User manual TASCAM 788

9101420600 788 OWNER'S MANUAL Ü ÿ Y This appliance has a serial number located on the rear panel. Please record the model number and serial number and retain them for your records. Model number Serial number CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user 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 important operating and maintenance (servicing) instructions in the literature accompanying the appliance. WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. Important Safety Precautions IMPORTANT (for U.K. Customers) DO NOT cut off the mains plug from this equipment. If the plug fitted is not suitable for the power points in your home or the cable is too short to reach a power point, then obtain an appropriate safety approved extension lead or consult your dealer. If nonetheless the mains plug is cut off, remove the fuse and dispose of the plug immediately, to avoid a possible shock hazard by inadvertent connection to the mains supply. If this product is not provided with a mains plug, or one has to be fitted, then follow the instructions given below: IMPORTANT: DO NOT make any connection to the larger terminal which is marked with the letter E or by the safety earth symbol ç or coloured GREEN or GREEN-and-YELLOW. The wires in the mains lead on this product are coloured in accordance with the following code: BLUE BROWN : NEUTRAL : LIVE For U.S.A TO THE USER This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency ener gy and, if not ins tall ed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be deter mined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures. a)Reorient or relocate the receiving antenna. b)Increase the separation between the equipment and receiver. c)Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. d)Consult the dealer or an experienced radio/ TV technician for help. CAUTION Changes or modifications to this equipment not expressly approved by TEAC CORPORATION for compliance could void the user's authority to operate this equipment. As these colours may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. When replacing the fuse only a correctly rated approved type should be used and be sure to re-fit the fuse cover. IF IN DOUBT -- CONSULT A COMPETENT ELECTRICIAN. 2 TASCAM 788 Digital Portastudio IMPORTANT SAFETY INSTRUCTIONS CAUTION: ... Read all of these Instructions. ... Save these Instructions for later use. ... Follow all Warnings and Instructions marked on the audio equipment. 1) Read Instructions -- All the safety and operating instructions should be read before the product is operated. 2) Retain Instructions -- The safety and operating instructions should be retained for future reference. 3) Heed Warnings -- All warnings on the product and in the operating instructions should be adhered to. 4) Follow Instructions -- All operating and use instructions should be followed. 5) Cleaning -- Unplug this product from the wall outlet before cleaning. Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for cleaning. 6) Attachments -- Do not use attachments not recommended by the product manufacturer as they may cause hazards. 7) Water and Moisture -- Do not use this product near water -- for example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet basement; or near a swimming pool; and the like. 8) Accessories -- Do not place this product on an unstable cart, stand, tripod, bracket, or table. The product may fall, causing serious injury to a child or adult, and serious damage to the product. Use only with a cart, stand, tripod, bracket, or table recommended by the manufacturer, or sold with the product. Any mounting of the product should follow the manufacturer's instructions, and should use a mounting accessory recommended by the manufacturer. 9) A product and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the product and cart combination to overturn. "Note to CATV system installer: This reminder is provided to call the CATV system installer's attention to Section 820-40 of the NEC which provides guidelines for proper grounding and, in particular, specifies that the cable ground shall be connected to the grounding system of the building, as close to the point of cable entry as practical. Example of Antenna Grounding as per National Electrical Code, ANSI/NFPA 70 ANTENNA LEAD IN WIRE GROUND CLAMP ANTENNA DISCHARGE UNIT (NEC SECTION 810-20) ELECTRIC SERVICE EQUIPMENT GROUNDING CONDUCTORS (NEC SECTION 810-21) GROUND CLAMPS POWER SERVICE GROUNDING ELECTRODE SYSTEM (NEC ART 250. PART H) NEC - NATIONAL ELECTRICAL CODE 10) Ventilation -- Slots and openings in the cabinet are provided for ventilation and to ensure reliable operation of the product and to protect it from overheating, and these openings must not be blocked or covered. The openings should never be blocked by placing the product on a bed, sofa, rug, or other similar surface. This product should not be placed in a built-in installation such as a bookcase or rack unless proper ventilation is provided or the manufacturer's instructions have been adhered to. 11) Power Sources -- This product should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your home, consult your product dealer or local power company. For products intended to operate from battery power, or other sources, refer to the operating instructions. 12) Grounding or Polarization -- This product may be equipped with a polarized alternating-current line plug (a plug having one blade wider than the other). This plug will fit into the power outlet only one way. This is a safety feature. If you are unable to insert the plug fully into the outlet, try reversing the plug. If the plug should still fail to fit, contact your electrician to replace your obsolete outlet. Do not defeat the safety purpose of the polarized plug. 13) Power-Cord Protection -- Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the product. 14) Outdoor Antenna Grounding -- If an outside antenna or cable system is connected to the product, be sure the antenna or cable system is grounded so as to provide some protection against voltage surges and builtup static charges. Article 810 of the National Electrical Code, ANSI/NFPA 70, provides information with regard to proper grounding of the mast and supporting structure, grounding of the lead-in wire to an antenna discharge unit, size of grounding conductors, location of antenna-discharge unit, connection to grounding electrodes, and requirements for the grounding electrode. 15) Lightning -- For added protection for this product during a lightning storm, or when it is left unattended and unused for long periods of time, unplug it from the wall outlet and disconnect the antenna or cable system. This will prevent damage to the product due to lightning and power-line surges. 16) Power Lines -- An outside antenna system should not be located in the vicinity of overhead power lines or other electric light or power circuits, or where it can fall into such power lines or circuits. When installing an outside antenna system, extreme care should be taken to keep from touching such power lines or circuits as contact with them might be fatal. 17) Overloading -- Do not overload wall outlets, extension cords, or integral convenience receptacles as this can result in risk of fire or electric shock. 18) Object and Liquid Entry -- Never push objects of any kind into this product through openings as they may touch dangerous voltage points or short-out parts that could result in a fire or electric shock. Never spill liquid of any kind on the product. 19) Servicing -- Do not attempt to service this product yourself as opening or removing covers may expose you to dangerous voltage or other hazards. Refer all servicing to qualified service personnel. 20) Damage Requiring Service -- Unplug this product from the wall outlet and refer servicing to qualified service personnel under the following conditions: a) when the power-supply cord or plug is damaged. b) if liquid has been spilled, or objects have fallen into the product. c) if the product has been exposed to rain or water. d) if the product does not operate normally by following the operating instructions. Adjust only those controls that are covered by the operating instructions as an improper adjustment of other controls may result in damage and will often require extensive work by a qualified technician to restore the product to its normal operation. e) if the product has been dropped or damaged in any way. f ) when the product exhibits a distinct change in performance ­ this indicates a need for service. 21) Replacement Parts -- When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions may result in fire, electric shock, or other hazards. 