In early 2020, I reviewed Taskam's Model 12 mixer (see the article "Versatile "Star" Machine: TASCAM Model 12 Multifunction Mixer Review)." Today, two years later, I received the Taskam Model 16 again, which means that as of now, there are three models of mixers in the series (and one Model 24), and I have reviewed two of them, which is a great honor.
It is not accurate to say that the Model series is a mixer, it is a comprehensive equipment that integrates a mixer, a multi-track recorder, and an audio interface, and there is no suitable definition of its equipment attributes, only the appearance is the appearance of the mixer, in order to express it conveniently, I will call it a mixer.
The Model series includes three models, the 24/16/12, the Model 24 is one of the products in the series, followed by the Model 16 and the Model 12, and the functional aspects between the three are adjusted accordingly according to the different application scenarios. For example, the model 12 that was previously reviewed is characterized by support for DAW mode, which means that it can be used as a DAW console. At a time when DAW is so prevalent, this feature is undoubtedly extremely popular. The Model 16 evaluated this time, seeing that the prototype of a reaction is smaller, compared to the first launch of the Model 24 has better portability. Of course, this is just a simple judgment on the appearance, after all, I have not seen the real machine of the Model 24. So what are the similarities and differences between Model 16 and model 12 that have been reviewed, and we must wait for the evaluation to have objective conclusions.
Features for quick preview
Multi-track channel section
- 14-channel analog input (8 mono/2 stereo/1 multi-purpose auxiliary stereo channel) mixer with 16-channel multi-track recorder and USB audio interface;
- 1-8 channels are equipped with Tascam Ultra-HDDA microphone preamplifier, 9-11 channels are stereo channels, equipped with ordinary microphone preamplifiers, and all microphone channels are equipped with globally switchable 48 V phantom power;
- Of all channels, 12 channels provide balanced line inputs (8 mono, 2 stereo), of which 1/2 has "INSERT Insertion" and "LINE/INST Line/Instrument" interfaces for high impedance instruments such as electric guitar/bass;
- Channels 1-12 provide a switching low-cut filter and three auxiliary outputs: MON 1 (before fader), MON 2 (before/after fader), and FX (after fader). Channels 1-8 are equipped with three-band equalization that can be swept to the MID frequency, as well as independent compressors. 9-12 channels with fixed IF three-stage equalization;
- All input channels can be switched between mute, stereo/SUB, and PFL;
- Independent multi-function stereo auxiliary channel, including Bluetooth receiver, can be used for wireless playback;
- On-board effects processor with 16 effect types available
- Other features: optional foot switch (Tascam RC-1F); 60 mm channel faders; 12-segment LED output level meter; TRS balanced output for subwoofer, control room, monitor 1/2 and effects transmission; Headphone output with level control (80 mW per channel); Three stereo outputs with independent main fader (main, secondary, control room)
Audio Recorder/Audio Interface section
- Tascam multi-track recording engine using an SD card as recording medium (512 GB larger);
- Record up to 16 audio tracks (14 input channels + stereo mix) without a computer;
- Recording formats: WAV (BWF), 44.1/48 kHz, 16/24 Bit;
- Playback format: WAV (BWF);
- 1-8 channels support overwriting, cutting in/out recording mode;
- Supports multi-track playback for live performances, backlit play/record/stop buttons, providing better legibility in low-light environments
Panel layout/functionality
Functionally, the Tascam Model 16 combines an impressive 16-channel multi-track SD card digital recorder with a 16-in/14-output USB audio interface (both operating at 24-bit 44.1/48kHz) on top of a 14-channel analog mixer to combine them into a versatile product that can be used in the field or in the studio. Any of these elements is extremely attractive for audio applications and a potential driver for productivity in the field or studio.
The Model 16 is comparable in compactness to the Model 12, with the addition of available channels while placing the traditional rear-mounted terminals on top of the panel, an improvement that increases the volume of the mixer, and another notable change is the more modern aesthetic. I don't know if you noticed that the modern mixers are flat designed, and the biggest feature is the combination of the terminal dial and the operator panel. Obviously, this design is more intuitive, the interface situation is clear, and it is easier to plug and unplug when used.
