Tascam M-2516 Owner's Manual

- л ru Lal om rR tit vea ni Ith mg wl E ——— ме ha 4 + E = E. BT RECORDING MIXER Ra ét 3 “flat Gti: A LS) A 1 ro ETT dama oar mio 1 ; Pe Fie he сажа TÁ i in .l de in qu i: da Е ; > = 3 E o E y . LEN Er oasis AA . . 1; iC jo EJ ong Co OWNER'S MANUAL 5700125000 Table Of Contents Introduction........... e... —esimecenar ceo n Neon enan cae eee aera ss sane semen as aessrass saree mess saterimee ses sn 4 Precautions 4 Block Diagram N 5 The Recording System 7 Mixer Subsystems.... wed Operations Guide: Connections - 10 Initial Checkout and Calibration .. éouseue 12 Multitrack Recording and Monitoring.. SR 13 Mixdown . .. .16 General Procedures Using the Equalizer 17 Using ‘Effects 18 Alternative Methods 20 Using the Scene...... . 20 ‚Using the MIDI Features of the M-251 16/2524 22 MIDI Mute Automation 28 Transferring All Scenes 29 Features and Controls 30 Technical Information 40 Specifications ...41 Optional Accessories 44 Level Diagram 45 MIDI Implementation Chart 47 ADVARSEL! Lithiumbatteri — Eksplosionsfare ved fejlagtig handtering. Udskiftning ma kun ske med batteri at samme fabrikat og type. Levér det brugte batteri tifbage til leverandgren. “© Copyright 1990, TEAC Corporation" VARNING Explosionsfara vid felaktigt batteribyte. Anvand samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvant batteri enligt fabrikantens instruktion. | | 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 other means, without permission. CAUTION CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER RISK OF ELECTRIC oe (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO a QUALIFIED SERVICE PERSONNEL. to the presence of uninsulated “dangerous voltage” within the product's enclosure that may be of à The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user sufficient magnitude to constitute a risk of electric shock to persons. important operating and maintenance (servicing) instructions in п № literature accompanying the | The exclamation point within an equilateral triangle is intended to alert the user tothe presence of appliance. on the rear panel. Please record the model your records. Serial number This appliance has a serial number located WARNING: ТО PREVENT FIRE OR SHOCK number and serial number and retain them for H AZARD, DO NOT EXPOSE THIS ; Safety Instructions j i Y 3 1. \ 2 а i 3. 4. | 5. ; 6. 4 a 4 GA. À hi re 3 АС si 3 3 = ot = mo M " т fe “a 7 10. “11 12. CAUTION: e Read all of these instructions. e Save these instructions for later use, e Follow all warnings and instructions marked on the audio equipment, Read Instructions — All the safety and operating instructions should be read before the appliance is operated. Retain Instructions — The safety and operating instructions should be retained for future reference. Heed Warnings — All warnings on the appliance and in the operating instructions should be adhered to. Follow Instructions — All operating and use instructions should be followed. Water and Moisture — The appliance should not be used near water — forexample, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc, Carts and Stands — The appliance should be used only with _ a cart or stand:that is recommeridéd by thé:fanufacturer. Eo LIB el. a. GF 11537 EA ETT E An appliance and. cart combination-should be moved with care. Quick stops, excessive force, ;and. uneven surfaces:may cause the appliance and cart combination to overturn. . Wall or Ceiling Mounting — The appliance should be mounted to a wall or ceiling only as recommended by the manufacturer. E . Ventilation — The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed .in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. . Heat — The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers) that produce heat. Power Sources — The appliance should be connected to a power supply oniy of the type described in the operating instructions or as marked on the appliance. Grounding or Polarization — The precautions that should be taken so that the grounding or polarization means of an appliance is not defeated, Power-Cord Protection — Powersupply cords should be routed so that they are not likely to be walked on or pinch- ed by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. 13. Cleaning — The appliance should be cleaned only as recom- 14. 15. 16. 17. 18, 19. mended by the manufacturer. Power Lines — An outdoor antenna should be located away from power lines. Outdoor Antenna Grounding — If an outside antenna is connected to the receiver, be sure the antenna system. is grounded: so as to provide some protection against voltage surges and built up static charges. Section 810 of the National Eiectrical Code, ANSI/NFPA No. 70 — 1984, pro- vides ‘information with respect to proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna discharge unit, size of grounding con- ductors, location of antenna-discharge uhit, connection to grounding electrodes, and requirements for the grounding electrode. See Figure below. EXAMPLE OF ANTENNA GROUNDING AS PER NATIONAL ELECTRICAL CODE CROUNCING CONMICTORS {NEC SECTION 810-21) CADUND CLAMPS на POWER SERVICE CROUNDING = ELECTRODE SYSTEM {NEC ART 250, PART H} NEC — NATIONAL ELECTRICAL CODE Nonuse Periods — The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. Object and Liquid Entry — Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. Damage Requiring Service — The appliance shouid be ser- viced by qualified service personne! when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilted into the appliance; or C. The appliance has been exposed to rain; or D. The appliance does not appear to operate normally or exhibits a marked change in performance; or E. The appliance has been dropped, or the enclosure damaged. Servicing — The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. Introduction The TASCAM M-2516/2524 Recording Mixer is a 16/24-input and 10-0utput mixer designed primarily for electronic music applications. It can be used as a main console or a submixer in a recording system. The M-2516/2524 has four effect sends and four effect returns (2 stereo and 2 mono), so it can be connected to four effect devices. A MIDI- addressable muting system allows you to turn channels on and off on command, either from the top pane! or from an external MIDI device. A SOLO feature makes it easy to concentrate on one input at a time. | Each channel has 3-band EQ, and because each channel has 40 dB of gain in the preamp and a trim control, low-level sources—-even microphones and pickups--can be connected to the M-2516/2524. Each input has a direct output jack for connection to external submixers or directly to a multitrack - recorder. Using the manual: To get the most out of your M- 2516/2524, please take the time to read through this manual. If you're familiar with mixers you could use the unit on your own without a problem, but some time spent now will keep you from overlooking some of the features that make the M- 2516/2524 a more creative tool. You may discover some new tricks you haven't tried before. Precautions It is easier to understand if you set up the system and can experiment with the console as you read. Don't make the mistake of booking a crucial recording session before you've had free time to really get to know your M-2516/2524. Use_of capital letters : In general, we use all upper case type to designate:a particular switch, control, ' jack name or label {like PAN). Mixer modes and some features are described with an upper case first letter {like Mute control). Recording is an art as well as -a ‘science.’ A successful recording is often judged primarily. on the quality of sound as art, and we obviously cannot guarantee that. Your skill as a technician and your abilities as an artist will be significant factors in the results that you achieve. The M-2516/2524 console will perform properly only ¡f it is connected and operated as stated in this manual. We canhot guarantee your skill in adjustment or your technical comprehension of this manual. However, we want to do everything we can to help you get the most out of the M-2516/2524. So, please, READ THE MANUAL! "if you invest the time and are patient, you'll find it pays off in the long run. urine Changing the Memory Back-up Battery The included battery lasts about 5 years. We recommend you to change the battery in advance to prevent accidental erasure of the contents of the 99 scene memories. lf-thesbattery has. run. low, when.you-turn on the M-2516/2524 you-will see the switch settings-of empty scene-04, instead of the last scene you used. For information on how to change the battery, consult TASCAM or your nearest TASCAM dealef. —. ee Voltage Conversion This unit is adjusted to operate on the electric voltage specified on the unit, power code tag, or packing carton. NOTE: This voltage conversion is not possible on models sold in the U.S.A., Canada, U.K, Australia or Europe. ALWAYS DISCONNECT THE POWER LINE CORD BEFORE MAKING THESE CHANGES. For general export units, if it is necessary to change the voltage to match your area, locate the voitage selector on the rear of the M-2516/2524 and set it to the required position, Note for U.K. Customers only Due to the variety of plugs used in the U.K., this unit is sold without an AC plug. Please request your dealer to install the-correct plug to match the mains power outlet where your unit will be used as per these instructions. mi тт ЧК 2° TIT y Pret р РР e Е ЕЙ NET Ti I HCE e o x Rte ER a. ce = ea SE DL E e Не A и Jr ru E НЫ 214 Frs Far pepe perte ey CPE a = a MON С y A nw A y ps Gi Ji я г mn Da adm lo ae Ee TE me Cr LR Sa ming pos a Se - Ya HEN J Ч ry L Tr. Hr E DC E ed is $ TOS e VERS ET an de Een o eee NES es ee A E Sait LR lb ET eT a НЕЫ 5 Ú nm = Cl ie = deg al ea Meso i : er x A TN NE CET LINCE Minsa sto Anh aa CE UR POESIE fro dR TN mr e 9 ENEE EEE WRT ag agg RHE mEq a e o a vip т мет "1 — Анне ети Block Diagram = = то 1 MEC | (-50 ВУ = = = = от PRAHTOM РОМ > a EQ (7 | 55555 INPUT SECTION (x16/x24) 1-10 dev) . [10 dev: FREQ LEVEL FREO LEVEL [wow] [min } [16k] [=-10 dBY']) ds ГТАРЕ IN 7 = ATTENTION | | LTAPE IN, © : -— GROUP SWITCHES ARE PLACED | 10 JE Y GNLT CH.5-I5 1M-25161, CH. 17-24 (M-25741. | CH. 9-16 (M- 2516} CH. IT - Zu tM-25741 4. UNIT —_ „= C5 O dBu = D,775Vrms — INDICATION / в ` . ------" REAR PANEL ay FEEL + INDICATION CONT CG TA ' „я A 7 LEVEL о 3. SYMBOLS —- DE —W—— RESISTOR P > | tt Ea 7 © юн —o O RCA JACK EL] Eo x | Ve BALANCED [L/MONO+ / { 7 INPUT HE 7-8 но о XLR-3-31 AMPLIFIER el: / | ) o EQUIVALENT rn o En | Lorry VET - > m (LZR Lm HON EVES - XLR-3-32 > INVERTENS | ФО | ||| CL EQUIVALENT AMPLIFIER [om a + ib Y 9 INVERTING _ LOND) i I | 1/4" JACK > AMPLIFIER E | Same os 1 И + | i " LINEAR Lo se _] ¡Ms ==" 7 mi CER RENA | (EFF RETURNS } / \ . 1-10 4541 MUTE CONT. vis — ROTARY POT #1 or i | 179" IN-QUT JACK LEVEL ~ [1-2] Is > AQ (INSERT BREAK] [тЫ E a \ o GE >" 77 Toot h i PT PAN POT I | 56 | He | ду © 174" STERED JACK Pk — ‚B-8] He Da уно — | 7-8 do. "a a 14) | Same as 3 | CR oa 1 IR = : R SELECT SWITCH — Leo o | EVEN о SUMMING — wo. PUSH SWITCH | MODE — METER — 9— PUSH SWITCH CONNECTION + 2 3 4 5 6 7 8 LR NGOE + Des sea 3 EA L___ LEVEL CONTROL о TT SIGNAL -3 тем —GG-— ELECTRIC -5 iC SWITCH -7 j Om bree MAME ONLY J | | LEVEL = О ELECTRIC A SWITCH METER _.. | TRANSFER A El | | TE CONT. я —(P)-— РАО © MIC UNIT LL | 5 L LL From GROUR OUT 1-8 м fur ов = Ad UE + .- mo -d MY | Ea - & & & à. X = oa pr x X X к ha "EEE X ее = = = 9 5 > Er ге ве = обо он | IX = Ln GROUP SECTION GROUP MASTER (x8) | = Tr rr — 1 GROUP OUT ! ! em em or an td fm == t=10 58) + ` + % + ` [" ъ NT = # Pt m m re mm ` 10 dav) о йе Ч о = = “Cia devI i fo Semi haa Bar A on md = не = и ЧР ОЧ mm me —_— [70 -— Ls — — ен бе = я —od В = == ны O — = rT — —] D— = ны ен = ЧР Он = т === PR a НЕ d L L aa == Э i [ STEREO OUT Ll — a dt fr del — — IY О абы] UNBALANCE E ya = ! STEREO out RI OB, = rr етот сн о = = че -— STÉRÉO OUT À : —— EM A == — LOdBu1 tidôdaw/én' ГД em ed er my Ey р о нк ms a ad t * STUDIO RG 3 res dou} (Reverb. Delay, Echo, Comp. etc.) Control Monitor and Amplifier 21212218) #|2181 22| |2] #1 |212 г ее 2lel-Te of - 2-Track arolajio lajojaolao lo felulotalelala e -irac © |9 те | © 10 |9 Го [о |5 | © |0 |о|о| о | о То 100 Ооо 0|ооовоо Recorder ево 79 © О 1000 ° blelejejallelalt ea | 21219] 2) 90/6) 0) 0/0/00) 0] © 00); || ©| ого! о[ о] оГо] о! @| о[ оо 60| ©! ое | Soleralciolerejal olajolelatato o|alelololalelo c:alolafal aleta! 0/0/0010 0/0elalelelelalalalo ou ooo | o 6|0l9Hi0iclalaleto © [5] осо 200 olor Bi eloreterefeie.cioleaje ous | 90.0 9/06 alo, cl olajletolelalo daa o eleoloalalofalejolelolalelaje lotole! | ee, 9)0l0[0[0/6/0/0[0/0/0[0! al olololojololojole — lalo eee oo Sat ol olol of ого | ФО О Ото! о E fo 1818 915 [817 Solo aralalefolofefafa|orajeje So ojo! 1 ENESENEN EE CAC [a le fa fe fa fo fo ri EE heheh she sts E HT “667 В ` à q re ооо || d ETE e CECECEEECL)| men) | J Multitrack Recorder Note that the M-2516/2524 is acting as the traffic control center for all the other system elements, it takes multiple inputs, processes them for level and tone, and sends or assigns them to multiple outputs. The mixer is easier to understand if you fock at its relationship with the other elements one at a time. Mixer Subsystems The M-2516/2524 is actually a collection of different sub-systems. Each subsystem Is a "mixer" in its own right, with its own task to perform. Each subsystem has its own inputs, processing, and outputs. Control Room Subsystem: This Aux Mix: This section gets its ee signal from the Main and DO selects and controls what you Monitor section, and sends it 88/2/2 hear during the session. It gets Out to external signal process- 510700 2 goo signal from Stereo mix, Aux ing devices. sueo | cal ses 567 mix or two external stereo | al SS orolciolorolejala || | devices, and sends them to Main Mix: This is the recording alefofck E EE lotes ELLA your control room speakers, mixer, If gets signal from re A oli [3 studio monitors, and head- MIC/LINE inputs, processes ABER phones. them for level and tone, and? SEE a hg À a . : : send them to multitrack/ EN BEN TOS Luis section gets Crow output and tere LAEARIAETRAA)ION I gare om he TAPE pie Li L ere | и . E : CUEDUE. y Output This is typically used to —A monitor the tape signal suring the session. MAIN MIX: The primary system is the main mix. It receives signals from the input jacks, routes them through equalizers and faders, and sends them to any of the eight group outputs selected. Each group has its own master level control and is usually connected to a track of a multitrack recorder. The Main Mix can also send signals to the L-R (left- right) Stereo mix, for final mixdown or monitoring in the control room. The EFFECT RETURNS are actually four specialized inputs to the Main Mix. They can be assigned to any the eight Groups and Stereo