First - thank you so much for making this video, it is unbelievably helpful in figuring out this mixer. Second - I’m having some trouble figuring out the effects send/return. On the M312-B: I’m monitoring/mixing playback from the tape return inputs, line signal is engaged in the channel, I’m sending the signal from the effects send, to my reverb unit, routing it back into the effects return 1, and I can’t seem to figure out how to monitor the returned “wet” signal. Is it through the effect submix section by the monitor mixer? I’m not sure if there’s something that should be engaged in order to monitor the affected signal, or if there’s something obvious that I’m missing here? I assume it is possible to monitor the wet signal with the full mix coming in from the tape return into the L/R main mix if the line switch is engaged?
Hi. Thanks! So I’m not sure I follow how you’re monitoring your tape machine…it’s not clear if you’re monitoring via the monitor mixer or what…but you can hear your tape tracks, yes? The thing to understand about the EFF RTN inputs is they are assigned to the L-R main buss. That’s fixed. So if you want to hear a mix of your dry sources and the wet effect return, your dry sources have to be assigned to the L-R main buss also, and then you’ll hear a summed mix of both those things. So your tape machine outputs should be connected to the M-312B TAPE IN jacks, and then when input channels 1-8 are switched to source the LINE inputs, as long as nothing is plugged into the LINE IN jacks on those channels then LINE = TAPE…then those channels should be assigned or routed to the L-R main buss, and the EFF RTN is automatically assigned to the L-R main buss, so when you monitor the L-R main buss you should hear both; your tape tracks and the effect box output.
@@SweetbeatsTechStop Thank you for the quick reply! Sorry if I made that overly complicated. I'm in the mix-down process, so I'm mixing each track through the channel/track strip, tape is sourced through LINE input, playback through L-R main buss, everything assigned and playing back through L-R main buss, but there's no wet signal playback through the main buss at all. I wasn't sure if I'm doing something wrong with assigning the effects or if something is up with the EFF SEND/RTN
You keep referencing “EFFECT SEND/RTN.” Let’s back up. I assumed you already verified you had signal present at the reverb box input and output. No? If not, start by setting your monitor source in the monitor select switchrack to EFF, make sure you have signal there. It might help if you told me what outboard gear you are using. And if you have signal getting to the reverb box and signal getting out of the reverb box, what happens when you PFL the EFF RTN? What do you hear?
@@SweetbeatsTechStop Okay yeah there is no signal when I set my monitor source to EFF. I'm using an Electro Harmonix oceans 11 reverb pedal. Thank you for the help I really appreciate it!
Yes. The insert points on the M-300 series consoles use unbalanced TRS jacks. The “send” signal is on the tip, the “return” is on the ring, and the shield or ground is on the sleeve. When you plug a TS plug into a TRS jack configured in this way, you still tap the send signal on the tip of the cable, but the return contact in the insert jack contacts the sleeve or ground of the TS plug along with the ground contact in the jack, so the return pathway is shunted to ground. No return signal can pass to the rest of the channel strip downstream of the insert point. This is all detailed in the manual. Do you have the manual? If you want to use the insert points as insert points, you have to make or purchase insert cables which have a TRS plug on one end, and then Y to two TS plugs, one is the send and one is the return. If you want to use the insert points as post EQ pre-fade direct outs, you need to make or purchase cables with a TRS plug at the insert point end, and in the plug you strap the tip terminal to the ring terminal, but also have your signal conductor from the cable connected to the tip. Shield connects to the sleeve terminal. In this way the send at the tip is connected to the cable signal conductor, and the ring is also strapped to the signal so there is no break in signal continuity to the channel strip.
Huge thank you for this extremely informative video. I just acquired a M-312 and have learned a lot from this video as well as your blog posts. One thing has got me confused... I understand that the tape inputs are normalled to channels 1-8 if nothing is plugged into the LINE IN jack. But on my console, the INSERT on the channel strips also breaks the connection. Is that normal? Or is it possible someone modded the board to make it do that?
Hi. Thanks for the comments and I’m glad the video and other content is helpful! To your question: I’m going to answer with a question first. What type of cable do you have connected to the INSERT jack, and what is connected on the other end? The INSERT jack is a signal path access point, a send and return in one jack. If there’s nothing plugged into the jack, the signal passes through the jack via normalling contacts. But if you plug something into the jack, it breaks those contacts. So you have to ensure you are using the right kind of cable. If you plug a TS plug into the jack you should get a pre-fade signal, at the other end of the cable, but there’s no return path to the console channel signal path. You have to use a TRS plug. The tip is the send, and the ring is the return path. Typically one buys or makes up insert cables. They look like a Y cable but there is a TRS plug at the base of the Y, and at the other end are two TS plugs…the tip of one TS plug connects to the tip of the TRS plug (the send), and the tip of the other TS plug connects to the ring of the TRS plug (the return). You plug the TS send plug into the input of your outboard insert effect processor, and the TS return plug into the output of your outboard insert effect processor…and then, again, plug the TRS plug into the INSERT jack. Now there’s a signal loop through your outboard effects processor back to the return path on the M-300 console so signal can continue through the channel to the fader and buss assign block.
@@SweetbeatsTechStop Oh duh I should of mentioned that in my original comment. I'm using a 8 TRS to 16 TS insert snake made by Elite Core. The TS ends are plugged into a Samson S-Patch 48 pt patch bay. At the time of testing this out (as I just got the board wired up today minus the mic inputs) nothing was plugged into the inserts on the patchbay. I gather from your response the tape inputs should be passing signal to channels 1-8 with the channel inserts plugged in assuming they're properly wired up?
@@SweetbeatsTechStop It has switches for each "out/in" slot to pick btwn normal, half normal, and thru. Right now its wired with 1-8 outs to 1-8 ins, with the thru switch engaged. So there's basically zero connection from the outs to ins if that makes sense.
So, think about that…no connection between the out and the in…no connection between the send and the return…think about that and review my last message and think about what you need to do as far as how the patchbay is configured for signal to flow when nothing is patched at the patchbay…
Thanks for the run through on this. I’m getting acquainted with a tascam m-320b and ran into an issue trying to set up fx. I was able to get the effects working on all channels but confused on how to send and return fx via aux 1 and 2. Primarily trying to use a delay on aux 1 and reverb on aux 2. Any help would be much appreciated!
