Tascam M600
A modular recording console that weighed as much as a small motorcycle and brought Tascam's reliability to professional rooms.
Overview
The M600 is not a piece of gear you carry to a gig. The console frame measures 1680 x 305 x 1005 mm, which is over five feet wide, and the whole thing weighs 120 kg. A separate power supply unit adds another 10 kg. This desk was made to be installed, wired and left in place. Tascam built it as a modular recording and production console. Buyers could specify any combination of mono or stereo input modules, and choose between single or dual monitor sections, according to DB-Magazine (May 1990, p.70). The launch advertising made the pitch plain: the M600 series "finally brings Tascam reliability and value to a professional format," as dealers quoted in Mix-Magazine (September 1988, p.102) put it at the time.
The depth of the signal path is what interests collectors and engineers today. The input section starts with a mic preamp that accepts source impedances from 200 ohms to 600 ohms nominal, with a nominal input impedance of 2.2 kohms balanced. The nominal input level runs from -68 dBm (0.3 mV) with the trim at maximum, up to +4 dBm (1.23 V) with the trim at minimum and the pad engaged. The mic input has a 30 dB pad and 24 dB of headroom, so the preamp can handle everything from a quiet ribbon mic to a hot condenser without an outboard pad. The line input and tape return section is just as flexible: 40 kohms input impedance, nominal input level of -20 dBm (0.08 V) with trim, and a maximum input level of +8 dBm (1.95 V) with the trim at minimum, plus 24 dB of headroom.
The EQ is the strong point. The input modules carry a four-band equalizer with two sweepable bands: high shelving at 10 kHz, high-mid sweepable from 420 Hz to 13 kHz, low-mid sweepable from 42 Hz to 1.3 kHz, and low shelving at 100 Hz. All four bands offer ±15 dB of cut and boost. There's also a 12 dB per octave high-pass filter at 80 Hz. The dual monitor version adds a separate two-band EQ with ±15 dB at 10 kHz shelving and 100 Hz shelving. Stereo input modules get a three-band EQ, also ±15 dB.
The master module houses four LED indicators at the top. A fan indicator flashes when the power supply's internal components get abnormally hot. The -16 V and +16 V indicators dim when there's a problem in the corresponding voltage rails, and the +48 V indicator dims if the phantom power supply develops a fault. If any of these start flashing or dimming, the manual says to turn the console off and refer to the maintenance section. It's a simple system, and it tells you the general health of the power supply without opening the chassis.
The headphone output is derived from the studio out buss, and Tascam specifies a maximum output of 100 mW + 100 mW into 8-ohm stereo phones. The manual says to connect an 8-ohm, 5W-or-more load to the headphone jack. This is a console built for professional headphones, not earbuds. The control room attenuation is 30 dB, and there's a stereo trim gain range of 0 dB to -20 dB.
The effects returns are balanced, with two dedicated inputs at a nominal level of +4 dBm (1.23 V) and an input impedance of 40 kohms. These route to two 100 mm faders in the master fader module. Tascam's manual points out that only two connectors are designated as effects returns, but the console can handle many more returning signals. Any of the tape return inputs to the monitor section can accept effects signals, which is especially useful on the dual monitor version. The 2TR inputs are also balanced, with three pairs of L/R inputs, each at +4 dBm nominal and 40 kohms input impedance. These can be used for two-track sources or as additional effects returns to the monitor mix.
The main outputs are balanced with a 20-ohm output impedance, a minimum load impedance of 200 ohms, and a nominal load impedance of 600 ohms. The nominal output level is switchable between +4 dBm and -20 dBm, and the maximum output level is +28 dBm at +4 dBm nominal. The frequency response across the console is 20 Hz to 20,000 Hz ±0.5 dB. Signal-to-noise ratio is 97 dB DIN at +4 dBm, 81 dB DIN at -20 dBm, 100 dB IHF (A) at +4 dBm, and 84 dB IHF (A) at -20 dBm. Crosstalk is better than 60 dB at 1 kHz with a 600-ohm termination. Total harmonic distortion is 0.008% at 1 kHz at nominal levels, and the common mode rejection ratio is 70 dB at 1 kHz at nominal level.
The mic-to-program output THD is less than 0.07% across 20 Hz to 20 kHz at -20 dBm input and +14 dBm output, dropping to 0.015% at 1 kHz. The line-to-program output THD is less than 0.05% across the same range at +4 dBm input and +14 dBm output, also dropping to 0.015% at 1 kHz. Intermodulation distortion is less than 0.03% for both mic and line inputs at the same reference levels. These are clean numbers for a console of this era.
The console's power supply connector carries +8 V DC, +16 V DC, -16 V DC, and +48 V DC, along with ground connections and a thermo-sensor connection. Power requirements vary by region. USA and Canada get 120 V AC at 60 Hz drawing 12.2 W. Europe gets 220 V AC at 50 Hz drawing 8 W. The UK and Australia get 240 V AC at 50 Hz drawing 8 W. A multi-voltage version covers 100/120/220/240 V AC at 50/60 Hz drawing 9 W. The separate power supply unit measures 482 x 132 x 263 mm and weighs 10 kg.
The M600 was part of a broader Tascam console lineup that included the M-700. That one is a 40-channel I/O console with 32 groups, quad mix buses, 12 aux sends, four-band EQ with parametric mids, variable high-pass filter, three group mutes, integral patchbay, producers desk, and automation readiness, priced at $69,999 according to DB-Magazine (May 1990, p.70). The M600 series was the more modular, configurable option in that family, and it sat in a different price bracket. It was built to order, with the buyer specifying the exact module complement they needed.
The M600 marks the point where Tascam's professional division was building consoles that could stand alongside the big British and American desks. The modular architecture means individual modules can be swapped or replaced. That makes repair easier in theory, but finding specific modules in 2026 can be a challenge. The separate power supply helps serviceability, since the heat-generating components sit in their own chassis. The four LED diagnostic indicators on the master module are useful for anyone bringing one of these back to life.
Weight and size are the main practical obstacles. At 120 kg for the console and 10 kg for the power supply, moving an M600 is a two-person job at minimum, and it needs a dedicated space. The 1680 mm width means it won't fit through a standard doorway without disassembly. The console can be broken down into sections for transport, but it's still a serious undertaking.
The M600 doesn't have the name recognition of some other vintage consoles. The four-band EQ with two sweepable bands, the flexible routing, the balanced I/O throughout, and the clean signal path are what it has going for it. Tascam's own advertising positioned it as bringing "reliability and value to a professional format," as quoted in Mix-Magazine (September 1988, p.102).
Anyone considering one today should check module availability, power supply condition, and whether the frame is complete. The M600 was built to be configured, so no two are exactly alike. A fully loaded example with a complete set of input modules and both monitor sections is a different proposition from a stripped-down frame. The manual's emphasis on the diagnostic LEDs suggests that power supply issues were a known concern, and the separate PSU-600 is the first thing to check on any potential purchase. The console's weight and the need for a dedicated space are the other practical considerations.
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