Tascam TSR-8 Troubleshooting guide

TASCAM
‘TEAC
Professional
Division
TSR-8
1/2”
8-Track
Recorder/Reproducer
OPERATION/MAINTENANCE

The guarantee provided for the TSR-8 has several
restrictions. The TSR-8 will perform properly only if it
is adjusted properly and we guarantee that such adjust-
ment is possible. Setup is not covered by Warranty. If
your attempts at internal adjustments are unsuccessful,
we will charge you for readjustments.
Recording is an art as well as a science. As a result,
your finished product may be judged more by artistic
criteria than technical performance. Art is the province
of the artist and TASCAM can make no guarantee that
the TSR-8, by /tse/f, will assure the quality of your
work,
Your skill as a technician and your abilities as an
artist will be significant factors in the results you
achieve.
“© Copyright 1989, TEAC Corporation’
All rights reserved under international and Pan American copyright conventions.
This book may not be reproduced in whole or in part, by mimeograph or any
other means, without permission.
CAUTION CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER
ARES aa 4) (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFED ‘SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user .
A to the presence of uninsulated “dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to:the presence of
A important operating and maintenance (servicing) instructions in the literature accompanying the
appliance.
an tea” pa Pease coe te nudel | | WARNING: TO PREVENT FIRE OR SHOCK
Lethe number and retain them for H AZARD, DO NOT EXPOSE THIS
Stal nie APPLIANCE T0 RAIN OR MOISTURE.

SAFETY INSTRUCTIONS
CAUTION:
e Read all of these instructions.
e Save these instructions for later use.
e Follow all warnings and instructions marked on the
audio equipment.
1. 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.
3. Heed Warnings — All warnings on the appliance and in the
operating instructions should be adhered to.
4, Follow tnstructions — All operating and use instructions
should be followed. .
5, Water and Moisture — The appliance should not be used
near water — for example, near a bathtub, washbowl, kitchen
sink, laundry tub, in a wet basement, or near a swimming
pool, etc.
6. Carts and Stands — The appliance should be used only with
acart or stand that is recommended by the manufacturer.
6A. An appliance and cart combination should be moved with
care. Quick. stops, excessive force, and uneven surfaces may
cause the appliance and cart combination to overturn.
7.
Wall
or
Ceiling
Mounting
—
The
appliance
should
be
mount-
ed
to
a
wall
or
ceiling
only
as
recommended
by
the
manu-
facturer.
8.
Ventilation
—
The
appliance
should
be
situated
so
that
its
location
or
position
does
not
interfere
with
its
proper
venti-
lation.
For
example,
the
appliance
should
not
be
situated
on
a
bed,
sofa,
rug,
or
similar
surface
that
may
block
the
ventilation
openings;
or,
placed
in
a
built-in
installation,
such
as
a
bookcase
or
cabinet
that
may
impede
the
flow
of
air
through
the
ventilation
openings.
.
9. Heat — The appliance should: be situated away from heat
sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
10.
Power
Sources
—
The
appliance
should
be
connected
to
a
power
supply
only
of
the
type
described
in
the
operating
in-
structions
or
as
marked
on
the
appliance.
11, Grounding or Polarization — The precautions that should
be
taken
so
that
the
grounding
or
polarization
means
of
an
appliance is not defeated. .
12. Power-Cord Protection — Power-supply cords should be
routed so that they are not likely to be walked on or pinch-
ed by items placed upon or against them, paying particular
attention to cords at plugs, convenience receptacles, and
the point where they exit from the appliance.
13.
Cleaning
—
The
appliance
should
be
cleaned
only
as
recom-
mended
by
the
manufacturer.
14.
Power
Lines
—
An
outdoor
antenna
should
be
located
away
from
power
lines.
15,
Outdoor
Antenna
Grounding
—
If
an
outside
antenna
is
connected
to
the
receiver,
be
sure
the
antenna
system
is
grounded
so
as
to
provide
some
protection
against
voltage
surges
and
built
up
static
charges.
Section
810
of
the
National
Electrical
Code,
ANSI/NFPA
No.
70
—
1984,
pro-
vides
information
with
respect
to
proper
grounding
of
the
mast
and
supporting
structure,
grounding
of
the
lead-in
wire
to
an
antenna
discharge
unit,
size
of
grounding
con-
ductors,
location
of
antenna-discharge
unit,
connection
to
grounding
electrodes,
and
requirements
for
the
grounding
electrode.
See
Figure
below.
EXAMPLE OF ANTENNA GROUNDING
AS PER NATIONAL
ELECTRICAL CODE
ANTENNA
GROUND
ANTENNA
DISCHARGE UNIT
(NEC SECTION 810-20)
ELECTRIC
SERVICE
EQUIPMENT
GROUNDING CONDUCTORS
(NEC SECTION 810-21)
GROUND CLAMPS
POWER SERVICE_GROUNDING
aa" EVECTRODE. SYSTEM
(NEC ART 250, PART H)
NEC — NATIONAL ELECTRICAL CODE
16.
Nonuse
Periods
—
The
power
cord
of
the
appliance
should
be
unplugged
from
the
outlet
when
left
unused
for
a
long
period
of
time.
17.
Object
and
Liquid
Entry
—
Care
should
be
taken
so
that
objects
do
not
fall
and
liquids
are
not
spilled
into
the
en-
closure
through
openings.
18.
Damage
Requiring
Service
—
The
appliance
should
be
ser-
viced by qualified service personne! when:
A.
The
power-supply
cord
or
the
plug
has
been
damaged;
or
B.
Objects
have
fallen,
or
liquid
has
been
spilled
into
the
appliance;
or
C. The appliance has been exposed to rain; or
D.
The
appliance
does
not
appear
to
operate
normally
or
exhibits
a
marked
change
in
performance;
or
E.
The
appliance
has
been
dropped,
or
the
enclosure
dam-
aged.
19.
Servicing
—
The
user
should
not
attempt
to
service
the
appliance
beyond
that
described
in
the
operating
instruc-
tions.
All
other
servicing
should
be
referred
to
qualified
service
personnel.