@Zach T So the thing to remember is the AUX busses are indeed sends, not both sends and returns. So the AUX 1 and AUX 2 outputs connect to your external effects units’ inputs, but then the outputs of your effects units need to be connected to unused inputs on your M-320. You can use the EFFECT RTN 1 & 2, the EXT IN 1 & 2, or just connect the outputs to any channel strips’ LINE IN jacks. Does that help?
Yup! The sends are just outputs, so you bring your effects outputs back in to the console through any input or inputs that make the most sense to what you are trying to accomplished. Glad I could help. Enjoy that M-300 console!
@@SweetbeatsTechStop hey sweetbeats! Just wanted to say thank you for taking the time to reply to my last question so quickly. I was hoping you could help me out with a couple more problems I’m having. I’m trying to transfer what I’ve mixed to my computer using an interface and I can’t figure out how to get the outboard effects transferred as well. I can add my reverb and hear it when monitoring the board but not monitoring from what’s plugged into my daw. I’ve tried taking from the xlr outs on each buss, I’ve also tried the d out on the channel strip itself. I was also wondering if you knew what part is needed to repair the headphone jack in the front of the board. The guy that I bought it from said he plugged an unbalanced headphone into it and it blew out the right channel. Any help would be greatly appreciated!
Hi. I can certainly try to help but you’ll need to fill in some blanks for me. Remember I’m not there and can’t see your setup, how you have things hooked up, what’s broken, what symptoms you are facing, etc, so when you respond try and keep that in mind. Regarding your effects, what effects are we talking about? What devices (brand, model) are you using, and to what inputs on the console do you have the outputs of those effects units connected? Regarding the headphone jack, let’s start with what problem you are having. I’m not clear if something is physically broken, or electronically not working. You said the previous owner plugged “unbalanced” headphones and blew a channel out but pretty much all headphones are unbalanced, so I’m not understanding the significance there. Am I correct in reading between the lines that only one channel of the headphone outputs is working? If that’s the case it’s not a simple “replace this part”, troubleshooting has to be done on the headphone amp circuit to determine what is faulty, if that’s even where the source of the problem exists.
@@SweetbeatsTechStop : I got the m-320. I was hoping the 8-Aux channels could be used to send 8 channels of separate audio to the interface in one pass. But it looks like I’ll have to use a combo of direct outs and the busses to pull that off?
8 AUX channels? On the M-320 there are a total of 4 AUX busses, two of which source monitor mixer channels, and two of which source input channels, and then you’ve got one EFF buss, 4 mono si mix busses and one stereo main buss. I don’t know if an M-300 with 8 AUX busses. But that aside, yes you use a combination of the mix busses and direct outs to feed multitrack inputs, in whatever combination best suits the project.
Thanks for this tutorial, really well done. I have an issue with my board, it appears on my 312b aux 1’s “post” button does not seem to be functioning. Is this an easy fix?
Oh LOL...I didn’t even bother to refresh my memory on the M-300 control surface...yes...look at the buttons. You see how the POST button has a line going to the AUX 2 level knob? The POST switch only applies to AUX 2. AUX 1 is pre-fade and can source the channel input or independently source the channel’s LINE input. AUX 2 is switchable pre/post-fade.
It doesn’t really have anything to do with old vs new...though typically more vintage consoles do have fewer auxiliary sends per channel. It wasn’t uncommon for small format consoles like the M-300 series to have one monitor send (pre-fade) and one effects send (post-fade), and no source switching options. The M-300 series is nice because they give you 3 AUX busses on the channel strips, with a source switching option for AUX 1, and pre/post fade on AUX 2 with a switch right there to select. A lot of other consoles you had to solder jumpers to change this or open it up and change the position of plug-in jumpers. And then you have your third AUX buss (EFF) which is fixed post-fade. And then on the M-312 and M-320 models look over in the monitor mixer...you have AUX 3 and AUX 4...so if you needed more sends you can buss stuff and create additional sub mixes that way. The M-300 consoles have a really handy feature set.
thank you for this video. question: if i had a drum loop going into channel 1 via the line in while having a reverb unit hooked up to the effect send, should i be able to hear the effect send while i turn up the the effect knob? i notice sometimes i cant hear the reverb in a case like this
The EFF buss carries dry signal to your reverb box…input channel EFF knobs feed the EFF master knob which feeds the EFF output jack. You can monitor what’s going out that jack by selecting “EFF” as your monitor source over in the monitor select switch rack to the right of the console and listening in the headphones. You can also monitor levels by switching the respective meter source select switch to EFF. But that’s all going to be the dry signal. The output of your reverb box needs to come back to the mixer somewhere. To what do you have the reverb box outputs connected?
@@SweetbeatsTechStop i take the EFF output on the m308 into my spring reverb and then I take the output of my reverb into Effect Return 1 on the m308. so when I have a drum loop going into channel 1 via line - in, i latch in the "channel assign switch 1", turn up the effect knob but I still don't hear the reverb applied to the drum loop.
So you have things connected in a right way. What you are struggling with is how to use the M-308 to get the results you want. I just wanted to validate your connections are correct. I’ll answer you with a couple questions because 1. I want to better understand your process and in doing so give you advice more specific to you and your setup, and 2. I want you to learn something through the process because knowledge is power. So, question: why are you assigning your drum loop channel to group 1? Are you feeding a recorder with the group 1 output? Or are you summing multiple sources to that group? Is the group 1 ON switch latched, which assigns the post fader and post PAN group output to the L-R main buss? And, another question: you’re returning the reverb box output to EFF RTN 1, which is a good place to bring any post-effect signal back to the console…that’s what it was designed to do…but where does the signal go that is plugged into the EFF RTN 1 jack? I know that’s the $10,000 question here, but I want to see if you know the answer or can figure that out. I will tell you it goes first to the to the EFF RTN 1 level knob, and then that feeds the EFF RTN 1 PAN control, but…where does it go from there?
@@SweetbeatsTechStop I have it going to group 1 with the on switch latched because that’s the way I can hear the drum machine. Maybe I should be doing stereo out instead of channel one assign switch in this case? The effect return feeds into the stereo out I would think? Which makes me wonder if instead of assigning to group 1 I should be assigned channel one to the LR main outs.
