Just got a new toy! Tascam M-208

The Cancers

The Cancers

New member
So,
I'm gonna be trying to use this thing for a couple purposes.
1) I'm gonna try out the preamps for a different flavor going into the front end of my computer based DAW.
2) I'm gonna be experimenting with using it as an external summing mixer.

Fun stuff, right?

Anyway, as I understand it, some if not all of the outs (including the XLR ones) are unbalanced.
So do I need to worry about this? Should I be on the lookout for some unbalanced XLR cables? My experience in these matters is minimal and, though I've done some searching and reading, most of the posts I find that appear to address what I need to know are still over my head (the language of mixers in general and especially an older one like this is vastly different from the language of computer based DAW I grew up with).

So here's what I'm seeing.
<Image deleted for convenience of reading messages>
The PGM outs are, I think, the buss outs. There are four PGM faders on the front labeled 1-4 and each of the input channels has a 1-2 and a 3-4 button above it's fader.

So, to use four preamps, I would plug my mics into the mic inputs on channels 1-4, then press the 1-2 buttons for the first two channels and the 3-4 buttons for the next two. I'd pan channels 1 and 3 all the way left and channels 2 and four all the way right.

This would give me my first input channel being sent to the PGM 1 (buss 1?) fader, my second to PGM 2, etc...

Now, assuming all that is correct, here's where I start to run into questions.
The PGM faders each have a pan pot above them.
And the PGM outs appear to be duplicated (reference the above picture). There are XLR PGM outs and then RCA ones that each have two plugs.
This kind of makes sense on the RCA plugs - ie if you can pan the busses, then you would want a stereo output option - so two RCA plugs to left and right inputs on whatever your recording medium and then you can pan that buss however you like.
But what's up with the XLR PGM outs? Does the panning come into play there? Is it meant to be used with an XLR to TS Y-cable? Are there XLR inputs out there that expect a stereo signal on the two different pins and the mixer was designed to use just a normal XLR-XLR cable in conjunction with a recording medium with those sorts of inputs?

And all that being asked, what's my best way to go about taking a signal from the preamps?
Should I just get some RCA-TS cables and go from the RCA outs (maybe just pan all the busses to one side and take all my outs from the corresponding RCA jack of the PGM out RCA pairs?) to my line inputs on my interface?
Can I just leave the four busses center panned and take XLR-TRS cables from the XLR PGM outs into the line inputs on my interface?

AND

As far as summing with the mixer goes, I'm pretty sure I've got that figured out, but just to make sure, I'm gonna want to monitor through the mixer but also send the signal back into my DAW.
The XLR stereo outs and the outputs labeled L and R that are just above and to the right of those are what I'm gonna want to use, right? Besides the fact that the non XLR one is probably unbalanced (no idea on the XLR one. Anybody?), are these two going to be outputting the same signal? Is this signal gonna be determined by my selections over on the monitoring side of the board (front right, above the master faders), or do those buttons just determine the behavior of the VU meters?

Anyway, really long post, I know, but any thoughts, answers or ideas are welcome.
I'm gonna be playing with this thing anyway and figuring out what's what, but if I could be saved time not having to run down dead ends I'd be really grateful.
Finally, please don't link me to the service/repair manual that shows up when you google "Tascam M-208 manual." I've seen it and it's way, way, way over my head.
 
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Congrats!

Yes, all the outputs are unbalanced...the XLR outputs are at 0dBu and the RCA outputs are at -10dBv (that is just to say that the XLR outputs have a hotter signal level to interface with equipment that expects that level of signal).

Big question...what are you connecting the outputs to?

You are spot-on regarding all your assumptions about routing mics on channels 1~4 to PGM groups 1~4.

The PAN knobs above the group faders determine the routing of that group to the STEREO buss...it has nothing to do with the PGM out jacks. You can use the PGM groups as submixes to the stereo buss (as in live mixing) or as mix groups for recording (by accessing the groups at their respective output jacks).

The reason there are two sets of RCA outs for each PGM group is because Tascam assumed you'd be connecting the groups to an 8-track machine with RCA inputs. The first set of PGM outs 1~4 would connect to the inputs for tracks 1~4 on the tape machine, and the second set of PGM outs 1~4 would connect to the inputs for tracks 5~8. This arrangement provides for recording up to 4 tracks at a time and you manage making sure that each group out only gets recorded onto one track at a time via the record arming switches on the 8-track (i.e. PGM group out 1 would be connected to inputs 1 and 5 on the tape machine but by only arming track 1 OR track 5 for recording you ensure you don't record the same thing on both tracks or accidentally wipe over a pre-recorded track you want to keep). So, the two sets of RCA outs aren't a left and right channel, they are identical.