22) Safety Check -- Upon completion of any service or repairs to this product, ask the service technician to perform safety checks to determine that the product is in proper operating condition. 23) Wall or Ceiling Mounting -- The product should be mounted to a wall or ceiling only as recommended by the manufacturer. 24) Heat -- The product should be situated away from heat sources such as radiators, heat registers, stoves, or other products (including amplifiers) that produce heat. TASCAM 788 Digital Portastudio 3 Table of Contents 1 ­ Introductory concepts Multitrack recording (general) ...........................8 Tracking ..........................................................8 Overdubbing ...................................................8 Punching .........................................................8 Mixdown ..........................................................8 Mastering ........................................................8 Connecting other equipment to your 788 ........ 22 Additional connection notes..................................22 About the menus ................................................ 24 Selecting multiple entries.......................................24 The MENU key .........................................................24 Other control screens.............................................25 Selecting parameters..............................................25 Setting values..........................................................25 Disk vs. tape recording ......................................9 Multitrack tapes.......................................................9 Multitrack disks .......................................................9 The "song"...............................................................10 The "home" display............................................ 26 The time display......................................................26 What do "16-bit" and "24-bit" mean? ............... 10 Real and virtual tracks on the 788.....................11 Editing ......................................................................12 Nondestructive editing on the 788 ................12 788 editing ......................................................12 Undo and redo ................................................12 Entering and editing titles ................................. 26 CAPITAL ..........................................................27 small ................................................................27 Numbers ..........................................................27 Preset words and phrases. ............................27 Setting and editing preset words ..........................27 Multi-take punch-ins on the 788 ............................13 Instant location on the 788.....................................13 Recording technique ..............................................13 The SONG menu ................................................. 28 Creating a new song...............................................28 Saving a song..........................................................28 Reverting to the previous saved version of a song......................................................................28 Loading a song........................................................29 Erasing a song ........................................................29 Copying songs ........................................................29 Deleting unused space from a song .....................30 Protecting a song....................................................30 Assignment .........................................................13 The 788 internal patchbay ......................................13 Track bouncing .......................................................14 Quick setup and the assign screen.......................15 Synchronization and the 788 .............................15 Timecode synchronization.....................................15 Tempo map synchronization .................................16 Sync track recording ..............................................16 DISK menu .......................................................... 31 Formatting a disk ....................................................31 Selecting a disk.......................................................32 Ejecting a disk.........................................................32 Checking disks........................................................32 MIDI external control (MMC, etc.) ......................16 MIDI remote control ................................................17 SCSI issues .........................................................17 SCSI connections....................................................17 SCSI IDs ...................................................................17 SCSI termination .....................................................17 SCSI devices and backing up ................................18 The OPTION menu.............................................. 33 Global options.........................................................33 Key sense time ...............................................33 Meter peak hold time ......................................33 Meter release time ..........................................33 Further reading ...................................................18 Mixer settings..........................................................33 Fader settings .................................................33 2 ­ Getting started Precautions, etc. .................................................19 Shutting down the 788 .......................................19 Power-on .............................................................20 About the demonstration song..............................20 Recorder settings....................................................33 USER WORD............................................................33 3 ­ Before recording Quick Setup......................................................... 34 RECORDING ............................................................34 MIX DOWN ...............................................................35 BOUNCE 7/8.............................................................35 A few notes about this manual..........................20 "Roadmap" to this manual.....................................21 1 "Introductory concepts" (page 8) ..............21 2 "Getting started" (page 19) ........................21 3 "Before recording" (page 34) .....................21 4 "Mixer" (page 41) ........................................21 5 "Recorder operations" (page 49) ...............21 6 "Location operations" (page 60) ................21 7 "Track editing" (page 65) ...........................21 8 "Mastering and backup (CD-R)" (page 72) 21 9 "Effects" (page 81) ......................................21 10 "Routing and scene libraries" (page 91) .21 11 "Synchronization" (page 94) ....................21 12 "MMC and MIDI functions" (page 101) ....21 13 "Specifications, etc." (page 119) .............21 Assignment on the 788 ...................................... 36 Assigning sources to mixer channels. .................36 Removing assignments..........................................36 Viewing assignments..............................................37 Channel-to-track assignments...............................37 Track-to-channel assignments ..............................37 Assigning inputs to the sub-mixer........................37 Assigning the sub-mixer to stereo........................37 Monitoring ........................................................... 38 If you don't hear anything ......................................38 How to monitor tracks ............................................38 4 TASCAM 788 Digital PortaStudio Table of Contents Monitoring the recorded sounds (TRACK CUE)...39 Arming tracks and monitoring...............................39 More monitoring options........................................40 Monitoring in mono.................................................40 If you change your mind.........................................58 Varispeed operations (pitch and SSA)..............58 Pitch .........................................................................59 To use the set pitch ....................................... 59 4 ­ Mixer Mixer features..................................................... 41 Linking channels................................................ 41 To link two channels...............................................41 Unlinking a pair of channels ..................................41 Notes on linked channels.......................................42 SSA (Slow Speed Audition)....................................59 To use the SSA .............................................. 