mix via ASSIGN switches, allowing you to record effects onto the muititrack recorder or the mixdown deck. PHANTOM E POWER © TRIM (Channel) Ш TRI . FLIP. seo E YB polos, x To LED METER LINE IN 6) To PFL PAD To MONITOR Mix» —— Section ии GROUP TAFE IN 3 OUTPUTS ASSIGN [CEE ss SWITCHES = ое Y СЭ 1 Channel ZX =— ——7 > 2 ader à éd СВ 3 - x Cl "+ === - 1 *}: See the Monitor Pictodiagram below. MONITOR MIX: Just above the main fader, pan, and assignment switches is the Monitor section, with its own level and pan controls. Usually, the monitor is “listening to" the outputs of the multitrack recorder (or tape returns), but it can also receive signals from the groups: The monitor is necessary for multitrack recording. lt allows you to hear various signals (live, prerecorded or in combination) during the recording process so you can make critical artistic decisions. The monitor section always feeds the L-R Stereo mix. PHANTOM To MAIN MIX Section POWER TRIM GRP SWITCH nc A 7 Вы - LINE it @) FAD TAPE IN @) From MAIN MEX y A rer Se 5 STEREO L-R (Stereo) 00: Master Fader (—— e ТО, То У A (STEREO in the CR Source Select Switch Rack} At mixdown, however, the monitor section can perform an additional function. The FLIP switch allows you to route extra inputs (such as effect returns or MIDI controlled instruments) into the stereo mix :using the monitor section, doubling the numberof sources if you-wish. While this monitor path does not have EQ, it does have level, pan, and effect send: capability. : STEREO PAN | Stereo A PAN Sifts Master Fader © IC L Y y se | To CR Section wi” AUX MIX: The AUX 1-4 submixer signais come from various points in the Main or Monitor signal paths. Let's assume that you have a digital delay, reverb, or another signal processor that you want to | use on more than one input simultaneously. Your - M-2516/2524 is able to send signals of any combination of inputichannels to the AUX OUTPUTS 1-4 jacks on the rear panel. These outputs can then be connected to your signal processor, and the processor's output(s) can be connected to the EFFECT RETURNS, or even back to another mixer input. res FLIP ; NU MUTE/SOLO „rat EL INPUT EQ | MON LEVEL To ' 7 MON PAN = CONTROL ROOM SUBSYSTEM: With all these subsystems going to different places ail at once, -: how can the engineer focus. on one at a time? This is the task of the Control. Room: and PFL function. The. Control. Room..stereo..outputs-are<intended to bé connected.to.an.amplifier-and monitor.speakers in.the control room facing-thesconsole. Seven input select switches allow you to hear any of the AUX outputs, two external stereo recorders, or the Stereo output of the M-2516/2524 (which is the usual position, so you can hear the. monitor section in the control room). Regardless of which source is selected by the Control Room switches, pressing-any-channel PFL . {Channel} - MUTE/SOLO L | INPUT EQ EL PFL LEVEL уе From L-R (Stereo) Master From AUX MASTERS 1 2 = A ей, Р 3 4 | — = эта лм UR DIN EXT IN UR EJ — CR Source Select Switch 7 CBRE, Aux - “MON "АНХ 3 _ | @ Er 6 Aux 1-2 always gets its signal from the MAIN signal path, either before (PRE) or after (POST) the main fader. This allows it to be used as either an independent headphone feed (similar to the “monitor” or “foldback” controls on a PA board) or. as an effect send from channels 1-16/1-24. Aux 3-4 can get its signal either from the MAIN ‘path (POST, same as Aux 1-2), or from the MONITOR path. This allows it to be used ás a second effect send from main channels 1-16/1-24, or as the only effect send from monitor channels 1-16/1- Channel Fader - EE. To PAN AUX OUTPUTS >(® 1 50 A — PRE, AUX 2 LEE 565 Gati ë es posta MON * AUX 4 POST. switch automatically cuts off that source and:sends the PEL mix:to-the:control. room: monitors. -PFLgets- --- its.signal*from:pre-fader. ‚so. you. can. hear a signal beforesbringing it-up-into-the. mix. The PEL system is used to adjust trim and tone in:an- individual channel.or:group-of channels. -it.allows.you to-im- mediately=-hear .only..a-few..signals, and just as quickly. return to hearing:the-entire-mix. There.is a STUDIO OUTput and control, intended for a set of speakers in the studio for playback. This always. receives the CONTROL ROOM output so the: studio will follow the control room selection, including the PFL. The headphone jack of the M- 2516/2524 also follows the. CROOM. mix... ~. ... ....... Channel Fader . - 24 e A DU T MONO ® CONTROL | 2о\$ @ ROOM ho STUDIO LEVEL ON Ар PHONES LEVEL — > es Ls a ВТО CS тоя (D Operations Guide: Connections This section of the manual is designed to help you connect your M-2516/2524. The "Opetations" section is based on these connection diagrams. However, these methods are not the only way to use the M-2516/2524. As you learn the features of the M-2516/2524, you will discover alternative ways of connection and operation which may better suit your needs, When installing your system, make sure ail devices are turned off and the tevel controis are turned down. PREVIO O a! Power: = " Connect the AC plug of the M-2516/2524 to ‘an outlet. Try NOT to use outlets that are on the same circuit as air conditioners and old refrigerators. These things may introduce noise to the system. Ail-elements of your system should connect to the same circuit if possible, butenot=to=thessame..piug. There are several multiplug power conditioners on the market that do a good job of filtering out spikes and noise that come through the AC line. - Make sure that the outlet you: connect to is properly wired; AC outlet testers.can be inexpensively pur- chased at electronics stores. If other units in your - —system“have three-prong AC-cables; it-is- possible they may introduce "ground loops" or hum-in the system if the AC ground is not secure. If this hap-. pens, you may need to ground elements separately and “lift the ground with a three-prong to two-prong adapter. Make sure you follow the manufacturer's recommendations before you do this, though. Proper audio: grounding and shielding is a study in itself. Your number ore priority is the safety of the system, and second is getting low noise, Standard industry : practice has become the “star ground”, where all system elements are grounded at one place only: the console or patch bay. 1f you have problems with noise; or any "shocks", consult a professional in studio electrical system design. inputs: | In this example, we are going to assume you aren't using a patch bay. However, as your system grows, you may find it will make your life“easier to acquire some TASCAM PB series patch bays. THE APPLIANCE CONFORMS WITH EEC DI REC- TIVE 87/308/EEC REGARDING INTERFERENCE SUPPRESSION , CONFORME AL D.M. 13:APRIEE1989:- DIRETTIVA CEE/87/308 10 MICROPHONES, low impedance (200 to 600 ohm) can be connected to the MIC connectors. If they are phantom-powered type, set the PHANTOM POWER switch to the ON position for feeding DC+48V via all MIC inputs; otherwise leave it OFF. Line level XLR outputs may also be connected to the MIC connector, if you press the PAD switch, lower the TRIM level, and make sure PHANTOM POWER is OFF. Line inputs, such as synthesizers, guitars, and drum machines, may be connected to the 1/4" LINE IN jacks. Some guitars-may sound better if they're run through a preamplifier or direct box first. > NOTE: DO NOT USE both the MIC and LINE INputs in the same channel at the same time. Disconnect one when the other is used. TAPE RETURNS, the outputs of your multitrack tape recorder, shouid be connected to the TAPE IN jacks. They are designed for -10 dBV unbalanced tape returns. Use good quality shielded, low capac- itance, high RF resistant cables such as the TASCAM Professional series. Cable lengths up to 20' are acceptable; but the shorter the better. If you're not using all the tape returns, you can use your "spares" for other high-level line inputs if you - wish-if you.look at the. block diagram you'll. see the only difference between TAPE and LINE INs is that Line has an input trim and amplifier. OUTPUTS to Multitrack: 1. Using good quality cables, connect the. GROUP OUTPUTS. jacks to the same numbered track of the multitrack recorder. Color-coded plugs help 2. In some cases, your 16- or 24-track recorder will "normal” the connections, so you:only need to run eight cables to your: recorder. For example, the TASCAM.MSR:24 has an "Input Link" feature that patches the track one input to tracks 9 and 17 if desired. .: o 3. HFyou-need:io-5ecord. more.than. eight tracks.at Ea once;.you-will.use.the D-OUT-(Direct-:Out). jacks ortertain channels. See p. 12, "Recording on more than- 8 tracks". “MICROPHONE CABLES AND MICROPHONES CONNECTION: TO PREVENT HAZARD OR DAMAGE, ENSURE THAT ONLY MICROPHONE CABLES AND MICROPHONES DESIGNED TO THE IEG268-15A STANDARD ARE CONNECTED." "CONNEXIONS DES MICROPHONES ET DE LEURS CABLES: POUR EVITER TOUT ENDOMMAGEMENT, S'ASSURER DE BRANCHER UNIQUEMENT DES MICROPHONES - ET DES CABLES DE MICROPHONES CONCUS SELON LA NORME IEC268-15A" FA сне ет ое Control Room and Studio amplifiers: 1. 2. Connect the CONTROL ROOM 1/4" phone jacks to the input of your main control room amplifier. If you plan to have speakers in the studio, connect the STUDIO OUT L/R jacks to their separate amplifier. : . If you need to hear only STEREO OUT and don't want to be disturbed by PEL or C.ROOM source selection, connect a studio amplifier to the STEREO OUT jacks. ; Mixdown deck: 1. of the stereo mixdown deck. There are two Connect the STEREO: QUE«E/Rsjacks to the input types of connector available; XLR type (Unbalanced) and 1/47 Phone jack. Both connectors may be used at once, feeding multiple : mixdown decks (for example, a DAT and a standard stereo cassette). Connect the outputs of the mixdown deck to the 2TR IN RCA jacks, or to the EXT IN RCA jacks next to them. - OH Multitrack Recorder Effect devices and cue amplifiers: 1. You will have to decide how you want to use your auxiliaries. In this example we will connect AUX OUTPUTS 1 and 2 to two digital reverbs, AUX 3 and 4 to a stereo headphone amplifier. Note that in this case, the digital reverbs are not “true” stereo even though they have.a left-and right input, so we only connect to their MONO input, Connect the outputs of the effect devices to the effect returns. In this case, we wanted to use the synthesized stereo outputs of the digital reverbs, so the AUX 1 and 2 units connect to EFFECT RETURNS 1 and 2. | . If you have a compressor, limiter, or noise gate, it normally is connected to an INSERT point, using a PW-2Y (2m) or PW-4Y (4m) insert cable. Don’t connect these yet, until you're up and running, because it's oné more set of-controls in the signal path that might cause confusion. See p. 18, "Using Effects with the M-2516/2524" for more details on effect processing. _ Studio Monitor Г О Digital overt] J Digital er] 7 | Amplifier = , | Keyboard LI FO EX oor oD DLL Mic У У Amplifier | Compressor, Limiter, or Noise Gate C.J O 0) Control Room Monitor Stereo Headphone ТЫ a > a [o ° Tr ’ bhi 0920 2-Track Recorder: Headphone Amplifier 11 Operations Guide: Initial Checkout and Calibration Preset the controls: To avoid problems, begin with the power off. In each channel, “zero out” the controls as follows: * Bring all the faders down. * Set all TRIMs, AUX SEND MASTERS, CR, PFL and STUDIO levels to full counterclockwise (7 o'clock). * Set all EQs, AUX and PAN controls to center (12 o'clock). * Make sure all the switches (such as Channel Assign, MUTE/SOLO, PFL, FLIP, etc.) are up (or OFF), except for the PHANTOM POWER switch you need for phantom power microphones. — Meter calibration: 7 ZEV сс! К is normal for slight variations both in the meters and in the fader readings. if a fader must be set a little above "0" to get O dB, it's nothing. to be wor- ried about. The meter settings of the M-2516/2524 are very stable, so recalibrating the meters of the mixer itself is not advised unless you have an ex- tremely accurate voltmeter. If levels of your muititrack don't match those on the mixer, the multitrack may need calibration: If the tape meters don't play back at the same level you recorded, a complete alignment of the deck may be needed to bring everything back into "spec”. Level differences of 1 dB. or:less:may be-due-to other factors, and should not be of concern. - Set the 2-track level: You can also set the input sensitivity of your 2-track mixdown recorder. Put an oscillator into STEREO SUB IN-and adjust the STEREO MASTER faders until the M-2516/2524's L-R meters read 0 dB. Put your mixdown recorder into the INPUT or RECORD mode, and adjust its input control until it reads 0 dB on that unit (some digital recorders may use "-18” as their "O dB: point). When you put á prerecorded tape on your: tWo-track, you should be able to hear it in your monitors when you press the 2TR or EXT switch in the control room. Set the control room amp level If the CR level control is set relatively low (below 12 o'clock), and the monitors are very loud, it's a good idea to turn down the controls on the power amplifier itself. This is a safety precaution to avoid damage to your monitor system, and it also leads to quieter operation. 12 Set the input levels At fast you're ready for audio. Plug a microphone into a channel and turn the TRIM up to the 12 o'clock position. Press that channel's L-R ASSIGN switch. Slowly increase the channel fader to the .0 dB position while someone speaks into the mic. You should hear it faintly, if the L-R MASTER is still at its nominal position and the CR is set to hear STEREO. . Slowly increase the TRIM until the stereo meters read 0.dB. (Watch out for feedback if the mic is in the control room.) If you are using:a LINE IN jack, instead of MIC connector, make sure that nothing is connected to MIC. For an electronic instrument, set the PAD switch OFF and. the TRIM. +0 fully to > the left. If the channel signal: level-i 45 too. high: the channel OL (overioad) LED:wili light, df this indicator comes on, turn the TRIM control down. : Setting Effect Send levels Getting the right levels to your effect devices is as important. as. setting. levels to the recorder. Once you have a line or mic. signal working at the proper gain, the "fully turned" position of the AUX control and the "2: o'clock? position. of the AUX MASTER should make the meter of the effect device go tosits “Dabiidicátion, whatever it' may be. Consult the manual for your effect device, and see p. 18, "Using Effects” for mare information. At this point, just verify that you're getting signal to the device, and that it is returning to the console (either through the effect returns or the monitor spare inputs). 1 —— mein ae ater qn - E AA UE EA A ME A ss da AE Operations Guide: Multitrack Recording and Monitoring Multitrack 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. 2. We need one or more cue mixes for the artists. 