The buttons over the master faders determine what you hear in the headphones.

Listen, let's start with that. what I've said above will address most of your post. Let's get that much buttoned down and then we'll clean up the rest and in the meantime tell me what your DAW interface is and how many tracks you record at a time at the most.
 
First off, of course, thanks so much Sweetbeats.

Everything you gave me clarifies a whole bunch and I feel like I've got a better grasp on the signal flow architecture that's going on here.

My interface is a saffire pro 40 with a presonus digimax D8 connected via ADAT lightpipe.
Haven't had reason yet to record all 16 channels at a time, but, you know, depending on the tracking job I'll use anywhere from 1 to (current max number I've used at once) 13 channels at a time.

The thing is, while the pres on both my interface and the D8 are lovely for giving me back in what I'm giving them, they are pretty characterless. I've got a couple of external pres that give me some (GAP Pre-73, saving up for the Zenpro mods, but they already audibly do something very nice and very different from my interface stock pres) character, but I was looking for some more options.
Which is all to say that I won't be using the Tascam's pres out of necessity, but because I want that option of a different sound going in. The smaller harmonic distortions you can get from getting up near overdriving an analog circuit that you can't get on the pres off an interface because you don't even wanna be messing around anywhere near the top of your digital headroom.
There's also the factor (and I guess this is a question) of the EQ on my input channels. The PGM outs are post input channel fader, correct? So I ought to be able to use the input channels' eq strips for some sound shaping going in, correct? This is an option that I currently don't have and, while I might not end up using it all the time (In searching the interwebs, I couldn't find anybody raving about the M-208's eq section, but I also didn't find anybody calling it absolute shit), it'd be nice to have that option.

As far as summing goes, I have eight line outputs from my Saffire, and I could set it up to only monitor my incoming summed signal (through a complex routing sequence from the DAW and through the monitor mix software that comes with the saffire) from the interface. This would provide zero latency monitoring, but would be an absolute bitch to set up and tear down (at least until I've worked with it enough to have a couple presets/templates I know work for such routing that I can save and recall later) and I'd rather be able to monitor through the mixer for the whole mixing process if it's not going to end up affecting the sound.

Which is all to say, I think you answered my major questions and feel confident once I actually get the thing into my studio space that I can start using it fairly quickly, but any further thoughts, suggestions, etc... would be highly appreciated.
Thanks again!:D
 
The PGM outs are post input channel fader, correct?
Click to expand...

Yes. Signal into a channel strip goes through all the stuff there and ends up at the channel fader, then that feeds the PAN pot and then it goes to the routing switches...from there it goes to the assigned group and ultimately to the PGM OUT jack.

So which unit would you use to connect to the M-208 outputs? Would you just be using the M-208 then as an 8 x 2 mixer (8 out from the Saffire and 2 back to ???)?
 
Yep. 8X2 and then back into two line inputs on the Saffire.

...

OK. I just deleted a couple paragraphs of explanation of unnecessary routing tasks that I'm not gonna have to do.
I just realized how I can probably just mute my master output from my DAW but still get the line out signals (which I've had problems figuring out in the past) at full strength, which means I can probably just keep monitoring through the saffire without any major problems, so nevermind as far as me needing to monitor through the mixer.
However, if I did need or want to, I'm starting to think that adjustments in monitor volume via the mixer would affect the output level to my saffire if I was trying to do it the way I've been picturing.
So, if I were gonna monitor through the mixer, would I probably want to set it up so that all my tracks were set on 1-2, then take my recording feed from PGM 1&2 and my monitors from the stereo out? That way, adjustments to the controls on the far right side of the mixer (volume, mute, I dunno, whatever's over there) wouldn't affect the signal I was recording, while individual track adjustments still would. Does that all seem right, or am I missing something? It's all sort of a moot point now, but I'm interested to know how it works.

