TASCAM688MANUALMASTER

8/3/2019 TASCAM688MANUALMASTER

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MILJISTUOIC

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Table of ContentsB'lock Dia.gram 5 MIDI MIX!ER CONTR .Q l

Transmitting MIDI Program Change commandsfrom the 688 ' '

Changing scenes via External MIDI commandsControllh'lQ Mutes with MIDI Note messages

INTRODUCTI.oNUnderstanding the Mixer Scene DisplayMultitrack Cassette RecorderThe Recording SystemMixer Subsystems

7911"

fEATURES AND CONTROLSMi)(er sectionMonitor SectionScene Routing Display and ControlsRecorder SectionAutolocatoi" SectionMeter SectionBack panelFront Pane'l

BRIEF GUIDEO:PERATIONS GUIDETrackingOverdubbingMi)(downPunch-in or Insert RecordingBouncing tracks (plnq-ponq)Using the Scene DisplayTransferring A' ll ScenesUsing Effects with the MIDISTUDIO 688

14

1719202124252728

Care and MaintenanceHow the dbx worksSpecificationsLevelDiagrams.optional AccessoriesMIDI implementation chartMID I SYNCHRONIZAT IIONIntroduction to MIOI SyncThe Recordil" lgsystem withMIDI SynchronizationProcedures for MIDI Sync RecordingMix,eroperation during MIDI. SyncUsing E)(ternall Sync DevicesSynchronizing the 688 to another tape deck

303132333334

FACTORY PRESET SCENES

q :, 1990 TEAC Corporation. All rights reserved under intemational and Pan American copyright conventions. This bmay not be reproduced in whole or n part, by mimeograph or any other means, without permission.

Important Safety Precautions

C A U T I O N : T O R E O U C E T H E R I S K O F E L E C T R I C S H O C K , B O N O T R E M O V E C( O R B A C K ) . N O U S E R ,S E R V I C E A B U E P A R T S I N S I D E . R E F E : R S E : R V I C I Na U A U F I E D S E R V I C E P E R S O N N E LT h e l ig h t n in g f l a s h w U h a rm w h e a d s y m b o l , w i t h in a n e q l J i l a t e r a I t r i a n g l e , i s in te n d e d t n a le r t t h et o lh e p re s e n c e o f u n in s u la te d - d a n g e ro u s v o l t a g e - w i t h in t h e p ro d u c t ' s e n c 'l o s u re t h a t m a ys u ff i c ie n t m a g n it u d e t o c o n s t i t u te a ! r i s k o f l e ' l e c t r i c s h o c k t o p e rs o n s .T h e i e x c la m a t io n p o in t w it h in a n e q u ila te ra l t r ia n g le i s in te n d e d to a le r t t h e u s e r t o t h e p a s e n el im p o r t a n t o p e ra t in g a n d m a in te n a n c e ( s e r V i c i n g ) i n s t m c t i o n s i n t h e l l i t e r a ~ u re a D c o m p a n y in ga p p l ia n c e . . ', '

W A R N : I N G : T O P R E V E :N T F IR E O R S H O CH A Z A R D , D O N O T I E X P O S E T H I S~ P P L IA N ~ C ! ~ T ~ " R A I ,N O : R M O I S T U R ET h is a p p lia n c e h a s a s e r i a l n u m b e r lo ca l e d 'o n t h e r e a r ip a n e l . P le a s e r e co rd t h e m o d e lI l u m b e r a n d s e r i a l n u m b e r a n d r e ta in t h e m f a ry o u r r e c o rd s ., ~_o~e l num be r _

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Safety InstructionsCAUTION: Read all of these instructions. Save theseinstruct:ions for later use. Follow all warnings andins'llructions marked on the8udioequipment,1. . Read Instructions - AUthe safety and operating instructionsshou'ld be read before the appliance is operated,

2. Retain l'nstruC1ions - The safety and operating instructionsshould 'be retalned for future. reference.3. IHeed Warnings - All warnings on the appliance and in theoperating instructions should be adhered to,4. FollowlnstructioO$ - Allopera,ting and use instructi.onsshould be fol.lowed.5. Water and Moisture - The appliaooe should not be used

near water - for example, near a bathtub, washbowl, k,itchensink, laundry tub, in a wet basement, or near a $Wimmingpool, etc.

6. Carts and Stands - The apP'liance should be used only witha cart or stand that is recommended by the manufacturer.6A . An appliance and cart combination should be moved withcare. Quick stops, excessive force, and uneven surfaces may

cause the appliance and cart combination to overturn.

