Teac Tascam 388 studio 8 Troubleshooting guide

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1

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m

TASCAM

TEAC

Professional

División

388

STUDIO

8

A

(

OPERATION/MAINTENÁÑCD

'

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5700070801

several

restrictionr

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Properly

oniy

¡f

¡t

Studio

8

will

perform

guarantee

that

?i,rh

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and

we

PP

is

not

covered

bv

possible.

Set-

internal

adiustmp

t

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attempts

^harge

you

for

readjustmentr'''"'''^"''

a

result,

^oL'^finkh

^

^

science.

As

more

by

artistir

■

may

be

judged

Art

if

h?

technical

perform-

TASCAM

can

Studio

8,

by

itsTif

liM

that

the

Yourwork,

the

quality

of

81

artistivill

hp^

techmcian

and

your

abilities

as

you

achiré

'^"°ts

in

the

resulta

equIprnlélwnrLr^-^^

V®"'"

of

thTmLT

=°P0d.

Think

need

tn

r^p

®

reference

book.

You

won't

find

tée

tTmTr'''

but

try

to

Tha+

thoroughly

at

least

once

ííndlher^

TABLE

OF

CONTENTS

Introduction

The

Mixer

3

The

Recorder

6

Recording

the

BasícTrack

Setup

7

Recording

9

Overdubbing

9

Remix

11

Ping-pongíng,

Collapsing,

or

Bouncing

Tracks

12

Punch-in

and

Insert

Editing

13

The

Actual

Punch-ln

1^

Remote

Punch-in/out

using

the

RC-30P

Pedal

1^

Work

Methods

Planning

Apparent

and

Absolute

Valúes

1°

How

to

Use

Your

Equalizer

1°

op

A

Word

of

Mixing

Advice

Common

Sense:

Care

and

Maintenance

.

..

21

Applications

■

Electronic

Music

Studio

Video/Film

Production

25

Features

and

Controls

26

Accessories

^9

Voltage

Conversión

Note

for

U.K.

Customers

■

• •

Specifications

44

Pictogram

46

Block

Diagram

47

Leve)

Díagrams

49

MAINTENANCE

1-1

©

Copyright

1985,

TEAC

Corporatíon"

All

rights

reservad

under

international

and

Pan

American

copyright

conventions.

This

book

may

nót

be

reproduced

in

whole

or

in

parí,

by

mimeograph

or

any

othe

means,

without

permission.

WARNING:

TO

PREVEN?

FIRE

GR

SHOCK

HAZARD,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE.

This

apparatushasa

serial

number

located

on

the

rear

panel.

Please

record

the

model

number

and

serial

number

and

retain

them

for

your

records.

Model

number

Serail

number

CAUTION:

TO

REDUCE

THE

RISK

OF

ELECTRIC

SHOCK.

DO

NOT

RÉMOVE

COVER

(OR

BACK).

NO

USER-SERVICE-

ABLE

PARTS

INSIOE.

REFER

SERVICING

TO

QUALIFIEO

SERVICE

PERSONNEL.

CAUTION

H

>^|\K

(i(

M

i

<

t\<\c

sHdCK

H

H

|>0

MCiT

(}p(

N

H

A

The

lightning

flash

with

arrowhead

symbol

within

an

equilateral

tríangle,

is

intended

to

aíert

the

user

to

the

presence

of

unínsulated

"dangerous

voltage"

uvithín

the

product's

enclosure,

that

may

be

of

sufficíent

magnitude

to

constitute

a

risk

of

electric

shock

to

persons.

A

The

exclamation

point

within

an

equilateral

triangle

Is

intended

to

alert

the

user

of

the

presence

of

important

operating

and

mainte

nance

(servicing)

instructíons

in

the

literature

accompanying-the

appliance.

-2-

INTRODUCTION

Your

Studio

8

is

a

complete

eight

track

pro-

duction

system.

It

contains

a

ful!

function

8x8

X

2

mixer

with

8

channel

monitoring;

combined

with

an

eight

track

recorder/reproducer

with

fui!

servo

control,

remote

capability,

and

SMPTE/EBU/computer

interface.