Other things I've thought about:
I notice the mixer only has one effect out but stereo returns. I also notice there's a FLB out. I think I read somewhere the term that's abbreviating is "Foldback."
I haven't run across this term elsewhere so was interested to learn what it's meant for.
However, regardless of it's intended purpose, could I use this in conjunction with the effect out to send a stereo signal to a stereo reverb? I'm thinking I would, for example, feed the left side of my reverb with the effect out and the right side with the FLB out, then a track I have panned left I would only use the effect knob for, one panned right only the FLB knob, one dead center each knob in equal amounts, and other pannings various combinations of the two knobs. That seem right, or doable, or just wrong?
I see the FLB knobs have a tape button below them - I assume if you explain what that output's purpose is, I'll probably see the meaning of the tape buttons, but if it isn't part of the explanation, can you throw that in there?

Also, where are those effect returns introduced into the signal flow?
I see there are knobs for each individual return's level and panning, but also master knobs for both EFF and FLB. What's the architecture there? I'm thinking I might get it immediately if I understood what the whole foldback thing was about. What's bugging me here though is that if the master out is fed into the reverb which feeds into master out, I'm seeing a possibility for feedback. Is it just as simple as the master EFF knob sends to the reverb, but the signal for that master EFF knob is taken right before the EFF return inputs are combined with the master signal, which happens right before the stereo out? That might be it.

Anyway, I'm rambling I know, but the more I think about the thing, the more questions I have popping up. The guy I got it from was obviously knowledgeable but also very busy, and since I wasn't paying him anything (it was just an even trade), I didn't want to take up more of his time than I had to.
Any and all answers will, as always, be quite appreciated, and thanks again for all the help you've given me so far.
 
However, if I did need or want to, I'm starting to think that adjustments in monitor volume via the mixer would affect the output level to my saffire if I was trying to do it the way I've been picturing.
So, if I were gonna monitor through the mixer, would I probably want to set it up so that all my tracks were set on 1-2, then take my recording feed from PGM 1&2 and my monitors from the stereo out? That way, adjustments to the controls on the far right side of the mixer (volume, mute, I dunno, whatever's over there) wouldn't affect the signal I was recording, while individual track adjustments still would. Does that all seem right, or am I missing something? It's all sort of a moot point now, but I'm interested to know how it works.
Click to expand...

Yes that would be a way to do it. The M-200 series lacks a direct route from the channel strip to the main L-R buss so you have to go through the PM groups to get there, but once you get there any changes to the L-R faders has no effect on the PGM group out levels from which they are sourced. The M-200 series also lacks a set of monitor out jacks in addition to the stereo outs...many times there will be a headphone jack with level, monitor out jacks with level (both with the same source just independent control over output levels) as well as main outs. This is fine in your case because, as you surmised, you can just use the stereo outs as your monitor outs no prob.

Other things I've thought about:
I notice the mixer only has one effect out but stereo returns. I also notice there's a FLB out. I think I read somewhere the term that's abbreviating is "Foldback."
I haven't run across this term elsewhere so was interested to learn what it's meant for.
However, regardless of it's intended purpose, could I use this in conjunction with the effect out to send a stereo signal to a stereo reverb? I'm thinking I would, for example, feed the left side of my reverb with the effect out and the right side with the FLB out, then a track I have panned left I would only use the effect knob for, one panned right only the FLB knob, one dead center each knob in equal amounts, and other pannings various combinations of the two knobs. That seem right, or doable, or just wrong?
I see the FLB knobs have a tape button below them - I assume if you explain what that output's purpose is, I'll probably see the meaning of the tape buttons, but if it isn't part of the explanation, can you throw that in there
Click to expand...

You *could* but the FLB buss is pre fader while the EFF buss is post. Could get kind of hairy keeping your stereo image consant if you make changes to the channel faders. The TAPE button associated with the FLB buss changes the source of the FLB buss on the respective channel to the TAPE jack for the strip vs. the strip's input source. This is for cue mixes (monitor mix) for the talent during overdubs...You can have 8 mics (for instance) loading channels 1~8 and still source the tape deck outputs in the FLB buss independent of the channel strip main source...like a mixer within a mixer.

Also, where are those effect returns introduced into the signal flow?
I see there are knobs for each individual return's level and panning, but also master knobs for both EFF and FLB. What's the architecture there? I'm thinking I might get it immediately if I understood what the whole foldback thing was about. What's bugging me here though is that if the master out is fed into the reverb which feeds into master out, I'm seeing a possibility for feedback. Is it just as simple as the master EFF knob sends to the reverb, but the signal for that master EFF knob is taken right before the EFF return inputs are combined with the master signal, which happens right before the stereo out? That might be it.
Click to expand...