3. We must create a monitor mix in the control room for the engineer and/or producer. To be most effective, these three mixes must be independent of each other. | Recorder mix _ | | | | Routing the. inputs to the multitráck is a simple task. Once you have set the input trims properly, press the channel assign button to send the signal to the correct dutput“group. Remember that the MAIN PAN ‘control must be Set Cofrectly-- thé ‘signal a right. AR a Lin “Lt, sa Lor soi, . I TIA rin CE [A ib TE Ta Mr As far as : levels: are’ concerned, ТР your: equipment is properiy calibräted the eters on the multitráck recorder will match the meter levels on the M-2516/2524 itself. "0 dB" is the typical ideal level for recording; though peaks to +8 arid above can be tolerated on some types of program: material. lt would be presumptuous 190 suggest a "best" level setting. The actual final setting for a performance can only be judged and set by the operator, and we encourage you to try different methods and submit them to the ultimate judge--your ears. in most situations, the magnetic tape itself is the limiting fac- tor. The. M:=2516/2524.outputs-themselves-do=not. . . distort--until-approximately-+26=dB-—longsafter-the meters have pegged. The.meters-do.-not.reflect mixer distortion, but. distortion..of .a..typical „tape recorder. (Note, however, that it is possible to clip the input channel electronics by an improper TRIM setting, even though the following signal path is well within its limits. This is indicated by the channel OL lighting). Recording -more-than-38 tracks. simultaneously: If you need to record more than 8 tracks at once, you can use the D OUT (Direct Out) jacks of certain channels to feed the multitrack recorder, instead of the group outputs. In this case, there is only-one input per track, and the record level is controlled by the channel fader only, and the.Group Meters will not show the record level! In Most.cases; you patch the direct outs of single channels (such as a lead vocal) to a track, saving groups outputs for instruments (such as multiple keyboards) that have to be combined. | Cue; setting — | in our example, AUX:3:and=4:are-being used for headphone cue-feeds to-the studio. The basic deci- sion. for: you to make is what the source of the signals shoüld: bë: : the multitrack tape recorder outputs, | OF ar tap” “from : some Section: of the | mixer itself. E es . : Tape;cue: Forhe: performers + to hear the output of a-tape track; tum=thesAUX:3-4-controlsto:1éft?/MON (make-sure that ELIP:is:UP). If there is signal on the tape and it'is in PLAY-REPRO mode, they should hear it. Tiereare:several-advantages-to:using.tape. asthe-cuesource:; 1. The cue level will be the same during recording and playback. 2. If the tape recorder has an INSERT {pre-roll sync) feature, it will be easy for the performer to hear . when punch-in. and. out-are.made.... ... .., ….… …. an The disadvantages of using tape for cue, when you would want to monitor the mixer channel instead are: - 1. Any changes the engineer makes to the main faders {in order to lower the record level, for example) will also be heard in the cue mix. 2. The performer may not be able to hear at certain times depending on the settings of the tape deck itself. For example, taking the track out of REC READY mode can cut the feed of the instrument to the cue. 3. When instruments that aren't going to be "recorded to multitrack tape-for example, MIDI “virtual” tracks--must be heard, source cue is the only way to go. : 13 Source cue: If you want to use the MAIN channel as the source for AUX 3-4, simply turn the AUX 3-4 controls to right/POST. Tape/source mixed: Some artists need to hear both the pre-recorded track and their "live" instrument simuitaneously when they are doing a punch-in to fix a section. If you want a mix of the tape track and its source, make sure the source is in a different channel from the track. For example, while doing guitar overdubs onto track 7, the guitar can be patched into channel 16. To get a mix of both, turn the AUX 3-4 controls to left/MON in channel 7 (Aux 3-4 will hear tape track 7) and the AUX 3-4 controls to right/POST in channel 16 {Aux 3-4 will be a cue send of the guitar). Group output cue: Another variation of "source cue” is to feed one of the eight group mixes to the headphones. This can be done on the highest 8 MONITOR channels on the console (9-16/17-24), the ones with GRP switches. Pressing GRP and turning the AUX 3-4 controls to ieft/MON will bring the mix of everything assigned to that group into the headphone cue mix. The advantages are when you have already done a complex mix (of percussion mics, for example) for recording and don't want to repeat the mix all over again on each individual AUX control. Effects to Cue: Will returning effects make the cue mix more cluttered, or is it needed for artists to perform properly? If you decide you need effects in the cue mix, there are two ways to go: 1. Patch the output of the effects devices into a line input, instead of the Effect Return inputs of the console. As a line input, it can be monitored like any other source. OR: | 2. Leave the effects in the Effect Returns, but assign them to a group that is not going to be recorded. Then bring that group output into the cue mix (see “Group Output Cue”, above). Of course, if you are recording "wet" (effects to tape), using tape as the cue source brings the effect returns into the cue mix as well. Other decisions you may have to make include: Should the AUX 3 and 4 mixes be stereo {1 feeds left, 2 feeds right) or two separate mono mixes (one for the drummer, one for the vocalist)? Should | make EQ settings while I'm recording? (AUX 3-4 is always post-EQ—the musicians will be able to hear £Q changes in the headphones). 14 | | Monitor mix | To create your control room monitor mix, you will usually rely on the STEREO switch in the Control Room section, and use the MONITOR channeis. A lot of the same options available to the cue mix are available in the control room as well. There is one important note, however. In most cases, the engineer should be hearing tape, not source. This allows you to hear the signal as it's actually being recorded, and verify the signal continuity to and from the mixing console and the recorder. To monitor tape: Make sure FLIP is UP, To monitor group outputs: On the highest 8 channels of the console, press GRP. Note that the "L-R" assign switch on the main channel will bring the output of the channel into the control room monitors. In some cases this may be desirable; in other cases it can mislead you. Make sure that no *L-R* assign switches are down if you want to make sure you're hearing what's on the tape and only what's going on the tape. When the recording is complete, rewind the tape and play it back through the control room speakers. You don't have to change any control settings to do this, and should hear exactly the same mix as while you were recording. H playback is also desired on the STUDIO speaker system, press the studio ON switch and raise the studio fader. The studio will hear the same stereo mix you are hearing. Remember to turn the switch OFF before you cut more tracks from the studio. Monitoring on the main faders: Depending on how many inputs you are recording, and how many tracks you have, you may want to monitor via the main mix. This "trick" is to leave your lower channels open, using the higher channels of the console for overdubs. Since the lower channels aren't needed during the overdubs, you start your mixdown “early” by pressing FLIP on those channels, and assigning their outputs to L-R only. You can start marking levels, using EQ, even adding effects this way. | Using PFL | In some situations, you may find PFL useful. If you want to solo a tape return, simply press FLIP and PFL down. Some engineers make a practice of playing back the newly recorded material after every pass. This will allow you to hear if any audio or acoustical problems are emerging, such as improper tuning, voicing timing errors, etc. If problems are found, correct the cause and re-record the track. While certain tonal characteristics can be equalized and adjusted later, many problems are impossible to "fix in the mix”. a a ae fa ————]—— a USING SOLO SOLO is another feature that allows you to concentrate on just one input at a time:without changing any other mixer settings. The difference from PEL is that SOLO affects the STEREO OUTPUTs. it ba- sically says, “mute everything except the channel push.” ' 1. Press the SOLO/SAVE key. "SL" will flash in the number display showing the "solo ready" mode. 2. Press any MUTE/SOLO switch. All other channel mutes except that one will go on, and the "St" will turn solid. In this mode, any channel's key will "solo" that channel. 3. To leave SOLO; mode; press the, SOLO key again. The mute settings: will return to whatever scene you were in-before soloing... .....i.. + es DOE kN Ar; E SEO LON Y Note: If the M-2516/2524 is MIDI-controllable and receives any recognizable MIDI commands or messages, it will leave the SOLO mode. and go directly to the scene commanded. {See p. 22) LR SAVE 15 Operations Guide: Mixdown Once the multitrack master tape has been com- pleted, the next step is to mix it down to a standard two track stereo format. The procedure is a reverse of the direction signals took during tracking: instead of going TO the multitrack, signals come FROM the multitrack. Typically, you want to bring signals through the main mixer channels so they can be EQ'd and processed. This is the job-of.the FLIP.switeh--press..it .to..bring .tape-to=the=MAIN charinel; and mic or line “flips” up to the MONITOR channel. В To mixdown to stereo: 1: Press FLIP on'all the tape channels. Assign all the:MAIN channels to L:-Rz .‘ Press MONITOR M T au. ! AA the MONITOR fix. - = . 4. Press 2TR (EXT) in the Control Room section. ‘ denna LAY, N Note that the MONITOR coritrols are still feeding the stereo mix. Unless you are using them for MIDI instrument inputs or effect returns (see Double Inputs, below), make sure they are muted or they will add noise to the mix. Indfact=any-nusedfaders - should:besmuted. - During mixdown, press 2TR (orEXT) in the Control - - Room source select switches. This allows you to verify that signal is indeed reaching the recorder. You may have to place the deck in REC READY, : REC PAUSE, or INPUT to hear it. If you have the inputs of the two-track calibrated-properly, themes ters: of the-deck a nd the L-R meters. of-the M-= 2516/2524: will track properly: If you press the METER SELECT switch down/CR, and 2TR is the control room. source; the L-R meters will reflect the output level of your two-track. Note that if you “PFL" channels- during-a mixdown, this will NOT affect the stereo output to the two track. RElsis=usefulsduring=mixdown-10=gel:2-CUe from.a:track.before-vou=bring-it-in; For example, PFL a muted vocal track, and UN-mute it after the singer clears her throat befgre an entrance. SOLO is useful for checking the mix, though it will affect the stereo output, for example, soloing two guitars "to see if they balance ‘each other in the stereo image. 16 JTE/SOLO ‘switch to. mute - Mixdown with double inputs: | If you have a large number of MIDI virtual tracks and effect returns, or other sources in addition to tape tracks at mixdown, you can use the MONitor Level controls as additional inputs. FLIP ‘brings the tape return to the MAIN fader, and either the MIC or: LINE input (whichever is connected) to the MONitor control. To use AUX 1-4 as effect sends; disconnect the headphone amp from AUX 1-2 jack-and répatch those outputs to an effects device instead. The Aux 1-2 will act as an effect send from the MAIN fader. В - Е - Вы ‚= ЛО бб; EE " E E ri HITT 5 TEE TER Typically; the.groups. have no-use:in a mixdown. ‘However, you can use them to subgroup when you havé a large number of input channels Which must be controlled through oñe fadér:as'a group at mixdown. This subgroup gets to the stereo mix via the MONITOR channel's GRP source capability. - a 1. Assign the MAIN channéis you want to a-group, “and NOT to-L-R directly; For example, if tracks 1-10 are all drum: tracks, assign channels: 1-10 to Group 1-2. « «es en ee eee 2. On the first two MONITOR of the highest 8 channels (9-10/17-18), press GRP as the monitor sourcé. 3. Turn the first GRP monitor PAN hard left, and the second GRP monitor PAN hard right. 4. Bring the two MONitor controls to the “2 o'clock” position. 5. Bring the Group 1 and:2 Master Faders to their nominal "0" positions. | 6. Play tape, set the MAIN channel PANs 1-10 to the desired positions, and get the mix you want on the channel faders. When you want to change the level of the entire drum group, you can move either the group master faders (which we recommend, because they're easier to adjust), or the MONitor controls. To mute the entire drum group, press the MONITOR MUTE/SOLO switch above the master fader. Be —...… .… a $ baren ne = бя rea ———— i оне General Procedures: Using the Equalizer EQ can be used to change the tonality or timbre of a signal in an individual channel of your mixer. There is no specific control setting we can ad- vise--the subjective art of applying EQ must remain the responsibility of the person performing the mix There are 3 bands of equalization in the M- 2516/2524 and the EQ points were chosen for the most musical sound and are useful on a wide variety of signals. The top control (HIGH) is a "shelving” type of control. This means there is a gradual increase or de- crease from-approximately 2.5-kHz-to 10 kHz, and frequencies above that point are ail boost or cut by the same amount. This affects the relative bril- liance or brightness of the signal, similar to a "treble" control. The next band (MIDFis a peak-and-dip type with a variable frequency, sometimes called a semi-parametric or sweep-type. There are two controls. One determines the. centen:frequeney of the affected band while the second.determines the amount-of-boost:or-cut:applied-to:the=band. it can boost or cut by 15 dB. The center frequency can vary from 420 Hz to 13 kHz. The "Q" or bandwidth varies depending upon the amount of boost or cut. The next band (LOW) is similar to MID, except it covers the frequency band centers from 42 Hz. (actually low bass) to 1.3 kHz. If EQ is desired, begin by determining which band _ requires. alteration. Keep in mind that there are. twosways:to: alter the. tonality. of a signal using EQ. One isto boost.what you want to hear, the other is to cut=what you. don't. These two opposite ap- proaches can both be effective depending on the situation, and sometimes can be combined. For example, if a vocal signal is a little too heavy, you could either reduce the low frequency content, or increase the amount of mid or high frequency sig- nat. + The technique. of using the sweep EQ is simple. # Adjust the GAIN contro! of the band so there is an exaggerated amount of boost or cut, then slowly sweep the FREQUENCY control through. its entire range. As the control is turned, you will hear the change in the signal's content. When the desired frequency is isolated, set the GAIN to the desired level. A few trials with different signals will give you a feel for the M-2516/2524s capabilities. The EQ bands perform in an interactive way. It is possible to raise the 10 kHz treble shelving control, and then cut the MID at a certain point to remove an undesirable overtone. Remember, though, that you can't put back what isn't there ‘in the first place. Boosting the treble on a synthesizer that has no signal above 7 kHz only boosts thé noise of the synth; Not amount of tonal change can correct instruments which are out, of tune or signals which are distorted. Proper EQ can lower noise in a mix. Improper EQ can cause distortion. Note thatthe. OL light is post-EQ; if a TRIM is set high, increasing EQ can make the light go on because it is adding gain to the-signal.