59 6 ­ Location operations Direct location .....................................................60 Direct location (i).....................................................60 Direct location (ii)....................................................61 Basic operations ................................................ 42 About the screens...................................................42 Location marks....................................................62 Entering location marks .........................................62 Active location marks.............................................62 Giving a title to the active location mark ..............62 Deleting the active location mark..........................62 Editing the active mark...........................................63 Adjusting EQ....................................................... 43 EQ and linked channels..........................................43 Channel digital pad and gain .................................44 Send levels.......................................................... 44 Fader and pan..................................................... 45 Internal and physical faders.............................. 45 Soloing ................................................................ 46 Turning off soloing .................................................46 Using the location mark list ...............................63 Locating using the list............................................64 Using the IN OUT and TO marks............................64 Titling using the list ................................................64 Stereo output ...................................................... 47 Stereo output selection ..........................................47 7 ­ Track editing About track editing .............................................65 IN, OUT and TO .......................................................65 Entering the edit mode ...........................................65 Sub-mixer............................................................ 48 5 ­ Recorder operations Basic transport controls.........................................49 Track editing functions.......................................65 Remember! ..............................................................65 Playback.............................................................. 49 Setting the playback position ........................... 50 Return to zero (RTZ) ...............................................50 Last Recording Position (LRP) ..............................50 Jog positioning .......................................................50 Fast forward and rewind.........................................51 During playback ............................................. 51 From the stop position .................................. 51 Repeat playback................................................. 51 Setting the IN and OUT points ...............................52 Editing the IN and OUT points ...................... 52 Setting the time between repeats ..........................52 COPY -> PASTE...................................................66 COPY -> INSERT .................................................66 MOVE -> PASTE ..................................................67 MOVE -> INSERT .................................................67 OPEN ....................................................................68 CUT.......................................................................68 SILENCE...............................................................68 CLONE TRACK....................................................69 CLEAN OUT .........................................................69 UNDO and REDO.................................................69 Undoing and redoing actions ................................70 An undo/redo example ...........................................70 Recording............................................................ 53 Recording (ii) ...........................................................53 Hands-free recording..............................................53 Dropping out of record mode ................................53 Rehearsing recording .............................................54 8 ­ Mastering and backup (CD-R) Connection ..............................................................72 Notes regarding the handling of CD-R discs........72 Assigning virtual tracks..................................... 54 Overdub recording ............................................. 55 Auto punch operations ...................................... 55 Setting the punch points ........................................56 LAST REC ....................................................... 56 IN -> OUT ........................................................ 56 LAST TAKE LOAD ......................................... 56 Mixdown...............................................................73 Pre-mastering..........................................................73 Recording the pre-master ............................. 73 Exiting mastering .......................................... 74 Checking the master...............................................74 Exiting master checking ............................... 74 Trimming the master ..............................................75 Checking the punch points ....................................56 Rehearsing the punch ............................................57 Recording the punch ..............................................57 Checking the take ...................................................57 After finishing the punch........................................58 Recording to CD-R ..............................................75 Recording to CD-R (track recording) ....................75 Finalizing the disc...................................................76 Recording to CD-R (multiple tracks) .....................77 TASCAM 788 Digital PortaStudio 5 Table of Contents Playing back CDs using the 788 ............................78 Scene libraries .................................................... 92 Saving a scene to the library .................................92 Loading scenes from the library............................93 Other matters concerning scenes.........................93 Backup using CD-R ............................................79 Backing up a song ..................................................79 Restoring data from CD-R ......................................80 9 ­ Effects EFFECT 1 ........................................................81 EFFECT 2 ........................................................81 11 ­ Synchronization Master or slave?......................................................94 How to measure time?............................................94 Setting up EFFECT 1 ..........................................81 Using EFFECT 1 as a multi-effect processor........81 Using EFFECT 1 as a single stereo effect processor in the effect loop ...............................82 Synchronization methods.................................. 95 MIDI Time Code (MTC) ...................................95 MIDI clock ........................................................95 MIDI Song Position Pointer (SPP): ...............95 Setting up EFFECT 2 ..........................................82 Using EFFECT 2 as a multi-channel dynamics processor .............................................................82 Using EFFECT 2 as a stereo dynamics processor .............................................................82 Using EFFECT 2 as a single stereo effect processor in the AUX effect loop.......................83 Synchronization settings on the 788.....................95 MTC ..................................................................95 syncTrk (sync track) ......................................95 Tempo Map .....................................................95 Making synchronization settings...................... 96 Synchronization master/slave setting on the 788 96 Selecting the master synchronization type..........96 OFF ..................................................................96 MTC ..................................................................96 CLOCK .............................................................96 SycTRK ............................................................96 Send levels, etc................................................... 83 Pre- and post-fader sends explained ....................84 Changing between pre-fader and post-fader settings.................................................................84 Selecting the type of effect ................................84 Multi-effect processor preset settings ..................85 Single stereo effect processor settings................85 Dynamics processor...............................................85 MIDI Timecode frame rate ......................................96 MIDI Timecode offset (788 as slave only) .............97 Sync track ........................................................... 