Does anyone know if both the tape ins and tape outs are +4 balanced?
I read that the tape ins were +4 balanced but the tape outs were +4
unbalanced. Is this information correct? Thank you in advance for any
help you can provide.

(rm)
Does anyone know if both the tape ins and tape outs are +4 balanced?
I read that the tape ins were +4 balanced but the tape outs were +4
unbalanced. Is this information correct?

The tape ins are balanced and the tape outs are unbalanced. The factory
level settings are +4 for both, but there are internal jumpers for changing
that to -10.

LK5 sets the tape in level, link A; jumper between pin 1 & 2 and link B
between pin 1 & 2 is +4, both links between 2 & 3 and it's set for -10.

A B +4 A B -10
1 {} {}
2 {} {} {} {}
3 {} {}


LK6 sets the tape send, the jumpers go across

On 1 between A & B it's -10

On 2 between A & B it's +4

And these guys can help you with spares and parts, schematics etc.. They
specialize in the old Soundtracs consoles, lots of info there.

http://www.studiosys.demon.co.uk/


Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits

Thanks for the response! Could you explain the logic behind this configuration?
I'm sure the answer is obvious, but I just don't understand it.

In article writes:

I read that the tape ins were +4 balanced but the tape outs were +4
unbalanced. Is this information correct?

I'd believe it. This is fairly typical.

Given that the levels can be changed with a jumper AND that -10 dBV
sources are usually unbalanced, I suspect that the inputs work OK with
an unbalanced source. I ran into a couple of devices from
approximately that period (a TASCAM 1600 is one) where the tape
returns were balanced and weren't happy unless they were fed from a
symmetrical input source. When fed from a single-ended unbalanced
source, they were very shy on headroom and gain.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

rm wrote:

Thanks for the response! Could you explain the logic behind this configuration?
I'm sure the answer is obvious, but I just don't understand it.

Most of the interference rejection in a balanced system is down to the
common mode rejection of the receiver. With the right wiring
configuration you can obtain most of the advantages of balanced
operation by feeding an unbalanced output into a balanced input.

These consoles were made when op-amps were more expensive so adding an
extra op-amp or two to each channel would push the manufacturing costs
up too much.

Cheers.

James.

In article writes:

Thanks for the response! Could you explain the logic behind this configuration?
I'm sure the answer is obvious, but I just don't understand it.


Configuration of line level balanced inputs and unbalanced ouptuts?

The obvious answer is that it's cheaper that way because it uses fewer
parts and it's a console that was built for a low-budget market. They
probably figured that the outputs would either be connected to
something unbalanced or that it wouldn't matter because the
signals would be at a fairly high level and the cables would be fairly
short.

Today, many consoles are built in essentially the same manner only the
outputs are single-ended but balanced. They use a two-conductor output
connector and tie the "cold" side to ground through a fixed resistor
that's equal (or as close as they can get it) to the source impedance
of the "hot" side. A balanced input sees this as something it can work
its common mode rejection tricks with, and an unbalanced inputs sees
it for what it is - a single-ended source.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

Thanks so much for all the information! Could someone tell me how one would
connect these +4 unbalanced tape outs to balanced ins on a recorder?

On 30 Jun 2004 21:49:33 -0700, (rm) wrote:

Thanks so much for all the information! Could someone tell me how one would
connect these +4 unbalanced tape outs to balanced ins on a recorder?

The faq at:

http://www.recaudiopro.net/faq/

is particularly good at this question. See section 3.6.

Good fortune,

Chris Hornbeck

The faq at:

http://www.recaudiopro.net/faq/

is particularly good at this question. See section 3.6.

Good fortune,

Chris Hornbeck


Thanks again! I feel pretty foolish for not noticing the faq.

Will's post got me to thinking, so I reached for my Solo manual, grabbed out
the addendum, and it said

"Please not that an error in the operating manual states that the tape
inputs and outputs are set for +4dBu. This is INCORRECT. The tape inputs
and outputs have been set to -10 dBv."

So, however that works out, if you thought you'd have to change 48+ jumpers
(after a particularly harrowing experience of opening up the console and
taking boards out), then, surprise. It's already set to -10 dBv and if
that's what you want, you already have it.

Personally, I've found it easier to yank the couple of jumpers on my
Tango24s than to go through the hassles of opening up my Solo.

One of these days.

--


Roger W. Norman
SirMusic Studio

"rm" wrote in message
om...
Does anyone know if both the tape ins and tape outs are +4 balanced?
I read that the tape ins were +4 balanced but the tape outs were +4
unbalanced. Is this information correct? Thank you in advance for any
help you can provide.

In article writes:

"Please not that an error in the operating manual states that the tape
inputs and outputs are set for +4dBu. This is INCORRECT. The tape inputs
and outputs have been set to -10 dBv."

So, however that works out, if you thought you'd have to change 48+ jumpers
(after a particularly harrowing experience of opening up the console and
taking boards out), then, surprise. It's already set to -10 dBv and if
that's what you want, you already have it.

I think that before he even opens the case, he should check out what
operating level it's set for. It's not necessary to look at the
jumpers, it's only necessary to feed a tone into the console, set the
gain so that the meter reads 0 and see what's coming out. If it's what
he wants already, fine. If not, then he has to move his ass and move
the jumpers.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

So, however that works out, if you thought you'd have to change 48+ jumpers
(after a particularly harrowing experience of opening up the console and
taking boards out), then, surprise. It's already set to -10 dBv and if
that's what you want, you already have it.

Roger W. Norman
SirMusic Studio



Thanks for the unfortunate news. Sadly, I need them to be +4.