- If this happens, simply lower the trim {or be more reasonable with your EQ setting): Of.course-sométimes:the- best EQ isno-EQ. LS not=needed, bynass.the.unused electronics by setting all controls to. the | 42:0clocke:positipn. In some cases, even more control is needed. Octave equalizers; . 1/3 octave equalizers, notch fil- ters, and full parametric EQs (such as the TASCAM PE-40) can be inserted into the signal path via the . INSERT jack, when the on-board EQ of the: M- 2516/2524 needs to be supplemented. Usually this is in cases when a signal has particular noise bands {such as a 60 Hz hum) that need to be filtered out. 17 General Procedures: Using Effects Effects and signal processing allow you to develop your own unique recording style. But because there are so many possibilities, it can also be con- fusing. There are many different effect units on the market, all with different controls, types of inputs and outputs, and other characteristics. Read the manuais of your signal processors, and the following section to get the complete story of what's possible in your own studio. | Inline processing The processing that's easiest to deal with happens before a signal ever enters the M:2516/2524. If a musician plugs his instrument directly into an effect device, and you plug the output of it into the console, the whole signal gets processed and only one instrument can use that processor. This is the typical use of effect pedals for guitars. [ Insert processing = | . | This is closely ‘related to the above method, and is typically -used -for compréssors; limiters, and equalizers. Each channel, the output groups, and the stereo sends have special two-way send/receive jacks called INSERT jacks: Each has the effect of inserting a signal processor into the signal path. In ‘the channels, it is post-EQ, pre fader; on the group and stereó outputs it is’ post-fader, just-béfore the output jack. Whatever signal is:travelling down that path gets diverted-out of theinsert:jack; sent:to its owh individual signal processor, and réturned to the path it:wás on: This requires a special Yzcable.with a stereo 3-conductar TRS:{Tip-Ring- Sleeve) phone plug on one end; split to-two cables. with mono plugs, one for the input (send) to the device and one for the output (return). The TASCAM PW-2Y and PW-4Y can be used for this purpose. Using INSERT for processing has the limitation that only one signal can use a processor at a time. The advantages are: : 1. The signal at the jack has already been pream- plified and equalized. This means you can put a microphone signal through a line level processor (most processors can't preamplify microphones by themselves). 2. It's easy to move a processor from one channel to another, just by moving the insert cable from one jack to another. It's also easy to disconnect the, effect by simply unplugging the insert cable. 3. Certain devices, notably graphic equalizers and compressor/limiters, are designed for in-line or insert use, dedicated to one instrument at a time. if a signal is compressed, ALL of it must be compressed {unlike reverb, where a mix of reverb and original signal is usually needed). 18 4. It's possible to have as many different effect devices going as you have channels--there is no limitation due to the number of auxiliary sends on a console. For example, if there is a reverb setting only designed for a snare drum and not intended for anything else on the console, the insert jack may be the place for it. a >= al INSERT R . 8 = Т ==, T — Tip, send signal R — Ring, receive signal $ — Sleeve, ground [ sendreturn-auxiliary tix processing | This is the most common method of effect processing, especially for reverb and delay. - It:allows «a number. of.different .channels:to use: the-same ef- fectawhile allowing.you.to control. haw.much effect is mixed with each channel. All input channels have access to four Auxiliary sends that can be used as effect sends. The Aux outputs can be connected to four different effect devices. The processed signals from the devices can come back into the mix via the EFFECT RETURNS, or.a regular line input. in either case, they can only be heard or recorded if the processed signal is assigned to L-R or an output group. This whole path-from the auxes to the processor and back into the console--is called an effects loop. The Aux system controls how much signal goes to the processor, and the effect returns control how much comes from it. See p. 9, "Auxiliary mix" to see a diagram of the signal flow through the Aux system. | À A ba a aaa Ve um A em Setting Effect Send Levels The goal is not to distort the device, while staying above the noise that effect units often generate. To get the best signal-to-noise from most signal processors, you should send it as strong a signal as it is designed for. With a properly set input signal (reading 0 dB on the meter when faders are set to nominal), the AUX will send the same level (nominal, 0 dBu} to an AUX OUTPUT when the channel AUX is fully turned and the AUX MASTER is set to approximately 2 o'clock. If your effects device has an input level control of its own, it should be set so the meter or signal light of the effects device is just under the overload point when the M-2516/2524 is sending its peak signals. . When you want to hear or record less effect overall, make it a rule to reach for the EFFECT RETURN first, not the AUX MASTER. When you reduce the effect return, you are also reducing whatever noise that effect device contributes to the mix. If you cut down- the Aux send, you -are reducing the sie nal-to-noise ratio through that: devices: Setting the output: level of effect devices Poo If the effect send level has been set Sropériy, in most cases the output level of the signal processor should be set to its nominal {unity gain) setting, or alternatively set it as high as possible without clipping the Effect Return of the M-2516/2524 while keeping a reasonable range of control on the fader. If you can get the effect sound you want with the Effect Return (or other fader) set near 0 dB, that's ideal. On the other hand, if your mix is drowning in effects even when the. Effect Returns are in the low - part of their range, turn down the output level of your effect device. Some effect units have rear panel switches setting input and output level ranges between "+4" and "-20 dB”. in this case, try setting the input to -20 (high sensitivity) and the output to +4 (full output level) to start. Setting the mix/balance control on effect devices If a device is being used in a send-return auxiliary mix, set its mix/balance control all the way to "wet”, or fuli processing with no direct original signal. in send/réceive processing, the “dry” (original unpro- cessed) signal goes down the channel path to be mixed with the effect return signal on a group or stereo master. Therefore, you don't need any dry signal coming to the effects return. The mix balance control is set toward "dry" only when you're using the effects device at the INSERT jack or as an in-line processor. How to connect effects devices There is no absolute “right” or "wrong" way to do this--there are several ways, each with its own con- sequences. ; - prete LEFVMOHO O. LEFT RIGHT This is the most common method. AUX 1 feeds a reverb unit, which has a synthesized stereo output patched into EFFECT RETURNS 1. It would be used for effects off the monitor. AUX 2 feeds a chorus device with a à stereo output patched. into EFFECT RETURNS 2. - - To record effect onto a track: Simply assign the EFFECT RETURN to the group of the track being recorded and adjust the controls for the sound you want. To hear effect in the control room but not record it: Assign the effect return to LR orily. " om “= H = dea To put effect into the Aux for performer cue: Assign the effect return to an unused group, (for example, Group 8), press GRP 8 as the MONitor source, and turn the corresponding AUX 3-4 to left/MON. Remember, the AUX 3 and 4 gets signal from the post-fader point, as you turn the Group 8 Monitor control for your own needs, it will affect the send to AUX 3-4 headphones as well. See p. 14, "Cue setting: Group Output Cue” for more information. 19 Stereo from Mono sends: Please note that while many effects units have stereo outputs and inputs, in most cases they are not "true" stereo with separate processing on each side. The stereo inputs are designed to preserve stereo on the dry signal only on such units. In fact, the stereo inputs are typically mixed to mono, then run through a digital unit that creates a synthetic stereo reverb image. So there is no need to use two auxiliaries 10 feed such a unit-a single mono send will be converted by the unit into a stereo image. You do need to patch the outputs to separate effect returns, however, and pan them to opposite ‘sides = of the mix to get the stereo.effect..-—- —-. с Using line or tape inputs for effect returns: ‘If the four effect returns aren't enough, you can patch the output of effects devices either into an unused tape return or a line input. If you patch to a tape return, you will be able to monitor the effect return on the MONITOR control when FLIP is up, or send it through the main channel for monitoring (by assigning the channel to L-R} or recording (by assigning it to a group) by pressing FLIP down again. . If you patch to a Line input, you have the added. . feature of a TRIM control so you don't have to reach back to the output level of the effect device. Also, depending on the position of FLIP, you can add EQ to the effect return. in either case, be cautious of one thing: Make sure the AUX pots of the channel you're returning to are set to the center "off* position, if that aux is feeding the same «effect. device.- Otherwise,.:yqu will be sending the .output- of-.the effect device back to itself, which is, a kindof feedback. : If the effect I device is a digital delay. this feedback-has the same effect as a regeneration (number of echoes) control; in other cases it can cause real feedback. Using the Scene - adas ru a eE.) 1 consoles: Mute Automa О, В +. on and off simultaneous il. “ k Um AA CIN FIA inf > For-exampl e,.you may have a rack of synthesizers Alternative Methods In addition to the standard methods earlier in the manual, here are some other ideas you may want to try: Mixdown to Control Room outputs: If for some reason you need a lot of PFL in a mix, repatch so the CONTROL ROOM stereo output is feeding the two-track instead, and connect the control room amplifier to the outputs of the two-track. This way, PFL will affect the mix. Use in PA applications: It's much easier to use a recording console for PA than it is to make a PA console work for recording. ' Since there are no tape returns, the Monitor section becomes either extra. inputs, or an independent stage PA feed (again, by wiring the on-stage mix to the STEREO outputs, and thé house PA being fed by two output groups.) It's a simple matter of substituting stage monitor amps for headphone amps; and giving the operator a ‘headphone amplifier fed by the CONTROL ROOM output, so he/she can use the PFL facility that's so necessary when mixing "live". The XLR outputs of the console are set to 0 dBu (.775 volts), the nominal. input needed for most power amplifiers. | " ВЕ “* The M:2516/2524 has a feature usually found-only-on:much more expensive | tion: This allows yowuto:turn: many different channels ly at:the touch ofone:Dutton: ==: jer #0 oe € that isn't-used-onsone ... |. . particular song; just an acoustic piano. You can set up a SCENE, a “snapshot” .. setting.which-mutes all the synthesizers, leaving only the piano mic on. This . ue CE |... way, the hiss and output noise of the synthesizers doesn't get in the way, but you leave the.volume settings alone. What's more, you can go from scene to scene by external MIDI Program Change commands. Theresare 99 scenes-in-the-M-251 6/2524, each.of which can hold.a “snapshot” of the=mute switches. OQther-settings (volume, effécts send, EQ) are-not- automated,.and aren't reset when you change scenes. 20 | Storing a Scene in Memory MUTE? el | SOLO RECALL SHIFT STORE — 1. First, find an "empty" scene, one that has no mutes stored in it by pressing UP/DOWN or the numeric keypads then RECALL/STORE. 2. Press the MUTE/SOLO switches you want. The scene number will start to flash, showing that the. mute settings are different from what's in the original scene. 3. Hold SHIFT and press RECALL/STORE. The scene number will light solid, and you have now written the mute settings into the M-2516/2524's permanent memory. See p. 35, "RECALL/STORE" and "SCENE/SCENE OFF" for more details on features of these keys. Recalling-Scenés * O Jeers El RC-60P SHIFT SCENE CLR . Using the front panel controls: As Using. the numeric. keypads to. enter a 2-digit scene number to recall. Or you can use the UP or DOWN key. The scene number will flash, showing you that the scene hasnit-been recalled yet. 2. When you find the number you want; press RECALL/STORE. The mutes will instantly change to the settings. of that scene. Using the REMOTE ‘UP/DOWN footswitch: The optional RC-60P footswitch can be connected to the REMOTE UP/DOWN jack on the rear panel. When pressed, it has the same effect as pressing UP or DOWN and then RECALL. The RC-30P footswitch can send only the UP .and. RECALL commands at a.time.. MIDI Features: Any method of recalling à scene memory will also send a MID! Program Change command to the M-2516/2524's MIDI OUT jack, if the MIDI PGM CHANGE channel number is not set to “off”. For more information, see p. 22, "Sending MIDI Program Change Commands”. To Clear a Scene: If you want to clear all mute settings from a scene, recall the scene, then hold SHIFT and press CLEAR/SCENE CLR. To copy a scene from one number.to another: Especially if you are using MID! patch change commands, you may v want to have a series of scenes that have the same -settings. . . 