Introduction
A RTD I TE ST fa TE 2 TE LS ETE
The TSR-8 is an exceptionally reliable and versatile
high-performance 8-track, 8-channel tape recorder/
reproducer that uses 1/2-inch wide tape on 10-1/2-inch
reels and operates at tape speed of 15. ips (38 cm/s).
The TSR-8 features 8-bit microcomputer control
for error-free tape operation. Each channel has its own
4-bit microcomputer to contro! record in/out circuitry,
allowing gapless punch in and out. The transport is the
“full servo’’ type: the capstan motor is FG servoed,
and each DC brushless reel motor is under control
of the 8-bit microcomputer. The tension arms have
non-contacting detectors that constantly send the micro-
computer information on tape tension; the microcom-
puter then adjusts the torque of each reel motor. The
result is smooth operation, gentle tape handling, and the
capability in edit mode of moving both reels manually
with one hand,
The TSR-8 has three different external control
interfaces. It has a parallel input port, for connection
to SMPTE/EBU based synchronizers (such as_ the
TASCAM ES-50/51); and RS-232C serial synchro-
nizers with serial control (such as the TASCAM
MIDiiZER); and a remote control port for the RC-408
remote
control
unit.
The
TSR-8
automatically
senses
when it is under external synchronizer control, switching
the servo system between the external source or its
internal reference, Track 8 is fitted with a Syne Lock
feature that assures high-quality time code or FSK
signals (such as those generated by the TASCAM MTS-
30 MIDI Tape Synchronizer) can be recorded and
played back without interruption and without dbx
processing.
The digital fluorescent tape counter is tach driven,
displaying in ‘minutes and seconds the distance the
tape has moved from a Zero reference point.
The Rehearsal and Auto In-Out features allow
automated control of punch-in and out times without
external computer control. When used’ as the first
- stage of the Automated punch-in/out operation, the Re-
hearsal feature programs the TSR-8 to repeat a punch-
in/out sequence as many times as you wish before
actually executing it on tape. The distance between
the erase and record heads is automatically compensated,
for gapless ‘inserts’.
In addition to a conventional return-to-zero function,
the TSR-8 is equpped with a two-point auto locator,
which also provides a repeat playback over the desired
segment of the tape.
Other features include various EDIT and spot erase
features; AUTO INPUT which facilitates communication
between studio and control room through the tape
returns, and more.
This manual has been designed to help you as you
learn
how
to
use
those
features.
Please
read
it
thor-
oughly and keep it handy as you learn the machine.
Taking
the
time
to
use
this
manual
now
will
save
you
time later on.
TABLE OF CONTENTS
Introduction 2.0... 62 cee eee ee ee thieves. Cf
Control Signal Block Diagram .............+.. 5
Specifications ....... age ial Aisi dive, he: Whee leg as 6
Audio Signal Block /Level Diagram ..........- 8
Installations. 2... 2 ee ee ee te 9
Operation
1. Setting the Record Level .............. 15
2. Setting the Monitor Level............-. 15
3. Recording the First Track ....... Pe ewes 15
4. Overdubbing .......... 0.2.2 eee eee 16
5. Punch-in or Insert Recording ........... 17
6. Rehearsal Programming and Auto-in/out
Procedures .....-.....00 eee eee ee 18
7. Bouncing Tracks (Pingpong) .......--.+ 20
8. Mixdown (Remix) ..........80000 82> 22
9. Recording with Tape Sync ...........--- 23
Features and Controls ..........-.+2e-e 280 25
How the dbx Works ....... 000 c eee eee eee 31
Care and Maintenance ........-0 22 e+e ence 31
Optional Equipment ........... 0000 eee eee 32
(As for the contents of the Maintenance section, which
provides service instructions for use by qualified per-
sonnel, see the first page of that section.)

Control Signal Block Diagram
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Specifications
A 0 2 a PT TUT SE I ES SE 2 ETE OD
MECHANICAL
Tape:
Track Format:
Head Configuration:
Motor:
Capstan:
Reel:
Reel:
Tape Speed:
Pitch Control Range:
Wow and Flutter3).
Start Time:
Fast Wind Time:
Cueing:
Motion sensing:
ELECTRICAL
Line Input (Unbalanced)
Input Impedance:
Nominal Input Level:
Ch. 1—7:
Ch. 8:
Maximum Input Level:
Ch. 1 — 7:
Ch. 8:
Line Output (Unbalanced)
Output Impedance:
Minimum Load Impedance:
Nominal Load Impedance:
Nominat Output Level:
Maximum Output Level:
Bias/Erase Frequency:
Equalization:
Record Level: .
Power Requirements
USA/CANADA:
U.K./AUSTRALIA:
EUROPE:
GENERAL EXPORT:
Power Consumption:
PERFORMANCE
Frequency Response2):
Repro Frequency Response’):
Total Harmonic Distortion (THD)2):
Signal-To-Noise Ratio (ref. to 3 % THD)2):
Crosstalk (between Adjacent Channels)2):
Erasure:
Headroom (Record Amp):
1/2 inch (12.7 mm), 1.5 mil, low noise/high output tape
8-track, 8-channel
1 erase, 1 record/reproduce
FG servo DC motor
DC motor x 2
10.5-inch, NAB hub
15 ips (38 cm/s)
+12 % (both in Record and Reproduce)
+0.06 % peak (DIN weighted)
0.8 sec. or jess (to reach standard record/play speed)
120 sec. or less (10.5-inch reel, 2400-ft tape)
Electronically defeatable tape lifter
0.5 sec. +0.15 sec. (delay time from stop to next motion)
10 kOhms
-10 dBV (0.316 V)
~10 dBV (0.316 V)/+4 dBu (1.23 V) in FIX,
~30 dBV (0.03 V) to +4 dBu (1.23 V) in VARIABLE
+18 dBV (8.0 V)
+18 dBV (8.0 V)/+24 dBu (12.3 V) in FIX,
-10 dBV (0.316 V) to +24 dBu (12.3 V) in VARIABLE
100 Ohms
2 kOhms
10 kOhms .
-10 dBV (0.316 V)
+18 dBV (8.0 V)
145 kHz
co +35 psec. (IEC/CCIR)
250 nWb/m (0 VU)
120 V AC, 60 Hz
240 V AC, 50 Hz
220 V AC, 50 Hz
100/120/220/240 V AC, 50/60 Hz
95 W
40 Hz to 20 kHz +3 dB (at 0 VU)
40 Hz to 20 kHz +3 dB
0.8 % or less at 1,000 Hz, 0 VU (250 nWb/m)
(by the record/reproduce method)
108 dB (““A” weighted, with DBX*)
68 dB (“A” weighted, without DBX)
82 dB or better (1,000 Hz, 0 VU, with DBX)
70 dB or better (1,000 Hz, +10 VU)
25 dB or more (1,000 Hz, 0 VU)