7. Wall or Ceiling Mounting- The appliance should be mount-ed to a wall or ceiling only as recommended by the manu-facturer.

8. Ventilation - The appliance should be situated so that itslocation or position does not interfere with its proper venti-lation. For example,. the appliance should not be situatedon a bed . sofa, rug. or similar surface that may block theventilation openings; or, placed in a built-in installation.such as a bookcase Or cabinet that may impede the flow ofair through the ventilation openings.

9. Heat - The appliance mould be situated away f.rom heatsources such as radiators, heat registers. stoves, or otherappliances ,(,including amplifiers) that produce heat.10. Power Sources - Theapp'liance should be conneetsd to apower supply only of the type described in the operating in-

structions or as marked on the appliance.11. 'Grounding or Polarization - The precautions that shouldbe taken so that the grounding or polarization means of anappliance is 110tdefeated.12. Power-Cord Pretecnen - Power-supply cords should berouted $0 that they are not likel,y to be walked on or. pinch-

ed by items placed upon or against them, paVing particularattention to cords at plugs, convenience receptacles, andthe point where they exit from the appliance.

13. Cleaningl - The appliance should be cleaned only as recom-mended by the manufacturer.14. Power Lines - An outdoor antenna should be located awayfrom power lines. .15. Outdoor Antenna Grounding - If an outside antenna is

connected to the receiver, be sure the antenna synem isgrounded 50 as to provide some protection against vo'itagesurges and built up static charges. Section 81(1 of theNational Electrical Code, ANS'IINFPA No..70-1984,.pro-vides information with respect to proper grouooing' of. themast and supporting structure, grounding of the lead-Inwire to an antenna discharge unit, size ofgr,ounding con-ductors, location of antenna-discharge unit, connection togrounding electrodes, and requirements for the grounding'electrode. See Fi.gure below.

: EXAMPL~ O. ANTENNA GROUNP!NGAS PER NATIONALIELBCTRICAL CODE

o\H'T 'NNJ ' .DISCHARCE UNiT(NEe SECTION,810-20j

~ POWER stfMCt Ci' iKtUNtlWC- [L(C:1'ROO( _5"I'SrEN(NEe ,ART ~, PART H]NEC - N"nONAL, EUCTRICAL CODe :

16. Nonuse Periods - The ,power cord of the appliance snooldbe unplugged from the outlet when ' left unused fora Iiongperiod of time.

11. Object and Liquid Entry - Care should, be taken so thatobjects do not fa'll and liquids are not spilled , into the en-closure through openings. .

18. Damage Requiring Service - The appliance should be ser-viced by qualified service personnel when:A. The power~$upply cord or the p'lug has been damaged; ,or8. Objects. have fallen., or liquid has been spilled into theappliance: orC. The appliance has been exposed to rain; orD. The appliance does not appear to operate normally orexhibits a markedchange in performance: orE. The appliance has been dropped. ortheenctosere dam-aged_

19. Sen.icing - The user should not attempt to service theappliance beyond that described in theopera.ting ilnstructions, All other servicing should be referred 10 qualit:iedservice personnel,

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H 'OW to Use This Manual

The 688 MIOISTUDIO is different in major ways fromprevious PORTASTUDIOs. The basic structure of themixer, the features of the tape transport, the MIDI im-plementation, and the electronic switching are all new.To get the most out of your 688, spend some time now to.READ THE MANUALI You'll be glad you did. Even ifyou're experienced, you'll discover some tricks youhaven't tried before.This manual is divided into sections.INTRODUCTION: Everyone, from expert to novice,

should read this part.OPERATIONS GUIDE: This covers the "how to" proce-

dures of basic multitrack recording with the 688. It ed-'lances to instructlcns about using effects, bouncingtracks, and punching in.MIDI OPERATIONS: After you've worked with and are

comfortable with the mixer and the recorder sections,read this if you want "how to" procedures of MIDI syn-chronization. Non-MIDI users don't need this part.FEATURES AND CONTROLS: Everyone should use this

what is it7" dictianary that defines every control andindicator on the 688 in detail.You'll get the best results by having your system set upso you can experiment with it as you read. Don't makethe mistake of booking a crucial recording session beforeyou've had free time to really get to know your 688.