You’re on the right track. There’s nothing wrong per se with assigning channel 1 to group 1, and then assigning group 1 to the L-R main buss via the group 1 “ON” switch…that’s what you’re doing. There are multiple ways to assign and route things on an M-300 console and all are “correct”, but different arrangements are more ideally suited to different scenarios depending on if you are recording or live mixing, or both…if you just want to hear a mix of your drum machine and the reverb return, you can skip the extra hop from channel 1 to group 1 to main buss, and just assign channel 1 to the main buss. Same thing, just bypasses extra amp stages and unnecessary noise/distortion. But, again, what you’re doing is not “wrong.” General comment: try and shift from thinking of assigning sources to outputs, like when you’re saying the EFF RTN “feeds into the stereo out”…yes, it does go there, but the stereo out is fed by the main L-R buss…and that buss carries signal to multiple places…so you assign sources to busses and busses feed outputs. Technically when you turn up the EFF RTN level knob it feeds the L-R faders, and then when you turn those up they feed the stereo out jacks as well as the meters, monitor select switchrack, etc. So you should be able to assign input channel 1 to the L-R main buss, and turn up the channel 1 EFF send control, turn up the EFF master control, and then turn up the EFF RTN 1 level, and when monitoring the L-R main buss (either via the stereo out jacks connected to monitor speakers, or via the headphones…press the STEREO button in the monitor select switchrack and turn up the phones level), hear a mix of the dry signal from input channel 1, and the wet signal from the reverb box returning to the main mix via the EFF RTN 1 input.
I just bought a super clean M-312B all lights are on but no matter what I plugged into it I don’t get any signal or sound. Is there a ‘cancel-all sound’ button?
The only one I know of is the power switch. Sorry. Couldn’t resist. So tell me in detail what you have plugged into what on the M-312, and then in detail how you have the controls set.
I hope ur excellent presentation doesn’t tempt me into looking for one of these for myself ... as happened with the excellent M-5 console😅. Gr8 vid quality btw👌. I learn more and more when revisiting these virtual tutorials. I wonder if u’ve come across the M-50 console/saw one of those recently🙏
Thanks for the feedback. I appreciate it! Search my channel for videos related to the Tascam M-520. The M-50 is the predecessor to the M-512/M-520...there is very little difference between the M-50 and the M-512, and the M-520 is the same as the M-512, just 8 more channels. You can learn about all you need to know about the features of the M-50 by watching my M-520 videos. I know those consoles very well inside and out. Key differences between the M-50 and the M-512/520 are the former has 60mm faders, and the latter has 100mm long-throw faders, and there are differences on the output section...the M-50 has a 2-channel patchable balance amp section to balance any two unbalanced outputs, and switch selectable nominal levels for a number of the outputs; the balance amp is an ultra-high headroom discrete output stage driven by +/-35V power rails. The M-50 is the only production model from Teac/Tascam that featured this line amp. I have a prototype Tascam console that features 14 of these amps. The LA-40 4-channel balance/unbalanced “bump box” features a simplified version of the line amp, but +/-20V power...still good headroom, but not the same unexpected pedigree of the M-50s balance amp. The M-512/520 have a very useful 8-channel balance amp section in place of the M-50’s 2-channel version, but it is powered by +/-18V rails and is opamp-based instead of discrete transistor-based. The M-512/520 also lose the switch selectable group of outputs and instead they are all -10dBv. Otherwise, the inputs and control surface features are the same. Sorry for the tech vomit.
I just scored a free M-308, and everything seems to work fine, except one meter's lamp is out. I can live with that. Best of all it's going to replace a Yamaha EM-300. 10 times the features and half the weight!
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Thanks for this video! I'll use it to track drums with my computer (no tape recording) I hope it works to achive a better sound.
What were you using before your M-300 console? What interface do you use?
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@@SweetbeatsTechStop I have my home studio where I work tracking drums and doing a lot music, so it's like a lab too. I used a Yamaha RM 802, and others inputs, I use Mac, so I have 3 interfaces at the same time and each one has their own capabilites. Audient Sono with a Presonus Digimax Lt (via Adat) one Apogee Mini Me and one Focusrite 6i6 with another Apogee mini me (via SPDIF). It sound great but I noticed some strange behaviors on my Yamaha.
What kind of “behaviors” are you talking about with the Yamaha? I’ve had good experiences with a wide variety of Yamaha equipment and instruments over many years. I’ve not ever used an RM802 but just looking at the feature set and the circuits, given the choice, I’d likely use the M-300 series console over the RM802, but wouldn’t have a problem using the RM802 either. Interesting setup you have there.
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Thanks for ask! I hope the M-300 series work fine! I'm new with my home studio and recording myself. So maybe I say things without knowing. I'm not sure but I noticed sometimes like a limiter on the OH channel. I saw it on Logic once recorded. Another thing I noticed is a difference between channels, my OH mics (Aston Origin) aren't paired, but when I check the recording on Logic I noticed difference between them, of course the settings are copied exactly. Even I have vintage mics like AKG D12 and two Sonotone from the 60s and these mics does not work well with the Yamaha, sometimes work well and sometimes don't, maybe is the impedance? Because when I use those mics with the Apogee mini me, them works well. So maybe I'm not talking right things... I'm a newbie recording myself since 2020.
I had an original Mackie CR-1604 at one point. A fine mixing console for what it was, but the Tascam is a better sounding console in my opinion, has a MUCH more robust feature set (more monitoring and routing options), is easier to service, and has a better aesthetic too IMO. Enjoy!
It really depends on your experience level with working on devices like this. Usually an issue with the headphone output is a broken jack. That should be relatively easy to repair if that’s the issue. The jack is located on the front of the mixer below the wrist rest. You can tip the console on its side and remove the bottom panel by removing screws and the feet, and you should have access to the jack at that point. If it’s a more complicated issue like a blown headphone amp or something like that, well, it can all be fixed, it’s just more complicated and requires more skill and experience. The M-300 series consoles will generally be easier to repair than most contemporary consoles because of the “through-hole” component construction on the PC boards vs “surface-mount” construction common today.
The M-312 in the video is a USA model and so operates on 110V 60Hz AC power, but there were models for other markets that operated on other types of mains power. Regardless of the mains power, the power supply in each model in each market converted the mains power to the same DC voltage rails (i.e. +/-15V, +6V, and on the 'B' models the +48V for phantom power).
