Hey I’m trying to figure out on the console the 16 monitors/busses. Is it possible to get 16 independent outs to a 16 track tape machine from the busses? It says that 16 program outputs is possible in the manual but I cannot figure it out 🫤. For me it seems to be only 8 true outputs with a copy of the same signal. Help! Thx!!!
So you’re on the right track…no pun intended…there are 8 PGM groups (mono mix busses), and those are the only discrete mix busses. But understand it was and is common for the multitrack device track count to not be the same as the count of mix busses on the console…often the console outputs are on a patchbay and the recorder inputs are on a patchbay and you patch over from the mix busses to the recorder inputs during the tracking and overdubbing process. An 8-buss console is perfectly functional for a 16-track recorder, *especially* when the console input channels have direct outputs. And Tascam added the convenience of splitting the 8 PGM outs into two jacks per buss…like an internal ‘Y’ cable. So PGM OUT 1 connects to tape machine inputs 1 & 9…PGM OUT 2 to inputs 2 & 10. Now your 8 mix busses are connected to all 16 tape machine inputs, and you can control routing of all inputs to any or all tape tracks using the PAN controls and PGM group assign switches along with the recorder track arming switches. Want to submix console inputs 1, 4 & 5 and record the sum to track 12? Assign them all to PGM 4, make sure track 4 is NOT armed, and arm track 12 and record away. There is nothing abnormal or chintzy about doing it this way. The question you need to ask yourself is what is your workflow…in your studio do you routinely record more than 8 tracks at a time? If so get the PGM outs and input channels’ direct outs onto a patchbay. You can easily use a combination of direct outs and PGM groups to record an infinite number of combinations of discrete sources and submixed sources to any and all tape tracks at any time. What’s important is the console have at least as many discrete outputs as the maximum number of tracks you record simultaneously. One could have 3 48-track DASH machines synchronized for 144 tracks, but if they never record more than 4 tracks at a time their console would only need 4 mix busses…or 4 direct outputs…or some combination of those things. Yes…they would need at least 144 input channels to monitor the multitrack playback…that’s a different issue. The M-520 has a total of 20 discrete outputs using the direct outputs, and those can be assigned to and/or submixed to 8 mono mix busses. With the 20 main input channels and the 16x2 monitor mixer, the direct outs and mix busses, this is PLENTY of utility for a 16-track recorder…lots of flexibility. Hope that helps and let me know if you have any additional questions. I used to be hung up on the idea of wanting a console with a number of mix busses to match the tape tracks. But others helped me to let go of that and understand my console could easily get the job done…and in my case it’s a 32 input module console (12 mono input modules and 20 stereo input modules) with, currently, direct outs on mono input modules 1-12 only, and 4 mono mix busses and two stereo mix busses. Someday I plan on adding direct outs to some of the stereo modules as well, and converting modules 29-32 from stereo input modules to 4 more mono mix buss modules, but I still feel it gets the job done as-is. I can easily feed all tracks of a 16-track recorder simultaneously if needed. A patchbay makes patching more convenient during the tracking and overdubbing process.
Hi sweeatbeats. I have a question for you. Year ago when I bought my m520 i read your whole blog about it. Very inspiring. I have a question. I had a tech done over to do a repair (“mon” selector (in monitor section) contact acting ho and losing left channel) but we could not get the whole module out without taking off the top section under the meter bridge. Is this the only way to remove a module? Thanks for the answer. I appreciate it.