OTHERS
Connector/Jack
Line Input/Output: RCA jack
Remote Control: DIN, 8-pin (for RC-408)
Accessory 1 (Parallel): D-sub, 37-pin
Accessory 2 (Serial): D-sub, 15-pin
Punch-in/out Remote Control: 1/4” phone jack (for RC-30P)
Standard Equipment: Empty Reel (RE-1013),
Operation/Maintenance Manual,
Warranty Card
Option: RC-408 Remote Control Unit
RC-30P Remote Footswitch
RM-408 Rack Mount Angle
RE-1013 Metal Reel (10.5-inch, half-inch)
Measurements were made using the following TEAC test tapes:
1) TEAC YTT-11442 (15 ips, 38 cm/s)
2) TEAC YTT-8163 Blank Tape
3) TEAC YTT-2104 (15 ips, 38 cm/s)
In
these
specifications,
0
dBV
is
referenced
to
1.0
Volt.
Actual
voltage
levels
are
also
given
in
parentheses.
To
calculate the 0 dB = 0.775 Volt reference level (i.e., 0 dBm in a 600-Ohm circuit), add 2.2 dB to the listed dB
value; i.e. -10 dBV re: 1 V =-7.8 dBm re: 0.775 V.
Changes in specifications and features may be made without notice and obligation.
*dbx is a registered trademark of dbx Incorporated.
543mm (21-3/8")
41.85mm 202mm (8) 14mm
(1-5/8) (9/16)
432mm (17")
470.5mm (18 1/2’)
400mm (15-3/4’’)
=~
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Audio Signal Block /Level Diagram
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Installations
aS
ASIST
TS
1.
UNPACKING
AND
INSPECTION
——-——____—___—--__—-0['"9\""
During
unpacking,
be
careful
not
to
damage
the
After
unpacking,
give
the
machine
a
complete
visual
TSR-8.
Save
the
carton
and
packing
material
as
well;
inspection.
If
there
is
any
evidence
of
damage
due
to
you
may
need
them
to
transport
your
TSR-8
sometime
rough
handling
during
transport,
it
is
your
responsibility
in
the
future.
to
notify
the
carrier
and
submit
a
claim.
Box with Empty Reel
Manual
Side Packing Material
2. INSTALLATION SITE
The
TSR-8
may
be
used
in
most
areas,
but
to
main-
3)
Strong
magnetic
fields
should
not
exist
nearby.
tain top performance and prolong operating life, observe
the following environmental limitations:
1) Nominal temperature should be 5 to 35 degrees
C (41 to 95 degrees F).
2) Relative humidity should be 30 to 90% (non-
condensing).

3. RACK MOUNTING THE TSR-8
The TSR-8 may be mounted to a standard EIA 19”
rack, such as the TASCAM CS-607B. You need the op-
tional RM-408 Rack Mount Angle. Before mounting,
make sure the rack you are mounting the TSR-8 to
is not warped or bent. Screwing the TSR-8 to badly
warped surface may cause misalignment of the trans-
port.
4. INITIAL CONNECTIONS
CAUTION: Before attempting any cable connection,
check to make sure that all the units involved in your
system are turned off.
When connecting the TSR-8 to your system, use
shielded cables that are as short as your situation will
allow. We recommend low-capacitance cables with
quality connectors, such as the TASCAM Pro Series.
Cheaper cable has less shielding and may introduce radio
frequency interference, hum and noise into your system.
A. Input/Output Connections
The TSR-8’s inputs and outputs are handled by
RCA jacks located on the rear connector panel of the
machine.
Make the appropriate cable connections to the
Program busses and Tape Returns of your mixer.
1f your mixer has phono jack (RCA) outputs confirm-
ing to the -10 dBV standard, the meter readings of your
mixer and the. TSR-8 should match, i.e., 0 VU on the
mixer will read O dB on the TSR-8 track it’s connected
to. If the readings don’t match, always go by the read-
ings on the recorder.
B. AC Power Cord
Make sure of a stable, firm.connection on the mains
side. Route the cord where there is no possibility of
stepping on it, to prevent accidental disconnection.
C. Remote Control Connection and Computer/
Synchronizer Interface
On the TSR-8's rear pane! are located a REMOTE
CONTROL connector and ACCESSORY 1 and 2 con-
nectors. The REMOTE CONTROL connection makes
it possible to connect the optional RC-408 remote
control unit to provide remote control of all transport
functions. The ACCESSORY 1 connection is a parallel
port, meaning transport controls are each brought to a
separate pin of the connector for external connection to
the TASCAM ES-50 or other SMPTE synchronizers. The
ACCESSORY 2 is a serial port, in which fewer wires
carry digital messages to and from the TSR-8’s
microcomputer for external connection to a controlling
computer with RS-232C serial data buss. It is possible to
hook up a serial-capable synchronizer (such as the
TASCAM MIDiiZER) to this port for control and other
advanced functions. For detailed information on the use
of the ACCESSORY connections, consult TASCAM or
the nearest TASCAM dealer. (Also see pp. 11-13.)
10
5. REEL INSTALLATION
Proceed as follows:
1. Turn the holddown knob until its outer and inner
three detents line up with each other.
2. Line up the three notches in the full supply reel
with the three detents in the holddown knob on the
supply reel table and push the reel against the reel table.
3. Turn the holddown knob fully clockwise until it is’
firmly seated in place.
4. Repeat the procedure for the empty takeup reel.
NOTE: Before running tape, make sure that the reel
holddown
knob
is
tight
on
both
the
supply
and
takeup
reels.
6. TAPE THREADING
Thread the tape exactly as shown below.