It

is

an

ideal

"turn

key"

production

facility

for

off-line

audio

for

video,

jingles,

commercial

radio

and

tele

visión

spots,

and

music.

As

a

complete

system,

your

Studio

8

virtually

eliminates

the

time

consuming

and

confusing

"patching"

normally

associated

with

multi-track

audio

production.

The

most

frequently

used

functions

are

engaged

automatically

and

many

complex

operations

are

internally

wiréd

to

reduce

work

by

reducing

the

number

of

steps

necéssary

to

get

things

done.

rxj

oo

THE

MIXER

The

Studio

8

mixer

was

designad

to

próvida

the

máximum

flexibility

and

performance.

The

tremendous

number

of

features

and

controls

available

on

your

mixer

can

make

it

seem

com-

plicated

and

intimidating.

But

all

mixers

share

soma

fundamental

principies

that

are

not

diffi-

cult

to

understand.

This

understanding,

parti-

cularly

when

combinad

with

soma

experience,

will

ensure

that

your

Studio

8

wiII

be

a

power-

ful

creativa

tool

that

is

aiso

easy

to

use.

Your

mixer

is

a

system,

a

group

of

individual

elements

working

together

as

a

unified

whole.

All

audio

systems

have

three

things

in

common:

Input,

Process,

and

Output.

In

audio

produc

tion

systems,

the

Input

consists

of

electrical

signáis

from

microphones,

instruments,

VTRs,

turntables,

tape

recorders,

etc.

These

signáis

are

Processed

electrónically

to

balance

their

lavéis

and

tonal

qualities.

The

resulting

signáis

are

then

converted

into

sound,

Output

by

amplifiers,

speakers,

and

headphones.

/

/

Input

Process

Output

-3-

for

audio

sianri'^^'°"^u^^

^

traffic

control

center

proL,pl°u

It

takes

múltiple

sends,

or

routpc

mixer

controk

múltiple

outputs.

So

come

from

anH

"u

signáis

go

to

and

'^nd

howmuch"signalgoesthere.;

Larga

systems

may

be

broken

down

into

subsystems

—

each

of

which

is

a

system

in

its

own

right.

Your

Studio

8

mixer

Is

actually

made

up

of

several

of

these

subsystems,

known

as

submixers,

each

of

which

possesses

the

system

requirements

of

Input,

Process

and

Output.

Control

Monitor

and

Amplifler

□□

@@

@

Talent

Cue

mttruments

(Reverb.

Delay,

Echo.

Comp..

etc.)

The

largest

of

these

is

the

Main

Mix.

It

receives

signáis

from

múltiple

inputs

and

routes

them

through

the

input

channeis

to

the

program

busses,

submixers,

outputs,

and

the

recorder.

The

Main

Mix

is

used

in

conjunction

with

the

recorder

to

cut

basic

tracks,

overdub,

ping-pong,

punch-in,

and

remix.

The

Main

Mix

system

could

aiso

be

used

as

a

sound

reinforcp

mixer,

or

as

an

electronic

music

mixer.

"^^nt

•)

PGMOUTSI

S

INPUT

EQUALIZER

FADER

ASSIGN

FADEfi

STEREO

MASTER

FAOER

PGM

FADERS

0

BALANCEO

•)

-'""bvunbauanced

O

O

-

4

-

The

Monitor

Mix

takes

its

signa!

from

the

program

busses

or

the

recorder's

playback.

These

signáis

are

automatically

routed

through

individual

leve!

and

pan

controis.

Monitor

mixes

are

used

so

that

the

talent

can

hear

previously

recordad

and

new

materia!

whüe

recording

or

rehearsing

overdubs.

The

Monitor

Mix

is

heard

through

the

headphone

jacks,

or

via

an

ampüfier

and

speakers

getting

their

signáis

from

the

stereo

MONITOR

OUTputson

the

back

pane!.

INPUT

EQUALIZER

FADER

ASSIGN

MONITOR

PGM

FADERS

MONITOR

OUT

R.

&

HEADPHONE

SELECT

SWITCH

The

Effect

and

Auxiüary

submixer

signáis

come

from

the

Main

Mix

system.