97 Recording the sync track .......................................97 Using the sync track...............................................98 Making settings...................................................86 Using the user libraries......................................86 Storing an effect in the library ...............................86 Recalling a user setting from the library ..............86 Tempo map ......................................................... 98 Entering and editing the tempo map.....................98 BAR ..................................................................99 SIG ...................................................................99 Tempo ..............................................................99 Parameter details................................................87 Multi-effect processor settings..............................87 Compressor ....................................................87 Distortion ........................................................87 Noise gate .......................................................87 Flanger ............................................................87 Exciter .............................................................88 Pitch shifter ....................................................88 Chorus .............................................................88 Reverberation .................................................88 Delay ................................................................88 Parametric EQ ................................................88 De-esser ..........................................................89 Using the tempo map..............................................99 Using MTC to control a sequencer ................... 100 Metronome .......................................................... 100 OUTPUT ...........................................................100 MODE ...............................................................100 INT LEVEL .......................................................100 CH ....................................................................100 ACC. NOTE ......................................................100 (ACC.) VELO ...................................................100 NORM. NOTE ..................................................100 (NORM.) VELO ................................................100 Single stereo effect settings ..................................89 REVERB ..........................................................89 DELAY .............................................................89 CHORUS ..........................................................89 PITCH SHIFTER ..............................................90 FLANGER ........................................................90 PHASER ..........................................................90 REVERB + GATE ............................................90 12 ­ MMC and MIDI functions MIDI Machine Control......................................... 101 788 MMC slave/master setting...............................102 MMC ID.....................................................................102 Bit-map array of MMC commands.........................103 Bit-map array of Response/Information fields .....104 Program Change messages .............................. 105 Enabling/disabling Program Change ....................105 Dynamics processor...............................................90 10 ­ Routing and scene libraries Routing libraries .................................................91 Saving the current routing settings to the library91 Loading routing settings from the library.............92 Control Change messages ................................ 106 Enabling/disabling Control Change messages....106 Mixer Control Change.............................................106 Effect Control Change messages..........................107 6 TASCAM 788 Digital PortaStudio Table of Contents NRPN values for multi-channel and stereo dynamics processors ...........................................................107 NRPN values for single stereo effects ..................108 NRPN values for distortion multi-effect processor settings (1) ...........................................................109 NRPN values for clean multi-effect processors (2)113 NRPN values for multi-effect processor (3)..........118 13 ­ Specifications, etc. Dimensional drawing ......................................... 119 Specifications..................................................... 119 Physical and electrical specifications...................119 Digital recorder specifications...............................119 Mass storage ...........................................................120 Analog audio I/O .....................................................120 Audio specifications ...............................................120 Error messages, etc........................................... 120 MIDI Implementation Chart................................ 124 TASCAM 788 Digital PortaStudio 7 1 ­ Introductory concepts If you are new to disk-based recording or to multitrack recording generally, there may be some ideas with which you are slightly unfamiliar. This section briefly introduces you to some of the concepts regarding the 788 and its operation. Even if you are familiar with the idea of multitrack recording and disk-based recording, you may find this to be a useful introduction. Multitrack recording (general) Multitrack recording allows you to make recordings of many different signals separately, allowing a high degree of control over the finished sound. the whole piece--you can re-record only the part where the mistake occurred. Mixdown These recorded tracks are then "mixed down"--this means that the volumes, tonal balance (the amount of bass and treble, etc.) of the different recorded tracks are adjusted and fed to a stereo recorder (a DAT recorder can be used for this purpose). At this stage, additional effects such as echo, reverb, etc. may be added to individual tracks, to help produce a "feel" to the piece. Alternatively, with the 788 it is possible to mix to CD. First the song is mixed to a special stereo mastering track and then written to CD, using a CD-R or CD-RW drive connected to the SCSI port of the 788. Tracking The signals of the first tracks to be recorded as part of the song are fed through a mixing console, and recorded on many different tracks on a multitrack recorder ("tracking") Overdubbing New material can be recorded on a track while listening to previously-recorded tracks-- this is known as "overdubbing". For instance, the vocal parts of a song can be recorded after all the backing instruments have been recorded, allowing the singer to concentrate on getting the best vocal performance. While tracking or overdubbing, effects can be added to enhance the recorded sound. Punching Most recorders have silent "punch-in" and "punch-out" facilities, i.e. if you make a mistake in only a short passage, you don't have to re-record Mastering If the mixdown has not already been done to CD, then an audio CD (or an analog cassette) may be then mastered and duplicated from the master stereo recording. Recording ("tracking") and overdubbing Mixdown 8 TASCAM 788 Digital PortaStudio 1 ­ Introductory concepts­Disk vs. tape recording Multitrack recorders can be analog (for example, the TASCAM PORTASTUDIO cassette series) or digital (for example, the TASCAM series of DTRS recorders), and likewise mixing consoles can be analog or digital. The 788 is digital, that is, after the signals enter the 788, the mix, recording process, the internal effect processors and mixdown are all digital. This avoids any possible loss of quality caused by repeated conversion between analog and digital. This also allows a consistent frequency response (i.e. there is no loss of the very high or very low frequencies) and dynamic range (from quiet to loud), since all the components in the integrated 788 system are designed to work with each other. Disk vs. tape recording The 788 uses a disk for recording, but traditionally, multitrack recording has been done on tape. The methods of recording with tape and disk recording systems differ in a number of ways. Multitrack tapes A tape is divided into a number of different "tracks"; usually either 4, 8, 16 or 24. A typical arrangement of tracks used during a tapebased recording session is shown below: · If there are more instruments than tracks, it is possible to do a "mini-mixdown" from some existing tracks to a spare track or tracks. This is known as "track bouncing" or "ping-pong". Track 1 Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Bass (kick) drum Snare drum Drum Kit (left) Drum Kit (right) Bass Guitar Bass (kick) drum Snare drum Drum Kit (left) Drum Kit (right) Bass guitar Rhythm guitar Click track (disposable) Guide vocals (disposable) Track 2 Track 3 Track 4 Track 5 Track 6 Guitar Track 7 Vocals (backing) Track 8 Lead vocals If more tracks are required in the course of a session, there are a number of alternatives: · It is possible to record on unused parts of a track (for instance, if there is a saxophone part which is never played at the same time as the backing vocals, you can use the spare portions of track 7 for recording the saxophone). · By sacrificing a track of audio, special synchronizing timecode can be recorded on the "sacrificed" track, allowing sequenced MIDI instruments to play along with the audio tracks. · In the example above, the four recorded tracks incorporating the drum parts will be bounced and combined onto tracks 7 and 8. Tracks 1 through 4 may now be reused for other purposes. Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Was bass (kick) drum - now reusable Was snare drum - now reusable Was drum kit (left) - now reusable Was drum kit (right) - now reusable Bass guitar Rhythm guitar New mixed drums (left) New mixed drums (right) Multitrack disks On an analog tape deck, the number of tracks available is determined (mainly) by the width of the tape. By contrast, in a disk system, the power of the processor determines how many tracks can be recorded and played back at one time. On the 788, eight tracks can be recorded and played back at one time. While a tape's tracks are recorded side-by-side along the length of the tape, a disk track may be placed anywhere on the disk. If you could see the magnetic patterns that are recorded on a hard disk, you might find that the TASCAM 788 Digital PortaStudio 9 1 ­ Introductory concepts­What do "16-bit" and "24-bit" mean? tracks recorded in a session would look something like: Track 2 Track 3 Track 6 Track 5 Another thing to notice is that the tracks are of different lengths. Unlike a multitrack tape, where the length of the track has to be equal to the length of the tape, a disk recorder can be "smart" enough to recognize when nothing is recorded, and use that space for other tracks, if necessary. This means that it's difficult to say that you can record a song of a certain length on a disk of a given size (unlike a cassette, say, which is clearly labelled with the length of material that can be recorded on it). When recording or playing back material, the processor ("brain") of the 788 must collect all the tracks together and play them simultaneously, so that you hear them playing together in perfect timing with each other. This is what we meant when we talked earlier about the number of tracks that can be replayed at one time. If we asked the 788 to play back hundreds of tracks together, it would end up having to do too much work, and the tracks would be out of time with each other. Track 7 Track 1 Track 4 Actually, the arrangement of tracks on a disk is more complicated than this, but the diagram above gives you an idea of how tracks don't need to live side by side as they do on tape. The "song" On the 788, as on many MIDI sequencers, etc., a piece of music is referred to as a song (whether or not it has a vocal part). Because on a multitrack tape system, a piece of music takes up a fixed length of all tracks of the tape--no more, no less, there is no need to pre-divide a tape into songs. On a disk-based system, however, before you start recording a piece, you must "tell" the recorder that you are recording a new song. To the 788, a song is all the audio data you record, together with the playlist which allows you to select parts of the song for playback, until you start working on another song. You can copy songs to other songs (or to another disk), erase them, protect them against further changes, and so on. Since the song is a collection of digital data, there is no loss of quality when a song is stored or copied to another disk. What do "16-bit" and "24-bit" mean? The 788 is capable of recording at 16-bit and 24-bit resolution. Basically speaking, in digital audio, the more bits, the better. This is because in a digital audio device like the 788, incoming sound is digitized, that is, converted into numbers, which in the case of the 788 are stored on the disk. When it is time to replay the sound, the 788 reads the numbers from hard disk and converts them back into sound. In each second, the 788 takes a "snapshot" of the incoming sound 44,100 times. By playing back these snapshots one after the other at the same speed (44.1 kHz, in technical terms), the 788 provides you with an accurate reproduction of the sound, in much the same way as a movie camera takes a series of still pictures (frames) 24 times a second, which are replayed by the movie projector to give you the feeling of a continuously moving picture. However, the speed at which the sampling is carried out is only half the story. The depth at which the sampling is carried out is also important. To illustrate this, let's think of a black and white photograph. In such a photograph, there can be an infinite number of grays, all the way from complete white to total blackness. 10 TASCAM 788 Digital PortaStudio 1 ­ Introductory concepts­Real and virtual tracks on the 788 If we sample this photograph, which originally contains pure white, pure white and almost every shade of gray in between, we must convert it to a fixed number of gray levels. Here, we can see that the more grays we use to represent the picture, the more realistic the photo appears. make up the picture. The number of grays can be given as 2n, where n = the number of bits. So: 2 bits give us 22 = 4 grays, 3 bits give us 23 = 8 grays, and 8 bits give us 28 = 256 grays, For our eyes, 256 grays is just about enough, but our ears need a little more quality. If you listen to sound recorded at 8-bit resolution, you'll notice that it sounds somewhat rough, especially in the quieter passages. CDs are therefore produced at 16 bits (216 = 65,536 "grays") and this is fine for playback. For recording, though, when sound is being manipulated and processed, it's a good idea to have more bits available. The 788 therefore gives you 24 bits of resolution (224 = 16,777,216) which allows complete precision and sonic quality at all stages of the production process. At the final stages, when the mix is transferred to CD or to any other digital medium, the 24 bits are reduced to 16 for compatibility with other audio equipment. 8-bit resolution (256 gray levels) 2-bit resolution (4 gray levels) 3-bit resolution (8 gray levels) Note that we use the number of bits (a bit is either "on" or "off") to show how many grays are used to Note, though, that when you record using 24 bits rather than 16, more space is used on the hard disk (50% more, as you might well expect). In practice, given the size of the hard disk in the 788, this should make little or no difference to the way you work with your recordings. Real and virtual tracks on the 788 When you use the 788, you can record "spare" tracks; for instance, different versions of the lead vocals, and pick and choose between the different versions to find the one which works best. These "spare tracks" are known as virtual tracks. With the 788, you can record up to 250 tracks per song. From those 250 tracks, you pick the eight that you want to fit together to make your finished mixed song. This can be re-takes of the same material (for instance, many attempts by a singer to capture the perfect vocal line), or alternative tracks (different guitar lines or effect settings, etc.). This allows you much more freedom to experiment than a tape recorder can provide. Different harmony arrangements for backing vocals Lead vocal attempts Bass line played on different instruments Saxophone takes Rhythm guitar experiments with different effect settings Different takes of lead guitar line Virtual tracks Here, we pick the best takes from the virtual tracks and assign them to the eight assigned playback tracks. Drums Left Drums Right Lead Guitar Rhythm Guitar Saxophone Bass line Lead vocals Backing vocals Track 1: Track 2: Track 3: Track 4: Track 5: Track 6: Track 7: Track 8: Assigned playback tracks TASCAM 788 Digital PortaStudio 11 1 ­ Introductory concepts­Real and virtual tracks on the 788 Editing One of the most useful features of a disk-based recorder such as the 788 is the ability to edit material. When working with a stereo tape recorder, the usual way of editing was with a white pencil, a razor blade and sticky splicing tape. In this way, unwanted parts of tape could be removed, and parts of a song (e.g. verses, choruses, intros) could be moved