“ACCESSORY 1” PARALLEL CONNECTOR
SMPTE/EBU Time Code
SMPTE is an acronym for the Society of Motion
Picture and Television Engineers. The SMPTE Time
Code (C98.12: time and control code for video and
audio
tape
for
525/30
television
system)
was
defined
in
1970, and it is now accepted as a universal standard.
This reference is to an 80-bit digital code developed
by SMPTE and used to designate the exact location in
hours, minutes, seconds and frames (24 frames/sec. for
film or 30 frames/sec. for video) on a film, video tape, or
audio tape. Suitable equipment can synchronize ("lock
up”) two or more machines by using the SMPTE time
code recorded on each.
SMPTE. European Standard, that refers to 25 frames
per second, states the EBU (abbrev. for European Broad-
casting Union) time code when it is especially necessary
to distinguish from the USA Standard with 30 frames
per second.
A time code generator is used to record SMPTE code
onto one track of the tape. A time code controller can
then read the code from two or more tape machines, and
by also servo-controlling the reel motors of those ma-
chines, bring them to specifiec cue points. A time code
synchronizer further controls the capstan motors to
keep both of the tape machines running synchronously.
These techniques can be used to obtain more tracks for
recording (two or more audio machines “locked up” to-
gether), to mix audio signals in sync with video or film
images, to make complex edits by transferring material
from one or more audio machines to another, and so
forth.
Connecting a Synchronizer to the TASCAM TSR°8 -
Connection between the ES-50 synchronizer/ES-51
edit controller and the TSR-8 is a plug-and-go pro-
position. Pre-wired interface cables needed are available
from TASCAM.
The TASCAM TSR-8 provides signals to the synchro-
nizer (via the ACCESSORY “1” connector) which
indicate its speed, the direction of the tape travel, and a
reference power supply. Also, tally signals indicating the
TSR-8’s mode (PLAY, F.FWD, REW, STOP) are given
to the synchronizer so it knows the current transport
status. Inputs on the same ACCESSORY ‘‘1”’ connector
are provided for status commands from the synchronizer
(PLAY, F.FWD, REW, STOP, REC, LIFTER CONT).
Also, there is an input for a capstan drive reference
frequency signal from the synchronizer so that the
actual record/play speed can be varied to maintain
synchronization. For pin assignment see page 12.
The TSR-8 will also operate satisfactorily with a
variety of other manufacturers’ synchronizer/controllers.
The manual for these products should provide you with
enough interface information for use with the TASCAM
tape machines. Or else, consult the synchronizer
manufacturer for further details on interfacing.
EE
“ACCESSORY
2”
SERIAL
CONNECTOR
The
TSR-8
operates
to
its
full
potential
when
in-
terfaced
with
the
MIDiiZER,
an
intelligent,
highly
ver-
satile
serial
synchronizer,
which
provides
a
link
between
SMPTE/EBU
based
audio/video
production
and
MIDI
music
creation.
It
shifts
between
time
code
and
MIDI
data
to
constantly
adapt
the
TSR-8
and
other
associat-
ed
machines/units
to
ever
changing
requirements
of
each
application.
Specifically,
advanced
functions
the
MIDiiZER
pro-
vides
access
to,
include
Record
On/Off
Programming
(up
to
16
individual
tracks),
20-point
Autolocation,
Syn-
chronization
either
referenced
to
time
code
addresses
or
MID!
coded
bar
numbers,
Time
code/MID!
data
trig-
gered
events,
MIDI
Program
Change
which
can
be
con-
trolled
with
time
code
too,
a
Total
Time’’
function
which
accommodates
your
program
material
to
the
re-
quired
length
by
automatically
changing
the
tempo,
and
more.
(Complete,
update
information
about
the
MIDiiZER
will
be
made
available
no
later
than
its
up-
coming
release.)
The
method
of
communications
performed
in
com-
pliance
with
the
RS-232C
standard
differ
depending
on
the
mechanical/electrical
characteristics
and
system
pro-
grams
of
the
associated
machines/devices,
and
a
small
error
in
communications
thwarts
the
interfaced
system
and
even
causes
this
to
run
“wild.”
For
detailed
technical
information
about
the
use
of
the
TSR-8’s
Seria!
Port
consult
TASCAM
or
your
local
TASCAM
dealer.
11