More details please. Which M-300 console do you have, what make/model reverb unit do you have, and describe in detail how you have it connected. Walk me through what output from the console you are using, and what input on the reverb box you are using, and then output from reverb box to what inputs on the console?
@@SweetbeatsTechStop so, thanks for the fast answer! The console is the M-312. I am trying to connect an Oliver DR1000. It has one mono input and stereo outputs. And I made some attempts on connecting it in a way that I could have a dry-wet signal for each line input channel. The M-312 has 2 Effect Returns inputs, but I couldnt find the Effect sends. I dont know what is the right way to do it.
You want to use the EFFECT buss. See the blue knobs on the input channel strips labeled EFFECT? You turn those up for whatever input channel sources you want sent to the reverb. Those knobs feed the master EFFECT level knob over in the master section. So turn that up to adjust the overall signal level being sent to the DR1000. The master EFFECT knob in the master section feeds the “EFF” output jack on the back of the master section. It’s next to the AUX 1 and AUX 2 output jacks. Connect the EFF output jack to the DR1000 input. Now connect the DR1000 outputs to any two inputs. You can use EFFECT RTN 1 & 2 if you want, or the SUB IN R & L jacks, or even return it to the line inputs of two of your 12 input channels. Just make sure you have the EFFECT knobs all the way off (hard L or fully counter clockwise) or you’ll get feedback.
@@SweetbeatsTechStop thank you so much. The reverb sound is just beautiful! I cant thank you enough. One of the only videos going trough this old model on yt and being able to talk directly to you.
You know, I’m pretty conservative when it comes to opamp “upgrades” so I may not be the best one to ask. And I never owned/operated an M-300 console long enough to feel any particular limitations to the stock components. Teac designed the M-300 series around what was the shiz of the day as far as opamps go; the 5532. The dual 5532 and its single channel variant the 5534, now well over three decades old, are still very well respected. That really says something. And you have to consider that many times what we like about how something sounds may actually be related to what on paper looks inferior to today’s higher performance opamps. So I’m pretty selective about what I change and only do it if there is a compelling reason, like if the stock part is creating a definable sonic barrier. And you have to consider the whole circuit...what’s in the feedback loop...what is the circuit configuration. You can just as easily “upgrade” an opamp and have it sound worse. So I think step one is identifying if there is an actual problem, step two is verifying the stock opamp is the problem, and step three is determining if the benefits of a particular new part will outweigh the detriments, and you might well consider quantitative measurements should be part of step three. Short answer: I’d leave the 5532s alone. There are other ways to improve the sonics. The M-300 is a good sounding console that was well designed and has a really handy feature set. It’s not Dave Grohl’s Neve desk from Sound City, and no amount of upgrades will ever make it a “boutique” console, but I think they are great...really great for the money and once you go through one and do what you have to do to get a 35 year old console working right for you I think they sound better than contemporary budget consoles, and you won’t find the feature set on anything new in the market today, period; the routing flexibility and such. Back to the opamps...IIRC correctly without any M-300 guts or the schematics in front of me, many of the output stages use the 2041 opamp. Also a good opamp for the day and had gobs of drive. You can make some improvements here...a 2134, though not cheap, is a great drop-in alternative with similar drive, better bandwidth, slew rate, noise and distortion. I don’t know if you’ll have to take preventative measures to abate oscillation...typically good practice...but it’s an “upgrade” that’s not wild, but not mild either and makes sense to me. But for SURE do just a couple outputs so you can compare with stock configuration. You might be surprised what difference you can’t hear. And *every* upgrade causes some kind of compromise or strain somewhere else in the chain...no free lunches. #1 upgrade in my book? Recap the power supply with good quality low ESR caps...and if not already present bypass each main filter cap with a small value film cap or see to it there is a small value film cap across each power rail output. And replace the stock JRC 7815/7915 regulators with new TI parts. These things will do more for lowering the noise floor than any amount of opamp “upgrades”. I generally like the character of anything that’s built around the 5532. Is it the chip? I dunno...but it’s consistent enough if it is outfitted with the 5532 or 5534 I leave it alone.
Thanks for the advice, i already recapped power supply , if i go in again ill try to bypass the filter caps, and will try replacing those jrc 7815. Ive owned this mixer for around 5 years, and it is quite good, but i believe im ready to upgrade the mixer and pass it on to the next guy. Cheers Greg
Completely different circuit. The Model 5 series were transformer coupled with opamp stages following using the 4558/4559 opamp. The M-300 series are electronically balanced (opamp only) and the mic preamp uses the 5532 opamp. Personally I like the M-300 preamps better, but the Model 5 series is a much more robust build. The M-300 series is still robust compared to contemporary budget-class consoles, and can be found for very affordable prices particularly if you're willing to do some elbow-grease refurbishing and/or repairs. If there was a budget-class vintage console that had the physical build of the Model 5 series but the features and signal path of the M-300 series, I'd be all over that.
I've watched this like 3 times already - thank you so much for this thorough & clear explanation of the M-300 series!
Very cool. Glad it was useful and hopefully helps you get more out of your Tascam M-300 series console!
A thorough walkthrough that really gives insight about this console. Great work!
Thank you so much for taking the time to do this.
Amazing! I learned so much about my 308B from this. Thank you
Awesome. Glad to know. Thanks!
I can't thank you enough- this was extremely helpful!!!!!
Right on! Glad it was useful and thanks for watching!
Anuuuuuther nice Teac mixer ... sort of in-between the M5 & the 520. Thx 4 the tip; block diagram to learn around ur way the mixer.
First - thank you so much for making this video, it is unbelievably helpful in figuring out this mixer.
Second - I’m having some trouble figuring out the effects send/return.
On the M312-B: I’m monitoring/mixing playback from the tape return inputs, line signal is engaged in the channel, I’m sending the signal from the effects send, to my reverb unit, routing it back into the effects return 1, and I can’t seem to figure out how to monitor the returned “wet” signal. Is it through the effect submix section by the monitor mixer? I’m not sure if there’s something that should be engaged in order to monitor the affected signal, or if there’s something obvious that I’m missing here? I assume it is possible to monitor the wet signal with the full mix coming in from the tape return into the L/R main mix if the line switch is engaged?