Precautions

Introduction

The 688 MIDISTUDIO is an 8-channel multitrack cas-sette recorder, a 20 input mixing system with electronicrouting control. and a MIDI Tape Synchronizer combinedinto a single workstation. It's the first a-track PORTA-STUDIO expressly designed to meet thechlillenge ofthe MIDI revolution. Its mixing section Is designed in anew way to accommodate the greater number of line in-puts in a typical MIDI studio, up to 20 at once pillS 4 ef-fect returns. Each main channel can access up to 4 effectsbusses. so you can use a variety of different effects(reverbs, delays, choruses etc. 1 on different inputs. MIDITape Synchronization with Song Position Pointer (same asthat used by the TASCAM MTS-30) is built in. so that thecapabilities of MIDI sequencing can be blended with theadvantages of multitrack recording.In addition, the MIDISTUDIO can be synchronIzed to othermultitracks (like the TASCAM MSR-16 or 2381 or to avideo cassette recorder using the TASCAM MIDHZER.(Connection of the MIDiiZER to a VCR may require the IF-1000 Parallel Interface Unit.)

Changing the Memory Back-up BatteryThe included battery lasts about 5 years. We recommend.you to change the battery in advance to prevent.aocidental erasure of the contents of the 99 scene mem-ories, If the battery has run low, when you turn on the688 you will see the switch settings of factory presetsce.ne 01, instead of the last scene you used. For infor-mation on how to change the battery. consult TASCAM oryour nearest TASCAM dealer.,IVoltage Conversion

I__This unit i~ adjusted to operate on the electric voltage- speCified on the unit, power cord tag, or packing carton.

NOTE: This voltage conversion is not possible onmodels sold in the U.S.A., Canada, U.K., Australia orEurope.

,_ ALWAYS DISCONNECT THE POWER LINE CORD BEFORE.t MAKING THESE CHANGES.For general export units, if It Is necessary to .change the

.. voltage requirements to match your area. tocate the.. \/.oltage selector on the rear of the 688 and set that to the .- required position. .

~4-

Note for U.K. Customers onlyDue to the variety of plugs used in the U.K . this unit issold without an AC plug. Please request your dealer toinstall the correct plug to match the mains power outletwhere your unit will be used as per these instructions.


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'Unde,rstanding the Mixer

Mixer Routing/Scene DisplayTo mi;lke the ,S88 MIDISTUDIO easy to use, TASCAM de-signed an electronic switching system that controls andmemorizes all mixer routing into 99 "scenes", Recalling ascene changes the routing of the whole mixer at once,instead of having to switch each channel individually.The 688 comes from the factory with Scenes 1-12 al-ready preset with the most commonly used settIngs, soyou can getltarted just by pressing the UP, DOWN .andRECALl.keys.What is routing?Every control ana mixing console performs one ofthreerelatively simp'le tasks: . .L Where FROM-


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Factory PresetsThe first 12 scenescome from the factory with. settingsthat will help you get started. You can see this data inmore detail in the charts on pages 5860.

The Three Steps to MultitrackWhy .Ireall these scenes and INPUT and ASSIGNswltches necessary? Becausethere are three basic stepsto multitrack recording. In each step, the signal flowthrough the mixer has to cha.ngedirection:

Tracking

Overdubbing

Mhcdown

2 Track

Notice how the arrows in the pictures above change di-rection.In TRACKINGand OVERDUBBING,the mixer inputs areusuaUy microphones or instruments, going to different ..tracks of the recorder. In OVERDUBBING,part of themixer must be used to monitor previous tracks while yourecord new ones, so there is a two-way flow through theconsole. In MIXDOWN. signal comes from the multitrackand is sent to an external 2-track recorder.On a mixer with mechanical switches. you have to pressdozens of separate switches to go from overdub to mix-down modes. But because of the 68.8'sscene display. allyou haveto do is change scenes(by pressing UP. DOWN.or the number keys. then RECALL). and everythingchanges for you. .

