4 recording inputs but only 2 outputs?

S

Soldier

Well-known member
I have an Azden FMX-42a 4 channel mixer and a Tascam DR-680 recorder. The mixer has 4 recording inputs but only 2 outputs (L & R). Would anyone know how it is possibe to record 4 mono channels (mics) in the mixer and output those to 4 mono channels to input into my recorder? I've tried to google this but haven't had any luck finding an answer. I'm guessing the solution is something like using an xlr mono to xlr stereo cable out of each of the output jacks???

thanks in advance...
 
It appears that mixer is only 4 in and 2 out. No, there is no adapter, Y-cable, etc. that will give you 4 separate channels out from that mixer.
 
Soldier said:
I have an Azden FMX-42a 4 channel mixer and a Tascam DR-680 recorder. The mixer has 4 recording inputs but only 2 outputs (L & R). Would anyone know how it is possibe to record 4 mono channels (mics) in the mixer and output those to 4 mono channels to input into my recorder? I've tried to google this but haven't had any luck finding an answer. I'm guessing the solution is something like using an xlr mono to xlr stereo cable out of each of the output jacks???

thanks in advance...
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It's a MIXER and a mixer is designed to MIX - this is normal.

You have a DR-680 - so chuck tthe Azden away and plug directly into the DR-680.

The quality will be better (as the DR-680 has very nice mic. pre-amps.) and this will do exactly what you want.

You don't need the mixer at all for what you said you want to do.
 
Unless the mixer has something other than the preamps working for it, such as decent limiters or low-cut filters, then I would do as Mr. Willet advise above and just go directly into the DR680.

For future reference, as has been mentioned a mixer mixes, and the outputs are generally fewer than the inputs. When there are outputs for every input, these are called direct outputs.
 
I'm not familer with the Azden FMX-42a, but the on-board preamps in the 680 are most likely better sounding. This would save you batteries, extra gear and be more reliable as well.
I use a two-channel output 302 with my 744, which has four tracks, but only two mic level inputs, if I need an additional input, I'll combine a 302's third channel to a track. That shouldn't be necessary with your 680.
 
John Willett said:
It's a MIXER and a mixer is designed to MIX - this is normal.

You have a DR-680 - so chuck tthe Azden away and plug directly into the DR-680.

The quality will be better (as the DR-680 has very nice mic. pre-amps.) and this will do exactly what you want.

You don't need the mixer at all for what you said you want to do.
Click to expand...

+100
 
Typically, a mixer is used to split one mic or combine multiple mics.

For instance, you might have one mic on a boom. You would have your Left output at "normal" level and the Right output -10dB of normal for safety with the mic panned center. Then while editing, you would use the Left channel for the most part and swap for the Right channel when the Left distorts.

Another way is to have your boom and two lavs (or plant mics, or whatever) going into the mixer and pan the boom Left and both lavs (or whatever mics) panned Right. Then in editing, select which ever track sounds best at the moment.

Something I did for a reality show pitch was to have three mics on a long table people were sitting around going into my mixer and having the mixer going into the Right channel of my recorder while the boom went directly into the Left channel of the recorder. We also had two wireless lavs on the "main characters" going into the cameras. It was kind of a crazy way of doing things, but it was the best solution for that situation with the gear we had.

Like everyone else has said, you don't need a mixer with the DR-680.

The main thing to keep in mind is that there is nothing special or magical about stereo. All stereo is is two mono tracks. All 5.1 sound is is 6 mono tracks. Humans only have one mouth, so dialog is mono. What gives you stereo or 5.1 is the volume level in each channel. If it's 100% in the left, it appears to be to the left. 100% to the right, it appears to be to the right. 50% in the left and 50% in the right, it appears to be in the center. Put it 50% in the left rear and 50% in the right rear it appears to be directly behind you.

Ultimately, everything is a mono source at varying levels in multiple speakers.
 
Thanks everyone for your generous responses. Got it - mixers mix!