Hi. Thanks! So I’m not sure I follow how you’re monitoring your tape machine…it’s not clear if you’re monitoring via the monitor mixer or what…but you can hear your tape tracks, yes? The thing to understand about the EFF RTN inputs is they are assigned to the L-R main buss. That’s fixed. So if you want to hear a mix of your dry sources and the wet effect return, your dry sources have to be assigned to the L-R main buss also, and then you’ll hear a summed mix of both those things. So your tape machine outputs should be connected to the M-312B TAPE IN jacks, and then when input channels 1-8 are switched to source the LINE inputs, as long as nothing is plugged into the LINE IN jacks on those channels then LINE = TAPE…then those channels should be assigned or routed to the L-R main buss, and the EFF RTN is automatically assigned to the L-R main buss, so when you monitor the L-R main buss you should hear both; your tape tracks and the effect box output.
@@SweetbeatsTechStop Thank you for the quick reply! Sorry if I made that overly complicated. I'm in the mix-down process, so I'm mixing each track through the channel/track strip, tape is sourced through LINE input, playback through L-R main buss, everything assigned and playing back through L-R main buss, but there's no wet signal playback through the main buss at all. I wasn't sure if I'm doing something wrong with assigning the effects or if something is up with the EFF SEND/RTN
You keep referencing “EFFECT SEND/RTN.” Let’s back up. I assumed you already verified you had signal present at the reverb box input and output. No? If not, start by setting your monitor source in the monitor select switchrack to EFF, make sure you have signal there. It might help if you told me what outboard gear you are using. And if you have signal getting to the reverb box and signal getting out of the reverb box, what happens when you PFL the EFF RTN? What do you hear?
@@SweetbeatsTechStop Okay yeah there is no signal when I set my monitor source to EFF. I'm using an Electro Harmonix oceans 11 reverb pedal. Thank you for the help I really appreciate it!
So how do you have the EFF knobs set on the various input channels of your M-312B as well as the master EFF LEVEL knob?
Great Video. Very clam and well explained. I like it. Thanks
Thank you!
When plugging something into the insert on a channel, the audio cuts out. Is that because Im using ts cables? thanks for any help
Yes. The insert points on the M-300 series consoles use unbalanced TRS jacks. The “send” signal is on the tip, the “return” is on the ring, and the shield or ground is on the sleeve. When you plug a TS plug into a TRS jack configured in this way, you still tap the send signal on the tip of the cable, but the return contact in the insert jack contacts the sleeve or ground of the TS plug along with the ground contact in the jack, so the return pathway is shunted to ground. No return signal can pass to the rest of the channel strip downstream of the insert point. This is all detailed in the manual. Do you have the manual? If you want to use the insert points as insert points, you have to make or purchase insert cables which have a TRS plug on one end, and then Y to two TS plugs, one is the send and one is the return. If you want to use the insert points as post EQ pre-fade direct outs, you need to make or purchase cables with a TRS plug at the insert point end, and in the plug you strap the tip terminal to the ring terminal, but also have your signal conductor from the cable connected to the tip. Shield connects to the sleeve terminal. In this way the send at the tip is connected to the cable signal conductor, and the ring is also strapped to the signal so there is no break in signal continuity to the channel strip.
@@SweetbeatsTechStop thanks
Huge thank you for this extremely informative video. I just acquired a M-312 and have learned a lot from this video as well as your blog posts. One thing has got me confused... I understand that the tape inputs are normalled to channels 1-8 if nothing is plugged into the LINE IN jack. But on my console, the INSERT on the channel strips also breaks the connection. Is that normal? Or is it possible someone modded the board to make it do that?
Hi. Thanks for the comments and I’m glad the video and other content is helpful!
To your question: I’m going to answer with a question first. What type of cable do you have connected to the INSERT jack, and what is connected on the other end? The INSERT jack is a signal path access point, a send and return in one jack. If there’s nothing plugged into the jack, the signal passes through the jack via normalling contacts. But if you plug something into the jack, it breaks those contacts. So you have to ensure you are using the right kind of cable. If you plug a TS plug into the jack you should get a pre-fade signal, at the other end of the cable, but there’s no return path to the console channel signal path. You have to use a TRS plug. The tip is the send, and the ring is the return path. Typically one buys or makes up insert cables. They look like a Y cable but there is a TRS plug at the base of the Y, and at the other end are two TS plugs…the tip of one TS plug connects to the tip of the TRS plug (the send), and the tip of the other TS plug connects to the ring of the TRS plug (the return). You plug the TS send plug into the input of your outboard insert effect processor, and the TS return plug into the output of your outboard insert effect processor…and then, again, plug the TRS plug into the INSERT jack. Now there’s a signal loop through your outboard effects processor back to the return path on the M-300 console so signal can continue through the channel to the fader and buss assign block.
@@SweetbeatsTechStop Oh duh I should of mentioned that in my original comment. I'm using a 8 TRS to 16 TS insert snake made by Elite Core. The TS ends are plugged into a Samson S-Patch 48 pt patch bay. At the time of testing this out (as I just got the board wired up today minus the mic inputs) nothing was plugged into the inserts on the patchbay. I gather from your response the tape inputs should be passing signal to channels 1-8 with the channel inserts plugged in assuming they're properly wired up?
Yes, but is the patchbay a normalling patchbay?
@@SweetbeatsTechStop It has switches for each "out/in" slot to pick btwn normal, half normal, and thru. Right now its wired with 1-8 outs to 1-8 ins, with the thru switch engaged. So there's basically zero connection from the outs to ins if that makes sense.
So, think about that…no connection between the out and the in…no connection between the send and the return…think about that and review my last message and think about what you need to do as far as how the patchbay is configured for signal to flow when nothing is patched at the patchbay…
Thanks for the run through on this. I’m getting acquainted with a tascam m-320b and ran into an issue trying to set up fx. I was able to get the effects working on all channels but confused on how to send and return fx via aux 1 and 2. Primarily trying to use a delay on aux 1 and reverb on aux 2. Any help would be much appreciated!
@Zach T So the thing to remember is the AUX busses are indeed sends, not both sends and returns. So the AUX 1 and AUX 2 outputs connect to your external effects units’ inputs, but then the outputs of your effects units need to be connected to unused inputs on your M-320. You can use the EFFECT RTN 1 & 2, the EXT IN 1 & 2, or just connect the outputs to any channel strips’ LINE IN jacks. Does that help?
