Tascam MO8

Tascam are known for the quality and reliability of their larger consoles: now they've turned their hands to a super‑mini mixer, which will have to slug it out with similar models already on the market. Paul White assesses its chances.

I must admit that I did a double take when I first saw this mixer — it's compact, it's mains powered, and it features four mono mic/line channels, plus four more stereo line channels, all with rotary knob rather than fader control. It also has square corners and it's grey! In fact, the only real surprise was that it didn't have 'Mackie 1202' written in the top right‑hand corner. Instead, there's a tastefully embossed Tascam M08 logo. I've always had a great respect for Tascam mixers — indeed, I use one in my own studio — but I can't help wondering why the guys in Japan decided to build a competitor to the Mackie 1202 when that model has been superseded by the more sophisticated 1202VLZ. Not that this in any way detracts from the usefulness of this little mixer, or its exceptional value at under £300, but still...

Design

Closer inspection reveals some differences of approach between the M08 and its obvious source of inspiration, but the basic concept is very similar. The four mic/line channels have balanced XLR and jack inputs, globally switched phantom power, and insert points, while the stereo channels have dual inputs on unbalanced jacks. All channels are equipped with a gain Trim control, two‑band shelving EQ (operating at 12kHz and 80Hz), two Aux Sends, a Pan control, and a Level pot. On the stereo channels, the pan control functions as a balance control and is labelled accordingly, but one area in which Tascam have dropped a couple of points is in the aux send system: Aux 1 is dedicated pre‑fade and Aux 2 is dedicated post‑fade. There's no global pre/post switching for Aux 1, something which is now becoming a regular feature on other small mixers, though there is a useful overload LED which lights a few dB before clipping. If you want to use the stereo channels as mono channels, you can plug into the left input only; all channels are fitted with Mute and PFL buttons.

Unlike some small mixers, the M08 provides aux send master level controls as well as two dedicated, stereo aux returns on unbalanced jacks, and these, too, have level controls in the Master section. Provision is made for using a 2‑track tape machine, which, as with the Mackie, may be used either for mastering, or may be routed into the stereo mix to add taped effects to a live performance. A monitor level control regulates the headphone output level, and the stereo master level is controlled by a single, stereo Master fader rather than by a knob. A high‑resolution stereo bargraph meter with a delayed peak hold feature gives the master section a very professional look, while a red PFL LED lets you know if any channels have their PFL buttons down. When a channel PFL is pressed, the channel level is brought up on the main meters to facilitate accurate Trim setting.

Stereo outputs are on both phonos and balanced jacks, while further phono inputs provide a way into the aux busses and the stereo buss, as well as accommodating the 2‑track returns.

Opinion

The M08 is a very straightforward little mixer, well suited to small PA work, keyboard mixing, small MIDI setups, or direct‑to‑stereo recording. At under £300, it'll cost you about the same as a couple of modest mic preamps in a rack, so it makes a lot of sense, both for live recording or as a front end to a hard disk recording system. Direct feeds may be taken from the channel insert points or via Aux 1, and for multitrack recording work, this means you could, at a pinch, squeeze a maximum of seven independently controlled outputs from this little mixer.

If you need a very simple mixer which delivers professional quality at an attractive price, the M08 represents excellent value.

Operationally, the M08 works smoothly and efficiently, marred only by slightly wobbly control knobs. All mixers using this type of construction have the pots fixed directly to the circuit board, not to the front panel, and if the bushing between the knobs and the panel itself is not snugly fitting, some lateral movement is inevitable. There's not enough movement to cause reliability problems — it's just a little irritating from the the tactile point of view.

Electronically, the M08 is quiet and neutral sounding, with well‑behaved, reasonably sensitive microphone inputs. The EQ is particularly good, with the High EQ just picking out the right degree of sizzle, and the Low control underpinning the bass end without sounding flabby. In truth, the EQ is probably the only area in which the M08 differs significantly from its competitors. For all the claims of radical technology, new circuitry, and fancy construction methods, all well‑designed mixers of this type and size are pretty close when it comes to noise and distortion performance.

Conclusion

It seems that the mini mixer marketplace just keeps on expanding, which means lots of consumer choice and keen prices. If you need a very simple mixer which delivers professional quality at an attractive price, the M08 represents excellent value. The metering and quality of EQ are better than average, but there's a lot of competition out there, some offering more flexibility by way of routing or aux send switching. However, if basic mixing is all you need, I don't think you'll be in any way disappointed by the quality of the M08.