1. Go to the scene you want to copy, and press-RECALL/STORE. 2. Then go to the scene number you want to replace. The scene number will flash. 3. Hold SHIFT and press RECALL/STORE. The scene number will tight solid. At any time during this operation, you can press CLEAR to return to the original scene unless you have actually copied the scene. 21 Using the MIDI Features of the M-2516/2524 There are a number of ways to use MID! with the M-2516/2524. You don't have to use any of them, if you don’t want to. But you should be aware of the possibilities. You can: * Use an “UP/DOWN® footswitch to issue Program Change Commands to your MIDI instruments from the M-2516/2524. * Send Program Change commands from a MIDI keyboard or other controller to change scene numbers of the M-2516/2524. * Use either Note messages or Control Change commands from a keyboard or sequencer to individually mute and unmute the channeis of the M- 2516/2524. * Set the MIDI channel of each MIDI command and message so M-2516/2524 will send and receive commands/messages on any MIDI channel. Transmitting MIDI Program Change commands from the M-2516/2524 | LOAD SCENE SCENE OFF 22 Hookup 1. Connect a MIDI cable from the MIDI QUT of the M-2516/2524 to the MIDI IN of the instrument. 2. (Optional) Connect the RC-60P or RC-30P footswitch to the REMOTE UP/DOWN jack of the M-2516/2624 (Otherwise, you may use the UP and DOWN or the numeric keypads then RECALL on the M-2516/2524 directly ). x... Setting the MIDI Channel of the Program Change commands 3. Press the PGM CHANGE/LOAD key. The SCENE LED will turn off and PGM CHANGE LED will turn on. Now you're in MIDI Program Change channel setting mode, and the number display will show the current MIDI channel of the Program Change commands: . (omni) on, 1-16, or off. 4. Find out what MIDI channel your instrument is sending/receiving on (the — default setting is usuálly channel 1). Check the owner's manual of your — instrument if you don't know how. 5. Using the UP and DOWN keys, set the MIDI channel of the M-2516/2524 to the channel of your instrument. NOTE: In this procedure, you're setting both the send channel and the receive channel at the same time. a) When you set it to {omni} on, the M- 2516/2524 transmits the Program Change commands on channel 1 and recognizes the commands on all sixteen channels. b) When you set it to any of 1-16, the M-2516/2524 transmits and recognizes the commands only on the channel you've set. c) When you set it to off, the M-2516/2524 does not transmit and recognize the Program Change commands on any channel at all. 6. When you finish, press the SCENE/SCENE OFF key. The number display will go back to showing the scene number, and if you set the MIDI Channel to on or any of 1-16, the PGM CHANGE LED will stay on solid. ws mg Check Operation 7. Press the UP and DOWN keys then RECALL, or the footswitch. Your instrument should change programs at the same time the M-2516/2524 changes scenes. Note about Program Numbers The MIDI spec calls for 128 different program change commands, 00 through 127. The M-2516/2524 can transmit and receive 00 through 99. Each instrument interprets the Program Change command in its own way; for exampie, a Roland synthesizer receiving an "00" command may go to its patch "A-1"; a Yamaha synthesizer receiving a "33" command may go to its patch "Cartridge 01". Many synthesizers have only 64 patches; they may ignore patch commands above 64. Experiment with your setup and read your owner's manuals to take best advantage of the patch change feature. Changing scenes via external MIDI commands | Just as we used the M-2516/2524 to send commands to the synthesizer, a synthesizer can send commands to the M-2516/2524 to recall scenes. Hookup HA Ti EA 1: .Connect a MIDI cable from the MIDI OUT of the instrument to the MIDI IN of the M-2516/2524. : Setting the MID! Channel 2. H you're using the same equipment as in "Transmitting: MIDI Program Change commands from the M-2516/2524", there's no need to set the MIDI Channel for receiving Program Change commands. If not, proceed as in the previous procedure. Remember, on the M- 2516/2524 setting the MIDI channel affects both .transmiiiting and receiving. ' "Check Operation 3. Press the program change key on your instrument. The M 2516/2524 should change scenes at the same time your instrument changes programs. MID! PGM No. M-2516/2524 00 | Scene 01 01 Е 02 02 — | | о 97 98 98 99 99 ~ 127 ignored 23 | Controlling mutes with MIDI Note messages | CTAL CHANGE SCENE OFF 24 2) о in addition to changing from scene to scene, the M-2516/2524 makes it possible to mute individual input channels with MIDI Note messages. To experiment with this, you must have a velocity-sensitive keyboard capable of sending notes 1436-51 and #60-64. (for the M-2524, this will be #36 through #64. See table on page 25.) Hookup roe 1. Go. through the "Changing scenes via external MIDI commands” procedure above for hookup. | Setting the MIDI Channel of the Note. messages ` 2. Press the NOTE/CTRL CHANGE key. The SCENE LED will turn off and NOTE LED will turn on. The number display will show the current MIDI channel of the Note messages: (omni) on, 1-16, or off. 3. Find out what MIDI channel your instrument is sending/receiving on {the default setting is usually channel 1). Check the owner's manual of your instrument if you don't know how. 4. Using the UP AND DOWN Keys, set the MIDI channel of the M- 2516/2524 to the channel of your instrument. NOTE: in this procedure, you ‘re setting | both the send channel and the receive channel at-one time... = a a) When you set" it to {omni) on, the M-2516/2524 transmits the Note messages on channel 1 and recognizes the Notes on all sixteen channels. - : b} When ‘you set it to any of 1 16, the M-2516/2524 transmits and recognizes the messages only on the channel you've set. c) When you set it to off, the M-2516/2524 does not transmit and recognize the Note messages on any channel at all. 5. When you finish, press the SCENE/OFF key. The number display will go back to showing the scene number, and if you set the MIDI Channel to on or any of 1-16, the NOTE LED will stay on solid. Check Operation 6. On the keyboard, hit C2(#36) harder. The M-2516/2524 channel 1 mute should go on. 7. Press C2{#36) softly, and the mute should go off. This procedure should work for each note going up the scale (C#2, #37, will turn on/off mute channel 2, etc.) In most applications, you will not directly address the M-2516/2524 this way “Instead, a sequencer will issue the note messages of different velocities to change the mute settings. Also, the M-2516/2524 issues its own note commands, sO you can write a sequence by “playing” the mutes of the M- 2516/2524 into the sequencer. The Note On message is followed very quickly by a Note Off message; if you hook the MIDI OUT of the M-2516/2524 to a keyboard, you may be able to hear the short notes that result when you press a MUTE/SOLO switch. To tura Note Muting feature off: Go through steps 2-5 above, leaving the display in the "oF" position. Transmit MIDI Note # (key) MUTE/SOLO MIDI Note # (key) - MUTE/SOLO 36 (C2) Input Channel 1 52 (E3) Input Channel 17 |` 37 (С#2) . 2 53 (F3) 18 38 (D2)-- 3 | -| 54 (F#3) 19 39 (D#2) 4 55 (63) 20 | | M-2524 40 (E2) 5 56 (G#3) 21 | | Only 41 (F2) 6 57 (A3) . 22 42 (F#2) 7 | | 58 (AM 23 43 (G2) _8 | ¡59 (637 24 44 (G#2) - 9 |: |.6Q.104). = EFFECT RETURN. 1 45 (A2) 10 61 (C#4) 2 46 (A#2) _ 11 | | 62 (D4) . 3 47 (B2) 12 | |.63 (D#4) 4 48 (C3) 13 64 {Е4) MONITOR MASTER 49 (С#3) 14° | Tn 50 (D3} is 51 (D#3) 16 - Cra 'MUTE OFF: --—> Note On Velocity 32 MUTE ON -—-> Note On Velocity 96 Receive Note On Velocity 01 ~ 63 -—-> MUTE OFF Note On Velocity 64 - 127 ——> MUTE ON Note On Velocity 00 -——> Ignored | TE NE N 25 | Controlling mutes with MID! Control Change commands NOTE | © [| SHIFT CTRL CHANGE 26 For advanced operation, the M-2516/2524 also accepts MIDI Control Change commands to mute individual input channels. If you don't have a velocity- sensitive keyboard, this might help. NOTE: When you control mutes with external MIDI devices, the M-2516/2524 accepts either Note messages or Control .Change commands. Setting MIDI channe! to {omni} "on" or any of 1-16 activates the corresponding feature and automatically turns off the other. Hookup . =: -1--Go through the "Changing scenes via external MiDl. commands”. procedure above for hookup. | Setting the MIDI Channel of the Control Change commands 2. Hold the SHIFT and press the NOTE/CTRL CHANGE key. The SCENE LED will turn off and CTRL CHANGE LED will turn on. The number display will show the current MIDI channel of the Control Change commands: (omni) on, 1-16, or off. 3. Find out what MIDI channel your instrument is sending/receiving on (the default setting is usually channel 1). Check the owner's manual of your instrument if you don't know how. 4. Using the UP and DOWN keys, set the MIDI channel of the M-2516/2524 to the channel of your instrument. | E. NOTE: In this procedure, you're setting both the send channel and the receive channel at one time. | ‘a) When you set it to (omni) on, the M-2516/2524 transmits the Control Change commands on channel 1 and recognizes the commands on ail sixteen channels. b) When you set it to any of 1-16, the M-2516/2524 transmits and recognizes the commands only on the channel you've set. cd When you set jt to off, the M-2516/2524 does not transmit and recagnize the Control change commands on any channel at all. 5. When you finish, press the SCENE/SCENE OFF key. The number display will go back to showing the scene number, and if you set the MIDI Channel to on or 1-16, the CTRL CHANGE LED will stay on solid. NOTE about Control Change commands Most MIDI keyboards transmit/receive Control Change commands in their own ways. Check the owner's manual of your instruments. As we said in the Note muting procedure, in most applications, you will not directly address the M-2516/2524 this way, either. Instead, a sequencer will issue the Control Change commands, so you can write a Control Change sequence by “playing” the mutes of the M-2516/2524 into the sequencer. Make sure that no instruments get the M-2516/2524 Control Change commands. Because the Control Change commands are usually used for controlling the tone setting in the instruments, it may have unexpected effects on your instruments. To turn the Control Change Muting feature off: Go through steps 2-5 above, leaving the display in the "of" position. . | MIDI CTRL No. (hex) | MUTE/SOLO | | MIDI CTRL No. (вех) | MUTE/SOLO 00 (00H) . — Linput-Channel- 1]..] 16 (10H) Input Channel 17 |) 01 (01H) EE o 18 02 (02H) e 3) sam. 19 03 (03H) 4 | | 19 (13H) 1 20 | | M-2524 04 (04H) 5) [200714 — 21 | | Only 05 (05H) 6| [210154 — 22 06 (06H) 7 22 (16H) 23 07 (07H) 8 23 (17H) 1 24 | | 08 (08H) 9 | 09 (09H) 10 | | 80 (50H) = EFFECT RETURN 1 10 (OAH) 11 | | 81 (51H) E 2 11 (0BH) 12 | | 82(52H) | 3 12 (ОСН) 13 | . | 83 (53H) A 13 (ODH) 14 88 (58H) | MONITOR MASTER 14 (DEH) 15 15 (OFH) 16 Transmit |. MUTE OFF —> Control Data 00 (00H) MUTE ON --> Control Data 127 (7FH) - yo a a E AE aa e A e A E A ее но = Receive Control Data 00 (00H) - 63 (3FH) —> MUTE OFF Control Data 64 (40H) - 127 (7FH) -—> MUTE ON 27 MIDI Mute Automation Mute automation means that you can turn the mutes of the M-2516/2524 on and off automatically at certain points in a sequence or recording. With it, .you can make sharp cut-offs or drop-ins of any signals going through the mixer. You can lower the overall output noise of a mix by muting channels that aren't being used during particular passages. This is done by connecting a MIDI sequencer to the MIDI input of the M-2516/2524, and issuing MIDI instructions from the sequencer that tell the M-2516/2524 to turn channels on or off at certain points in the song. Two Ways to Automatically Mute When you want to use the mute automation features of the M-2516/2524 to decide which of two methods (or combination of methods) you're going to use for the M-2516/2524 to receive instructions from the seguencer. Program Change Mutes is similar to the method you use when you press the numeric keypads or UP and DOWN then RECALL on the faceplate of the M- 2516/2524, or préss the UP/DOWN footswitch. You set up a series of scenes, each one with the mute setup you want. These scenes can be recalled via a MIDI Program Change command, the same command that tells a synthesizer to change from one "patch" or voice setting to another. Like 10-key entry, MIDI commands are numbered, so you can change the setting of the M- 2516/2524 from any scene to another (for example, from 04 to 27) directly. By inserting Program Change messages into your sequence that are on the _ same MIDI channel as the M-2516/2524, the sequencer will control the scenes, o recalling them as à series of "snapshots”. Dynamic Automation doesn't use scenes. Instead, it is possible to turn channels of the M-2516/2524 on and off individually via MIDI Note On/Off messages (or MIDI Control Change commands). Instead of moving from “patch to patch”, it's as if you were playing the MUTE/SOLO switches like the keys of a synthesizer--individ ually. The Steps to MIDI Automation 28 | To use MIDI automation, there are a few things you have to do first. 1. Set the MIDI channels the M-2516/2524's corresponding feature will send and receive on. These must be different from any other instruments on the system. You set both send and receive channels: at one time. 2 If you are using SCENE automation, you need to set up the scenes according to your plan and make a list of which scenes mute which inputs. You must "record" the sequence that will control the M-2516/2524. You may be able to enter commands one by one, or you can transmit MIDI commands and messages into the sequencer by "playing™ the mutes and scene changes. 4. The final stage is playing back the MIDI information into the M-2516/2524, from the sequencer. Transferring All Scenes | Saving All Scenes to MIDI Data Filer or Suitably Equipped MIDI device 5050 SHIFT SAVE 1. 