Thanks for the reply. Yeah I had some issues with the “mon” button when switching back from other sources in the monitor section (spare). I had a tech come over to pick up gear and we tried to get the bucket out, but stopped when we saw what was entitled but mainly cause the button started working days before he came and had since. When I would switch back to “mon” the left channel would cut in and out. So since it was working we left it. I was curious tho for the future if I have to get that bucket out (the eight channel monitor bucket) do I need to remove the meter bridge and the panel under the meter bridge? That’s for your help. That blog you did documenting the M52 0 rebuild was great. I love what the master section does to the sound. Thanks for the reply and your help
So, it’s been almost 10 years since I’ve had an M-500 console in front of me, so this is from memory, but at the top of the mixer modules, where it goes from beige to dark brown below the meter bridge, you’ll see I think six screws going from left to right on the dark brown panel. Remove those. You should now be able to tip that panel and the entire meter bridge back…open it up like the hood of a Corvette. Now at the other end, there is a metal trim strip between the mixer module dress panels and the wrist rest, the one with the channel numbering on it. Remove all the screws from the trim strip and lift it out and set it aside. You should now be able to access the screws that mount the master section to the frame, 4 at the back, 4 at the front. Remove those screws, and you should be able to lift the master section free. There will be a *bunch* of connectors to disconnect all over the place. Take pictures, mark with blue masking tape, etc, so you can put it back together correctly. And take care disconnecting everything. Damage can occur to solder joints sometimes even if you’re careful. Another thing to consider though is maybe you just have a flaky connector or bad solder joint. The monitor select switchrack assembly is on its own PCB. You can maybe access it from underneath without removing the master section and this might be good because the connections on the BUSS PCBs (the big horizontal ones at the bottom of the master section) are not very robust…better to not disconnect if you don’t have to. Tip the console on its side. Remove the cover panel or panels that cover the bottom of the master section. You can now see the big PCBs. IIRC the PCBs are each fastened with two screws and two hinging plastic pins. If you remove the two screws you can kind tip the PCB down to partially expose what’s above them. Of course they are kind of restrained by cabling, but this might be enough to be able to get to the monitor select switchrack PCB assembly and the connections to/from it to check, inspect, repair. It’s also possible the MON switch is bad. Have you tried exercising it?
Thank you so much for the detailed message. That helps so much. I have saved this message into my email. For future use (tho hopefully I will not have to know for a while). I was meeting up with a Tech to drop off some gear for him to fix just as the “mon” swixyh was Acting up, so I had him come to the house. Well the days preceding him coming the “mon” switch started working again (was only acting up for a day or two) so when he was there we couldn’t get it not too work. It’s been working since without exception. He did excercise it and still kept working. So now I will just leave it on “mon” all the time and if I need to go to an external source, I’ll just pull up two faders. I hope I don’t have to gain access now but what you wrote will give me all of the information I will need to access it. Hopefully it just keeps working lol. I would to take an electrical class to learn more about such things. Having old gear can be cheaper if I can fix it Myself. That you so much for all your help. I greatly appreciate it. Seems like you are the preeminent expert on the M520 bass on your wonderful blog and that no others online have documented any such work on the console. It’s a decent sounding board that does lovely stuff on the master section tightening and gelling things up. THANK again Sweetbeats. I really appreciate all your help.
Yeah you bet. Thanks. And if I’m understanding you correctly, with you leaving the MON switch depressed, you don’t have to pull up additional faders to feed additional sources to the monitor buss…one thing people don’t realize that’s kind of rare and cool about the M-50/M-500 series is the monitor select switchrack is not radio button style where you can only have one button latched at a time. On the M-50/M-500 series the monitor select section is summing, so you can have any or all of the buttons simultaneously latched…you can leave the MON button latched and then you can drop in the SPARE feed and then pull it out or 2TR A or 2TR B…or all of them…simultaneously.