ACCESSORY 1 Pin Assignment
Bins IN{put)—OUT (put)
signals
open terminal
UP/DOWN OUT
cP Out
PLAY TALLY OUT
FF TALLY OUT
REW TALLY OUT
STOP TALLY OUT
SHUT-OFF TALLY OUT
open terminal
open terminal
REW COMMAND OUT
FF COMMAND OUT
12
Function:
Inputs PLAY signal
at L level.
Inputs FF signal at L
tevel.
Inputs REW signal at
L tevel.
Inputs STOP signal at
L level.
Inputs REC signal at
L level.
Inputs LIFTER shift
cancellation signal at
L level.
Outputs tape running
control signal at H or
L tevel.
Outputs open-collec-
tor signal (12 Hz
pulse at 15 ips.)
Outputs open-coliec-
tor signal (Low level
during PLAY mode.)
Outputs open-collec-
tor signal (Low level
during FF mode.)
Qutputs open-collec-
tor signal (Low levet
during REW mode.)
Outputs open-collec-
tor signal (Low level
during STOP mode.)
Outputs open-col-
lector signal (Low
level during record
mode}
Outputs open-col-
Jector signal (Low
level during tape
stop)
Outputs open-col-
lector signal (Low
level when REW is
pressed)
Qutputs open-col-
lector signal (Low
level when F. FWD is
pressed)
IN(put)—OUT (put)
signals
PLAY COMMAND OUT Outputs open-col-
lector signal (Low
level when PLAY is
pressed
STOP COMMAND OUT Outputs open-col-
lector signal (Low
level when STOP
is pressed)
EC COMMAND OUT Outputs open-col-
lector signal (Low
level when REC is
pressed)
Accepts Rehearsal
enabling signal com-
ing from a properly
equipped external
control unit (low
level with Rehearsal In)
RHEARSAL MODE IN
open terminal
EXT FREQ Inputs speed control
signal at input signal
of 3.0 V or more and
of 48k to 19.2 kHz
(HOT side)
Inputs speed control
signal (COLD side)
Inputs internal/
external speed con-
trot select signal
Internal: HIGH level
External: LOW level
EXT FREQ
INT/EXT
open terminal
+15 V supply OUT
voltage
Main unit GND
+5 V supply
voltage
Maximum: 50 mA
Maximum: 50 mA

ACCESSORY 1 Connector Pins and External Signal Connections
The TSR-8
"ACCESSORY 1" CONNECTOR PINS Nj +5V or +15V
if
: ' +5V
Esra eye ene ater
i : A
(LIFTER CONTROL): 7
+5V
~ 36 a
eee) Cy
(REHEARSAL) : 24
‘
10k
=).
an
”
_
(INT/
EXT):
33
IMP}
22ka.
H
+5
+5V or +15V +5V or +15V 3V or MORE AT . Vv
9.6kHz CENTER FREQUENCY
+5V
(+15V) 35
(+5V) | 37
(EXT FREQ) : 34
(CP OUT, 12Hz AT 15 ips DURING PLAY): 10
(UP/ DOWN OUT): 9
(REW COMMAND OUT): 19
(FF COMMAND OUT) : 20
(PLAY COMMAND OUT): 21
(STOP COMMAND OUT) : 22
( REC COMMAND OUT) : 23 |
i]
(PLAY TALLY): 11
(STOP TALLY): 14
(REW TALLY): 13 | 18
(FF TALLY) : 12
t
13

VOLTAGE CONVERSION
NOTE: Voltage conversion is not possible on models
sold in the U.S.A., Canada, U.K., Australia or Europe.
For general export models, if the input voltage
specified on the TSR-8 or packing carton differs from
the line voltage at the installation site, please request
your dealer to change the voltage setting of the machine.
The procedure entails the opening of the machine.
NOTE FOR U.K. CUSTOMERS
U.K. Customers Only:
Due to the variety of plugs being used in the U.K., this
unit is sold without an AC plug. Please request your
dealer to install the correct plug to match the mains
power outlet where your unit will be used as per these
instructions,
14
CE
a
0
TT
SE
aS
Bescheinigung des Herstellers/Importeurs
Hiermit wird bescheinigt, daB der/die/das
MAGNETTONBANDGERAT TASCAM TSR-8
(Gerat, Typ, Bezeichnung)
in Ubereinstimmung mit den Bestimmungen der
AMTSBLATT 163/1984, VFG 1045/1984, VFG 1046/1984
(Amtsbiattverfigung)
funk-entstért ist.
Der Deutschen Bundespost wurde das Inverkehrbringen
dieses Gerates angezeigt und die Berechtigung zur Uber-
priifung der Serie auf Einhaltung der Bestimmungen eingeraumt.
TEAC CORPORATION
Name des Herstellers/Importeurs
THE APPLIANCE CONFORMS WITH EEC DIREC-
TIVE 87/308/EEC REGARDING INTERFERENCE
SUPPRESSION
THIS DIGITAL APPARATUS DOES NOT EX-
CEED THE CLASS B LIMITS FOR RADIO
NOISE EMISSIONS FROM DIGITAL APPARA-
TUS AS SET OUT IN THE RADIO INTER-
FERENCE REGULATIONS OF THE CANADIAN
DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N’EMET
PAS DE BRUITS RADIOELECTRIQUES DE-
PASSANT LES LIMITES APPLICABLES AUX
APPAREILS NUMERIQUES DE CLASSE 8B
PRESCRITES DANS LE REGLEMENT SUR LE
BROUILLAGE RADIOELECTRIQUE EDICTE
PAR LE MINISTERE DES COMMUNICATIONS
DU CANADA.

