User manual TASCAM 488 PORTASTUDIO

[. . . ] TASCAM TEAC Professional Division 488 5700123804 Table Of Contents Safety Instructions Introduction The Recording System The three steps to multitrack Understanding the Mixer Signal flow in the 488 mixer Cue monitor system Multitrack Cassette Recorder Track Format and Tape Recommendations Block Diagram Brief Guide Step-By-Step Operations Guide Let's tray the 488 mixer How to record on track 1 How to make an overdub on track 2 How to record all other tracks How to record many sources onto a single track How to record multiple tracks simultaneously How to mix down Using Memory Location Points Loading MEMO points Locating the tape Repeat Play PUNCH-IN or INSERT Recording REHEARSE function Punch-in/out procedure Punch-in/out with RECORD Using RECORD FUNCTION switch Using the remote footswitch (RC-30P) Bouncing Tracks (Ping-Pong) Ping-pong procedure Ping-pong in stereo procedure 3 4 5-6 6 7-8 7 7 9 9-10 11 12-15 16-24 16 18 20 20 22 22 23 25-26 25 26 27 28-30 28 28 29 30 30 31-32 31 32 Using Effects with the PORTASTUDIO 488 33-34 Setting effect send levels 33 Setting the output level of effect devices 33 Setting the mix/balance control on effect devices 33 How to connect your effects devices 34 Recording with TAPE SYNC 35 Features and Controls 36-43 488 Mixer Input section 36 Tape monitor section 37 Channel controls 37 Channel assignment section · 37 Effect send section 38 Stereo input section 38 Group master section 40 Monitor section 40 488 Recorder Cassette loading and dbx system 41 Transport-controls 41 Track controls 42 Displays 42 Auto locators 3 Sync features 43 Care and Maintenance 44-45 Cleaning 44 Degaussing (demagnetizing) 45 How the dbx Works 45 Troubleshooting Specifications Level Diagrams Optional Accessories 46 46-48 49-50 51 Safety Instructions CAUTION: · Read all of these instructions. · Follow all warnings and instructions marked on the audio equipment. Read Instructions -- All the safety and operating instructions should be read before the appliance is operated. 2. Retain Instructions -- The safety and operating instructions should be retained for future reference. [. . . ] Turn that off by pressing the RECORD FUNCTION switch for track 8. Ping-pong in stereo procedure It is also common to bounce six channels to two tracks (for example, tracks 1-6 to 7 & 8) as a stereo pair. Set all the channels' INPUT ASSIGN switches to the center/OFF position. Simply arrange the PAN controls for channels 1-6 as disired some left, some right, some in the middle. Continue as the above example. 32 Using Effects with the PORTASTUDIO 488 Effects and signal processing is one of the areas where you can really start to have fun customizing your, sound, and develop your own unique recording style- Because there are so many possibilities, it also can be confusing. There are many different effect units on the market all with different controls, types of inputs and outputs, and other characteristics. Read the manual of your effects device, and the following sections to get the complete story of what's possible for your particular situation. In-line processing: The processing that's easiest to understand doesn't involve the 488 directly at all. You can plug your instrument directly into the input of the effect device, and plug the output of the device directly into a line input of the 488. The whole signal gets processed (flanged, doubled, limited, delayed etc. ), and only one instrument can use that processor. To get a mix of processed ("wet") and original ("dry") signal, the unit must have its own "MIX" or "BALANCE" control. 2. Send/return mix processing: This is the most common method of effect processing, especially for reverb and delay. It allows a number of different channels to use the same effect, while allowing you to control how much effect is mixed with each channel. Each of the lower 8 mixer channels can send signals to the EFFECT SEND 1 or 2 outputs on the upper top panel. The processed signals from the devices come back into the mix via the STEREO INPUTS. Finally, the effect is mixed onto one of the groups with the ASSIGN switch on the stereo channels (9-10 and 1112). This whole p a t h - f r o m the EFFECT SENDS to the reverb and back into STEREO INPUTS -- is called an effects loop. The EFFECT SENDS and 2 MASTERS control how much signal goes to the reverb unit; the LEVEL c o n t r o l on t h e stereo channels determine how much returns f r o m the reverb unit. In this method, the stereo inputs function as "effect returns". Setting Effect Send Levels The goal is not to distort the device, while staying above the noise that effect units generate. To get the best signal-to-noise from most effects units, you should send it as strong a signal as you can. With a properly set input signal in the 488, the channel EFFECT Send set to either 3 o'clock (EFFECT 1 feed) or 9 o'clock (EFFECT 2 feed), and the EFFECT MASTERS at about 2 o'clock, you should get a fairly loud signal from the EFFECT SEND jacks. If your effects device has an input level control of its own, it should be set so the meter or signal light of the effects device is just under the overload point on peak signals. When you want to hear less effect overall, turn down the return LEVEL control, not the EFFECT MASTERS. [. . . ] A clean and properly demagnetized tape recorder will maintain its performance without any other attention for quite a while. It won't ruin previously recorded material, nor will getting it back to original specifications be difficult. CAUTION: If the surface of the unit gets dirty, wipe the surface with a soft cloth or use a diluted neutral cleaning fluid. Do not use thinner, benzine, or alcohol, as they may damage the surface of the unit. The DBX is a wide-band compression-expansion system which provides a net noise reduction (broadband, not just hiss) of a little more than 30 dB. [. . . ]