Scenes '- 8 are dedicated to tracking or overdubbingon.tothe eight tracks of the recorder. one at a time:Scene Assign I Assign Input Input Dua'MAIN EFF MAIN DUAL Unk01 GROUP1 MIC LINE GRP1-202 GRP2 3 GRP3 GRP3-404 GRP4 5 GRP5 GRP5-606 GRP6 7 GRP7 ~ GRP7-8.08 GRP8 ,I I

These scenesare identical except for their ASSIGNments.All inputs are active--the mics through the MAINchannels 1-10. and the lines though DUAL channels 11-20. with LINKSON.Scene 12 is the MIXDOWN scene. Here, the TAPE be-comes the source of the main channels, and everything isassignedin stereo to Groups 1 and 2:Scene I Assign I Assign, Input Input DualMAIN ,EFF MAIN DUAL Un](12 I GROUP1-2 TAPE LINE GRP 1-2

These factory presets are just a suggestion. and there are87blank scenesavailable so you'can build scenesthat fityour own studio. (Even the first 12 can be erased orchangedat any time.)for example, if you want' a synthesizer plugged into a1/4" LINE(B) jack to go through a MAIN channel insteadof the DUAL.you just have to make a scenewith LINEasthe main channel source. LlNEcan be selected as theinput for the MAIN channel, the DUAL channel. or bothchannels simultaneously. The same is true for Mile, andthe eight TAPEtracks.Note that while the XLR jacks are labeled MIC on thescene display. they can accept line-level inputs (fromsynthesizers.etc.) if the TRIM is turned down. This makesit possible to have 20 line sources at once with the 688.A simple XLR-to-phone adapter is all that is needed=thisis why the jacksare labeled MIC (LINEAI.

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Mul,titrack Cassette Recorder

The 688 records on readily available standard (Philips}Compact Cassette tape, high bias Type II. You can recordon any or all eight tracks of the 688 atany time.With proper operating techniques. it is not necessary toleave 8 guard band between music and sync tone tracksbecause of the low crosstalk of the TASCAM heads. Us-ing DBX noise reduction the 'sonic quality of the 688 isonly exceeded by reel-to-reel recorders with noise re-duction.The transport controls of the MIDISTUDIO are mleropro-cessor operated, allowing high reliability and automaticfunctions that make the unit easier to use: ' REHEARSE and AUTO IN-OUT use the counter toelectronically mark punch-in and out times. Once youhave set the points, you can practice an insert severaltimes before actually recording, with machineprecision each time. A three position autolocator (MEMO 1 and 2 and Zero)al lows key positions to be located automatically.

. t. .' REPEAT allows a section to be played over and overbetween the MEMO 1 and MEMO 2 points. for re-hearsal.

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There are two counter displays, one showing thecurrent position and the other showing an autolecateor punch point. The counter display can show either reel revolutionsor acts as a timer showing how long fhetransport hasbeen in PLAY or RECORD mode.

In addi.tion, the transport capstan motor Is servo-con.trolled, so that the tape speed can be increased or de-creased with the PITCH CONTROL to match ,pitch or forspecial effects. The capstan can be externally controlledby a synchronizer (such as the TASCAM MIDiiZERI'con-n&cted to the ACCESSORY 2 interface' of the 688 so thetape' w i l l "lock" to another recorder, either audio or video,using SMPTE Time Code. 'The 688 can be remotely controlled by the optional RC-88remote control unit which puta the transport controls upto 5 m (15 ft.1 away. Punchin and Punch-out can beengaged using the optional RC30P footswitch, whichgives ,you an "extra hand" in the reCording process.During Rehearse and Auto In-Out modes, you can evenput the deck into PLAY or REWIND with the 'RC-30P, fortotal ly "hands free" operation.' , ... .:- ::

. ' ' " . 'Track Format and Tape Recommendations

CH . i ,_ 1 _ CH'r lCH. ,I I 1 bf _ , J 1 _l I r I

L J L J' L YL J l J l J l I

r The 688 MIDISTUDIO uses' a basis speed-ef 9.5 em/sec.(3-3/4 ips) which is two t1mes (2X) the ,",ormal speed of astandard audio cassette. It also empioys e - discrete 8-

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TASCAM4Tr3Ch

TASCAM4Tr4Ch

TASCAM8Tr8Ch

channel format head developed especially by TEAC forTASCAM multitrack cassette recorders. Here is a com-parison of various cassette formats:

@

IEC(Phitips)4Tr4Ch

lEePhilips)4Tr2Ch

ANSIiPhilips'2 Tr 2 01 1

(Unit: mm)

Tapes.recorded on stereo cassette recorders will not play on the 688 must be mixed down to stereo for finalback properly on the 688 because of the differences in the distribution.track format and tape speed. For the same reasons, tapesrecorded on the 688 MIDISTUDIO will not play back The 688 MlDlSTUDIO, like all multittack cassetteproperly on stereo cassette recorders. Material recorded recorders, records and plays the tape in one direction

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only. The 688 needs the, entire width of the tape torecord its eight tracks, etirninating the option of recordingon both sides (actually, it's both directions). Therefore,you should decide which side (side "A" or side "B") youwant to use and use that side exclusively. It's a goodidea to get into the habit of consistently using the sameside on all multitrack tapes.

