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

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feed. Si nce most stage monitor signals are
derived "pre-fader", AUX 1 will provide this
signal when both AUX select switches are in the
up position. Begin by setting the channel AUX 1
control of each desired channel to the 1 2
o'clock position. Next, press the AUX 1/2
switch in the METER SELECT SW ITCH RACK.
With signal present in a channel, raise the AUX
1 MASTE R control until the Left VU meter
reads about the same as the PGM meter. Set
each selected channel AUX 1 control for about
the same level. Once all the desired channels
are set, adjust the overall mix. This can be done
using the HEADPHONE MON ITOR section,
selecting AUX 1 and listening through a pair
of headphones while making the necessary
changes to the various AUX 1 controls.
When setting stage monitor levels, several pre­
cautions should be taken. If feedback (howling}
occurs, reduce the AUX
1
MASTER control
and reposition either the monitor speakers or
the mics. These actions should al low the level
to be raised to the desi red point. Often, several
various combinations of speaker and mic posi­
tions must be tried before the most useable
combination is found. Keep in mind that moni­
tor output levels generally do not need as high
as the program level. The object of on-stage
monitoring is to allow the performers to im­
prove their individual sound and timing.
Setting the EFF ECTS SEND and R ETURN
levels is similar to the preceeding procedure.
There are, however, several important dif­
ferences:
1 . Setting the output and return levels is more
a
matter of
(taste) .
2. Setting and balancing the out-going signal
to the effect device is required, mixing and
balancing the returning or "wet" signal with
the existing or "dry" signal within the console.
In the diagram shown on page 32, our example
shows a typical reverb unit patched from the
E F F OUTPUT and back into the E F FECT
RTN 1 . Using a single mic input, set the channel
E F F ECT send control to about 12 o'clock. Next,
press the E F F ECT/MONO switch on the METE R
SWITCH RACK. Watching the STE REO LEFT
V U meter, raise the E F F ECT MASTER control
until the meter reads about -10. At this point,
our instructions must move from the science
of mixing audio to the art of technique. Setti ng
the return level can be done by either head­
phone monitoring or by listening to the signal
through the house speaker system. The on·
board controls used are the E F FECT R ETURN
1 LEVEL and PAN. The LEVEL determines
the ratio of returning (wet} signals to the exist·
ing (dry} signals. The PAN sets the left·to-righf
balance of the wet signal. As we can only il·
lustrate a typical example of this type of ap·
plication, we can only tell you which controls
perform pertinent functions. Since many
external signal processing devices contain their
own input and output controls, achieving the
desired effect becomes a matter of adjusting the
E F F ECTS output level (both channel and MAS­
T E R } . the device's controls, and the E F F ECTS
R ETURN LEVEL and PAN controls.
If, during the mixing process, you need to
visually monitor the wet signal, de-select the
specific channels' buss assign.ment switches.
This leaves
only
the returning signal i n the
STE R EO MASTE R busses. These can be meter­
ed by pressing the STE R EO switch in the
METE R SWITCH RACK.
Setting the Final Output Level
The preceeding sections have covered the
various input and intermediate stages available
for mixing audio on the 300 Series. Ou r examples
and recommendations are designed to provide
the lowest possible noise with the highest
possible headroom. Obviously, the considerations
of the program content, artists, and audience
will require some variations from these in·
structions. For this reason, we intentionally
excluded subjective areas such as EO settings.
For more information on the use of EO see page
44. The setting of the final output level is a
similar consideration. While the final level is
determined by the STE R EO MASTER FADERS
or, if a single output is desired, the MONO
MASTER FAD E R, it would be presumptuous
for us to suggest the "best" level setting. Ideally,
the STE R EO VU meters should read below or
the same as the PROGRAM meters, but this is
an ideal and cannot be offered as an absolute.
The actual final setting for a live performance
can only be judged and set by the operator.
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