I must admit I was a little surprised that the preamps from the Tascam would be better than the Azdens. Perhaps I should have done a little more research before purchasing the mixer. That said, part of the reason I got it was to feed a line straight into an ENG camera for doco work. The tascam is more for sync recording on narrative films. However, I was hoping the preamps would be much better than in the Tascam recorder. Is there a good way of testing the preamps? Just crank up the input level as high as possible in a quiet space and listen for hiss?

I've only had the equipment for a few days so I'm just doing tests at the moment, but my first observations are that I can get much louder levels from the mixer combined with the recorder rather than the recorder alone. If I have a recording input level of say 4 out of 10 on the mixer recording a level of -12db, I need to use a recording level at about 8 out of 10 recording with the tascam recorder (no mixer connected) to get the same -12db level.
 
Soldier said:
Thanks everyone for your generous responses. Got it - mixers mix!
Click to expand...

Well, it's not exactly that simple. I have a DR-680 that I use a Sound Devices 552 mixer with. I use this setup mostly for location sound but also for home recording for music. The SD 552 has the ability to do exactly what you want but it is a lot more than the FMX-42a. It has direct outs from each channel as well as the ability to send the mix to multiple devices. The reason for taking individual channels is keep them separate so that the mix can be refined in post production. The 552 does have superior preamps to the 680 but more importantly it has far better controls. There are controls for each channel. It also allows me to send the mix to three devices at once. That really nice when doing a mulitcam shoot.

So, yes, mixer do mix, but there are many more benefits to them if you have have the right one.
 
If feeding a camera directly, the Azden's preamps 'may' be a little better than the camera's. (though Azden gear does not have a very good reputation amongst audio pros). And/or the other hand, if one needs to ride gain, an external mixer may be a good option as many solid state recorders (including the 680) are not designed for such.
 
Soldier said:
Is there a good way of testing the preamps? Just crank up the input level as high as possible in a quiet space and listen for hiss?
Click to expand...

I test the noise-floor of my recorders by connecting the recorder to a Sound Devices mixer with NO microphone attached, turn on the 1 kHz test-tone on the SD mixer, record for 10 seconds with the recorder calibrated to record at -12 dB, switch off the test-tone generator and continue to record for another 10 seconds, then bring the recorded WAV file into my audio editor to see what levels I'm seeing in my editor. When you turn off the 1 kHz test-tone, you are now limited to either the noise-floor of the SD mixer ( usually -110 dB or better ) or the noise-floor of the recorder. Low-cost recorders will always have a noise-floor that is worse than the SD mixer, typically it usually falls into the -60 to -80 dB RMS range depending on the pre-amp setting of the recorder. ( LINE level inputs are often better than MIC level inputs with these recorders )
 
Hxd Ped said:
...
The main thing to keep in mind is that there is nothing special or magical about stereo. All stereo is is two mono tracks. All 5.1 sound is is 6 mono tracks. Humans only have one mouth, so dialog is mono. What gives you stereo or 5.1 is the volume level in each channel. If it's 100% in the left, it appears to be to the left. 100% to the right, it appears to be to the right. 50% in the left and 50% in the right, it appears to be in the center. Put it 50% in the left rear and 50% in the right rear it appears to be directly behind you.

Ultimately, everything is a mono source at varying levels in multiple speakers.
Click to expand...

While this is largely true in studio created stereo and surround, in real life phase is also critical in localizing sound. Two mono tracks of the same material coming out 50% from L&R will not give you stereo. Unrelated material coming out of L&R will also not give you stereo. It's not magic but it is also more than just panning.
 
Noiz2 said:
While this is largely true in studio created stereo and surround, in real life phase is also critical in localizing sound. Two mono tracks of the same material coming out 50% from L&R will not give you stereo. Unrelated material coming out of L&R will also not give you stereo. It's not magic but it is also more than just panning.
Click to expand...

That was basically my point, you just said it a lot more eloquently. :)
 
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