Hello how are you? I found this video of yours and I thought it was really good. I just bought an m50, basically it's a smaller m502. The layout is the same, but with 12 channels and 8 bus channels. I would really like some help understanding how I connect effects pedals to be applied in real time to channels. I read the manual, but I couldn't understand how to insert a reverb pedal, for example, to use as an effect on the channels. Where can I connect them? I saw that it has stereo aux inputs, but the pedals are mono, and the console has more than one output for each aux. Could you explain it to me. Thank you very much in advance
Hi. To be more precise the M-512 is actually the 12-channel counterpart to the M-520, not the M-50…the M-50 preceded them both…very similar yes, but there are some key differences between the M-50 and the M-512/520: the M-50 faders are 60mm throw, the M-512/520 are 100mm; the M-50 AUX buss control topography is 4-channel but in two stereo pairs (you know this already because this is part of what you are wrestling with…more below…), while the M-512/520 is still 4-channel but setup as 4 mono channels; the M-50 has a significantly different master section jack panel…only two “BALANCE AMP” channels, but those two outputs are completely unique to the M-50 as far as Teac/Tascam production models in that they have a semi-discrete ultra-high headroom complimentary transistor output stage powered by +/-35V power rails. The M-512/520 has a very useful 8-channel BALANCE AMP section but it is a watered-down version of the M-50 output line driver and powered by +/-18V. The M-50, in lieu of 8 channels of balance amp conversion has a number of outputs switchable -10dBv or 0dBv, whereas the M-512/520 are all -10dBv. Those are the highlights. The M-50 is a unique monster. I own a prototype of the M-50 with 14 channels of that ultra-high headroom output line driver and a truckload of other features that never made it to a production model. Now, as to your question…with an effect like reverb you typically want to incorporate that as a send type effect vs an “insert” effect…and as a result you would typically use AUX bussing to feed that effect. Don’t think of your M-50 as having two “stereo” AUX busses. That’s how they are setup control-wise, but the controls allow you to use each pair as “stereo” or dual-mono if you know how to use them. It’s 4 channels of AUX bussing. Think of it as 4 channels of AUX busses organized into two pairs. Each pair has a PAN and LEVEL control. So you can use it like a “stereo” AUX buss, or dual mono buss…in dual-mono mode use the PAN control to adjust the balance of the signal fed to output 1 or output 2 (in the case of AUX 1-2), and the LEVEL control to simultaneously adjust the level to both outputs. Think of it that way when you are using AUX 1-2 (for instance) as dual mono…it’s not AUX 1 is left and AUX 2 is right of a stereo buss, it’s just AUX 1 and AUX 2 with a balance control (PAN) and a LEVEL control that controls both instead of a dedicated LEVEL control for each. So let’s say you only want the signal fed to AUX 1, then sweep the PAN control hard L, and use the LEVEL control to adjust the output level. If you have two mono effects hooked up, one to AUX 1 and the other to AUX 2, start by setting the PAN control to center, and adjust the LEVEL control for the hottest feed without overloading the input of the two mono effects. If it’s good for the effect connected to AUX 1, but, for instance, too hot for the effect connected to AUX 2, adjust the PAN control counter-clockwise toward AUX 1 until the level is okay for the effect connected to AUX 2 and then trim the overall level up or down using the LEVEL control…rinse and repeat until there’s a good level going to both mono effects connected to the AUX 1 and AUX 2 outputs. And keep in mind you have overall AUX buss master fader controls in the master section for all signals fed to the AUX 1-2 busses and AUX 3-4 busses. This is how you use a 2-channel AUX buss configured as a “stereo” buss as a dual-mono AUX buss. So you can feed your pedals with the AUX outputs, and you can return them to the console using any open input channels, or the SPARE inputs, or BUSS IN jacks…whatever works for your setup. If you want more specific guidance I need to know what all you have hooked up to the 12 input channels and how you are using the PGM groups. I hope this is helpful.
I do not…sold it almost 15 years ago to a good home. I still have a bunch of M-520 parts though, and my early 1980s prototype console which ultimately led to the M-500 series, so there are M-520 ghosts everywhere here.
PCB assemblies, knob/fader/switch caps, faders, etc. By lamps do you mean LED indicators or incandescent VU meter lamps? If the latter I probably have some but I’d never ever sell or even give used meter lamps to anybody…they’ll barely last and it makes no sense when it’s easy to buy new. LED indicators I have.