Let's

assume

that

you

have

a

digital

deiay,

reverb,

or

another

signa!

processor

that

you

want

to

use

on

some

of

your

materia!.

!f

you

oniy

want

the

pro-

cessor's

effect

on

one

channe!,

you

couid

piug

your

instrument

or

microphone

into

the

pro

cessor

and

piug

the

output

of

the

processor

into

the

LINE

INput

of

the

mixer.

You

couid

aiso

use

the

Studio

8's

channe!

ACCESS

jacks,

con-

necting

the

processor

to

the

appropriate

input

channe!.

But

suppose

that

you

want

to

use

the

processor

on

more

than

one

input

channe!

simuitaneousiy.

Your

Studio

8

is

abie

to

send

signáis

of

any

combination

of

input

channeis

to

the

EFFect

and

AUXiiiary

Output

on

the

back

pane!.

These

outputs

can

then

be

con-

nected

to

your

signa!

processor,

and

the

pro-

cessor's

output(s)

can

be

connected

to

the

EFFect

RTN

(return),

PGM

BUSS

INputs,

or

Stereo

Buss

inputs.

o

AUX.

MASTER

INPUT

EQUALIZER

EFFECTSBUSS

tN

MASTER

STEREO

BUSS

IN

L

®ZD

RTN

1

GAIN

STEREO

MASTER

L

STEREO

MASTER

R

EFFECT

OUTS

STEREO

OUTS

STEREO

BUSS

IN

R

5

-

THE

RECORDER

A

recorder's

job

is

pretty

easy

to

understand.

It

records.

Of

course,

it

also

plays.

Your

Studio

8's

recorder

uses

quarter-inch

tape

on

seven

¡nch

reels

to

record,

or

piay

up

to

eight

tracks

of

sound.

Your

Studio

8

has

much

in

common

with

other

reel-to-reel

muititrack

recorders.

But

it

also

differs

in

severa!

important

ways:

sophisticated

features

combine

the

advantages

of

cassette

and

open

reel

recorders,

and

inter-

face

connections

for

SMPTE

(Society

of

Motion

Picture

and

Televisión

Engineers)and

EBU

(European

Broadcast

Unión)

time

code

syn-

chronizers

and

editing

systems

are

provided.

The

Studio

8

combines

the

flexibiüty

of

an

open

reel

recorder

with

the

convenience

of

a

cassette

recorder.

Its

"LOAD"

feature

insures

that

the

tape,

once

it

has

been

threaded,

will

never

accidently

run

off

the

reels,

no

matter

what

transport

function

is

in

use.

Thus,

the

convenience

and

speed

of

the

cassette

is

achieved

while

the

flexibiüty

and

fidelity

of

the

open

reel

is

retained.

"PI10

/\ccessory

interface

connectoron

the

back

panel

of

the

Studio

8

is

the

gateway

to

the

worid

of

synchronization

and

computar

trans

port

control.

SMPTE/EBU

time

codes

are

used

to

synchronize

múltiple

video/film

and

audio

machines

during

the

editing

process.

These

codes

are

also

being

used

by

the

manufactures

of

elec-

tronic

musical

instruments

in

conjunction

with

MIDI

(Musical

Instrument

Digital

Interface)

to

synchronize

the

operations

of

sequencers,

computers,

drum

machines,

signal

processors,

and

synthesizers

during

muititrack

recording.

SMPTE/EBU

controllers

can

be

used

to

con

trol

the

transport

functions

of

your

Studio

8.

The

optional

TASCAM

AQ-65

is

a

multifunc-

tion

Auto

Locater/Tape

Transport

Controller

that

also

utilizes

the

Accessory

jack.

The

Studio

8

dbx

system

virtually

eliminates

unwanted

tape

noise.

The

dbx

system

can

be

turned

off

if

you

are

working

with,

or

audi-

tioning,

tapes

using

Dolby*

or

similar

noise

reduction

systems.

A

sepárate

dbx

defeat

switch

is

provided

for

track

eight

so

that

SMPTE/

EBU

and

FSK

(Frequency

Shift

Key)

synchro-

nizing

codes

can

be

recorded

there.

These

codes

and

some

oider

model

drum

machines

can

create

tracking

errors

in

the

dbx

system.