Operation
1. SETTING THE RECORD LEVEL
The TSR-8 does not utilize its own controls for
setting
the
volume
or
“level’’
of
the
signal
to
be
record-
ed.
Therefore
the
recording
level
is
adjusted
on
the
mixer.
The
basic
procedure
for
setting
the
record
level
is as follows:
1.
Consult
your
mixer
manual
for
information
about
setting
its
Input
Trims,
Faders,
EQ’s
and
other
controls
that
have
an
effect
on
the
output
level
of
the
mixer.
Set
these
controls
to
their
nominal
levels
on
the
mixer.
2. Switch power on to the TSR-8. The digital
counter
will
indicate
“~88.8.8”"
for
a
few
seconds
as
the
machine's
logic
circuits
initialize,
then
the
display
will
change to “00.00.”
In the following illustrations,
. shows a blinking
LED, and “& a steadily lit LED.
(Recording the First Track)
3.
Press
the
Record
Enable
button
for
a
track
being
fed
by
the
mixer
output.
4.
Play
an
instrument
(or
speak
into
a
mic).
While
you
are
doing
this,
watch
the
meter
on
the
mixer
and
the
track’s
LED
meter
on
the
TSR-8.
At
the
loudest
point,
both
meters
should
peak
at
the
reference
level
of
“0.”
If
not,
adjust
the
level
of
the
source.
:
2. SETTING THE MONITOR LEVEL
The
monitoring
of
both
the
recorded
material
as
well
as
the
source
during
the
recording
process
is
accomplish-
ed
through
the
mixer’s
monitor
section.
Refer
to
the
mixer’s
manual
for
the
correct
procedure
in
setting
up
the
monitoring
system.
3. RECORDING THE FIRST TRACK
When
all
necessary
level
adjustments
on
your
mixer
are
complete,
you
can
go
ahead
with
your
recording.
As
an-example,
we
will
assume
that
you
wish
to
use
Track
#1
as
a
rhythm
track.
1. If
the
-TSR-8
is
not
on,
press
the
POWER
switch.
2.
Check
to
see
that
the
SPEED
MODE
selector
switch
is
set
to
its
FIX
position
and
its
green
LED
is
on
solid.
If
not,
set
it
to
FIX.
3.
Press
RESET
so
you'll
know
where
you
started
from.
4,
Press
the
Record
Enable
button
for
track
#1
(track
we
use
only
as
an
example).
A
red
LED
will
begin
flashing
on
and
off
above
the
track’s
Record
Enable
button.
5.
Press
and
hold
down
the
Master
RECORD
button.
While
still
holding
RECORD
down,
press
the
PLAY
button.
The
tape
will
begin
moving
in
its
forward
direction
and
recording
is
now
in
progress
on
Track
#1.
The
RECORD
LED
should
light
solid
and
the
LED
above
the
track’s
Record
Enable
button
that
was
flashing
should
also
now
be
on
solid.
6.
When
you
have
finished
with
recording,
press
STOP
to
terminate
the
recording.
The
RECORD
LED
will
turn
off
and
the
track’s
LED
will
begin
flashing
as
before.
7.
Press
the
“RTZ”
(Return
to
Zero)
button.
The
tape
will
rewind,
automatically
stopping
at
counter
zero
point.
15

4, OVERDUBBING
There are two tasks in overdubbing. First, the new
signals must be adjusted for proper level going to the
TSR-8,
as
in
tracking.
Second,
you
must
make
a
proper
monitoring mix of the existing track(s). Here is a basic
overdubbing procedure:
16
eee ee TS TOD TTP INL IG A TI I I ID IE SE SE IE ES
First Playback
1. Release the Track 1 Record button by pressing it. |
Its blinking LED will go out showing that Track #1 is
now in “safety” status. Check to make sure that all
other tracks are also in “‘safety’”’ status with their LEDs
off.
2. Press PLAY. The track you just recorded can be
listened (monitored) through the mixer.
If you are not satisfied with your first take and want
to re-record it (therby erasing the first take), all you
have to do is:
a) Make any changes that occured to you while you
listened to the first playback.
b) Press RTZ to rewind the tape to 00.00.
c) Press the Track 1 Record Enable button.
d) Press RECORD and PLAY together and try again.
Once you have a basic track you're satisfied with, you
are ready to move on to overdubbing.
1. Select an open track for the overdub: Since we
assume, in our example, that you have recorded your
first take on track 1, you can choose any other track for
the overdub. Factors affecting which track you choose
include how many total parts you will record, and
whether you plan to bounce (“ping-pong”) tracks later.
In this example, we'll assume that you choose track 2.
2. Place the track in record ready mode: Press the
Record Enable button for track 2. its LED will start
blinking. Make sure that previously recorded tracks
(such as track 1 in our example) are in safe mode so you
don’t accidentally erase them.
3. Adjust the recording level of the new sources using
your
mixer
controls,
watching
the
meter
level
on
track
2.
4.
Play
the
tape
and
adjust
monitor
levels
for
a
proper
balance
of
the
incoming
new
signal
with
the
signal
being
played
back
from’
track
1
in
your
head-
phones
or
monitor.
5.
Rehearse
your
overdub
until
you
feel
confident
that
your
levels
are
correct.
Rewind
to
00.00
by
pressing
RTZ.
6.
Record
the
first
overdub
by
pressing
RECORD
and
PLAY.
7. Stop the recording by pressing STOP (or PLAY).
8.
To
listen
to
playback
of
the
overdub,
press
the
track
2’s
record
enable
button
(to
place
the
track
in
safe
mode),
then
rewind
to
the
beginning
of
the
take
and
hit
PLAY.