The terminals have been removed and the back panel is clean and crisp, as shown in the image below. Only the basic USB, power interface, and full machine switch are retained.
As a result, the operator panel section is more compact, but the functional partitions are still clear. As shown in the figure below, according to its function, the operation panel can be divided into three areas: "terminal dial", "channel" and "total control", which is also a typical mixer layout.
The terminal reel section can reflect the channel processing power of the current device, as shown in the following figure. It can be seen that the Model 16 has 10 input channels that provide independent microphone amplifiers (Ultra HDDA XLR preamplifiers), of which 1-8 is mono (1/2 channels have line/high impedance/insertion and other interfaces), 9/10, 11/12 are two pairs of stereo channels, and 13/14 is a pair of stereo auxiliary channels. It should be noted here that all input channels with microphone amplifiers provide phantom power switches (in the red area in the lower right corner of the figure below), but can only be turned on or off globally, so it is necessary to distinguish the microphone type when using it to avoid damage. The second is the rightmost output, which is also one of the most impressive parts, including monitoring signal output interfaces such as main output, marshalling output, auxiliary output, control room output, headphone output, etc., which shows that Model 16 has a comprehensive routing scheme in monitoring signal distribution.
Let's take a look at the more dense and exciting channel areas, as shown in the figure below. I love any kind of panel that's densely packed with knobs and buttons, whether it's a synthesizer or a mixer, it always brings a sense of control that forces you to get started.
The channel area is also the core operating area of the Model 16, for example, channel input, multi-track recording, live multi-track playback, and so on. Compared to the Model 12, it enhances the distribution capability of the auxiliary output, supports stage or studio recording multiplexing, and can also select the fader before/after the return signal, as shown in the following figure.
The Model 16 provides three sets of knobs in the auxiliary sending section, which can send signals to the MON 1 (before fader), MON 2 (before/after fader) and FX (after fader) of the supervisor listening module, with the output located in the "AUX OUTPUT auxiliary output" of the master control section.
From Model 12 to 16, one of the features that individuals really like is the "Channel Mode Switching" located at the top of the channel area, as shown in the image below.
The function module provides three available modes of LIVE, PC, and MTR, representing three input sources. where LIVE is the signal from the input jack; The PC is the signal from the computer USB; The MTR is the playback signal from the SD card. Using this function, you can specify a different input source for each channel, which breaks through the limitation of a single input source of the channel, and the switching is simple and flexible. This means you can set up any combination of analog or digital input sources for live performances or studio-based applications. For example, by routing audio from a DAW into 14 channels, mixing directly on a mixer, in the process you can get the true analog summation signal provided by the Model16, use an equalizer or compression effect, and record the mixing results directly to the SD card as a stereo mix, and finally master the bus EQ in the master section, it is good to see that the upgraded Model 16 retains this very useful function.
In addition, channels 1-8 provide separate compressors and three-band equalizers that support if you can scan the frequency from 100hz to 8k. Channels 9/10 and 11/12 are stereo channels that can be used as balanced line inputs or as mono inputs. The difference is that the channel is balanced as a fixed tri-band equalizer with a fixed 2.5kHz if the channel is below, as shown on the left of the figure below, which is designed to avoid any phase problems in the stereo channel.
The 13/14 is a multi-purpose auxiliary channel that supports stereo RCA, mobile audio input (on the right in the image above), and a Bluetooth 5.0 input for inputting external sources to the mixer. The input methods provided within this channel can be used simultaneously, there is no channel EQ, but "channel mode switching" is supported.
A 60 mm fader is provided at the bottom of the channel strip with channel pan above the fader, a channel "pre-record" button (for sending channel signals to a digital multitrack recorder), and mute control.
To the right of each channel fader, there are dedicated MAIN, SUB, and PFL buttons for routing channel signals to the main output, marshaling bus output, and PFL mode for pre-fader monitoring.