Your

Studio

8

can

be

remotely

controlled.

If

you

are

sitting

in

front

of

your

instrument

and

not

the

Studio

8,

the

tape

transport

controls,

Play,

Stop,

Fast

Forward,

Rewind,

and

Record

can

be

located

up

to

sixteen

feet

away

from

the

recorder

using

the

optional

RC-71.

Punch-in

and

Punch-out

can

be

engaged

using

the

optional

RC-30P

footpedal,

which

gives

you

an

"extra

hand"

in

the

recording

process.

The

Pitch

Control

allows

you

to

adjust

the

speed,

and

thereby

the

pitch,

of

the

Studio

8

by

as

much

as

15%

plus

or

rninus.

This

has

a

variety

of

uses

from

coping

with

a

singer

who

thinks

the

worId

is

a

semi-tone

sharp,

to

cutting

a

few

seconds

from

your

program.

As

an

ex-

ample,

suppose

your

thirty

second

commercial

runs

31.5

seconds.

A

pitch

adjustment

can

be

made

to

make

the

material

fit

the

time

con-

straints.

The

Studio

8

Memory

functions

are

not

oniy

convenient,

they

handie

your

tape

very

gently

The

MEMORY

and

RTZ

(Return

To

Zero)

functions

work

with

the

recorder's

tape

trans

port

to

minimize

the

strain

placed

on

your

tape

by

fast

forward,

rewinds,

and

searches.

You

can

also

use

the

REPEAT,

CUE,

and

RTZ

functions

to

create

a

playback

loop

that

will

repeat

until

you

turn

it

off.

"'Dolby"

and

the

double-D

symbol

are

trade-

marks

of

Dolby

Laboratories

Licensing

Corpo-

ration.

-6-

RECORDING

THE

BASIC

TRACKS

SETUP

1.

Llft

the

cover

for

the

tape

compartment.

Thread

a

new

tape

onto

the

recorder

as

shown

¡n

the

illustration

below.

Use

oniy

EIA

center

{small

hub)

7

inch

reeis

for

both

the

supply

and

take-up

reels.

Tape

must

be

the

1

mil

variety,

ISOOfeet

(549

meters)

in

length.

Load

Function

wiii

not

work

properiy

with

tapes

of

different

lengths

or

thickness.

2. With

the

power

off,

plug

your

instrument

or

microphone

into

the

MIC

or

LINE

INput

of

channel

1

in

the

Studio

8's

mixer

section.

3.

Plug

your

stereo

headphones

into

one

of

the

two

headphone

jacks

on

the

front

panel

of

the

Studio

8.

Never

plug

mono

headphones/

earphones

into

either

of

these

jacks.

Never

use

"Y"

cords

to

connect

múltiple

headphones

to

either

of

these

jacks.

You

will

damage

the

circuits

if

you

do.

4.

Turn

the

power

on.

The

switch

is

on

the

back

panel.

5.

Make

sure

the

dbx

is

on.

Its

switches

are

on

the

top

panel

and

its

LEDs

will

show

you

its

status.

Make

sure

Track

8

dbx

defeat

switch,

on

the

rear

panel,

is

on.

6.

Press

the

LOAD

button

on

the

top

panel.

The

tape

will

run

to

a

point

past

the

leader.

When

it

stops,

press

the

RESET

button.

7.

Set

the

INPUT

Selector

Switch

in

channel

1

to

the

MIC

position

(left)

if

using

the

MIO

In-

put.

Set

it

to

the

LINE

position

(center)

if

using

an

instrument

and

the

LINE

Input.

NOTE:

Instruments

with

low

output

levels

such

as

electric

guitars

and

basses

should

use

a

direct

box

to

boost

their

signal

to

a

sufficient

level

to

use

the

line

input.

8.

Play

your

instrument

or

speak

into

your

microphone

watching

the

OL

indicator

light.

Adjust

the

volume

of

your

instrument

or,

if

using

the

MIO

input,

turn

the

TRIM

up

(clock-

wise)

until

the

OL

flashes;

then,

back

off

the

TRIM,

turn

it

counterclockwise

slightly

until

the

OL

stops

flashing.