Tape TypeThe 688 MIDISTUDIO is InternaHy adjusted for HIGHBIAS "-':ype II" tape. This means that for best results, youshould only use tapes of this type. Examples would in-clude TDK SA, Maxell XL-II or equivalent formulations.We strongly suggest that you select one good qualitybrand and use ltexcluslvelv .. The time you spend creatingyour multitrack master is much more valuable than themoney you save by buying inferior tape. The cassetteshell essentially becomes a part ,of the 688's transport.Poor quality shelis can cause wrinkles, snarls andshredding of the edges of the tape with use. Evensmallscratches on the tape oxide can cause "dropouts"[temporary loss of signal) on one or more of the tracks.Higll q'y.ality tapes are less likely to cause problems in thelong run, '

Accidental Erase/Record ProtectionTo protect a f inished master tape. it is necessary to punchout both record protect tabs. Even though you arerecording in only one direction. the 688 MIDISTUDIO usesthe entire width of the tape, as mentioned above. If,forexample, you remove only one of the tabs, you couldaccidentally insert the cassette into the 688 backwardsand erase all eight tracks of the master.

Tape LengthUse the shortest possible tape for a given work. It is notunusual to playa tape 100 times before you areflnlshed,so select a cassette length that is as close as possible tothe length of the program you plan to record. CassettesC60 length and shorter are often made from thicker stockthan longer cassettes.The tape used in C-120 cassettes is extremely thin andcan cause winding problems. crimping. wrinkling, andother da~.ra. to the_OXid.e coating o~ the tape which willdestroy rr work. Don't use C-120s In the 688.Remember that at 2X normal speed, and, the 'one-side-only" 8-track single direction format means that you haveonly 1/4X normal play time.

(approx.)C-30 7.5 min.C-46 11.5 min.C-60 15 min.C-90 22.5 min.

i,'

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THIS DIGITAL APPARATUS DOES NOT EX-CEED THE CLASS 8 LIMITS FOR RADIONOISE EMISSIONS FROM DIGITAL APPARATUS AS SET DUTIN THE RADIDINTERFERENCE REGULATIONS OF THE CANADIANDEPARTMENT OF COMMUNICATIONS.LE PRESENT APPAREIL NUMERIQUE N'EMETPAS DE BRUITS RADIOELECTRIQUES DE-PASSANT LES UMITES APPLICABLES AUXApPAREILS NUMER!IQUES DE CLASSE S'PRESCRITES DANS LE REGLEMENT SUR LEBROUI LLAGE RADIO'ELECTRiIQUE EO,ICTEPAR LE MINISTEAf; DES COMMUNICATIONSDU CANADA,

This product is manufactured to comply with theradio interference of EEC directive "82/499/EEC."

Bescheinigung des Herstellers/lmporteursHiermit wird bescheinigt, daBder/die/das

MISCHPULTMIT M A GN ET TO N BA NDGE RA T 6 88IGer.!. Typ. Bezeiet 1nung) ~

,in Obereinslimmung mit den 8estimmungen derAMTS8LATT 163/1984, VFG 1 04511984,Y fG 1046"984 'l Io . rn1sb la t l v l i l r10gunogJ

lunk-entstOrt lst,Der Deutschen Bundespost wurde das Inverkehrbringendieses Gerates Bngezeigt und die Bereehtigung zur Ober-prillung derSeneau' EinhaltungderBeslimmungeneingerauml

T E AC C O R PO R A T IO N

ADVARSELlLithiumbatteri - Eksplosionsfare ved fejlagtighandtering. Udskiftning m~ kun ske med batteri

af samme fabrikat og type.Lever det brugte batteri t llbage til leverandfret1.

VARNINGExplosionsfara vid felaktigt batteribyte.