I'm getting ready to purchase a 512 steep learning curve. The meter lights up but I'm not sure how it works. Nothing was hooked up from the board to the back of the meters. Does it have to be patched into the back of the board. I know it's not 520 but both mixers, appear very similar. Thanks
The meters can monitor either signals passing through the console, or signals external to the console…the EXT switches at the right of the meter bridge determine if the meters are monitoring internal signals or external signals via the external input jacks to the meters.
By “live floor” do you mean the stage? Typically monitor mixes are created using AUX busses. That’s what I would do. There is another option if you aren’t using more than half the channels but that’s not likely the case.
And I saw your other question: "When i send signal through the assign to the program groups and try to monitor the signal it wont go through the speakers. I have the correct sources chosen. Just confused whether or not there is an issue with my bussing matrix or if ive messed up signal flow along the way. I get playback and hear whats coming through the tape machine when thats sourced. I can record but not mix through the faders essentially." I'm having a difficult time following your question I think because of the terminology you are using and some missing details. Please try to be as detailed as possible since your words are my eyes and ears. Are you saying you can't get signal to your monitor speakers? How are they connected to your console? What jacks are they hooked up to? What source is selected in the MONITOR SELECT switchrack, and how do you have your monitor mixer set? If you have channels assigned to, say, PGM groups 1 & 2, then you should have the PGM group faders 1 & 2 raised, and the monitor mixer channels 1 & 2 -OR- 9 & 10 LEVEL knobs turned up, their source select switches set to BUSS, and the MONITOR SELECT switchrack button for MON latched (down), and the STEREO A fader raised. You should then have signal present at the STEREO A output jacks.
@@SweetbeatsTechStop to address the question regarding headphones. Im curious as to how to get a headphone mix to my performers on the floor if the headphone jack is for control room. I understand routing it to an aux buss but where would i take that out to say a drummer? Would it just be the rca aux outs on the back? Does this make more sense?
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Hey I’m trying to figure out on the console the 16 monitors/busses. Is it possible to get 16 independent outs to a 16 track tape machine from the busses? It says that 16 program outputs is possible in the manual but I cannot figure it out 🫤. For me it seems to be only 8 true outputs with a copy of the same signal. Help! Thx!!!
So you’re on the right track…no pun intended…there are 8 PGM groups (mono mix busses), and those are the only discrete mix busses. But understand it was and is common for the multitrack device track count to not be the same as the count of mix busses on the console…often the console outputs are on a patchbay and the recorder inputs are on a patchbay and you patch over from the mix busses to the recorder inputs during the tracking and overdubbing process. An 8-buss console is perfectly functional for a 16-track recorder, *especially* when the console input channels have direct outputs. And Tascam added the convenience of splitting the 8 PGM outs into two jacks per buss…like an internal ‘Y’ cable. So PGM OUT 1 connects to tape machine inputs 1 & 9…PGM OUT 2 to inputs 2 & 10. Now your 8 mix busses are connected to all 16 tape machine inputs, and you can control routing of all inputs to any or all tape tracks using the PAN controls and PGM group assign switches along with the recorder track arming switches. Want to submix console inputs 1, 4 & 5 and record the sum to track 12? Assign them all to PGM 4, make sure track 4 is NOT armed, and arm track 12 and record away. There is nothing abnormal or chintzy about doing it this way. The question you need to ask yourself is what is your workflow…in your studio do you routinely record more than 8 tracks at a time? If so get the PGM outs and input channels’ direct outs onto a patchbay. You can easily use a combination of direct outs and PGM groups to record an infinite number of combinations of discrete sources and submixed sources to any and all tape tracks at any time. What’s important is the console have at least as many discrete outputs as the maximum number of tracks you record simultaneously. One could have 3 48-track DASH machines synchronized for 144 tracks, but if they never record more than 4 tracks at a time their console would only need 4 mix busses…or 4 direct outputs…or some combination of those things. Yes…they would need at least 144 input channels to monitor the multitrack playback…that’s a different issue. The M-520 has a total of 20 discrete outputs using the direct outputs, and those can be assigned to and/or submixed to 8 mono mix busses. With the 20 main input channels and the 16x2 monitor mixer, the direct outs and mix busses, this is PLENTY of utility for a 16-track recorder…lots of flexibility. Hope that helps and let me know if you have any additional questions. I used to be hung up on the idea of wanting a console with a number of mix busses to match the tape tracks. But others helped me to let go of that and understand my console could easily get the job done…and in my case it’s a 32 input module console (12 mono input modules and 20 stereo input modules) with, currently, direct outs on mono input modules 1-12 only, and 4 mono mix busses and two stereo mix busses. Someday I plan on adding direct outs to some of the stereo modules as well, and converting modules 29-32 from stereo input modules to 4 more mono mix buss modules, but I still feel it gets the job done as-is. I can easily feed all tracks of a 16-track recorder simultaneously if needed. A patchbay makes patching more convenient during the tracking and overdubbing process.