from one part of the song to another. However, there were many disadvantages to this (and it didn't work with multitrack recorders). The other way of tape editing is assembly from one recorder to another--you need two recorders, and some very precise (and often expensive!) synchronization equipment to do this. right once--the other times are simply "clones" of the perfect recording. Bad take Good take Good take Good take Bad take Bad take Good take Bad take Copy the good version and overwrite the bad takes Good take Good take Good take Nondestructive editing on the 788 By contrast, the 788 allows you to use a wide variety of sophisticated editing techniques with no additional equipment. If you have ever used a computer for word-processing, you will know that you can cut and copy parts of a document, and paste them into other locations in the document, saving you a lot of boring, repetitive work. Since the 788 stores its information as digital data, just as a word-processor stores your documents as digital data, parts of a song can be cut, copied and pasted to other locations in the song. You can cut, copy and paste all the tracks which have been recorded to make a song, or just one or a few tracks. As a practical example, let's suppose that you're recording a song that has three chorus sections, with an identical, rather complex, guitar hook at the end of each of them. If you were recording to tape, you would record the hook for these three sections three times, each one in the appropriate place. Because this is a slightly tricky passage to play, you might only get it right once or twice. You'd have to go through the process of punching in and out at the places where you made the mistake, until you got it right three times. With the 788, this becomes easier. You can copy and paste the part which was recorded properly, and replace the bad versions. This makes life a lot simpler and quicker, as you only have to get the hook There are other ways you could use this feature-- used with care, it could be used to correct timing problems with an out-of-time player, or signals from microphones which are widely separated. 788 editing On the 788, you can copy, move, paste, add silence, close up gaps, wipe whole tracks, etc. in very simple operations. See "Track editing" on page 65 for details of the track editing operations available with the 788. Undo and redo Furthermore, compared with a tape recording system, disk offers one very big plus--the ability to undo changes. For instance, if you make a mistake and copy a bad take of the chorus over a good copy, you can undo it and restore what you originally recorded. You can't do this with tape. This is why we call editing with disk "nondestructive"--you don't actually destroy the data immediately when you write over it, cut it or delete it, but you have a "safety net" to catch your mistakes. However, the undo function is not available for every operation, though. For instance, there is no way to undo formatting a disk (and destroying all data on it). This is an operation from which there is no escape, once it has started (there are a few other non-undoable operations, such as erasing a song--these functions are explained as being non-undoable when they are described in this manual). 12 TASCAM 788 Digital PortaStudio 1 ­ Introductory concepts­Assignment Multi-take punch-ins on the 788 Similar to the concept of "virtual tracks", and also to the editing procedure above, is the idea of multi-take punches. The 788 allows you to repeat a punch-in section, playing or singing the same phrase many times until you stop the punch procedure. All the successive takes of this phrase are stored on disk, and you can audition them all, and pick the best one to insert into the track. Instant location on the 788 With a tape recorder, you must always wait a certain amount of time before moving from one part of a song to another. This is because it takes time for tape to be wound or rewound (even with the fast DTRS or DAT systems, moving between the start and end of a repeated section takes a definite amount of time). However, a disk-based system like the 788 does not need to rewind, and therefore if a section is being looped, the start can follow immediately after the end section. This can be a little unnerving for musicians brought up on tape systems, and so the 788 allows you to set the period between the end and the start, simulating a tape rewind time. You can set many location marks throughout a 788 song, allowing you to jump instantly around even the longest pieces of music. Recording technique Remember, the 788 is a tool which helps you create recordings. Although it has many features which will assist you in making high quality recordings easily, the use of a 788 (or indeed, of any piece of equipment) does not in and of itself guarantee a perfect recording. Above all else, we encourage you to learn to listen critically to your recordings--this will enable you to make the most from your equipment and add to your ultimate enjoyment. Assignment When recording signals on a multitrack system, the outputs of the signal sources (microphones, instruments, effect returns or previously-recorded multitrack tape tracks) must be plugged into the appropriate channels of the mixing console and assigned or routed to the appropriate destination. When recording the first tracks, the destination will usually be the track or tracks of the multitrack recorder on which the signal will be recorded. In the mixdown phase of a project, the destination will usually be the stereo pair to which the tracks will be mixed (usually on another recorder). In a conventional system, to change (say) a microphone signal from input channel 1 of the mixer to input channel 4, it is either (in a small setup) necessary to unplug the microphone from the mixer and reconnect or (in larger setups) to use a patchbay, where all the inputs and outputs are permanently connected at the rear of a "patch panel" and links are made using patch cords on the front. Digital patchbays are also available for the connection of digital signals. The 788 internal patchbay With the 788, no external patchbay is necessary. The unit incorporates its own digital patchbay with many advanced features. The techniques of actually making the assignments in this internal patchbay are explained in more detail in "Assignment on the 788" on page 36. This section provides a brief overview of the facilities available when using the assignment patchbay of the 788. The illustration here tries to show that although the sound sources may be connected to the same inputs of the 788 throughout a session, the signals from TASCAM 788 Digital PortaStudio 13 1 ­ Introductory concepts­Assignment these inputs may be assigned to different mixer channels as required during the recording process. feeds recording track 1, mixer channel 3 always feeds track 3, etc. This cannot be changed. However, when mixing down or track bouncing, the tracks themselves, which are usually the destination of the signals, become signal sources. In this case, tracks are assigned to channels, becoming the signal source. Again, track 1 is always assigned to channel 1, track 2 is always assigned to channel 2, etc. In this case, however, there are 250 virtual tracks per song (see "Real and virtual tracks on the 788" on page 11) to choose from, and the virtual track that is currently assigned to a real track will be sent through the mixer channel to the STEREO outputs. 