2 3. * Connect the M-2516/2524's MIDI OUT to your MIDI filer‘s MIDI IN. Hold SHIFT and press the SOLO/SAVE key. "SA" will appear in the number display as the scene data is sent out (as MIDI exclusive messages) to the MIDI filer. When saving is through, "SA" will switch back to the scene number. Operate the filer to save the received data as per instructions in the manual of your filer. | Loading All Scerie Data from MIDI Filer || + SHIFT LOAD Connect the M-2516/2524's MIDI IN to the MIDI filer's MIDI OUT. Hold the SHIFT and press the PGM CHANGE/LOAD key. "Ld" will appear in the number display and the M- 2516/2524 waits for the MIDI exclusive message. | . Have the filter start sending out the scene data. Or, if: your MIDI data filer . recognizes the MIDI Dump Request command, press the RECALL/STORE —: key on'the M-2516/2524. ‘When the MID! filer receives the Dump Request J command, it starts sending Exclusive messages automatically. When loading is through, “Ld” will switch back to the scene number. If there's. any error in the received messages, "Er" will appear in the display, instead of the scene number. Clearing the Scene memory | RESET CAUTION: If you have customized any scenes, 07 thru 99, they will all be erased by the following procedures. If you want; save them first on tape or MIDI fi ler as per instructions above. If you want to.ciear all the scenes in memory, press the RESET switch i in the ‘rear panél, using a toothpick, etc. This will reset all’ settings you made back to o default, including the MIDI channel. . Tera DEL JPA Lan or 29 Features and Controls 30 8 9 6 8 2 2 © SS 3 3 3 6 ; 3 # . E - ы in = ; lá — Buss 7 Ted E — L/R Max A nen Fa *, Froud FV input channels PAD: This inserts a 30 dB pad (which greatly reduces the volume) in the MIC and LINE signal paths, so that these inputs can be used for unusually high-level signals. For example, with PAD on and the TRIM (42) at minimum, the MIC connector can be used for balanced line- level signals (nominal input level +4 dBm or 1.23 volt). : TRIM: This sets how much preamplification there is on the MIC/LINE inputs of the channel.. it should be set high enough to amplify the source above the noise floor of the electronics, but notiso high. that it distorts them (indicated by the OL LED in the channel). The gain range of the TRIM is 41 dB: when the TRIM is set all the way to the left, the maximum input level is -26 dBm/MIC (0.05 V) and -9 dBV/LINE (0.355 V). When the TRIM is turned full clockwise it can amplify signals as low as -67 dBm/MIC (0.35 mV) and -50 dBV/LINE (3.16 mV} to nominal level. FLIP: This selects TAPE IN as the source of the. MAIN channel. However; at the same time, it sends MIC or LINE IN {whichever is connected) to the MONitor control. For example, if all the caonsole’s.ELIE.switches. aré<présséd. and all the LINE IN jacks are connected; all the main channel faders will be getting’ Signal from their respective tape returns, and all the MONitor controls will be getting signal from the LINE INput jacks. This:would:zbeiaztypical-mixdown patch; By releasing=FLIR..on.all.channels, the Main faders wouid be getting signal from the LINE INputs, and the MONitor controls would be getting tape returns, thestypicalspatehsfor oyerdubbing. So by pressing=FLIP, you are simply fiipping the inputs from one path to another, which. allows. you to -use the monitor section for extra inputs at any time, doubling the total inputs to the stereo mix. 2 ОШАНЯЕ: The following controls allow you to adjust the tonality of the signal going through the main channel only. They get their signal after the FLIP (#3) and send it on to the INSERT jack (#54) and. Main channel fader (#20}. For more information, see p. 17, “Using the Equalizer”. HIGH: This is a high-frequency equalizer, shelving type, with a hinge point of 10 kHz. MID Frequency: This changes the center frequency of the MID control, from a low of 420 Hz to a high of 13 kHz. The "Q" or bandwidth of the MID section is approximately 1.7, but varies according to the amount of cut or boost applied. 10. 11. 12. MID Amount: This controls how much cut or boost is applied to the band chosen by the MID Frequency control. At center, there is no effect {fiat response). Turning to the right amplifies the band, to a maximum of 15 dB. Turning .to the left cuts the band, to a maximum cut of -15 dB. LOW Frequency: This changes the center frequency of the LOW control, from a low of 42 Hz to a high of 1.3 kHz. The "Q” or bandwidth of the LOW section is approximately 1.7, but varies according to the amount of cut or boost applied.- LOW Amount: This controls how much cut or boost is applied to the band chosen by the LOW Frequency control. At center, there is no effect (flat response). Turning to the right amplifies the band, to a maximum of 15 dB. Turning to the left cuts the band, to a maximum cut of -15 de. AUX 1 and 2 controls: These control “how much signal will bé sent:to Auxiliary buss 1 and 2. They get their signal from a pointjust before (PRE) or after (POST) the Main channel fader (#20). 2 _ | Unlike most “effects” sends, the OFF: ‘positions of the AUX 1 and 2 knobs are the center.detent {12;6'clock). Turn to the right.of.: center to send “signal to AUX 1/2 from the POST:fader. point, or to the left.of..center to send signal to AUX 1/2 from the PRE-fader.pojnt. The, farther you turn them. either way, the louder it will be-if it is turned all. the way to the left, it's at full volume. AUX 3 and 4 controls: They are similar in operation to AUX 1 and 2, except they get signal from MONitor controls (411) or Main channel fader (#20) and send signal to Auxiliary buss 3 and 4. Similar to AUX 1 and 2, the OEF:positionsof the AUX 3 and 4 knobs are the center detent, £12. «o:clock).. Turn to. thé rightzof: center to. send signal to: AUX 3/4 from the ROST:faderspoint. of 4he-Mairchariñels, or to the left=of-center to send signal to AUX 3/4 from the POST-fader point.of:the-Monitor channels. The farther you turn them either way, the louder it will be. Monitor control: The input to this control is determined by the FLIP switch (#3);:MIC/LINE or. TAPEreturn. Regardiess=0fe -SOUTrce,.It always.feeds=thve STÉREO“E-R-mix, where it can be usedsas=a=control:roomsmonitor or as additional inputs to the final stereo mix. PAN (Monitor): This allows you to create STEREO L-R mixes by sending the monitor signal in continuously variable degrees anywhere to the left or right of the STEREO mix. 13. 15. 16. GRP (last.8:channels-only): This selects the corresponding Group Output (post-master fader). as the source for the monitor. This is used when you need to monitor a group mix before itis sent to the tape recorder. It can also be used to make mixdown easier by subgrouping many channeis onto one fader (see p. 16, "Subgrouping”). PAN (Main): This sends the output of the Main channel in continuously variable degrees to either side of the stereo mix {if L-R is pressed), or to odd-even sides of the Group Assignment switches (pan left for groups 1, 3, 5, and 7, pan. right for groups 2, 4, 6, and 8}. ‚A PAN controi is a combination "where-to/howsmuch" control, in that it controls both the level and direction of a signal. 3 . MUTE/SOLO switch and LED: This switch is an electronic on/off control. The red indicator lights when a channel is muted {turned off). The switch comes. before the Main channel fader (#20) and turns off signal tó the D.OUT, the AUX sends, and the Group/Stereo master. In the mute mode, press this switch to turn any channel off; press agaín to turn it back on. : Wheii, the. SOLO/SAVE=keyscis.-pressed on (shown by "SL" in the number display), pressing any MUTE/SOLO switch "solos*=that channel. by automatically, muting all the channels except the one you pressed. MUTE is typically used when you want to silence e a,channel without disturbing its volume and noise to some degree, and if YOu re-not using=certaininputs:for-a:-while, using. MUTE will, Make=your=soundacieaner. “SOLO-..is: typically. used when you want to coricentrate on. one. insttument--for ‘example, you have 5 synthesizers mixed together for a sound, but want to hear just one of them so you can adjust it. Solo:is-also useful if you've lost track of what. instrument is; plugged into which channel: ofthe’ M:251:6/2524. — MUTEs can be stored in presets called "scenes", so if- there's a particular group of - inputs you want to mute all at once, you can simply RECALL a scene, and do not have to push each MUTE individually. See p. 20, "Using the scene" p. 22 "Using the MIDI feature“, and p. 15, "Using Solo".- PEL switch and LED: PEL stands for "Pre-Fader Listen" and only the signal corresponding to the channel for which this switch is pressed can be monitored through the control room output. In this case, the signal before level adjustment using input fader (410) can be monitored. This function is valid during the mute operation. 31 17 18 19 20 17. 18. 19. 20. 32 MUTES of Js a PFL OL (Overload) indicator: This LED will ftash when the signal level in the channel (post-EO, pre-insert, pre-tader) is 25 dB over nominal {-10 dBV) level. This is 1 dB before the channel electronics will distort. If it flashes, reduce the TRIM. (#2) until it stops flashing. Group Assignment switches: These-assign: the..qutput.of..the Main channel fader to- anysof the..eight .output-group busses. Each switch is an odd-even pair, and the amount of signal sent to odd or even numbered groups is determined by the Main PAN control. They may be used in any combination. Note that even if "1-2" is pressed, no signal will go from the channel to Group 1 if the PAN (#14) is turned hard right/EVEN. L-R Stereo Assignment switch: This sends the output of the Main channel directly to the stereo busses, depending on the setting of the Main channel PAN (#14). . This is normally pressed for final. .mixdown, or ¡f the entire channel is being used for monitoring (see p. 15, “Multitrack. Recording and Monitoring”). Main channe! fader: This linear slide fader varies the level feeding the Main channel PAN control (#14) and Group/L-R Assignment switches {#18-19), and Aux 1-4 if they are in the post-channel position (right of center). The fader is set for unity, gain {level in =devel out) when.it-isset-at-the-"0-dB" level. When the fader is raised to its maximum, 10 dB of gain is applied to the signal. 28 29 MASTER Section 21. 24. EFFECT RETURNS LEVEL 1-4: These control how much signal from the effect return inputs will be applied to the EFFECT ASSIGN switches (1422-23) vía the EFFECT PAN control (3 and 4 only, #24). EFFECT RETURN 1 and 2 are stereo modules, so the LEVELs control both L and R input levels at one time. EFFECT RETURNS Group Assignment switches: These assign the effect returns to any of the eight output group busses. They work in the same way as the Main Channel Group Assignment switches (418). Press these switches if you want to tecôrd an effect onto the multitrack. Remember. that the EEFECT PAN. (#24).-has an effect on the assignment (only: ong. and. 4): EFFECT RETURNS L-R Stereo Assignment switches: These send the effect return inputs directly to the stereo busses, depending on the setting of the EFFECT PAN (3 and 4 only, #24). This-is -normally-pressed-for-final-mixdown. It can also be pressed during recording to bring effects into the control room monitor mix without printing them to tape ("monitor wet, print dry"). EFFECT RETURNS PAN (3 and 4 only): This sends the output of the channel in continuously variable degrees to either side of the stereo mix {if L-R is pressed), or to odd-even sides of 26. 26. rr STEREO — EFFECT RETURNS AUX SEND MASSERS CONTROL ROOM TALKBACK ' "CEver 1 FT PAL CR, LEVEL ‚, | В [mono Ся Buh |} AUX 3 [] SLATE | CJ PHONES | MONITOR” 27 the Group Assignment switches (pan left for “ groups 1, 3, 5, and 7, pan right for groups 2, 4, 6, and 8). Note that EFFECT RETURNS 3 and 4.. are MONO; but they may both be combined to make -an'additiorial stereo retum by turning 3's PAN left and 4's PAN right. EFFECT RETURNS MUTE/SOLO switch and LED: These work the same as the Main channel MUTE/SOLOs (#1 5). o "drys; and by. soloing the Effect Return. in: addi: tion, you will be able fo hear. just one instrument.and its effect. But if you solo a Effect Return, you will hear an effect only when the AUX sends get their signal from the MONitor channel, because all the Main channels’ AUX sends are muted. AUX SEND MASTERS 1-4: These are the last overali level controls for the Aux mixes. They get their signal from the AUX Level controls in the channels. The signal then goes to the respective AUX OUTPUTS jacks on the rear panel, and the AUX switches in the CONTROL ROOM section beneath. Adjust these AUX ‘SEND MASTERS far the correct level feeding your external effects device. The:riomrnal (unity: gain): setting for these corítrols 15 approximately *2:0:0l00ke= a SUM switches: These SUMs or combines the “ signal from the AUX 1 buss with the signal 27. 28. from the AUX 3 buss, and AUX .2 buss with the AUX 4 buss. These main applications are when you want to.send signal. from .both MAIN and... . MONITOR channels to the same effect unit. The SUMs take place before {pre} the AUX MASTER controls. MONITOR MUTE/SOLO switch: Similar to the Main channel MUTE/SOLOs (#15), this-switch mutes. -or-solds ‘the--mixed- signal from all the. MONitor: ‘channel controls at-once, Group 1-8 Master faders: These Adjust the total output level .of. all. signals assigned to a group. They get their signal from the Group ASSIGN switches (418) in the channels. They send signal to the 8 GROUP OUT ‘jacks оп the ‘ rear panel. They also send signal to the GRP switches (413) of the highest 8 MONitor channels. There is 10 dB of gain available on each Group when the Master Fader is full up. L-R Stereo Master fader: This fader adjusts the total output levei of the stereo signal. It gets signal from the Stereo busses, which are always fed-by-the-MONitor controls (411), and by -any-Main-channel-faders 1420) whose L-R. ASSIGN switch (419):is-down: They-send signal to the-STEREO QUTPUTS L-R Jacks.(both the unbaianced phone jacks and XLRs), the Control Room STEREO switch and to the METER SELECT switch (431). They are set for unity gain at the "0 dB" mark, and at full up apply 10 dB of gain to the signal. 33 CONTROL ROOM TALKBACK 33 PFL CR LEVEL, " »— 160) 36 E [eh 34 AUX 1 | 50 o 37 O90 METER RY Ce — on | 32 AUX 4 ext Gr [aden | PHONES O0000 T CONTROL ROOM and TALKBACK Section 30. 31. 32. 34 PFL level control and indicator : This.sets the level | you will hear. in the control room: when the indicator will light Typically it is set a little lower, since PFL signals are often much hotter than Solo signals because they do not pass through the Channel Faders. Note that the PFL signal comes from a channel just after the EQ and Insert points, and is mono. 2227 — METER select switch: ‘The L~R. meters above can.be.switched-between CR (Control Room) and:L-R- (Stereo):outputs;. ar LR: Thisisthe, most-useful.position, since it al- HA i, rE lows you to read the level of any. of the Auxiliary mix outputs, either of the External 2- track inputs, or the Stereo Qutput, depending on the setting of the Control Room source selection switch. Meter readings will be unaffected by the CR level control. Also, if the PFL level control is set to nominal, pressing any PFL switch will show that Main channel's input level on the meters. L-R: The meters will read the level appearing at the Stereo Output jacks. . PHONES Level: This controis the output level of the headphones built into the M-2516/2524 itself. This headphone mix follows whatever is chosen as the Control Room source. 