Note

that

some

line

level

devices

will

have

insufficient

output

to

make

theOL

LED

light.

9.

Set

your

EQ

controls

to

a

12

o'clock

posi

tion.

You

will

feel

detents

when

the

controls

are

in

this

position.

10.

Adjust

the

Fader

in

channel

1

to

the

shaded

area

between

7

and

8.

11.

Make

sure

the

AUX

PRE/POST

selector

switch

is

in

the

PRE

(up)

position.

12.

Adjust

AUX

and

EFF

rotary

controls

to

their

off

positions,

fully

left

(counterclock

wise).

13.

Press

the

ASSIGN

switch

marked

1—2

to

the

on

position

(down).

Rotate

the

PAN

control

in

channel

1

fully

left

(counterclockwise).

Make

sure

the

other

ASSIGN

switches

are

off

(up).

14.

Press

the

switch

marked

STEREO

in

the

recorder

sectión

of

the

Studio

8.

It's

in

the

lower

right

hand

córner

of

the

top

panel.

15.

Adjust

the

ODD

PGM

MASTER

Fader

to

the

shaded

area

between

7

and

8.

Press

the

number

1

switch

in

the

REO

FUNCTION

section.

The

LED

near

the

number

1

switch

will

start

blinking.

16.

Make

sure

the

MON

switch

(PGM/CUE)

is

in

the

CUE

position

(up).

17.

Make

sure

the

METER

switch

(AUX-

EFF/LR)

is

in

the

LR

position

(up).

18.

The

three

position

rotary

switch

next

to

the

PITCH

CONTrol

in

the

recorder

section

should

be

in

the

FlXed

(center)

position.

19.

You

may

find

it

easier

to

work

in

mono,

if

so,

press

the

MONO

switch

that

is

located

above

the

STEREO

MASTER

Fader

on

the

top

panel.

20.

Adjust

the

STEREO

MASTER

Fader

to

the

shaded

area

between

7

and

8.

21.

Put

headphones

on.

22.

Adjust

MONITOR

GAIN

control

1

to

the

3

o'clock

position.

Adjust

MONITOR

PAN

as

desired

if

you

are

monitoring

in

stereo

(see

step

19).

Play

your

instrument

or

speak

into

the

microphone

and

readjust

the

TRIM

or

the

in

strument

volume

until

the

TRK/PGM

Meter

number

1

registers

a

reading

between

-3

and

0.

Use

the

Fader

in

channel

1

also,

if

necessary.

23.

Adjust

the

MONITOR/PHONES

control

to

a

level

that

is

comfortable.

-

7

-

22

15

17

SETUP

m

m

m

m

m

m

m

m.

10,

22

»g

n

b

a

s

1

INITIAL

SETUP

OF

THE

RECORDER

SECTION

Switch

Setting

Indicator

PGM/CUE

CUE

(up)

positíon.

(PGM

—

down

—

position

during

Ping-pong.)

LED

off

in

CUE.

(turns

on

in

PGM.)

REC

FUNCTION

On

(down)

position

for

the

track(s)

to

be

recordad.

LED(s)

stay

on

showing

Record

moda.

INSERI

1

Off

(up)

position.

(On

-

down

-

position

during

Punch-in.)

LED

off

in

the

up

position.

(turns

on

in

the

down

position.)

-8-

RECORDING

1.

Make

sure

that

REC

FUNCTION

switch

number

1

¡s

down

with

its

LED

blinking.

All

other

REC

FUNCTION

switches

should

be

in

the

up

position.

Their

LEDs

wül

be

off.

2.

Whiie

piaying

your

instrument

or

speaking

into

the

microphone,

make

any

EQ

adjustments

you

feel

are

necessary.

Refer

to

"Work

Methods"

for

more

¡nformation

on

EQ.

3.

When

your

instrument

or

volee

sounds

the

way

you'd

like,

press

REC

and

PLAY

buttons

in

the

recorder's

transport

section.

The

REC

FUNCTION

LED

will

stay

on

continuous-

ly

and

the

red

LED

above

the

REC

button

will

be

on.

4.

Play

your

instrument

or,

if

using

a

micro-

phone,

slowly

count

to

nineteen

using

oniy

the

odd

numbers,

pausing

for

a

fuII

count

between

each

number.