@@SweetbeatsTechStop that’s exactly what I needed, thank you! I was confused about the ins of the aux sends
Yup! The sends are just outputs, so you bring your effects outputs back in to the console through any input or inputs that make the most sense to what you are trying to accomplished. Glad I could help. Enjoy that M-300 console!
@@SweetbeatsTechStop hey sweetbeats! Just wanted to say thank you for taking the time to reply to my last question so quickly. I was hoping you could help me out with a couple more problems I’m having. I’m trying to transfer what I’ve mixed to my computer using an interface and I can’t figure out how to get the outboard effects transferred as well. I can add my reverb and hear it when monitoring the board but not monitoring from what’s plugged into my daw. I’ve tried taking from the xlr outs on each buss, I’ve also tried the d out on the channel strip itself. I was also wondering if you knew what part is needed to repair the headphone jack in the front of the board. The guy that I bought it from said he plugged an unbalanced headphone into it and it blew out the right channel. Any help would be greatly appreciated!
Hi. I can certainly try to help but you’ll need to fill in some blanks for me. Remember I’m not there and can’t see your setup, how you have things hooked up, what’s broken, what symptoms you are facing, etc, so when you respond try and keep that in mind.
Regarding your effects, what effects are we talking about? What devices (brand, model) are you using, and to what inputs on the console do you have the outputs of those effects units connected?
Regarding the headphone jack, let’s start with what problem you are having. I’m not clear if something is physically broken, or electronically not working. You said the previous owner plugged “unbalanced” headphones and blew a channel out but pretty much all headphones are unbalanced, so I’m not understanding the significance there. Am I correct in reading between the lines that only one channel of the headphone outputs is working? If that’s the case it’s not a simple “replace this part”, troubleshooting has to be done on the headphone amp circuit to determine what is faulty, if that’s even where the source of the problem exists.
I just purchased one of these. One question I'm still confused about. Is there anyway to send 8 different tracks to a recorder/interface at once?
There are 4 subgroup mix busses, and direct outs on each channel. So you’ve got lots of options even on an M-308. Does that help?
@@SweetbeatsTechStop : I got the m-320. I was hoping the 8-Aux channels could be used to send 8 channels of separate audio to the interface in one pass. But it looks like I’ll have to use a combo of direct outs and the busses to pull that off?
8 AUX channels? On the M-320 there are a total of 4 AUX busses, two of which source monitor mixer channels, and two of which source input channels, and then you’ve got one EFF buss, 4 mono si mix busses and one stereo main buss. I don’t know if an M-300 with 8 AUX busses. But that aside, yes you use a combination of the mix busses and direct outs to feed multitrack inputs, in whatever combination best suits the project.
Thanks for this tutorial, really well done.
I have an issue with my board, it appears on my 312b aux 1’s “post” button does not seem to be functioning. Is this an easy fix?
I have no idea if it’s an easy fix or not until the cause is known. This is happening across all channels 1 through 12?
Sweetbeats' Tech Stop yes across all channels this is happening. Do you happen to know if Aux1 is pre fader only?
Oh LOL...I didn’t even bother to refresh my memory on the M-300 control surface...yes...look at the buttons. You see how the POST button has a line going to the AUX 2 level knob? The POST switch only applies to AUX 2. AUX 1 is pre-fade and can source the channel input or independently source the channel’s LINE input. AUX 2 is switchable pre/post-fade.
Sweetbeats' Tech Stop Awesome. At least I know now! Thanks for that. Is it typical for older mixers to have only one Aux be post-fader?
It doesn’t really have anything to do with old vs new...though typically more vintage consoles do have fewer auxiliary sends per channel. It wasn’t uncommon for small format consoles like the M-300 series to have one monitor send (pre-fade) and one effects send (post-fade), and no source switching options. The M-300 series is nice because they give you 3 AUX busses on the channel strips, with a source switching option for AUX 1, and pre/post fade on AUX 2 with a switch right there to select. A lot of other consoles you had to solder jumpers to change this or open it up and change the position of plug-in jumpers. And then you have your third AUX buss (EFF) which is fixed post-fade. And then on the M-312 and M-320 models look over in the monitor mixer...you have AUX 3 and AUX 4...so if you needed more sends you can buss stuff and create additional sub mixes that way. The M-300 consoles have a really handy feature set.
thank you for this video. question: if i had a drum loop going into channel 1 via the line in while having a reverb unit hooked up to the effect send, should i be able to hear the effect send while i turn up the the effect knob? i notice sometimes i cant hear the reverb in a case like this
The EFF buss carries dry signal to your reverb box…input channel EFF knobs feed the EFF master knob which feeds the EFF output jack. You can monitor what’s going out that jack by selecting “EFF” as your monitor source over in the monitor select switch rack to the right of the console and listening in the headphones. You can also monitor levels by switching the respective meter source select switch to EFF. But that’s all going to be the dry signal. The output of your reverb box needs to come back to the mixer somewhere. To what do you have the reverb box outputs connected?
@@SweetbeatsTechStop i take the EFF output on the m308 into my spring reverb and then I take the output of my reverb into Effect Return 1 on the m308.
so when I have a drum loop going into channel 1 via line - in, i latch in the "channel assign switch 1", turn up the effect knob but I still don't hear the reverb applied to the drum loop.
So you have things connected in a right way. What you are struggling with is how to use the M-308 to get the results you want. I just wanted to validate your connections are correct. I’ll answer you with a couple questions because 1. I want to better understand your process and in doing so give you advice more specific to you and your setup, and 2. I want you to learn something through the process because knowledge is power. So, question: why are you assigning your drum loop channel to group 1? Are you feeding a recorder with the group 1 output? Or are you summing multiple sources to that group? Is the group 1 ON switch latched, which assigns the post fader and post PAN group output to the L-R main buss? And, another question: you’re returning the reverb box output to EFF RTN 1, which is a good place to bring any post-effect signal back to the console…that’s what it was designed to do…but where does the signal go that is plugged into the EFF RTN 1 jack? I know that’s the $10,000 question here, but I want to see if you know the answer or can figure that out. I will tell you it goes first to the to the EFF RTN 1 level knob, and then that feeds the EFF RTN 1 PAN control, but…where does it go from there?