af — (fi -,
1@ —|§),— 10
RECORD |
—ipi—-1s
— |} — -20
=
2
~—— |, —-10
I
p--s
a
—l--
5. PUNCH-IN OR INSERT RECORDING
The
TSR-8
can
manually
punch
in
with
the
master
RECORD
button,
the
Track
Record
Enable
buttons,
or
the
optional
RC-30P
footswitch.
You
can
also
program
the
punch-in
and
punch-out
with
the
REHEARSAL
and
AUTO
IN/OUT
functions
so
the
TSR-8
automatically
punches
in
and
out
for
you.
Manual Punch-In
METHOD
A:
Punching
with
the
master
RECORD
button
or
footswitch
1. Make the following preliminary settings:
a) Press the Record Enable button of the track you
intend to INSERT on. Its LED will start blinking.
b) Press the INSERT switch. Its LED will light solid.
c) Adjust the recording and monitoring fevels for the
desired balance.
2. Press PLAY. You can use the INSERT switch to
toggle
the
TSR-8’s
meter
and
output
between
source
and
tape.
While
the
tape
is
in
PLAY
and
INSERT
is
on,
you'll
hear
tape;
while
tape
is
stopped
or
INSERT
is
off,
you'll hear source.
3. When the tape reaches the desired punch-in point,
press
RECORD
or
the
footswitch
to
start
recording.
The
monitor switches from tape to input on that track. The
master
RECORD
LED
and
Track
Record
LED
both
stay
on.
4. Punch out by pressing STOP, PLAY or the foot-
switch.
METHOD B: Punching with the Track Record button
This method is sometimes called “rolling in record’’
and requires that you have a free hand.
1. After the recording and monitoring levels are set,
make sure that all tracks are SAFE (no track LED blink-
ing).
2. Press RECORD and PLAY together to start
playing
the
tape.
The
RECORD
LED
will
blink,
showing
that the TSR-8 is in record-ready mode.
3. Press the punch-in track’s record button when the
tape reaches the punch-in point. The master RECORD
and track record LEDs will both light up steadily,
showing that recording is taking place.
4. To punch out, press the Track Record button
again (you could also press STOP or PLAY).
7

6. REHEARSAL PROGRAMMING AND AUTO IN/
OUT PROCEDURES
The
Auto
Locator
has
priority
over
the
Rehearsal
and
Auto
In/Out
modes.
If
LOC
1,
LOC
2,
REPEAT,
or
RTZ
is
pressed,
the
function
pressed
is
activated
erasing
all
the
memories
you
have
set
for
punch-in.
The
LED
RHSL
or
AUTO
IN/OUT
will
then
blink
until
CLEAR
is
pressed.
Programmed Rehearsal of Inserts (RHSL)
Before
you
actually
record
an
insert,
the
TSR-8
allows
you
to
“preview”
the
punch-in
and
out
points
with
its
special
REHEARSE
function.
During
a
re-
hearsal,
the
tracks
in
record
ready
mode
will
switch
18
So
GSP
EB
TREN
I
IN
I
SI
ETS
CIS
ETE
EE
TE
meter and output from tape to source and back again,
but won't actually record. What you hear in your
monitor mix will be the same as during recording; so if
the first in-out points aren‘t correct, you'll hear it and
can CLEAR the old points and try again until you’ve got
exactly what you want.
CAUTION: Although the advanced circuitry of the
TSR-8
allows
gapless
punch-in
on
the
tape,
there
is
still
the
distance
between
the
erase
and
record
heads
to
be
compensated
for.
Depending
on
tape
speed,
the
time
from a punch point to the actual in/out is 1/15th or
1/8th of a second. A few practice runs will get you
accustomed to the timing of punching in.
Entering the Automatic Preroll and Punch-In/Out Points
NOTE: !f you want to quit what you are doing at
any time during the following procedures, press CLEAR.
1. Press the Record Enable button of the track you
want to punch-in on. Its LED will start blinking. Check
to make sure that all other tracks are in safe mode.
2.
Press
the
RHSL
switch.
Its
LED
will
begin
blink-
ing.
As
long
as
this
light
blinks
(or
stays
on
solid
as
it
will
do
later,
in
step
8),
you
can’t
actually
record,
even
though
the
master
RECORD
and
track’s
Record
LEDs
may
go
on
solid.
3. Press the INSERT switch. Its LED will light.
4.
Adjust
the
record
and
monitoring
levets
on
the
mixer
for
the
desired
balance.
5. Press PLAY. That point on the tape will be put
into memory defined as the preroll start point.
6. At the punch-in point, press RECORD or the
footswitch. Your punch-in point will be put into
memory.
The
track’s
record
LED
will
light
steadily,
but
the master RECORD LED will blink, showing that
recording is not actually taking place.
7. Press PLAY or the footswitch when the tape
reaches the punch-out point. That point will be put
into
memory.
The
LED
for
the
selected
track
will
start
blinking and the RECORD LED will turn off.
8. After a 3-second postroll, the RHSL LED will go
on solid, while the tape will automatically rewind,
stopping
at
the
preset
start
point.
The
TSR-8
is
now
in
Rehearsal Ready mode.
Preroll (of Postroll
the desired (fixed to
duration) Punch-in Segment 3 sec.)
IN OUT
Auto Rewind