Anvand samma batterityp eller en ekvivalenttyp sam rekommenderas av apparattl llverkaren,

Kassera anvant batteri en'ignabri~antens instruktion;

CONFORME Al D.M. 13 APRILE 1989DIRETTIVA CEE/871308

THE APPLIANCE CONFORMS WITH EEC DIREC~TIVE 87/308/EEC REGARDING INTEHFEAENCESUPPRESSION

---_ -- ----- --


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The Recording System

There are six elements to a complete recording system: Multitrack recorder Mixer 24rack (Mixdown) Recorder Input devices (microphones, synthesizersl Output devices (headphones or amp and speakers) Effect processors

TalentCue(Phones)

Control MonitQrandAmplifier

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Multitrack Recorderixer

The MIDISTUDIO contains two of these elements-themixer and the multitrack recorder-In one unit. Eventhough they are wired together internally, it is importantto understand that they still act as separate elements,

When you plug into Input 1, you're plugging into ~ne! of the mixer. NOT Track 1 9f the recOrder. You haveto use the mixer controls to .assign that input to the trackof the recorder you want to record on.

Mixer SubsystemsThe mixer of the 688 is easy to understand if you break it down into several sybsystems and leam the purpose of eachsection 'based on where it gets its signal 'FROM and where it sends signar-TO.

Aux Mix: This section gets itssignal from the main or dualsections, and sends it out toexternal signal processingdevices.

.0000000 10 .0 .0 .0 .0 0 c'

'----- 00.0.0.000 0 0 0 .0 0.0 ~ L . . - - - -0000.00 .0 0 .0 0 00o 0 .0 .010.0,0 .0 0 0 .0 o 0~;;100.0.000 0 0 .0 r o~0~f.Q~~ .0 0 0 .0 .0 .0 00l o l o lo Inll"l 1 0 010 In .0 .0 eo 0 .0 0l~ 0 0 0 0 000hlnlnlnlo oli r r - , .010 In00'0 .0 .0 o 0 00'0 m~ n ~ ~I

Monitor Mix: This is thelistening mixer. It gets signalfrom the tape recorder, orfrom anY,of the other mixersubsystem'~;/.IInd sends themto your control room speakersor headphones.

Main Mix: This is the recor-ding mixer. It gets signal frommultiple inputs, processesthem for levet and tone, andsends them to tape recordertracks.

Dual Mix: This section canadd 10 extra sources to theMain. Monitor. or Auxsystems. It gets Signal frommultiple inputs, or from post-Main fader. Its stereo outputcan be heard in the Monitor,linked to the Main Mix forrecording, or connected toexternal effect devices.

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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - -Main Mix: This subsystem (Channels 1-10) is the largestin the 688. Its purpose is to control signals going to themultitrack recorder during tracklnq and overdubbing, andto the stereo recorder during mixdown. The Main Mixoffers the most ecntrol+each channel has a linear fader,an equalizer, an insert point, and can be individuallyassigned to any of the eight Groups. Each Groupconnects to its corresponding tape track. Each channel ofthe Main Mix can get signal from its corresponding Micor Line jack, and send it to any of the eight Groupoutputs and tape tracks.

During mixdown or bouncing tracks, channels 1-8 can getsignal from the multitrack tape. The pan pot andASSIGN MAIN page determine the destination or achannel: Group 1 to Track 1, Group 3 to Track 3, and soon.The EFFECT RETURNS are actually four specialized in-puts to the Main Mix. They can be assigned to anvcfthe eight Groups via the ASSIGN EF F page, allowing youto record effects onto any track, or onto the mixdowndeck.

Monitor Mix: It's important that the engineerl pro-ducer/performer has a separate mix to listen to and makeadjustments on, without affecting the Main Mix going to.tape. The 688 hes an 8x2 Tape CUE MONITOR mixerand Monitor Source switches for this purpose. The CUEMONITOR always gets its signals from the multitracktape. But what does a track send to this mixer duringRECORD or READY mode, especially before a punch-in?This is set by the MONITOR MODE keys. If both are off,pressing a RECORD FUNCTION (track arming) switch

(GROUP 1-20NLY)

TO SCENE DISPLAY(PLA YBACK ONLY)ANDCUE MONITOR

GROUP OLf!

selects the Group as the Monitor and Meter source.INSERT keeps the source of a Rec-ready track TAPE untilthe moment of punch in. MIX allows you to hear ~live and tape in the CUE MONITOR during the "preroll" .The five MONITOR Source switches choose whichmlxerts) you are listening too-this Cue MonItor, the Dual,Aux 1 or 2, or directly to Group 1-2o f the Main Mix.

MONITOROUTDlDR

t)PHONES

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pressing LINK GRP 1-2 allows you to send up to 13 livesources and 7 tape tracks to the mixdown deck: 10 viaMain, 10 via the Dual Mix.