Mmmmm nnnnot exactly. The FLB and EFF master knobs are the sum of all the FLB and EFF knobs on the channel strips, and then they feed their respective jack on the back of the mixer. The effect returns come into the mixer just ahead of the main L-R faders.
 
Makes perfect sense.
Thanks again sweetbeats.
Think I got a handle on the whole thing now.
Now I finally get to set it up and start playing around with it this weekend.
Fun times!
 
Good stuff Cory!

"You must spread some reputation around before giving it to sweetbeats again"

Well, I tried. :)
 
How is it going with the mixer??

Hiya there.
im Steve, based in Sydney, Australia. I just bought an M-216 to go with a TSR8 reel to reel 8 track i bought off ebay a few weeks back.
Im really glad for this thread because sweetbeats really knows his stuff and has filled in some gaps for me. currently the 8 track is with a tech getting a new sensor put on, and as i have no money til next pay(this analog road is costing a whack!) i wont be able to get it back for about a week. BUT. when i do ill have a fair idea of how to go about doing some recording with it.
So the deal is you can only record 4 at once max right? PGM outs to tape ins on 8 track and tape outs from 8 track to tape ins on mixer on channels 1 - 8?
I know OP is using his for DAW and for the pre's, but just checking.
How do i add effects?
So in essence, is this like 2 mixers?
the PGM sub group side and the other 16 channels?
So greatfull for this info you guys. Been searching a while now and tascam arent real keen to send me a manual downunder.

all the best!
 
Greetings, Steve!

Yes, if you use the PGM outs then it is maximum 4 tracks at once. You can also make up special cables for the INSERT jacks and get channel direct outs that way that are post eq, pre-fade...so there is a way to get more than 4 at a time using a combination of tapping the INSERT jacks and using the PGM outs. It gets a little tricky since the M-200 mixers don't have a dedicated route to the main L-R buss, and also because the PGM groups are always open to the main buss. The way I'd do it if I needed to use a combination to get more than 8 tracks at once is use one or two of the groups as a monitor buss and the other two as group channels...easiest thing to do is do all one or the other. If you don't plan on needing the INSERTs for insert effects, and if you don't have more than 8 sources (mics & instruments), I'd use channels 1~8 as your input strips and use the INSERT jacks as direct outs to the TSR-8, and then I'd use channels 9~16 as tape return strips...no patching needed at mixdown and then you can use your PGM groups to setup cue feeds or a separate monitor path...you could even use them as effects sends. So there are some options. The cables you would need to use the INSERT jacks as outputs would have a TRS plug at one end with the TIP and RING strapped together, and then an RCA on the other end.

As far as adding effects you use the EFF buss...the FLB buss is pre-fade so it doesn't work well as a "send" type effect buss. The M-200 mixers basically have 2 auxes: one pre-fade monitor buss ("FLB" which can source the input connected to its channel strip, or the TAPE return jack on the strip by pressing "TAPE"), and one post-fade effects buss (that's the "EFF" buss). Connect the input of your effect unit to the EFF OUTPUT jack, and connect the output of the effect unit to EFF RTN 1 or 2, or both 1 & 2 in the case where you have a mono signal that goes to the effect unit and a stereo return.

As I said above, if you aren't using the PGM groups for tape sends then you can also use those as additional post-fade effects sends, although it does get a little hairy since there isn't a way to say "hey Mr. M-200 I only want to monitor groups 1 & 2." The M-200 is an all or none mixer as far as monitoring the groups. You can select what goes to the groups and to which group, but the only way to monitor the groups is to press the STEREO button in the monitor section...that says "let me hear what is being routed to groups 1~4 and how the mix post group faders sounds."

Hopefully this is not confusing but opens up some different things you can do with the M-200. Bottom line? Easiest thing to do is use it as intended with the groups as 4 tape sends and INSERTS as INSERTS, EFF as EFF.
 
awesomeness

Thanks alot. I think ill just use it as intended. dont need more than 4 recording at once. But if im recording drums and the drummer needs to the hear the guitar and i plug my guitar into say track 5, will this work?
Im a real virgin with this stuff having only used pro tools, but im excited. I want to make some music without the computer. It feels right!
 
playback?