°
RECORD
Rehearsing the Punch-in (“Dry Run”)
1.
Make
sure
that
the
TSR-8
is
in
“Rehearsal
Ready”
mode
with
the
punch-in
and
out
points
memorized
and
the
RHSL
LED
on
solid.
Press
PLAY
or
the
RC-30P
footswitch.
The
TSR-8
will
begin
playing
from
the
preset
start
point.
2.
When
the
tape
reaches
the
preset
punch-in
point,
the
track’s
output
will
switch
from
tape
to
source.
The
LED
for
the
punch-in
track
stops
blinking
and
stays
on,
although
recording
is
not
yet
taking
place.
Your
live
instrument
can
be
heard
from
the
output
of
the
track.
3.
When
the
tape
reaches
the
punch-out
point,
the
track’s
output
will
switch
back
from
source
to
tape.
The
LED
for
the
punch-in
track
will
start
blinking,
indicating
that
the
“dry
run”
record
is
over.
4.
After
a
3-second
postroll,
the
tape
will
automatic-
ally
rewind
to
the
preset
start
point,
ready
for
as
many
rehearsals
as
you
wish.
Practice
the
performance
until
you
are
sure
that
you
will
get
it
right
when
actually
recording.
Remember,
once
you
punch
in
over
existing
material,
that
original
signal
is
erased.
;
Actual, Auto Punch-in
Once
you're
sure
your
performance
and
the
punch-
in/out
points
selected
are
correct,
you're
ready
to
actually
record
the
insert.
The
INSERT
and
RHSL
LEDs
should
still
stay
on.
All
tracks
should
be
in
SAFE
except
the
ones
you
intend
to
record.
1,
Press
the
AUTO
IN/OUT
switch.
A
red
LED
will
begin
blinking
above
the
AUTO
IN/OUT
switch,
while
the
RHSL
LED
that
was
on
solid
will
turn
off,
indicating
that
the
TSR-8
is
switched
from
REHEARSAL
mode
to
actual,
automated
“‘punch-in
ready”’
mode.
2.
Press
PLAY
or
the
footswitch
to
begin
the
preroll
from
the
preset
point.
3.
When
the
tape
reaches
the
preset
punch-in
point,
the
punch-in
track
will
automatically
enter
actual
record
mode,
and
the
RECORD
and
Track
LEDs
will
turn
on
solid.
New
material
is
being
recorded,
erasing
the
original
part.
4.
When
the
tape
reaches
the
memorized
punch-out
point,
the
TSR-8
punches
out
of
Record.
The
RECORD
LED
will
turn
off
and
the
track’s
LED
should
again
be
blinking.
5.
After
a
3-second
postroll,
the
AUTO
IN/OUT
LED
that
was
blinking
will
turn
on
solid
and
the
tape
will
automatically
rewind
to
the
memorized
start
point.
To review the result, press PLAY or the footswitch.
The tape will play the entire segment and rewind to the
start point.
19

To record again using the same memory points, press
the AUTO IN/OUT switch again (its LED will again
blinking), then press PLAY.
To terminate the Auto In/Out procedure, press the
CLEAR switch. The AUTO IN/OUT LED which was on
solid will turn off. By hitting CLEAR, you erase all of
the three memory points (Preroll Start, Punch-in and
Punch-Out points).
About Punching In
Setting in and out points: For both musical and
technical reasons, when punching in or out of a track,
you must select points that are “in the clear”, i.e., in the
pauses between’ phrases or notes. It sounds unnatural
and makes the insert noticeable if you record a new note
before the old one has ended, or are holding a note as
you punch in or out. For this reason, some session
players leave a beat or two of silence between passages
they might want to edit later. Making inserts well
requires some practice. Many engineers count bars and
beats to keep track of the punch in and out points and
hit them on cue. Because of the spacing between the
erase and record heads, you may need to anticipate your
———
ena
in/out points by a fraction of a second for extremely
tight cues though the gapless operation and high speed
of the TSR-8 makes it much easier.
External computer punching: If you need insert
points that are consistently repeatable within 1/30th of
a
second,
you
may
want
to
control
the
TSR-8
by
an
external computer device. With this method, track 8 is
recorded with SMPTE time code and punch-in/out
points are entered into the TSR-8 via the serial connec-
tor on the back panel. The procedure is similar to the
TSR-8’s built-in AUTO IN/OUT function but more
accurate because the computer is reading a reference
actually recorded on tape instead of tach pulses gener-
ated by the movement of the tape reels.
Level matching: No matter how carefully you set
your punch points, if the inserted material is louder,
softer, or a different tone from the original track, it will
be noticeable. Set the EQ and volume settings on your
mixer the same as they were during the original record-
ing. If you make inserts immediately after recording,
don’t change the instrument or mixer settings at all.
Keep in mind that at a certain point it’s better to record
the whole track over than making multiple punch-ins.
7. BOUNCING TRACKS (PING-PONG) +H
The recording capability of the TSR-8 is not limited
to the eight tracks. As you progress with recording, you
may reach a point where you need more than eight
tracks of material. This is where Bouncing — also called
Collapsing or Ping-ponging tracks — is invaluable.
Essentially, bouncing tracks consists of a ‘‘mini mix-
down": taking tracks that have already been recorded,
TRK
Tjolnym
A
B
Cc
D
1
2
3
4
5
6
7
8
Bouncing tracks 1 — 4
onto track 8
Other Tips About Bouncing
1. Before you record over the parts that have been
bounced together, make certain that you’re happy with
the overall sound of the bounced parts, because you
won't be able to change their mix or punch-in to fix
errors,
2. It is possible to bounce tracks more than once, i.e.,
to take a bounced track and-combine it yet again with
other material onto another empty track. There are
limits, however, just as there are anytime you make a
copy of a copy. Eventually the sound will get “blurry”
— treble will be decreased and added dropouts will
become more noticeable. Whether the added versatility
20
A+B+C+D
making a mix of these tracks and re-recording them
back onto an empty track (or tracks) of the TSR-8.
With all multitrack recorders, it is possible to get
feedback when a track is recording signal being bounced
from
the
track
right
next
to
it.
To
eliminate
feedback,
it
is advisable to bounce ona track away from the originals.
TjoO;njm
>
EtF+Gt+H
A+B+C+D
Tracks 1 —4 available Bouncing new tracks 1 — 4
for recording new parts onto track 7
of bouncing is worth the slight loss of sound is up to you
and the demands of your project.
3.
It
is
also
possible
to
add
new,
previsously
un-
recorded
parts
to
the
bounced
material,
for
example
to
take
Tracks
1-4
and
mix
them
with
additional
“live”
sounds
onto
Track
5.
4.
Certain
material
lends
itself
to
bouncing
—
vocal
backgrounds,
layered
keyboards,
etc.
Main
parts
of
the
program
such
as
lead
vocals
and
instrumental
solos
are
best
left
on
their
own
tracks
so
you
can
control
them
in
the
final
mix.