Dual Mix: Each channel of the DUAL section can get itsinput signal from the corresponding MIC or LINE inputjacks, TAPE track (Ch. "-18 only), or Main Channel Fader(POSTI. The Dual acts as a totally independent 10x2stereo submlxer,and can be used for either recording orlistening.

When LINKs aremt and DUAL is pressed on the MonitorSelect switch, it acts as an expander to the monitormixer, allowing you to hear up to ten live MIDI-controlled instruments without recording them. Anychanges you make to the Dual Level and Pan controlswill be in your headphoneS/monitors only, and won'taffect the Main Mix going to tape (similar to the way theCUE MONITOR mixer works).

Link Dual-Grg makes the 688 into a 20x8 console, whilema.intainlnga compact size. When you need to recordmore sources than the ten channels of the Main mix canhandle, the LINK function assigns the output of the dualsection to any of the Groups for recording. For example,during final mixdown with MIDI-controlled tracks,

01l02ROh041 ' - " - = : : ! : : > C B s

-"';;;;:;;:;;=..J">QsS:::-::::==:f> ! O J 7

(paGROUP OUT

.~(PLA V B AC K O Nl V I

either before (PRE) or after (POST) the main fader. Thisallows it to be used as either an Independent headphonefeed (similar to "monitor" or foldback controls on a PAboard) or as an effect send from channels 1-10.

Aux Mix: The AUX 1 and AUX 2 submixer signals comefrom various points in the Main or Dual signal paths.Let's assume that you have a digital delay, reverb, or an-other signal processor that you want to use on more thanone input. simultaneously. Your 68B is able to sendsignals of any combination of input channels to the AUX1 and AUX 2 OUT jacks on the back panel. These outputscan then be connect.ed to your signal processor, and theprocessor's cutputfs] can be, connected to the EFFE.CTRETURNs, or even back to another mixer input.Aux 1 always gets its 8ignal from the MAIN signal path,

Aux 2 can get its signal either from the MA'IN path(POST. same as Aux '1, or from the DUAL path. This allows it to be used as a second effect send from mainchannels 1-10, or 8S the only effect send from dual chan-nels 11-20. ' - -~~

EQ

~ t 9 : 9 9 W

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f Guide

I Input selection and idjustmentsM IC I U N E AI: These balanced X l R jacks can be the input of either the Main or , : 0 1 . 1 8 1channel. Microphones or ,I inelevel devices such as synthesizers may be connected here,with level adjustment by the MIC TRIM control. In the factory preset scenes, this MICjack signal is sent through the Main channel controls.LINE B: These 1/4" jacks are for LINE-level signals only,. andean be the input for either theMain or Dual channel. In the factory preset scenes, however, L1NEsignales are sentthrough the DUAL channelconttols.

~I-~-----INSERT: This is a . 3-conductor send/receive jack for the insertion of an external i8ignalprocessor (such as a compressor) between the EQ and Channel Fader of the MAINchannel, .

Ol: Overload indicator for the MAIN channel input signal. lower the MIC TRIM or outputvolume of the source if this flashes.MIC tRIM: Sets how much preamplification will be added to the MIC(lINE A) jack. Turn tothe .right if the signal needs amplification, to the left if the signal ts.so loud it is distortingthe mixer electronics. ..

I Equalization and Aux.sendEqualizer: 3band with a midrange frequency sweep.HIGH; Shelving type treble control with shelving point at 10 kHz, can affect frequenciesfrom 2 kHz to 20 kH~.MID: Sweep frequency range is 250 Hz to 5 kH~.LOW: Shelving type bass control with shelving point at 100 Hz, can affect frequenciesfrom 20 Hz to 500 Hz.

AUX 1: A pre or post-fader effect send from the MAIN channel. The center pOSition isOFF. Turn to the right to send signal to AUX 1 Master from the POST-faderpoint,and.toleft to send .signal from the PRE-fader point.

AUX 2: A postfader effectsend from the MAIN or DUAL channel. The center position isOFF. Turn to the [eft to ,send signal toAUX. 2 Master from the post DUAL level controlpolnt, and to right to sen.;!.signal from the post MAIN fader point.

I~DUJ\LChannel OutputstletionDUAL LEVEL: Se~sthe vol~,me of the DUAL channel feeding the DUAL MAST'ER control..DUA:L PAN: Sets


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TASCAM688MANUALMASTER