Hi sweeatbeats. I have a question for you. Year ago when I bought my m520 i read your whole blog about it. Very inspiring. I have a question. I had a tech done over to do a repair (“mon” selector (in monitor section) contact acting ho and losing left channel) but we could not get the whole module out without taking off the top section under the meter bridge. Is this the only way to remove a module? Thanks for the answer. I appreciate it.
Hi. So you want to remove the master section? Is that what you are asking?
Thanks for the reply. Yeah I had some issues with the “mon” button when switching back from other sources in the monitor section (spare). I had a tech come over to pick up gear and we tried to get the bucket out, but stopped when we saw what was entitled but mainly cause the button started working days before he came and had since. When I would switch back to “mon” the left channel would cut in and out. So since it was working we left it. I was curious tho for the future if I have to get that bucket out (the eight channel monitor bucket) do I need to remove the meter bridge and the panel under the meter bridge? That’s for your help. That blog you did documenting the M52 0 rebuild was great. I love what the master section does to the sound. Thanks for the reply and your help
So, it’s been almost 10 years since I’ve had an M-500 console in front of me, so this is from memory, but at the top of the mixer modules, where it goes from beige to dark brown below the meter bridge, you’ll see I think six screws going from left to right on the dark brown panel. Remove those. You should now be able to tip that panel and the entire meter bridge back…open it up like the hood of a Corvette. Now at the other end, there is a metal trim strip between the mixer module dress panels and the wrist rest, the one with the channel numbering on it. Remove all the screws from the trim strip and lift it out and set it aside. You should now be able to access the screws that mount the master section to the frame, 4 at the back, 4 at the front. Remove those screws, and you should be able to lift the master section free. There will be a *bunch* of connectors to disconnect all over the place. Take pictures, mark with blue masking tape, etc, so you can put it back together correctly. And take care disconnecting everything. Damage can occur to solder joints sometimes even if you’re careful.
Another thing to consider though is maybe you just have a flaky connector or bad solder joint. The monitor select switchrack assembly is on its own PCB. You can maybe access it from underneath without removing the master section and this might be good because the connections on the BUSS PCBs (the big horizontal ones at the bottom of the master section) are not very robust…better to not disconnect if you don’t have to. Tip the console on its side. Remove the cover panel or panels that cover the bottom of the master section. You can now see the big PCBs. IIRC the PCBs are each fastened with two screws and two hinging plastic pins. If you remove the two screws you can kind tip the PCB down to partially expose what’s above them. Of course they are kind of restrained by cabling, but this might be enough to be able to get to the monitor select switchrack PCB assembly and the connections to/from it to check, inspect, repair. It’s also possible the MON switch is bad. Have you tried exercising it?
