Tascam M-300 Series, Руководство по эксплуатации и техническому обслуживанию

Страница: 33 / 167

OPERATIONAL NOTES AND APPLICATIONS
This sEICtion of the manual is designed to assist
you in initially connecting and using your 300
Series Mixer. We provide several examples to
aid you, but these guidelines should not be
considered as the "only" way to perfrom the
task at hand. As you learn the various sub·
systems of the 300, you wi II discover alternative
work methods which may suit your particular
mixing situation more appropriately.
BASIC SOUND REINFORCEMENT
The 300 Series was designed specifically to
address the needs of the audio professional
whose demands may include live sound reinforce·
ment as well as recording. Each model in the
series is capable of handling equal numbers of
MIC and LINE level inputs, plus additional
signals processed through the EFFects, TAPE
R ETURNs and various buss SUB I Nputs.
I n our first example, we show a simple yet very
common mixing situation using four (4) mics
and four (4) line level signals. As you can see by
our system diagram, the 308 is being used to
mix a live performance of a musical group con­
sisting of an acoustic guitar, an electric guitar,
a bass guitar and two different keyboard instru·
ments: a stereo synthesizer and an electric
piano. Three of the performers have vocal
microphones, with one of them performing most
of the lead vocals. Additionally, since the group
does not have a drummer, an electric rhythm
unit is used. In our example, we show a model
M-308, but a M-312 or M-320 could also be
used in a similar manner.
Basic Connections
The mics are connected to input channels 1 -4
while the line level signals are added through
channels 5-8. The rhythm unit is connected to
the PGM 3 SUB I N jack, although on the larger
models of the 300 Series it could be mixed
through another input channel . We will detail
other ways of mixing additional signals several
places in this manual. Since the 300 Series is
a four buss design, the signals can be sub-mixed
or
grouped prior to the stereo or mono mixing
stage. This method of signal grouping allows the
operating engineer to concentrate on mixing a
small number of groups rather than all the input
channels. This reduces the complexity of the
mix and chances of error. In our example, the
31
background vocal mics are grouped together in
PGM 4; the keyboards are in PGM's
1 and 2;
the bass is in PGM 3, summed together with the
electronic rhythm unit. The acoustic guitar and
lead vocal mics are routed directly to the
LEFT
and R IGHT STEREO MASTERS. The final
stereo signal is mixed through the PGM group
monitor sec1ions to the LEFT and RIGHT
STEREO MASTERS. This signal then feeds
the main power amplifier and house speaker
system.
On-stage monitoring is controlled by the AUX 1
sends which are in the "pre" position. This
allows the monitor signal to operate independent­
ly from the main or house signal. The stage
monitor amplification system is connected to
the AUX 1 output.
Special audio effects devices such as reverb,
echo, compression, etc., can be patched into
the signal path at four different points:
1. through the individual channel INSERTion
jacks, for processin,g a single signal,
2. through the PGM INSE RTion (1·41 jacks, for
continuous processing of a selective mix or
group of signals,
3. through the EFF OUTPUT and TAPE I N
RETU R N jacks, for top panel control of both
level and distribution over a selective, individually
adjustable, group of signals, or,
4. through the STEREO L
&
R or MONO IN·
SERTion jacks, for continuous processing of the
final mix of signals.
Once the basic system configuration has been
determined, it's time to physically wire the
various components together - the house and
monitor speakers, amplifiers, microphones, etc.
When installing this or any audio system, make
sure the signal processing devices are turned off
and all the level controls are turned down.
Once all the connections are made and double
checked, begin energizing the system by first
turning on the mixer, then any active effects
devices, and finally, the power amps.
Note:
When shutting a sound system down,
ALWAYS turn the power amps off
F I RST. Wait at least for 30 seconds for