Hi Again.
Im so greatful for this thread. 8 track is fixed and ill beg borrow and steal the 165 i need to get her tomorrow. stil gotta spend another 50 on leads too!
what about hearing my recorded tracks on playback and mixing down?
How do we do that? Im assuming i punch the tape button to hear my recorded tracks??
and bouncing down too DAT, where does that plug into??
thanx again!!!
 
if im recording drums and the drummer needs to the hear the guitar and i plug my guitar into say track 5, will this work?
Click to expand...

Is the guitar already recorded and you are playing it off tape and the drummer is overdubbing to the playback, or are you recording guitar simultaneously while the drums are being recorded?

In any case, you'd be best off having a headphone amp to use.

I'm assuming you have the outputs 1~8 from the tape deck connected to the "TAPE IN" jacks 1~8 on the back of the mixer.

If the drums are being overdubbed and the guitar is already recorded (and let's say the guitar was recorded to track 5 of the tape machine) then you'd press the "TAPE" button in the FLB section of channel 5 of the mixer, adjust the level, then adjust the master FLB level in the master section and connect the FLB out jack from the mixer to the input of your headphone amp. If you are at the mixer during all of this you can hear what the drummer hears by pressing the FLB button in the monitor section above the L-R faders.

If you are recording the guitar simultaneously with the drums and the guitar is connected to channel 5 of the mixer, then just make sure the "TAPE" button in the FLB section of channel 5 is in the UP position which will make the FLB section on the channel listen to the input, not the "TAPE" jack. You can setup a "cue" (i.e. monitor) mix for the drummer using the FLB buss and then you could monitor using the headphone jack on the mixer and monitor the STEREO buss (which will be the sum of the PGM groups which should be a rough mix of what is going to tape).

what about hearing my recorded tracks on playback and mixing down?
How do we do that? Im assuming i punch the tape button to hear my recorded tracks??
Click to expand...

When you are overdubbing, as above, monitor the tape returns using the FLB buss and the "TAPE" buttons by the FLB knobs. Then you press the FLB button in the monitor section and that lets you hear what is being routed to the FLB buss.

When its time to mixdown and you want to sweeten the tape tracks with some EQ and maybe some effects and place the tracks in the L-R stereo field using the PAN knobs, etc., then you press the "TAPE" buttons up by the "TRIM" knobs. That tells the channel strip to "listen" to the "TAPE IN" jacks rather than the MIC or LINE input jacks.

and bouncing down too DAT, where does that plug into??
Click to expand...

When mixing down to stereo you setup the mixer like I described in my last paragraph, and then typically on the M-200 mixers you route your tracks to the 1-2 buss, set your pans and levels to taste, raise the PGM 1 and PGM 2 faders to unity ("0"), pan PGM group 1 hard left an PGM group 2 hard right and then connect your mixdown deck (in this case your DAT) to the L & R OUTPUT jacks (probably the 1/4 jacks in your case) and then adjust the master output level with the L-R main faders. You can listen in on what is going to DAT by pressing the STEREO button in the monitor section and the adjusting the MON level knob to taste. That level knob only effects the headphone jack while the L-R faders only effect the level at the 1/4" and XLR L-R main outputs.

Hope that helps.
 
thanks again.

thanks so much. that will keep me busy.:) get machine tomorrow and will try all this out.
I will be recording the drum tracks first using the max option of 4 tracks at once, but i need to be playing gat with the drummer in order for him to know what and when to play etc.
I just tried the dat but i plugged it into the output left and rights. So i have to plug it into PGM outs...
Everything else i can suss out ib regards to effects. I really appreciate your time. If youre ever down under come stay:D
 
one more thing

I had the option of buying an alesis desk. i think it was a studio 24. Do you think the Tascam desk was a better option?
 
desmond22 said:
I will be recording the drum tracks first using the max option of 4 tracks at once, but i need to be playing gat with the drummer in order for him to know what and when to play etc.
I just tried the dat but i plugged it into the output left and rights. So i have to plug it into PGM outs...
Click to expand...

So you plugged it into the L and R main outputs and there was no signal to the DAT? Did you have the L and R faders raised? Can you hear the signal in the headphones when you press the STEREO button in the monitor section?