Thank you so much for the detailed message. That helps so much. I have saved this message into my email. For future use (tho hopefully I will not have to know for a while). I was meeting up with a Tech to drop off some gear for him to fix just as the “mon” swixyh was Acting up, so I had him come to the house. Well the days preceding him coming the “mon” switch started working again (was only acting up for a day or two) so when he was there we couldn’t get it not too work. It’s been working since without exception. He did excercise it and still kept working. So now I will just leave it on “mon” all the time and if I need to go to an external source, I’ll just pull up two faders. I hope I don’t have to gain access now but what you wrote will give me all of the information I will need to access it. Hopefully it just keeps working lol. I would to take an electrical class to learn more about such things. Having old gear can be cheaper if I can fix it Myself. That you so much for all your help. I greatly appreciate it. Seems like you are the preeminent expert on the M520 bass on your wonderful blog and that no others online have documented any such work on the console. It’s a decent sounding board that does lovely stuff on the master section tightening and gelling things up. THANK again Sweetbeats. I really appreciate all your help.
Yeah you bet. Thanks. And if I’m understanding you correctly, with you leaving the MON switch depressed, you don’t have to pull up additional faders to feed additional sources to the monitor buss…one thing people don’t realize that’s kind of rare and cool about the M-50/M-500 series is the monitor select switchrack is not radio button style where you can only have one button latched at a time. On the M-50/M-500 series the monitor select section is summing, so you can have any or all of the buttons simultaneously latched…you can leave the MON button latched and then you can drop in the SPARE feed and then pull it out or 2TR A or 2TR B…or all of them…simultaneously.
Hello how are you? I found this video of yours and I thought it was really good. I just bought an m50, basically it's a smaller m502. The layout is the same, but with 12 channels and 8 bus channels.
I would really like some help understanding how I connect effects pedals to be applied in real time to channels. I read the manual, but I couldn't understand how to insert a reverb pedal, for example, to use as an effect on the channels. Where can I connect them? I saw that it has stereo aux inputs, but the pedals are mono, and the console has more than one output for each aux.
Could you explain it to me. Thank you very much in advance
Hi. To be more precise the M-512 is actually the 12-channel counterpart to the M-520, not the M-50…the M-50 preceded them both…very similar yes, but there are some key differences between the M-50 and the M-512/520: the M-50 faders are 60mm throw, the M-512/520 are 100mm; the M-50 AUX buss control topography is 4-channel but in two stereo pairs (you know this already because this is part of what you are wrestling with…more below…), while the M-512/520 is still 4-channel but setup as 4 mono channels; the M-50 has a significantly different master section jack panel…only two “BALANCE AMP” channels, but those two outputs are completely unique to the M-50 as far as Teac/Tascam production models in that they have a semi-discrete ultra-high headroom complimentary transistor output stage powered by +/-35V power rails. The M-512/520 has a very useful 8-channel BALANCE AMP section but it is a watered-down version of the M-50 output line driver and powered by +/-18V. The M-50, in lieu of 8 channels of balance amp conversion has a number of outputs switchable -10dBv or 0dBv, whereas the M-512/520 are all -10dBv. Those are the highlights. The M-50 is a unique monster. I own a prototype of the M-50 with 14 channels of that ultra-high headroom output line driver and a truckload of other features that never made it to a production model.
Now, as to your question…with an effect like reverb you typically want to incorporate that as a send type effect vs an “insert” effect…and as a result you would typically use AUX bussing to feed that effect. Don’t think of your M-50 as having two “stereo” AUX busses. That’s how they are setup control-wise, but the controls allow you to use each pair as “stereo” or dual-mono if you know how to use them. It’s 4 channels of AUX bussing. Think of it as 4 channels of AUX busses organized into two pairs. Each pair has a PAN and LEVEL control. So you can use it like a “stereo” AUX buss, or dual mono buss…in dual-mono mode use the PAN control to adjust the balance of the signal fed to output 1 or output 2 (in the case of AUX 1-2), and the LEVEL control to simultaneously adjust the level to both outputs. Think of it that way when you are using AUX 1-2 (for instance) as dual mono…it’s not AUX 1 is left and AUX 2 is right of a stereo buss, it’s just AUX 1 and AUX 2 with a balance control (PAN) and a LEVEL control that controls both instead of a dedicated LEVEL control for each. So let’s say you only want the signal fed to AUX 1, then sweep the PAN control hard L, and use the LEVEL control to adjust the output level. If you have two mono effects hooked up, one to AUX 1 and the other to AUX 2, start by setting the PAN control to center, and adjust the LEVEL control for the hottest feed without overloading the input of the two mono effects. If it’s good for the effect connected to AUX 1, but, for instance, too hot for the effect connected to AUX 2, adjust the PAN control counter-clockwise toward AUX 1 until the level is okay for the effect connected to AUX 2 and then trim the overall level up or down using the LEVEL control…rinse and repeat until there’s a good level going to both mono effects connected to the AUX 1 and AUX 2 outputs. And keep in mind you have overall AUX buss master fader controls in the master section for all signals fed to the AUX 1-2 busses and AUX 3-4 busses. This is how you use a 2-channel AUX buss configured as a “stereo” buss as a dual-mono AUX buss.