33. 34. 35. 36. 37. 38. 39. 40. CR--Control Room Level: This sets the overall Control Room level, for CONTROL ROOM outputs. Ideally the amplifier input controls should be set so that full rotation of this control does not exceed the maximum level you want in the control room. ` MONO: This makes the stereo monitor mix into a mono mix. It is typically used in final mixdown. so the engineer-can check how the mix..will ssound when: played back on a mono system;such:aS"a-car radio... Control Room source select switches : These select the source of the Control Room mix {provided that no PFL source is on to override them). AUX 1-4: These allow you to hear the mix being sent to the AUX-QUTPUTS ja¢ks. Typically. they: re. used. when. you want to check thezmix being. Sent.torthe performers: ‘headphones, ora the. .mix being.sent to an effect ‚device. They are automatically mono. EXT: Press this to hear the output of an external device plugged: into the EXT IN jacks {typically-a:2-track: recorderzbut also. possibly a... reference CD player or other device). If you are mixing down to an unbalanced recorder, you will; probably: monitor: it here: during. mixdown. 21R:-«Similar-to:EXT--<press:tô-Heär- “the external:device: plugged: sintothe-2FRIN“jacks: STEREO: This is the typical:monitoring.position since-thezMONITOR: controls. feed the stereo mix: Jt connects the output of the Stereo (L-R) master to the control room outputs. TALKBACK LEVEL control: This sets the output level of the built-in Talkback microphone (#37). MIC: This is a built-in talkback microphone for communication. TALKBACK Assign switches: These assign the output of the built-in Talkback mic to two different outputs: SLATE sends the mic to all of the Group-Busses (1-8) .at once, so you can record an announce- ment on the multitrack recorder ("Take 3", etc). TB.sends.the-mic to thé. Studio. amplifier, even if the Studio switch i is off or the Studio Level is down. STUDIO Level: This setssthe.overall.Jevel of. the, Studiooutputs. The signal sent to the Studio depends on the setting of the Control Room source select switches (#35). Note that it does not affect the level of Talkback to the studio, which is set by the TALKBACK LEVEL alone. STUDIO ON/OFF switch: This turns on the... send:to-the-Studio-amplifier. Even if it is off, it is still possible to use the Talkback system to communicate with the. studio. 42 44 43 45 48 50 4 DOWN up 7 в 9 “ 5 # SCENE MIDI RECEIVE NOTE PGM CHANCE RECALL | | PGM CHANGE) - : NOTES $. Г Ls | — | - - CTAL CHANGE nt. IA, Cru CHANGE LOAG STORE ; [| | [| | B SCENE о SCENE | SANT | Le) © 49 41 | Scene Controls | | 41. 42. 43. UP and DOWN keys: scene numbers in the scene mode. These keys 44. 45. Scene number display: 2-digit LED display which shows the scene number or mode such as SOLO. Function LEDs: Five LEDs which show the settings and operating state of the scene controls. * SCENE: Lights in the scene mode. While this LED is lit, scene control and MIDI control are possible. , * PGM CHANGE: Lights when it is possible to control scenes using the MIDI program change. * NOTE: Lights when it is possible to -control mutes using the MIDI note messages. * CTRL CHANGE: Lights when it is possible to control mutes using the MIDI control change commands. . * MIDI RECEIVE: Lights momentarily when a receivable - MIDI commands/messages is received. ~~. = Lae Increment or decrement are also used when setting the -send/receive channel of each MIDI messages and commands. NOTE/CTRL CHANGE key: Sets the MIDI channel of the MIDI note information to be sent and received. If this key is pressed together with the SHIFT key (#49), the mode in which the MIDI channel of the MIDI control change information to be sent/received is set is entered. PGM CHANGE/LOAD key: Sets the MID! channel of the MIDI program change information to be sent and received. If this key is pressed together with the SHIFT key (#49), | save 46 47 51 the data load mode in which the scene settings of the M-2516/2524 stored in the external — module ás MIDI exclusive information are 46. fetchéd is entered.l SOLO/SAVE-key:. The key to enter the SOLO mode which permits independent monitoring ‘of each channel of the mixer and effect return 47. signal. If this key is pressed together with the SHIFT key (449), the data save mode in which the scene settings of the M-2516/2524 are sent to the external module as MID! exclusive information is entered. SCENE/SCENE..OEF.. key: Key to switch the display mode.over to the scerie. mode. ...If this key is -pressed together with the SHIFT key (449), the manual mode is entered in which the scene store/recall or control using the MIDI will be defeated. The solo function operates in the same way. — 48. .RECALEE/STORE key: „Key to recall the scene settings in the scene mode. If this key is presséd together with the SHIFT key (#49), the current muting state will be saved in the memory as a scene. - 49. SHIET key: Key used to access the secondary 50 51. CLEAR/SCENE CLR key: unction (labéled below) of éach control key. Press this key together with the control keys. . Numeric keypads: Used to enter numbers corresponding to scene numbers in the scene mode. Be sure to enter a 2-digit number. If, during the scene mode, the actual muting state differs from the memory contents of the indicated scene number (scene number flashes), pressing this key allows the mute setting to return to the last recalled scene. If this key is pressed together with the SHIFT key (449), the contents of the scene currently recalled will be cleared (erased). 35 57 r= GROUP SUTPUTS — ——— 1 ‘a ‘a ‘a CONTROL ROOM - 58 SUB MEPUTS 00 00 0% LIMONO — 1—— pe | AN, € R 62 63 IIR IN EXT IN Laas 7 en, y oe : EFFECT RETURNS PHANTOM POWER сей )н a =) L/MONO-—Z-——R 9982 59 61 Input channel connectors 52. MIC: 36 These XLR electronically balanced connectors are intended for connection of low- impedance microphones. also be used for line-level sources up to +4 dBm nominal level if the PAD and TRIM controls are set to minimum. Signais go from this jack to the PAD, TRIM, and proceed down the channel path. 53. LINE IN : However, they can - The PHANTOM POWER switch. {#63).applies 48:volt phantomspower.to pins. 2.and.3. of Ali MiE=connectors: Make sure the switch is OFF if any source except a phantom- -powered microphone i is connected. The pin assignment is: Pin 3 high, Pin 2 low, Pin 1 shield (ground). - These jacks are intended for unbalanced line level inputs (nominal signal level -10 dBY or 0.3 volts) such as synthesizers and other audio equipment. Signal goes from this input to the PAD and the TRIM control, and may be sent down the channel. if the nothing is connected into MIC. It will accept a minimum input level of -50 dBV when the trim is at maximum gain. The maximum input level, when the trim is at minimum, exceeds any practical line level input. Balanced signals may be connected to this jack using the 1/4" TRS Phone Jack, or if the source device can safely - be unbalanced by an adápter (see diagram below). Check the manual of the device to see if this can be done. NOTE: DO NOT USE both the MIC and LINE INputs in the same channel at one time. Disconnect one when the other is used. +4 dB to -10 dBV Conversion Cable 1/4" PHONE PLUG SHIELD (GROUND) { 3 SIGNAL (CENTER CONDUCTOR) (A Y PE | TIP Й SLEEVE | IF HUM OCCURS CUT THIS WIRE 54. 55. 56. INSERT: The INSERT jack of each channel allows you to insert an external signal processor (typically a compressor or equalizer) into the Main channel path of the mixer, between the EQ section and the channel fader. If nothing is plugged into this jack it has no effect, but with the proper câble (a 1/4" TRS "stereo" to two 1/4" "mono" phone-splitter- cable, such as the TASCAM PW- 2Y or PW-4Y insertion Cable} you can send signal to and from the external device from the channel. Note that the channel OL (overload) light.is just before the insert jack; if the external device applies gain it is possible to -clip:the input electronics without the overload light flashing. For more information, see. a 18, "Using Effects”. & pos TAPE IN: Every channel has an input jack designated for Tape. Input (also called. Tape Return). This signal normatly. goes to - the MONitor channel path. so. that tape: ¡may be monitored in the control room; When ELIP is pressed, the tape signarisisent-through the - main channel path (EQ, main fader, assignment switches) instead, for mixdovvn. This jack is designed for unbalanced - -10 dBV. inputs. D.OUT (Direct Out) jack: This allows you to connect the post-fader signal of a Main channel path directly to-a' recorder track or other device, without passing through a group output: it is used whenever more than eight outputs are needed simultaneously (see p. 13, "Recording More than 8 tracks”). This output can also be patched into an outboard mixer for an additional post-fader mix. Input and Output Connectors, ; Co a | 57. GROUP OUTPUTS jacks: These jacks are the 58. outputs of the eight: output: groups, receiving signals from channels assigned to the groups via each GROUP MASTER FADER. The GROUP OUT jacks typically: connect:to the unbalanced inputs of.an multitrack: recorder whose nominal input level is -10 dBV {0.316 V). The GROUP OUTS have an output impedance of 100 ohms, and a maximum output level of +15 dBV (5.62 V), so they may be connected in parallel to 3 or more tape recorder inputs without signa! degradation. They may also be connected to power amplifier inputs for multichannel {matrix) PA applications. STUDIO OUT: Connect these unbalanced RCA jacks to the inputs of an amplifier powering speakers in a separate studio. Signal selected by the Control Room select switches comes here from the STUDIO LEVEL and ON/OFF switch, and whenever the TB (Talkback) switch is pressed. 59. 60. 61. 63. PHANTOM POWER switch CONTROL ROOM jacks: These 0 dBu unbalanced Phone jacks are typically connected to an amplifier powering the main reference loudspeakers. AUX OUTPUTS 1-4 jacks: These are the output connectors for the six Auxiliary mix outputs of the M-2516/2524. Signal comes here directly from the AUX SEND MASTERS controls. They are typically connected to the inputs. of external devices such as reverbs, digital delays, etc. Auxes may also be used to feed a separate headphone (cue) mix. Their nominal output level is 0 dBu (0.775 Y). STEREO: OUTPUT jacks: These jacks are - typically connected to a mixdown deck with -10 dBV nominal input level. Both the Phone and XLR jacks are unbalanéed and they can be used simultaneously. SUB INPUTS - jacks: These jacks connect directly to the stereo buss. Signal goes from these Jacks directly to the L-R Stereo Master fader. They are like the "SUB IN“ on many consoles, and allow you to connect an external mixer's output directly to the stereo buss of the M-2516/2524 so that you can "cascade" the submixer without using any of the input channel. : Setting this switch ON applies phantom power to all XLR microphone jacks. .48avolts:DCiappears equally at:pins.2.and:3; (per DIN standard 4 45 596) to be. used ' by condenser=type - microphones requiring external power. Sincé=this: potential is-equal, it-is-“invisible"to: ‘standard-balanced dynamic “microphones, hence. :+Phantom powers: Check the manual for the mics. you plan on using to make sure that this phantom method is correct before you appiy power. While this 48 volt duplex phantom power is correct for most microphones, it will not operate "T power" or "AB power" mics such as the Sennheiser 405, 406 or 416. Warning: This.PHANTOM POWER switch must be off if any electronically balanced line input {suchas the balanced output of:a tape :recorder or CD player) is connected to the MIC jack; it could damage the output circuitry of such units. imbalances in the cabling leading to microphones (such as an intermittent connection on one pin) can lead to voltage offset in the dynamic mic that can cause damage to the sound or to the mic itself. 37 64. 65. 38 SUB INPUTS ¡e OFF [5] | on ONO — 4 A. 1 MO PHANTOM POWER |. MIE EYE) 3 N NA in our THRU 65 | О°О O° = а — ® 64 67 - EXT IN jacks: These provide a route from an external source {typically a -10 dBV level mastering recorder} directly to the Control Room Select EXT switch. It may also be used for any source you-want to hear in isolation in . the control room, such as a CD player. Note that since the EXT IN-:source can only feed the Control Room (not the Groups or Stereo busses), it is: not used for any source you wish to mix together with.other signals. 2TR IN jacks: Like EXT IN, these jacks.connect directly to the Control Room Select 2TR switch. Connect the outputs of a two-track. mastering recorder, so playback can be heard in the control room without disturbing any settings or risking - feedback by bringing the two-track returns into a charinel. EFFECT RETURNS jacks: These jacks send signal directly. to the corresponding EFFECT RETURNS: LEVEL controls. Connect the outputs of your effect devices to these jacks, although you can connect any other line input if desired. Each EFFECT RETURN is normally independent and may be assigned to any of the Groups or to Stereo via the EFFECT ASSIGN switches. The input level expected by these jacks is -10 dBV (0.316 V), although higher levels can be accommodated: . 68 . 69 MIDI jacks: These jacks are for the connection of MIDI devices, typically master keyboards and synthesizers during live performance, or sequencers during recording. The applications of MIDI in the M-2516/2524 are: * To transmit program changes to MID! instruments, particularly with the UP/DOWN footswitch in performance * To receive program changes from MIDI instruments, so different mute scenes can be recalled according to a particular "patch" * To send and: receive” "Note" ‘or "Control Change" "commands which can turn individual mutes ‘on apd off, depending on the key/control numbér and velocity/value sent. A. . MIDI IN: This jack typically accepts the MIDI QUTPUT of a master keyboard or sequencer. Any input here will be “echoed” out the THRU jack. MIDI Program: Change messages received at the MIDI IN jack will change the scenes of the M-2516/2524, if they are on the same MIDI channel the M-2516/2524 is set to receive on. See p: 23, "Changing Scenes via External MIDI Commands.” MIDI Note messages of the proper note number and velocity will turn individual channel mutes on and off. You can use Control Change commands for individual Mute control, instead of Note messages. For details, see p. 24, “Controlling Mutes with Note Messages”. 