Kolpak DA-98 User Manual

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DA-98

Digital Multitrack Recorder

D00337200A

OWNER’S MANUAL

The lightning ﬂash with arrowhead symbol, within an equilateral triangle, is intended to alert

ÿ Ÿ

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

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.

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.

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: The wires in this mains lead are coloured in accordance with the following code:

GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE

WARNING: This apparatus must be earthed.

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows:

The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol ç or coloured GREEN or GREENand-YELLOW.

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.

For U.S.A

TO THE USER

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residental area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

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.

For the consumers in Europe WARNING

This is a Class A product. In a domestic environment, this product may cause radio interference in which case the user may be required to take adequate measures.

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.

Pour les utilisateurs en Europe AVERTISSEMENT

Il s’agit d’un produit de Classe A. Dans un environnement domestique, cet appareil peut provoquer des interférences radio, dans ce cas l’utilisateur peut être amené à prendre des mesures appropriées.

Für Kunden in Europa Warnung

Dies is eine Einrichtung, welche die Funk-Entstörung nach Klasse A besitzt. Diese Einrichtung kann im Wohnbereich Funkstörungen versursachen ; in diesem Fall kann vom Betrieber verlang werden, angemessene Maßnahmen durchzuführen und dafür aufzukommen.

2 TASCAM DA-98

ANTENNA LEAD IN WIRE

ANTENNA DISCHARGE UNIT (NEC SECTION 810-20)

GROUNDING CONDUCTORS

(NEC SECTION 810-21)

GROUND CLAMPS

POWER SERVICE GROUNDING ELECTRODE SYSTEM (NEC ART 250. PART H)

NEC - NATIONAL ELECTRICAL CODE

ELECTRIC SERVICE EQUIPMENT

Example of Antenna Grounding as per

National Electrical Code, ANSI/NFPA 70

GROUND CLAMP

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.

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.

"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.

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 DA-98 3

Table of Contents

1 –Introduction to the DA-98

1.1 Unpacking

1.2 Features

1.3 Using this manual

1.4 Precautions and recommendations

1.4.1 Clock source in a digital studio

1.4.2 Confidence replay

1.4.3 Environmental conditions

1.4.4 Installing the DA-98

1.4.5 Electrical considerations

1.4.6 Condensation

1.5 Recommended tapes

1.5.1 Tape brands

1.5.2 Available recording and playback time

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2 –Front Panel controls

[1] Power switch [2] Tape counter and status indicators [3] Tape loading slot [4] EJECT key [5] Display screen [6] FORMAT/Fs indicators and switch [7] REF LEVEL (reference level indicators) [8] Peak meters [9] RHSL (F 1) key and indicator [10] AUTO PUNCH (F 2) key and indicator [11] CLEAR (F 3) key [12] AUTO PLAY (F 4) key and indicator [13] MEMO 1 (F 5) [14] MEMO 2 (+/–) [15] DIGITAL IN switch and indicator [16] CHASE switch and indicator [17] CONFIDENCE MODE switch and indicator [18] ALL INPUT (F 6) key and indicator [19] AUTO MON (F 7) key and indicator [20] SHTL MON (F 8) key and indicator [21] REPEAT (F 9) key and indicator [22] LOC 1 (F 10) key [23] LOC 2 (PRESET) key [24] SHIFT key and indicator [25] CURSOR keys [26] SHUTTLE switch, indicator and control [27] ENTER and ESCAPE keys [28] REC FUNCTION switches and indicators [29] INPUT MONITOR switches and indicators [30] CLOCK switch and indicators [31] TC REC switch and indicator [32] REW key [33] F FWD key [34] STOP key [35] PLAY key [36] RECORD key

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3 –Rear Panel connectors

[37] TIME CODE (IN and OUT) [38] VIDEO (IN/THRU) [39] WORD SYNC (IN/OUT/THRU) [40] RS-422 [41] MIDI IN/OUT/THRU [42] CONTROL I/O [43] REMOTE IN/SYNC IN [44] SYNC OUT [45] TDIF-1 (DIGITAL I/O)

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[46] METER UNIT (MU-8824) [47] ANALOG INPUT [48] ANALOG OUTPUT [49] ~ IN