So you can feed your pedals with the AUX outputs, and you can return them to the console using any open input channels, or the SPARE inputs, or BUSS IN jacks…whatever works for your setup. If you want more specific guidance I need to know what all you have hooked up to the 12 input channels and how you are using the PGM groups.
I hope this is helpful.
👍 Hi 🤛
Do you still have your 520….
I do not…sold it almost 15 years ago to a good home. I still have a bunch of M-520 parts though, and my early 1980s prototype console which ultimately led to the M-500 series, so there are M-520 ghosts everywhere here.
What Parts… lamps..? Fader knobs
PCB assemblies, knob/fader/switch caps, faders, etc. By lamps do you mean LED indicators or incandescent VU meter lamps? If the latter I probably have some but I’d never ever sell or even give used meter lamps to anybody…they’ll barely last and it makes no sense when it’s easy to buy new. LED indicators I have.
I'm getting ready to purchase a 512 steep learning curve. The meter lights up but I'm not sure how it works. Nothing was hooked up from the board to the back of the meters. Does it have to be patched into the back of the board. I know it's not 520 but both mixers, appear very similar. Thanks
The meters can monitor either signals passing through the console, or signals external to the console…the EXT switches at the right of the meter bridge determine if the meters are monitoring internal signals or external signals via the external input jacks to the meters.
so if the headphones double the stereo master A. What would be the best way to set up a headphone mix for the live floor?
By “live floor” do you mean the stage?
Typically monitor mixes are created using AUX busses. That’s what I would do. There is another option if you aren’t using more than half the channels but that’s not likely the case.
And I saw your other question:
"When i send signal through the assign to the program groups and try to monitor the signal it wont go through the speakers. I have the correct sources chosen. Just confused whether or not there is an issue with my bussing matrix or if ive messed up signal flow along the way. I get playback and hear whats coming through the tape machine when thats sourced. I can record but not mix through the faders essentially."
I'm having a difficult time following your question I think because of the terminology you are using and some missing details. Please try to be as detailed as possible since your words are my eyes and ears. Are you saying you can't get signal to your monitor speakers? How are they connected to your console? What jacks are they hooked up to? What source is selected in the MONITOR SELECT switchrack, and how do you have your monitor mixer set? If you have channels assigned to, say, PGM groups 1 & 2, then you should have the PGM group faders 1 & 2 raised, and the monitor mixer channels 1 & 2 -OR- 9 & 10 LEVEL knobs turned up, their source select switches set to BUSS, and the MONITOR SELECT switchrack button for MON latched (down), and the STEREO A fader raised. You should then have signal present at the STEREO A output jacks.
@@SweetbeatsTechStop i figured out my other question i just had a problem with signal flow. i deleted it because i thought it might be confusing.
@@SweetbeatsTechStop to address the question regarding headphones. Im curious as to how to get a headphone mix to my performers on the floor if the headphone jack is for control room. I understand routing it to an aux buss but where would i take that out to say a drummer? Would it just be the rca aux outs on the back? Does this make more sense?
Essientially for overdubs