@@SweetbeatsTechStop I have it going to group 1 with the on switch latched because that’s the way I can hear the drum machine. Maybe I should be doing stereo out instead of channel one assign switch in this case? The effect return feeds into the stereo out I would think? Which makes me wonder if instead of assigning to group 1 I should be assigned channel one to the LR main outs.
You’re on the right track. There’s nothing wrong per se with assigning channel 1 to group 1, and then assigning group 1 to the L-R main buss via the group 1 “ON” switch…that’s what you’re doing. There are multiple ways to assign and route things on an M-300 console and all are “correct”, but different arrangements are more ideally suited to different scenarios depending on if you are recording or live mixing, or both…if you just want to hear a mix of your drum machine and the reverb return, you can skip the extra hop from channel 1 to group 1 to main buss, and just assign channel 1 to the main buss. Same thing, just bypasses extra amp stages and unnecessary noise/distortion. But, again, what you’re doing is not “wrong.”
General comment: try and shift from thinking of assigning sources to outputs, like when you’re saying the EFF RTN “feeds into the stereo out”…yes, it does go there, but the stereo out is fed by the main L-R buss…and that buss carries signal to multiple places…so you assign sources to busses and busses feed outputs. Technically when you turn up the EFF RTN level knob it feeds the L-R faders, and then when you turn those up they feed the stereo out jacks as well as the meters, monitor select switchrack, etc.
So you should be able to assign input channel 1 to the L-R main buss, and turn up the channel 1 EFF send control, turn up the EFF master control, and then turn up the EFF RTN 1 level, and when monitoring the L-R main buss (either via the stereo out jacks connected to monitor speakers, or via the headphones…press the STEREO button in the monitor select switchrack and turn up the phones level), hear a mix of the dry signal from input channel 1, and the wet signal from the reverb box returning to the main mix via the EFF RTN 1 input.
I just bought a super clean M-312B all lights are on but no matter what I plugged into it I don’t get any signal or sound. Is there a ‘cancel-all sound’ button?
The only one I know of is the power switch. Sorry. Couldn’t resist. So tell me in detail what you have plugged into what on the M-312, and then in detail how you have the controls set.
Does it have a loud hissing or buzzing noise?
No. Why do you ask?
I hope ur excellent presentation doesn’t tempt me into looking for one of these for myself ... as happened with the excellent M-5 console😅. Gr8 vid quality btw👌. I learn more and more when revisiting these virtual tutorials. I wonder if u’ve come across the M-50 console/saw one of those recently🙏
Thanks for the feedback. I appreciate it! Search my channel for videos related to the Tascam M-520. The M-50 is the predecessor to the M-512/M-520...there is very little difference between the M-50 and the M-512, and the M-520 is the same as the M-512, just 8 more channels. You can learn about all you need to know about the features of the M-50 by watching my M-520 videos. I know those consoles very well inside and out. Key differences between the M-50 and the M-512/520 are the former has 60mm faders, and the latter has 100mm long-throw faders, and there are differences on the output section...the M-50 has a 2-channel patchable balance amp section to balance any two unbalanced outputs, and switch selectable nominal levels for a number of the outputs; the balance amp is an ultra-high headroom discrete output stage driven by +/-35V power rails. The M-50 is the only production model from Teac/Tascam that featured this line amp. I have a prototype Tascam console that features 14 of these amps. The LA-40 4-channel balance/unbalanced “bump box” features a simplified version of the line amp, but +/-20V power...still good headroom, but not the same unexpected pedigree of the M-50s balance amp. The M-512/520 have a very useful 8-channel balance amp section in place of the M-50’s 2-channel version, but it is powered by +/-18V rails and is opamp-based instead of discrete transistor-based. The M-512/520 also lose the switch selectable group of outputs and instead they are all -10dBv. Otherwise, the inputs and control surface features are the same. Sorry for the tech vomit.
I just scored a free M-308, and everything seems to work fine, except one meter's lamp is out. I can live with that. Best of all it's going to replace a Yamaha EM-300. 10 times the features and half the weight!
Thanks for this video! I'll use it to track drums with my computer (no tape recording) I hope it works to achive a better sound.
What were you using before your M-300 console? What interface do you use?
@@SweetbeatsTechStop I have my home studio where I work tracking drums and doing a lot music, so it's like a lab too. I used a Yamaha RM 802, and others inputs, I use Mac, so I have 3 interfaces at the same time and each one has their own capabilites. Audient Sono with a Presonus Digimax Lt (via Adat) one Apogee Mini Me and one Focusrite 6i6 with another Apogee mini me (via SPDIF). It sound great but I noticed some strange behaviors on my Yamaha.
What kind of “behaviors” are you talking about with the Yamaha? I’ve had good experiences with a wide variety of Yamaha equipment and instruments over many years. I’ve not ever used an RM802 but just looking at the feature set and the circuits, given the choice, I’d likely use the M-300 series console over the RM802, but wouldn’t have a problem using the RM802 either. Interesting setup you have there.
Thanks for ask! I hope the M-300 series work fine!
I'm new with my home studio and recording myself. So maybe I say things without knowing.
I'm not sure but I noticed sometimes like a limiter on the OH channel. I saw it on Logic once recorded.
Another thing I noticed is a difference between channels, my OH mics (Aston Origin) aren't paired, but when I check the recording on Logic I noticed difference between them, of course the settings are copied exactly.
Even I have vintage mics like AKG D12 and two Sonotone from the 60s and these mics does not work well with the Yamaha, sometimes work well and sometimes don't, maybe is the impedance? Because when I use those mics with the Apogee mini me, them works well.
So maybe I'm not talking right things... I'm a newbie recording myself since 2020.
cool video !! give thanks !! :)
i love this Tascam M312 , so i just found one , until now i use an old Mackie cr1604 vlz for dub mix !!
I had an original Mackie CR-1604 at one point. A fine mixing console for what it was, but the Tascam is a better sounding console in my opinion, has a MUCH more robust feature set (more monitoring and routing options), is easier to service, and has a better aesthetic too IMO. Enjoy!
Is this thing easy to repair? I see one for sale with a broken headphone output, and I'm wondering...
