T R I M is too high, the result may be reduction of
headroom and possibly distortion. Try to always
balance the TRIM and channel fader levels so the
desired sound is obtained when the fader is
setting at or near the shaded portion of the fader
scale, 7 to
8.
46
The relationship between the channel and group
faders is equally important. If the channel faders
are all the way up, as shown below, while the
group faders are set much lower, you are pro­
bably overdriving the output stages, causing
reduced headroom and distortion.
Too
high
- -
- -
rr
- -
- -
rr
- -
- -
- - - -
rr
- - - -
- - - -
- - - -
!!!
Too
low
Conversely, if the channel faders are set too
low while the group faders are wide open,
the signal won't bt! distorted, but it will pro­
bably be excessively noisy. This second illustra­
tion shows this type of error.
Too
low
l - - - - !l !l
Too
high
Ideally, the faders should all
be
set in about the
same relative positions. Obviously, there wi ll
always be situations and signals which cannot
be set to our "ideal" positions, so reasonable
compromises in the various control settings are
not uncommon.
OK
- - - - - - --- -
- -
- -
- - - -
- -
- --·
- -
-
- -
-
t� tt t
OK