You

will

need

these

pauses

for

the

upooming

overdubbing.

5.

When

finished,

press

the

RTZ

button

in

the

transport

section.

Since

RESET

has

been

pressed,

in

step

6

of

setup,

the

tape

will

return

to

the

zero

position

(00:00)

and

stop.

6.

Press

the

number

1

REC

FUNCTION

switch,

turning

it

off

(up).

Its

LED

will

go

out.

7.

Press

PLAY

and

listen

to

your

track.

Re-

adjust

MONITOR/PHONES

level

if

necessary.

You've

completad

your

first

track.

If

you're

not

satisfied

with

the

results,

repeat

the

process.

If

your

results

are

satisfactory,

it's

time

to

move

on

to

overdubbing.

RECORDING

1,6

0-

m

rgoom

QOQOODO

S

OVERDUBBING

You

will

use

the

same

setup

as

you

did

for

recording

your

basic

track

with

the

following

changas:

1.

Connect

the

new

source,

instrument

or

microphone

to

the

appropriate

channel

1

input.

You

can

continua

to

use

channel

1

because

the

channel's

ASSIGN

switches

make

it

possible

to

route

any

channel's

signal

to

any

track

of

the

recordar.

2.

Make

sure

ASSIGN

switch

1—2

is

still

down

(on)

in

channel

1.

Adjust

channel

1's

PAN

fully

right,

clockwise.

-9-

3.

Press

down

REC

FUNCTION

2.

Its

LED

will

blink.

Make

sure

all

other

REC

FUNC

TION

switches

are

off

(up)

with

their

LEDs

off.

4.

Raise

the

EVEN

PGM

MASTERS

Fader

to

the

shaded

area

between

7

and

8.

5.

Press

PLAY

and

listen

to

your

first

track

through

headphones.

Make

any

necessary

ad-

justments

to

MONITOR

1

GAIN

and

PAN

con-

trols.

Adjust

the

MONITOR/PHONES

level

for

comfort.

6.

Adjust

MONITOR

GAIN

2

so

that

your

instrument

or

volee

and

track

1

are

at

the

proper

balance

in

the

headphones.

7.

Play

your

instrument

or

speak

into

the

microphone.

If

you

counted

on

track

1,

you

will

aiso

count

on

track

2.

The

objective

is

to

use

oniy

the

even

numbers

to

twenty,

placing

them

in

the

pauses

between

the

odd

numbers

used

on

track

1.

8.

Adjust

the

channel

Fader

1,

while

watching

TRK/PGM

Meter

2.

It

should

read

cióse

to

0.

9.

Rewind

the

tape

by

pressing

the

RTZ

button.

It

should

stop

at

00:00.

10.

Press

REC

and

PLAY

at

the

same

time.

REC

FUNCTION

2

LED

will

stop

blinking

and

stay

on

continuousiy.

11.

Play

your

instrument

or

count

the

even

numbers

to

twenty.

When

finished,

press

STOP

and

RTZ.

12.

Press

ASSIGN

1-2,

turning

it

off

(up).

13.

Press

REC

FUNCTION

2

switch,

turning

ti

off

(up).

Its

LED

will

go

off.

14.

You

can

now

listen

to

both

tracks.

Press

MONO,

releasing

the

mono

mode.

Adjust

MONI

TOR

PAN

for

1

and

2

to

the

desired

locatjon

Adjust

MONITRO

GAIN

for

1

and

2

to

the

desired

level.

Tracks

3

through

8

can

be

recorded

using

similar

procedures

as

track

1

and

2.

The

differ-

ences,

of

course,

are

that

the

PGM

ASSIGN

switches

and

REC

FUNCTION

switches

will

correspond

to

the

desired

recorder

tracks.

PAN

controls

in

any

channeis

of

the

mixer

will

be

rotated

to

match

the

ODD

(3,5,

and

7)

or

EVEN

(4,

6,

and

8)

tracks.

Readjust

MONITOR

GAIN

and

PAN

as

desired.

4^.

OVERDUBBING

6

4,14

9,

11

4

14

11

5

10

-

10

-