1 2 3 4 5 6 7 8 A B C D AUX LR INPUTS 1 2 3 4 5 6 7 8 Although only a few dashed lines are shown here for simplicity, it is possible to connect any of the shown inputs to any of the eight mixer channels. Every mixer channel is tied directly to the associated recording track on disk. This means that when recording, the output of mixer channel 1 always Track bouncing As a further refinement, it is also possible to send the stereo output signal to a track or pair of tracks, allowing track bouncing to take place, as described in "Multitrack tapes" on page 9. In this illustration tracks 7 and 8 are used to receive the mixed stereo tracks, which are fed by tracks 1 through 6: 1 2 3 4 5 6 7 8 Note that the stereo fader does not actually affect the volume of the mixed tracks--it is placed in this diagram for illustrative purposes only. 14 TASCAM 788 Digital PortaStudio 1 ­ Introductory concepts­Synchronization and the 788 Quick setup and the assign screen The 788 allows you to see your current assignments easily in two ways (as explained in more detail in "Assignment on the 788" on page 36): Firstly, when you press a mixer channel's SELECT key, it flashes, along with the inputs that have been assigned to it. Secondly, to see the whole map of the current assignments, press and hold down the SHIFT key while pressing the ASSIGN MAP key: section of the input and destination means an assignment of the input to the destination. As well as this map, the 788 also allows you to set up different commonly-used assignment maps using the QUICK SETUP key. The assignment maps that you can set up in this way are: RECORDING (where the inputs are assigned to the mixer channels (and hence to the tracks on a one-to-one basis), MIXDOWN, where the recorded tracks are routed to the stereo output bus, and BOUNCE 7/8 where tracks 1 through 6 are routed to the stereo bus, which in its turn is routed to channels 7 and 8. There is also a special library, as described elsewhere in this manual, where custom routing patterns can be stored and retrieved (as well as a library for storing the whole of the mixer's settings). Inputs are listed down the left side of the screen, and destinations along the top. A black mark at the inter- Synchronization and the 788 One of the other key features of the 788 is its ability to synchronize with other equipment. This is especially useful when working with MIDI equipment, as the MIDI instruments do not actually need to be recorded until the final mixdown stage. Instead, one way of working is to record the basic MIDI tracks (say a bass and drums sequence) on a sequencer, and play it back as a guide "click" or backing track while recording guitars, vocals, etc. Alternatively, the acoustic tracks may be recorded first, and MIDI tracks added later as atmosphere. In either case, at mixdown, the 788 provides you with a sub mix facility, that allows the inputs to be routed through to the master stereo mix in addition to the tracks recorded on disk. There is no "right" or "wrong" way of working--you should choose the method that works best for you and your material. Note that in either case, the MIDI must be accurately synchronized to the acoustic recorded material at all times. There are three basic methods of synchronization between the 788 and a MIDI system, briefly explained below. Full details of how to use these synchronization facilities are provided in "Synchronization" on page 94. Timecode synchronization Timecode is a way of specifying an absolute position in a recording. It is expressed in hours, minutes, seconds, frames and bits. The number of frames in a second depends on the timecode type--these are related to the audio-visual industry where timecode (sometimes known as "SMPTE" or "SMPTE/EBU" timecode originated. There are five major "flavors" of timecode supported by the 788: Frames/ second (fps) 24 25 29.97 drop 29.97 non-drop 30 non-drop Timecode type Movie PAL/SECAM TV NTSC color for broadcast NTSC color TV NTSC mono TV The 788 converts internal timecode so that it can be transmitted over MIDI (MIDI Time Code or MTC) and this is the way in which the 788 transmits and receives timecode. TASCAM 788 Digital PortaStudio 15 1 ­ Introductory concepts­MIDI external control (MMC, etc.) When synchronizing acoustic recordings to MIDI instruments using MTC, the 788 can act as a timecode master or a slave with respect to your MIDI system. Of course, your sequencer must be able to use MTC in order to do this. In other words, when the 788 acts as a timecode master, the sequencer determines its playback/record position from timecode received from the 788. When the 788 acts as a timecode slave, the sequencer sends out MTC to locate the 788 playback/record position. Note that many computer sequencers are not very accurate timecode masters, though--using the 788 as a timecode slave is probably best if you are going to use a stable MTC source, such as another 788. Tempo map synchronization As well as timecode, there is another way in which the 788 can be synchronized to MIDI sequencers, which depends on the position in bars (measures) and beats of a song . The 788 is provided with a "tempo map", which allows it to recognize that bar 1 starts at timecode time 00:00:00.00, and bar 2 starts 2 seconds later (for example). To use this method of synchronization, it is first necessary to set up this tempo map, so that musical positions can be mapped to timecode times. Sync track recording In this method of synchronization, the 788 records a MIDI timing clock data from the sequencer, and can later use this information for synchronization and song positioning. MIDI external control (MMC, etc.) As well as synchronization, the transport controls of a sequencer can be used to control transport, etc. functions on the 788. Or, if you want to work the other way, MIDI commands sent from the 788 can be used to control the sequencer. These commands are known as MIDI Machine Control commands (MMC). Any machine capable of transmitting or responding to MMC may be provided with a unique ID, from 0 to 127. Note that it is possible for a machine such as the 788 to be a timecode slave at the same time that it is a MMC master (i.e. MTC timing information is obtained from an external source, but the transport controls of the 788 are used to control other devices, including possibly the timecode source) or vice versa. In the illustration below, the MIDI interface of the computer is fitted with two outputs, one of which provides the slaved 788 with the MMC transport commands, and the other driving the synthesizer MIDI OUT (2) bank, etc. The sequencer takes its timing from the MTC output by the 788. Carries MMC commands to control 788 transport, etc. MIDI OUT (1) MIDI IN MIDI IN Carries MIDI musical data to synths, etc. Carries MTC to synchronize MIDI OUT sequencer MIDI IN When starting synchronized playback, the sequence of events is therefore that the sequencer first sends an MMC Play command to the 788, which then locates to that position and starts playback. Meanwhile, the sequencer is waiting for MTC so that it can "lock in" and start playback. When the 788 starts playing, this MTC is received by the sequencer which then finally starts playback to the synthesizer. 16 TASCAM 788 Digital PortaStudio 1 ­ Introductory concepts­SCSI issues MIDI remote control In addition to the transport control described above, the 788 is able to accept MIDI Program Change messages to change mixer scenes, and routing tables, etc. as well as previously-set effector settings. It can also accept Control Change messages, which allow a sequencer, for example, to control mixer parameters as well as individual effector parameters, so that remote control of the sound can be carried out in real time for the final mix. SCSI issues SCSI (usually pronounced "scuzzy") stands for Small Computer Systems Interface, and is a way of connecting computers and peripheral devices (e.g. hard disks, removable disk drives, scanners, tape drives, etc.). The 788 uses SCSI to communicate with its hard disk, since SCSI is a reliable, efficient way of sending data between devices. You can connect different types of SCSI device to the 788, for example external hard disks, magneto-optical disks or other types of removable media, as well as SCSI-equipped CD-R and CD-RW drives. SCSI connections The 788 uses the SCSI-2 protocol, which is used by most modern hard disk drives, and storage devices. You can connect almost any SCSI storage device to the 788, and use it for data storage. Any CD-R or CD-RW drive that you use with the 788 must be a SCSI drive. Contact your TASCAM dealer or consult the TASCAM Web site for details of which drives are known to work well with the 788. NOTE You should never plug or unplug SCSI devices from the chain with the power to any of them switched on. If you do, there is a real risk that you will damage the devices beyond repair. SCSI IDs SCSI devices are connected together in a "daisychain" arrangement. The total length of the chain should be less than 3 m (about 10 ft.). Within each chain, each device must have its own unique identifier, known as a "SCSI ID". There may be up to eight devices within a SCSI chain, including the main SCSI controller (the 788 is a SCSI controller). Numbering of devices typically starts at 0 (zero) and goes up to 7. The internal disk in the 788 has SCSI ID 0, and the 788 itself has SCSI ID 7. Make sure that every device in your SCSI chain, including the controller (788) has a different ID. If you create a SCSI chain with more than one device using the same ID, you will find that you have problems with the setup. Consult the documentation for your other devices to find out how to set the ID (it may be a set of switches or a rotary switch). SCSI termination At each end of a SCSI chain, there must be a terminator. This may either be a separate plug, or may be built into the SCSI device. Consult the documentation for your other devices to find out how to set the termination for them. The 788 is always at the end of its SCSI chain, and is always terminated. TASCAM 788 Digital PortaStudio 