Adjacent to the channel area, the right "master control section" is the central control area of the Model16, in addition to the uppermost output interface (this part is divided into the terminal area), this part also contains functional channels, effects and monitor modules, multi-track recorder control interface, bus EQ, etc. Compared with the Model12, this part of the change is larger, such as the addition of a dedicated channel for CR (CONTRIL ROOM) and a MONITORS listening module. In addition, an auxiliary send is also added to the effect module to send the effect to the corresponding listening MON return channel, as shown in the following figure.
At this point, my idea of upgrading the Model 16 model has gradually become clear. Apparently, this model is primarily for multi-track tuning or playback applications, so the DAW control mode has been removed, monitoring has been enhanced, and dedicated output channels have been added, etc., all of which are set up for live performances or recording projects. For example, channel FX auxiliary defaults to the on-board digital effects processor, according to its logic, you can also send effects to Monitor Aux Output, Main, Sub and AFL groups, and even the total control part of the 4-segment EQ, etc., can be sent to the main output or listening output as needed. The figure below shows the Bus Equalization module located in the master control section, the processing results of which can be assigned to the main output mix or to the MON back listen. If you do not need to equalize processing, you can also choose to shut down the module.
The on-board digital multitrack recorder, which is also one of the core applications of the Model16, can be set up for multitrack recording, metronome, SD card storage, system settings, and stereo output (the "Digital Multitrack Recorder" interface is shown in the figure below), which is not much changed from the Model12. In particular, it needs to be noted here that the application of the recording entry point is an important technology for modern recording, we can use the buttons on the multi-track recorder panel to cut in/out manually, or it can be operated by means of an external pedal, which has a pedal interface (the control pedal needs to be purchased separately).
In addition to the common control keys such as recording/playing/pausing, the digital multi-track recorder part of the operation is mainly based on the menu, and the following figure shows two interfaces with high usage, namely the multi-track recording interface (left) and the song playback interface (right)
Other setting options are shown in the following figure, in the default order, there are 9 categories, namely: SONG (processing songs on SD card), TRACK CLEAR (track clearing operation), AUTO PUNCH (set recording cut in/out), A. PUNCH PRE ROLL (point in time setting before switching in), IMPORT (import WAV), STEREO MIX EXPORT (stereo mix export settings), SD PLAY (SD card playback settings) , STORAGE, SYSTEM .SYSTEM.
From an application point of view, multitrack recorders can be used not only in the studio, but also as a good tool for field applications. For example, it can be used to play background audio tracks during live performances and mix with live instrument or microphone signals in real time via a mixer; You can also combine the SD card with the SIGNAL of the DAW with the help of "Channel Mode Switching" when recording, and record all the input stereo mixes in real time. In short, the possibilities offered by the interactive use of various functions are many. For the application of the "Digital Multitrack Recorder" and "Effects" sections, please refer to the video introduction.
As a versatile device based on an analog mixer, the Model 16 is undoubtedly very powerful. For mixing and multi-source mixing consoles, it provides excellent preamp and EQ/compression processing, flexible routing, and a complete monitoring system; For multitrack recording, it offers a digital multitrack recorder with dedicated playback control and editing capabilities for mixing, fine metering, insertion and foot-switch-based operation, as well as editing onboard effects such as reverb, delay and modulation; For live recording or gigs, it offers a complete monitoring/return system and flexible input source switching capabilities.
From a functional point of view, model 16 and Model 12 have their own application areas, I have listed the differences between the two and the scope of application for the reference of users who need it.
Model 12 / 16 vs:
- Model 12: smaller, has a good portability, the larger feature is to support DAW control mode, while it can send TIMECODE or MIDI CLOCK / SPP and other information, can run external devices synchronously with the local, so suitable for module synthesizers or users who often use hardware performances, because it has the control ability of mainstream DAW, so it is also suitable for studio composers, small recording users.
- Model 16: Slightly larger than the Model 12, but has a good coordination of portability and performance. Its all-analog channel features are very attractive, especially providing a dedicated control room channel (independent monitor bus), enhancing the distribution ability of monitor signals, very suitable for stage performances, band rehearsals, studio recording, it can provide multiple back-listening sources, transmission effects and faders before/after status independent of the bus for the scene, and provide more precise and accurate monitoring options.