Took a quick look at the Studio 24 manual...sound quality aside (because I haven't heard either an M-200 or the Alesis), the Alesis mixer would be my choice...the M-200 is a 4-group mixer and the Alesis is really sort of a 2+2 group mixer, but because it has a completely separate monitor buss on each strip you really have a main buss there for recording and the the 1/2 groups and the L/R buss and then the way they setup the routing options it really gives you 4 groups...plus there are direct outs that have switcheable sourcing to the groups so what that does for you is makes it so you can route groups 1 or 2 to any tape track without repatching OR channel one to track 1, channel 2 to track 2, etc. There are only 8 preamps but it sounds as though that would work for you and the 4 stereo strips on channels 9~16 on the Alesis would work great for tape returns...you have 3-band EQ there and 2 aux sends there plus the monitor buss so there is lots of utility for cue feeds and such...as for monitoring there is a MONO switch on the monitor buss so you'd have a very usable system for monitoring the 8 tape returns in mono with a little limited flexibility in levels because they are stereo paired. Recording 8 tracks at a time would be easier since there are direct outs is really the big game there with the Alesis. It has more functionality for what you are wanting to do with it AFAIC.
 
sweetbeats said:
...the 4 stereo strips on channels 9~16 on the Alesis would work great for tape returns...
Click to expand...

Dude...scratch that...the Studio 24 actually has 8 RCA inputs as well that are actually labeled TAPE IN.

They are sourced to the monitor section of channels 1~8 and there are per channel switches to flip the source of the input strip from the mic/line jack to the TAPE IN jack (which then sources the mic/line jacks to the monitor section)...inline features...monitor tape returns in the monitor section while tracking and overdubbing, flip them all to the strip at mixdown without repatching...use the direct outs for 8 channel simultaneous tracking or use the 1/2 groups for some submixing if needed and the groups can either be routed to their own output jacks OR they can be routed to the channel 1~8 direct out jacks in pairs...pretty neat. The Studio 24 is a more fully featured mixer than the M-200 mixers for sure. Not up to an M-300 level but I'd say it is beyond an M-200...75Hz lo-cut filter, some pretty flexible routing and monitoring, assignable returns, etc.
 
hello

yes there was signal going into the dat. Had my computer to sub in and outputs to DAT. recorded some music to test the dat as that just arrived yesterday.
Recorded well. But is it better to use the PGM outs as you said and pan left and right channel 1 and 2 pgm faders?
yeah i wasnt sure about the alesis. the guy wanted to sell it to me over the tascam saying it was better etc, but most of the reviews say that they break down alot. good for doing 8 tracks at a time though, but really , im doing everything and ill only use 4 mikes on a kit so only need 4 at a time. I dont have a band or anything , just a drummer, so even if i had the option, id probably not record 8 at once.
This weekend though, to test the DAT and desk, im gonna do a live recording through desk straight to DAT of my bros band. Ill PGM to DAT as mentioned above??
 
Wait...I'm confused...

At first it sounded like you were saying there was a problem with the stereo outs and that they weren't working...now in your last post it sounds like you are just wondering which is better to use; the stereo or PGM outs for mixdown...:confused:

The PGM outs will be a more clean path since there is less circuitry for the signal to go through...maybe audible, maybe not, so in that sense the PGM make more sense for mixdown, but it also depends on what you are doing at mixdown, because if you are using the EFFECT RETURNS or the SUB IN jacks, those inputs patch straight to the stereo buss so if you are using those during mixdown and you try to hear those sources at the PGM groups you won't...they will only be present on the stereo buss.

And on the Tascam vs. Alesis issue, I suspect the Tascam would have a more "meaty sound. My expressed excitement over the Alesis is only based on 8-channel/8track functionality. Since the 4 busses work for you as tape sends the M-216 is a great match and I don't think you should have any regret whatsoever over your purchase of it. I suspect the build quality of the Tascam to be more substantial and certainly there is an aesthetic to it (pretty colors, pretty analog VU's and 20 faders...:D) and those 16 channels give you LOTS of options and flexibility for monitoring and mixdown an 8-track recorder...and like I said I expect the sound of the Tascam to have some more character to it over the Alesis. The alesis I expect is quieter and more "transparent" but it seems I always experience "transparent" things as boring and relatively lifeless.

I haven't really ever taken a close look at the Studio 24/32 mixers before though and Alesis did a nice job with the feature set. Its about the only "modern" lower-end mixer I've seen that took notice of inline features for multitracking applications, and it clearly didn't come out of the Behringer/Phonic/Alesis Multimix/etc., etc. mold, which I believe all come out of the same factory...
 
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