17 1 ­ Introductory concepts­Further reading SCSI devices and backing up The 788 contains a large, fast hard disk, which allows the recording of many songs on the same disk. However, if you keep all your material, eventually this disk will fill up, and you must do some "housecleaning" to sweep away the unwanted material. The 788 incorporates a very useful feature which allows you to back up a song to CD-R or CD-RW media. These discs can hold a lot of data. In the case of a song being too big to fit on a single disc, the 788 will automatically create multi-disc archives on which you can store your work. This, of course, is in addition to you being able to use a CD-R/RW disc as the final mastering device (mixdown of the final mastered stereo tracks to CD-R/RW via SCSI). In case you do not have a CD-R/RW drive, we suggest the use of an external SCSI device which uses removable disks: the Iomega® zip® and jaz® drives can hold large amounts of data, as can magneto-optical (MO) disk drives. The songs on the internal hard disk can be copied to the external media for archival. Note that you should not attempt to install an internal disk drive (either hard disk or removable) in your 788. This is an operation that should be performed only by authorized TASCAM service agents. Further reading This section does not pretend to be a comprehensive listing or explanation of all these issues. If you have the time and interest, reading about these subjects is a very good way to add to your practical experience with the 788. If you have Internet access, the Web is an excellent source of information. The following books are also useful reference sources, if you wish to explore these subjects in more depth. Sound & Recording, 2nd edition 1994, Francis Rumsey & Tim McCormick, Focal Press, Oxford, is a good general introduction to recording theory and practice, starting from basic principles. However, the section on hard disk recording is not very long. For detailed information on digital audio, including disk recording theory, The Art of Digital Audio, 2nd Edition 1994, John Watkinson, Focal Press, Oxford, is invaluable, but is somewhat technical in places. MIDI Systems and Control, 2nd Edition 1994, Francis Rumsey, Focal Press, Oxford, has an excellent section on synchronization and machine control (chapter 6). There are also many resources regarding SCSI. It's not a subject that you usually need to know in enormous detail, but an Internet search for "SCSI primer" will probably give you all the information you need. If you are using your 788 with a sequencer, make sure that you read and understand the relevant sections of the sequencer manual, as well as the 788 manual. This will probably avoid many problems with regard to synchronization. 18 TASCAM 788 Digital PortaStudio 2 ­ Getting started This section explains some of the principles of using your 788. It is not a "tutorial"--there are so many different ways in which the 788 can be used that it would probably not be useful for us to give you stepby-step instructions here covering every possibility. Instead, we have provided you with general instructions that will work in most cases. Precautions, etc. Treat the 788 with the same care and respect that you would treat a notebook or laptop computer, and it will last for a long time, and act as a useful creative tool to help you in your music-making. However, there are a few precautions you should take with the 788: · always operate the 788 on a firm level surface. Do not locate it where it can be knocked or shaken-- hard disks are more sensitive than tapes. · always take note of any special instructions regarding the care and maintenance of removable media, if you are using such media with the 788. · never eat or drink over the 788. Spilled liquid or food crumbs will not improve its performance! Also, smoke particles are the enemy of studio equipment. If possible, we suggest that you make your 788 work area a no-smoking area. · always allow the 788 to adjust to room temperature if you are bringing it from a cold to a warm place. This may take between 1 and 2 hours. · never connect or disconnect audio equipment with the monitoring levels turned up. This can cause damage to speakers (and ears!). Always turn down levels before making or breaking such connections. · always shut down the 788 before turning it off (see the following section). · never move the 788 while it is powered on. Take special care never to move it while recording or playback is taking place, in order to avoid any possible damage to the disk. Shut down and power off the unit before moving it. · never make external SCSI connections with the power to the 788 or the external SCSI device turned on. Making SCSI connections with the power turned on can cause damage to the units, including the 788, which is expensive to repair! Shut down the unit and turn it off before making or breaking these connections. Shutting down the 788 It may seem strange that the first thing we explain is how to turn off the 788. This is important, though, and you should get into the habit of always turning off the 788 in this way, as this will avoid any possible loss of data. 2 3 1 4 1 Stop playback or recording (you cannot shut down the 788 while playback or recording is taking place). 2 Turn down the level of the monitoring amplifier (to avoid speaker "thumps"). 3 Press the EJECT/SHUT key. 4 The indicator lights, and a message appears on screen asking if you are sure. Press ENTER/ YES to shut down the 788. 5 As the 788 "tidies up" before closing down, appropriate messages appear on screen. At the end of the shutdown process, the message: is shown and the indicator flashes. Turn off the 788 with the power switch on the rear panel. TASCAM 788 Digital PortaStudio 19 2 ­ Getting started­Power-on Power-on When the power is turned on, the display shows the power-up screen. All the front panel indicators light briefly. The disks are then scanned, and the 788 performs internal self checks. You will probably be able to hear the sound of the disks as the startup progresses. Depending on the number of disks connected to the 788, this may take a little time. After the check is complete, the 788 loads the song you were last working on. NOTE When the "home" screen ("The "home" display" on page 26) is shown, you can start to use the 788. NOTE There may be some noise output through the monitoring system while the 788 is turned on. For this reason, we strongly suggest that you follow the power-on order described previously (i.e. turn on the 788 before the monitoring system. If the monitoring system is already turned on when you need to turn on the 788, make sure the monitoring system volume is turned down before you turn on the 788. Remember that you must always turn off the 788 "properly", that is, using the method described in "Shutting down the 788" on page 19. Do not simply press the power switch to turn off the 788-- there is a risk of possible loss of your recording if you do this. When you first purchase the 788, a demonstration song ("Liquor Store") is already recorded on it. See the "Brief Guide" for details of how to load this song. The song is recorded in 24-bit resolution and is protected. If you want to edit this song, or change parts of it, you must unprotect it, or make an unprotected copy of it first. About the demonstration song We suggest that you use this song "Liquor Store" to experiment with some of the features of the 788. However, before you start editing and experimenting with the song, you may want to make a copy (if only for comparison purposes), even though the 788 includes a sophisticated undo function. Use the song copy function described in "Copying songs" on page 29. A few notes about this manual When we refer to a control or a connector on the 788, the name of the control, as printed on the front panel, is written like this: the RECORD key (front panel controls are called "keys"). We refer to the cursor keys as §, ¶, Ó and Á or sometimes as UP, DOWN, LEFT or RIGHT. When we refer to a control or connector on another unit, it is written like this: the sequencer's MIDI OUT connector. On-screen messages are written like this: Go. Always take note of the notes and tips if things aren't working quite the way you might expect--they may contain information that you need to make things work properly. Do take note of warnings and cautions--these contain information which advises you of possible damage to you and the equipment! NOTE Notes like this are useful additional information which explain features and other matters, etc. that affect the working of the 788. TIP may help you to get the best out of your 788. Tips like this provide additional information to help you use the 788 to its best advantage. 20 TASCAM 788 Digital PortaStudio