68. MIDI OUT: This jack transmits the only MIDI messages that the M-2516/2524 can generate: Program Change, and a limited number of NOTE ON/NOTE OFF messages. When the UP or DOWN keys are followed by RECALL, or the optional REMOTE UP/DOWN footswitch is pressed, the M-2516/2524 generates a MIDI Program Change commands No. 00-98 in sequence. If you connect this jack to the MIDI IN of a unit that can respond to Program Change commands {such as a keyboard}, the keyboard will change programs (or "patches") as you press UP or DOWN. When you press a channel MUTE/SOLO switch in scene mode, a very short note message will:be sent out, depending on which is ready. Each MUTE/SOLO switch is assigned . a different MIDI note: The velocity when: you turn the mute on is 96; when you turn it off it is 32. The gate time of these commands is so short that you can barely hear them if they're connected to a keyboard. The M-2516/2524 can transmit Control Change commands by: individual muting control, instead of Note messages. For more information; --See«-p: 28; “MIDI -Mute Automation. Features: + MID): “THRU: T his jack passes along an exact copy.of information. received at thé IN jack, so that: (for example) the MIDI QUT of a master keyboard, which you are using to control the M-2516/2524's scenes, can be passed along to a synth module. RESET switch: | Resets the contents of the scene memory and MIDI channel settings to “the factory-preset settings. REMOTE UP/DOWN jack: Connect the optional RC-60P footswitch here for remote control of the scenes, UP or DOWN then RECALL. The TASCAM RC-30P footswitch may also be connected to this jack, but will transmit only the UP and RECALL commands. REMOTE UP/DOWN will also cause the M-2516/2524 to transmit MIDI Program Change commands from its MIDI OUT jack. See p. 22, “Transmitting MIDI Program Change Commands” : Front panel 70. Headphone jack: This built-in headphone amplifier gets signal from the CR source select switches. The headphone ampiifier is rated at 100 mW per channel into an 8 ohms load. x The. mains POWER switch is located on the back. 39 Technical Information The SHIFT key of the M-2516/2524 is generally used for access to the secondary functions of each control key, printed below the key. However, under ‘certain conditions, pressing certain keys in addition to those below which there is printing accesses various functions as described below. * Changing the numeric key mode (SHIFT+1) With the M-2516/2524, numeric entry after RECALL clears the 10's digit. If "1" of the numeric keypad is “pressed together with the SHIFT key; it is possible to hold the 10's digit only in the first numeric entry after RECALL. {This mode setting will be backed up by battery.) * Defeating the SOLO function TYPE 1 (SHIFT+2) It is possible to defeat the SOLO function of all EFFECT RETURNS (1-4) and MONITOR Master. Every time "2" of the numeric keypad is pressed together with the SHIFT key, this. defeat mode is switched on and off. When the mode is on, the MIDI RECEIVE LED lights momentarily. If set to the defeat mode, the indication in the SOLO mode will be "Sd". (This mode setting will be backed up by battery.) TYPE 2 (SHIFT+required MUTE/SOLO switch) lt is possible to defeat the SOLO function of any required EFFECT RETURNS and MONITOR Master. (This does not operate on the input channels.) In the SOLO mode, press the required MUTE/SOLO switch together with the SHIFT key. The indication will change to "Sd". To switch back to the normal SOLO mode, operate the SHIFT+CLR keys while "5d" is displayed. (This mode setting will be backed up by battery.) * Recalling scenes Comparing scenes (SHIFT+0) Pressing "0" of the numeric keypad together with the SHIFT key in the scene mode alternately recalls the current scene and last recalled scene. Empty scene (SHIFT+3 The lowest scene number not in memory is recalled from among scene numbers larger than the scene number currently indicated. If there is none, scene 01 will be recalled. Stored scene (SHIFT + The highest scene number stored in memory will be recalled from among scene number currently indicated. If there is none, scene 01 will be recalled. 40 Recalling scenes using the MUTE/SOL witch (SHIFT+required MUTE/SOLO switch) in the scene mode, if the MUTE/SOLO switch of any required input channel is pressed together with the SHIFT key, it is possible to recall a scene with the same number as that of the channel number. * Mute on/off of more than one module (SHIFT+4) If the- SHIFT+4 keys are pressed while a certain scene number is being displayed, it is possible to simultaneously switch on or off the muting of more - than one particular channel. _ Number indication | MUTE/SOLO switch | 04 Input channels 1to 4 08 | 510 8 12 910 12 16 13 to 16 ‚ 20 | 17 to 20 24 . 2110 24 48 -1to 8. 56 o — 9to16 64 - 17 to 24 88 1 to 24 96 All В * Clearing scenes {SHIFT +CLEAR) While "_0" or "00" is flashing in the scene number display, if the CLEAR key is pressed together with the SHIFT key, all the scenes stored in memory will be cleared. Specifications ELECTRONICS MIC IN {XLR Type Connector, Balanced) , Input impedance : Input Level : Trim Range : Pad Sense : 2.2 kohms —87 dBm (0.35 mV, TRIM Max.) + +4 dBm {1.23 Vv, TRIM Min. with PAD) 41 dB 30 dB LINE IN (1/4" Phone Jack, Balanced/Unbalanced) Input impedance : Input Level: Trim Range : Pad Sense : TAPE IN {1/4" Phone Jack, Unbalanced) Input impedance : Nominal Input Level : Maximum Input Level : Channel INSERT (TRS 1/4" Phone Jack, Unbalanced) Output Impedance : Nominal Output Level : Maximum Output Level : Input Impedance : Nominal Input Level : Maximum Input Level : DIRECT OUT (1/4” Phone Jack, Unbalanced) Output impedance : Nominal Qutput Level : Maximum Output Level : EFFECT RETURN (1/4" Phone Jack, Unbalanced) Input impedance : Nominal Input Level : Minimum Input Level : 2TR IN {1/4" Phone Jack, Unbalanced) Input impedance : Nominal Input Level : Minimum Input Level : EXT IN (1/4" Phone Jack, Unbalanced) input Impedance : Nominal input Level : . . Minimum input Level : SUB INPUT (1/4" Phone Jack, Unbalanced) Input Impedance : Nominal Input Level : Minimum Input Level : 10 kohms 50 dBV {3.16 mV, TRIM Max.) ~ +20 dBV (10.0 V, TRIM Min. with PAD) | 41 dB 30 dB 20 kohms —10 dBV {0.316 V) +15 dBV (5.62 V) 100 ohms —10 dBV (0.316 V) + 1 dB +15 dBV (5.62 V) 6-kohms —10 dBV (0.316 V) +15 dBV (5.62 V) 100 ohms -10 dBV (0.316 V} + 1 dB +15.dBV (5.62V) 20 kohms 10 dBV (0.316 V) -20 dBY (0.1 V) 22 kohms —10 dBV (0.316 V) —20 dBV (0.1 V) 22 kohms —10 dBV (0.316.М) . . . EE Eee AÑ ms —20 dBYV (0.1 V) 22 kohms -10 dBV (0.316 V) , —20 dBV (0.1 V) GROUP OUTPUTS (RCA Pin Jack, Unbalanced) Output Impedance : Nominal Output Level : Maximum Output Level : 100 ohms -10 dBYV (0.316 V) +15 dBV (5.62 V) AUX OUTPUTS (1/4” Phone Jack, Unbalanced) Output Impedance : Nominal Output Level : Maximum Output Level : 100 ohms 0dBu (0.775 V) +17 dBu (5.5 \/} 41 42 CONTROL ROOM {1/4 Phone Jack, Unbalanced) Output Impedance : Nominal Output Level : Maximum Output Level : 100 ohms OdBu (0.775 V) +17 dBu (5.5 V) STEREO OUT {XLR Type and 1/4" Phone Jack, Unbalanced) Output Impedance : Nominal Output Level : Maximum Output Level : STUDIO OUT (RCA Pin Jack, Unbalanced} Output Impedance : Nominal Output Level : Maximum Output Level :- HEADPHONE OUT (TRS 1/4" Phone Jack x1) Nominal Load Impedance: Maximum Output Level : EQUALIZER Туре: Frequency: HI MID LOW Boost/Cut : OL(OverLoad) Indicator Flashing Level: METER Type: FADER ATTENUATION : POWER REQUIREMENTS USA/CANADA : EUROPE : U.K/AUSTRALIA : GENERAL EXPORT : POWER CONSUMPTION M-2516 : M-2524 : TYPICAL PERFORMANCES 100 ohms OdBu (0.775 V) +17 dBu (5.5 V) 100 ohms GdBu (0.775 М) +17 dBu {5.5 V} --- 8 ohms 100 mW + 100 mW 3 band/2 sweep 10 kHz, +12dB (Shelving) 420 Hz ~ 13 kHz 42 Hz ~ 1.3 kHz 15d8 25 dB over nominal ievel | 10-dot LED meter more than 80dB (1kHz) 120V AC, 60Hz 220V AC, 50Hz 240V AC, 50Hz 100/120/220/240V AC, 50/60Hz 42 W 54 W Equivalent Mic Input Noise : —129dB/-130dB (DIN AUDIO/IHF "A"[1500hms sourcel) Signal-To-Noise Ratio (DIN AUDIO/IHF "A") 16 MIC INs to GRP OUT (150 ohms source): 54 dB/57 dB 24 MIC INs to GRP OUT (150 ohms source): 51 dB/54 dB 1 LINE IN to GRP QUT: 79 dB/81 dB 16 LINE INs to GRP OUT: 65 dB/68 dB 24 LINE INs to GRP OUT: 63 dB/66 dB 1 LINE IN to AUX OUT: - 70 dB/73 dB 1 LINE IN to CR OUT: 77 dB/79 dB {MONI MUTE ON) 16 LINE INs {MONI} to STEREO OUT: 65 dB/68 dB 24 LINE INs (MONI) to STEREO OUT: 63 dB/66 dB Headphones: 70dB/73dB (HP VR min.) FH - pa 775 x 160 x 642 mm (30-1/2" x 6-5/16" x 25-1/4") 999 x 160 x 642 mm (39-5/16" x 6-5/16" x 25-1/4") Less than 0.025% (1 kHz) Less than 0.025% (1 kHz) 20 Hz to 20 kHz, +0.5dB/-2dB 20 Hz to 20 kHz, +0.5dB/-2dB Better than 65dB (1kHz) Better than 65dB (1kHz) — Better than 60dB (1kHz) Less than —35dB (W x H x D) 1 MIC IN to GRP OUT: 1 LINE IN to GRP OUT: MIC IN to GRP OUT: LINE IN to GRP OUT: GRP OUT: STEREO OUT: Other Outputs: imensions M-2516: M-2524: Total Harmonic Distortion (THD] Frequency Response {at nominal level) Crosstalk Click Noise: OTHERS D Weight M-2516: M-2524: O eg) e ym 43 (,9/1-:92) WWW 79 20 kg (44-1/16 lbs) 26 kg (57-5/16 Ibs) 0660060900000 000 ccd © свосоово ООО o a © оо 6.0 goal ©@ | 2 © oooeo © q O anno Oy © goooo q © #on©0 E SOUTO anno e 096 60k06 Og соо 00 06;0 0/0, ©0688 9000009 соо 006 00,000 а 9606006 ©000,00|0 90080980 © © 0:0L00|0.4 06060 ©600L00|0 6098000 6660,0 0jO ua M-2516: 775 mm (30-1/2”) M-2524: 999 mm (39-5/16") — 006609 0666 69001 06089 080066 ODE OB: 980066 0000 000g; ©0969 0000 000. ©9900 EEC оц 09000 0000| 66/0 cd 0000) 66/0 14 660609 imensions D Optional Accessories RC-60P/RC-30P Remote Footswitch PW-2Y (2m)/PW-4Y (4m) Insertion Cable --. RC-30P. - The RC-60P controis the UP or DOWN then RECALL functions of the M-2516/2524 with two pedals. With RC-30P, one-pedal footswitch, you can control only UP/RECALL. TASCAM PB-32 Series Patch Bays Urano RE EER RRR eus LoL BH eR, ¡Model PB-32P) The PB-32 Series Patch Bays are ideal for any Specifications application in multitrack recording process: They - Number of circuits: 16 - = are available in four basic configurations, and can Type of jacks: RCA and/or 1/4" phone be mounted in 19" ElA rack. They also feature Front jacks with switch (white) “normalled" connections to provide the maximum Rear jacks without switch (red) in patching convenience without the need to patch Dimensions: 482 x 44 x 75 mm through unused circuits. (Wx Hx Dj} (19" x 1-3/4" x 3") Weight: 1.3 kg (2-14/16 Ibs.) External Dimensions N 487 mm (19") A432 mm 147} 75 mim 13) 44 mm a 2 6 e GOOD CO © © © © © © © - las mm (11/41 |) © © © © ©@ © © © ©® @ © © © © 0 6 + ® „xD 465 mm {18-5/16") pa — || D D D: 2 mm (1/16) (1/4 phone jacks] 7 mm (1/4) [RCA jacks) 44 Level Diagram 45 a [dav] Por 1 + MIC 1 +20 4 me. J dB CLIPPING LEVEL , +10 À Fo [ OL TURN CN | 3068 PAD IN_ o- A ! \ +15dB / \ | Co —10 = \ PRE PAD! 1 POST 1 t30d8) Y \ 1 —20 — \ \ | \ \ | [a Tris MIN, \ - INPUT FADER | —30 ~ | 30 42.1.3 Hz | 420 13k Hz ' | ao RE N_- Cr] + a ; _æ tdavy | y a Ne EQ — A. ol! —50 — \ TRIM | РАО \ | PRE (3048) \ © | post —60 + TRIM MAX. , N -20 —70 — 3 , +: —30 — PTT à ak Ev) teBvy) US o ' ТАРЕ_ IN | +30 À : LINE [№ 30dB LL PAD IN —10 : mi. = pti . 204 E MH FEL RIT 1 ' a : ETA anida: \ -20 À . Co - +10 À \ + - ° > | : wi) — 0 — —— A \ \ w TRIM MIN. 1 os 710 - PAD . 130dB1 Y À —20 — 1 \ 1 —30 — ti LL LL 0 o [ EFFECT RETURNS | mua | a0 - — A \ 40 so TRIM MAX. A ‘ TRIM aol -20 — so (3046) \ | Rall \ LEVEL \ . ~30 ~ —70 — + 4 CN NOTE OdBY = 1.0 Y OdBu = 0775 Y [dBV] Г" ri 1 LB QUT ; ‘GROUP BUSS _ STEREO BUSS GROUP BUSS = | | a "m | | 1 | | | ' ] LL, | i i GROUP MASTER 118 | | | | ! | | | | | + LT I | ] - ] | | [ | PRE ! post - AUX BUSS | aux Buss / | | | | | AUX MASTER 1~.4 | | | ' | 4 F hd | — CE [ | ! | 46 MON BUSS GROUP BUSS STEREO BUSS 4 ] I i I | ! | | | [ | i [ i | | I | f | | | | [ J | | | | | | | | | ! | [ J [ ] f | i I | = —30 — —20 | STEREO BUSS MON BUSS / STEREO MASTER Er E (-10 «Ву ) mie AL $ TAUX, OUTPUS iva т {0 499 1 Ш ı STEREO OUT } 4 ТТ a A {STU DIO OUT 1 го deu y E o o re — на LA Aa SRE anh re a Ee ARES AA 5 e MIDI. Implementation Chart Model M-2516/M-2524 = Date: 90. 08. 27 Version: 1.00 Function... Transmitted Recognized Remarks Basic Default 1—16 1 —16 MEMORIZED Channel! Changed 1— 16 1—16 Default —X X ENABLE ON/OFF Mode Messages X X MEMORIZED Altered 2% 36 5 NW WH 3 HW IH HX XH x. OMNI ON/OFF Note 36—64 36—64 ENABLE ON/OFF Number: True voice is x MEMORIZED * NOTE No. 52-59 are only for M-2524 Velocity Note ON O 9nH, V = 32, 96 О V = 00 - 127 Note OFF “© 9ñH, V.= 00 | After Key's пб x Touch Ch's X X Pitch Bend X x Control О | ©ван OBnH ENABLE ON/OFF Change Cie C=00~23 C=00~23 MEMORIZED — 80-83 80 ~ 83 88 88 V = 00 - 127 V = 00 - 127 * CTRL CHG No. 16-23 are only for M-2524 Prog O O Scene No = 1 - 99 Change: True # HHH KH XH HX EXETER 00 - 98 (PGM No = 0 ~ 98) System Exclusive O O Scene Data : Song Position x x Common : Song Select x X : Tune X x System : Clock X X Real Time .:Commands X X Aux : Local ON/OFF X x Mes- : All Notes OFF X X $ Sage : Active Sense x X : Reset x x Notes Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO O: Yes x: No 47 TASCAM TEAC Professional Division TEAC CORPORATION Musashino Center Bldg., 1-18-18, Nakacho, Musashino-shi, Tokyo 180, Japan Phone: (0422) 52-5081 TEAC AMERICA, INC. 7733 Telegraph Road, Montebello, California $0640 Phone: (213) 726-0303 TEAC CANADA LTD. 340 Brunel Road, Mississauga, Ontario L4Z 2C2, Canada Phone: 416-890-8008 TEAC UK LIMITED 5 Marlin House, Marlins Meadow, The Croxiey Centre, Watford, Herts. WD1 8YA, U.K. Phone: 0923-225235 TEAC DEUTSCHLAND GmbH Bahnstrasse 12, 6200 Wiesbaden-Erbenheim, Germany Phone: 0611-71580 TEAC FRANCE S.A. TEAC Belgium SA/NV 17, Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France Phone: (1) 42.37.01.02 Machelen-Diegem, Woluwelaan 143C, Unit 1, Belgium Phone: (02) 725 6555 + TEAC AUSTRALIA PTY, LTD. 106 Bay Street, Port Melborne, Victoria 3207, Australia Phone: (03) 646-1733 No : PRINTED IN JAPAN 0392U1-M-0443C _/

Tascam M-2516 Owner's Manual

Key Features

Questions & Answers

X X S

What features does the TASCAM M-2516/2524 Recording Mixer include?

How much gain does each channel have?

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Frequently Answers and Questions

How many channels does the Tascam M-2516 have?

Does the Tascam M-2516 have built-in effects?

Can I use MIDI to control the Tascam M-2516?

Can I save and recall mixer settings on the Tascam M-2516?

Tascam M-2516 Owner's Manual

Key Features

Questions & Answers

X X S

What features does the TASCAM M-2516/2524 Recording Mixer include?

How much gain does each channel have?

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Frequently Answers and Questions

How many channels does the Tascam M-2516 have?

Does the Tascam M-2516 have built-in effects?

Can I use MIDI to control the Tascam M-2516?

Can I save and recall mixer settings on the Tascam M-2516?

ALLEN & HEATH