It really depends on your experience level with working on devices like this. Usually an issue with the headphone output is a broken jack. That should be relatively easy to repair if that’s the issue. The jack is located on the front of the mixer below the wrist rest. You can tip the console on its side and remove the bottom panel by removing screws and the feet, and you should have access to the jack at that point. If it’s a more complicated issue like a blown headphone amp or something like that, well, it can all be fixed, it’s just more complicated and requires more skill and experience. The M-300 series consoles will generally be easier to repair than most contemporary consoles because of the “through-hole” component construction on the PC boards vs “surface-mount” construction common today.
Hi could you tell us what the power supply runs at? Im assuming US 110 volts? Thanks
The M-312 in the video is a USA model and so operates on 110V 60Hz AC power, but there were models for other markets that operated on other types of mains power. Regardless of the mains power, the power supply in each model in each market converted the mains power to the same DC voltage rails (i.e. +/-15V, +6V, and on the 'B' models the +48V for phantom power).
Thanks!
i cant connect a mono in, stereo out reverb properlly :/
More details please. Which M-300 console do you have, what make/model reverb unit do you have, and describe in detail how you have it connected. Walk me through what output from the console you are using, and what input on the reverb box you are using, and then output from reverb box to what inputs on the console?
@@SweetbeatsTechStop so, thanks for the fast answer! The console is the M-312. I am trying to connect an Oliver DR1000. It has one mono input and stereo outputs. And I made some attempts on connecting it in a way that I could have a dry-wet signal for each line input channel. The M-312 has 2 Effect Returns inputs, but I couldnt find the Effect sends. I dont know what is the right way to do it.
You want to use the EFFECT buss. See the blue knobs on the input channel strips labeled EFFECT? You turn those up for whatever input channel sources you want sent to the reverb. Those knobs feed the master EFFECT level knob over in the master section. So turn that up to adjust the overall signal level being sent to the DR1000. The master EFFECT knob in the master section feeds the “EFF” output jack on the back of the master section. It’s next to the AUX 1 and AUX 2 output jacks. Connect the EFF output jack to the DR1000 input. Now connect the DR1000 outputs to any two inputs. You can use EFFECT RTN 1 & 2 if you want, or the SUB IN R & L jacks, or even return it to the line inputs of two of your 12 input channels. Just make sure you have the EFFECT knobs all the way off (hard L or fully counter clockwise) or you’ll get feedback.
@@SweetbeatsTechStop thank you so much. The reverb sound is just beautiful! I cant thank you enough. One of the only videos going trough this old model on yt and being able to talk directly to you.
That’s awesome! Hey I’m glad I could help. Glad you can enjoy using your M-300 console even more now!
Have you tried upgrading the opamps, If so what would you recommend. Or any other mods not mentioned in this video.
You know, I’m pretty conservative when it comes to opamp “upgrades” so I may not be the best one to ask. And I never owned/operated an M-300 console long enough to feel any particular limitations to the stock components. Teac designed the M-300 series around what was the shiz of the day as far as opamps go; the 5532. The dual 5532 and its single channel variant the 5534, now well over three decades old, are still very well respected. That really says something. And you have to consider that many times what we like about how something sounds may actually be related to what on paper looks inferior to today’s higher performance opamps. So I’m pretty selective about what I change and only do it if there is a compelling reason, like if the stock part is creating a definable sonic barrier. And you have to consider the whole circuit...what’s in the feedback loop...what is the circuit configuration. You can just as easily “upgrade” an opamp and have it sound worse. So I think step one is identifying if there is an actual problem, step two is verifying the stock opamp is the problem, and step three is determining if the benefits of a particular new part will outweigh the detriments, and you might well consider quantitative measurements should be part of step three. Short answer: I’d leave the 5532s alone. There are other ways to improve the sonics. The M-300 is a good sounding console that was well designed and has a really handy feature set. It’s not Dave Grohl’s Neve desk from Sound City, and no amount of upgrades will ever make it a “boutique” console, but I think they are great...really great for the money and once you go through one and do what you have to do to get a 35 year old console working right for you I think they sound better than contemporary budget consoles, and you won’t find the feature set on anything new in the market today, period; the routing flexibility and such. Back to the opamps...IIRC correctly without any M-300 guts or the schematics in front of me, many of the output stages use the 2041 opamp. Also a good opamp for the day and had gobs of drive. You can make some improvements here...a 2134, though not cheap, is a great drop-in alternative with similar drive, better bandwidth, slew rate, noise and distortion. I don’t know if you’ll have to take preventative measures to abate oscillation...typically good practice...but it’s an “upgrade” that’s not wild, but not mild either and makes sense to me. But for SURE do just a couple outputs so you can compare with stock configuration. You might be surprised what difference you can’t hear. And *every* upgrade causes some kind of compromise or strain somewhere else in the chain...no free lunches. #1 upgrade in my book? Recap the power supply with good quality low ESR caps...and if not already present bypass each main filter cap with a small value film cap or see to it there is a small value film cap across each power rail output. And replace the stock JRC 7815/7915 regulators with new TI parts. These things will do more for lowering the noise floor than any amount of opamp “upgrades”. I generally like the character of anything that’s built around the 5532. Is it the chip? I dunno...but it’s consistent enough if it is outfitted with the 5532 or 5534 I leave it alone.
Thanks for the advice, i already recapped power supply , if i go in again ill try to bypass the filter caps, and will try replacing those jrc 7815. Ive owned this mixer for around 5 years, and it is quite good, but i believe im ready to upgrade the mixer and pass it on to the next guy.
Cheers
Greg
excellent
How's it compare to the teac5? Same preamps?
Completely different circuit. The Model 5 series were transformer coupled with opamp stages following using the 4558/4559 opamp. The M-300 series are electronically balanced (opamp only) and the mic preamp uses the 5532 opamp. Personally I like the M-300 preamps better, but the Model 5 series is a much more robust build. The M-300 series is still robust compared to contemporary budget-class consoles, and can be found for very affordable prices particularly if you're willing to do some elbow-grease refurbishing and/or repairs. If there was a budget-class vintage console that had the physical build of the Model 5 series but the features and signal path of the M-300 series, I'd be all over that.
Thx so much
THANK YOU!!!
You’re welcome! Post a question if you have any.
Nice!!! Thanks!!!
thank you :)
😍😍😍
thankyou!
👍