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4 –Connections

4.1 Audio connections

4.1.1 Analog audio connections

4.1.2 Digital audio connections

4.2 Synchronization connections

4.2.1 Analog timecode connections

4.2.2 Video connections

4.2.3 Word clock connections

4.3 Control connections

4.3.1 RS-422 connector

4.3.2 MIDI connectors (IN , OUT and THRU)

4.3.3 Parallel control

4.4 Connection to other TASCAM units

4.4.1 Multiple DTRS units

4.4.2 “Indirect” word sync

4.4.3 Meter unit (MU-8824)

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5 –Menu operations

5.1 The menus

5.1.1 Navigation around the menu system

5.1.2 Using the ENTER key

5.1.3 The ESCAPE key

5.1.4 Editing values

5.1.5 Resetting a menu value

5.1.6 Changing menu values fast

5.1.7 Blanking the screen display

5.2 Function key modes

5.2.1 The SHIFT key and function keys

5.2.2 Using the function keys as number keys

5.3 Assigning menus to function keys

5.3.1 To assign a menu screen to a key

5.3.2 Recalling an assigned menu function

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6 –Basic operations

6.1 Formatting a tape

6.1.1 Aborting the format process

6.1.2 Recording while formatting

6.2 Recording the first tracks

6.3 Preparing to record

6.3.1 Write-protecting cassettes

6.3.2 Recording the basic tracks (i)

6.3.3 Recording the basic tracks (ii)

6.3.4 Replaying the first tracks

6.4 Overdubbing

6.5 Track bouncing

6.6 Punch-in and punch-out

6.6.1 Automatic punch point setting

6.6.2 Setting punch points “on the fly”

6.6.3 Setting punch points using the menus

6.6.4 Editing the pre-roll and post-roll times

6.6.5 Rehearsing the punch-in

6.6.6 Interrupting a rehearsal or punch recording

6.6.7 Recording the punch-in

6.6.8 Replaying the punched material

6.6.9 Exiting punch-in mode

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06/97 – 1.00 – TOC-1

Table of Contents

7 –Monitoring modes

7.1 Monitoring controls

7.1.1 ALL INPUT [18] and INPUT MONITOR [29]

7.1.2 AUTO MON

7.1.3 Shuttle monitoring

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7.2 Confidence mode

7.2.1 Arming tracks in pairs

7.2.2 Using confidence mode

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8 –Advanced operations

8.1 Autolocation

8.1.1 Setting MEMO 1 and MEMO 2 “on the fly”

8.1.2 Checking, editing and manually entering MEMO 1 and MEMO 2

8.1.3 Setting the location pre-roll time

8.1.4 Moving to MEMO 1 and MEMO 2

8.2 Function key location memories

8.2.1 Storing a function key location memory

8.2.2 Editing function key memories

8.2.3 Locating to a function key memory

8.2.4 Location and playback

8.2.5 Repeat function

8.2.6 To start repeat play

8.3 Track delay

8.3.1 To set the track delay:

8.4 Crossfade times

8.5 Vari speed (pitch control)

8.5.1 To set a non-standard speed

8.5.2 Resetting the speed to standard

8.6 Shuttle operations

8.6.1 Shuttle monitoring

8.6.2 Shuttle muting

8.7 Reference levels

8.8 Meter modes

8.8.1 Peak hold time

8.8.2 Meter ballistics

8.9 Sine oscillator

8.9.1 Recording the oscillator

8.10 Digital recording

8.10.1 Changing between digital and analog inputs

8.10.2 Selecting word length

8.11 Routing digital inputs

8.11.1 Track Copy (channel-to-track routing)

8.12 REC MUTE (recording silence)

8.13 Dither

8.13.1 Selecting dither settings

8.14 Setting the power-on message

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9 –Synchronization with other DTRS units

9.1 Synchronization connections

9.2 Machine ID and master/slave settings

9.2.1 Differences between DTRS models

9.2.2 Setting machine ID

9.2.3 Master/slave settings (CHASE mode)

9.3 Machine offset

9.3.1 Setting machine offset

9.3.2 Cancelling machine offset

9.3.3 Setting machine offset “on the fly”

9.3.4 An example of setting offsets

9.4 Digital dubbing

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9.4.1 Synchronized formatting

9.4.2 Recording while formatting

9.5 Error messages

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10 –Operations related to timecode

10.1 ABS and SMPTE/EBU timecode

10.1.1 ABS time

10.1.2 Tape timecode

10.1.3 Selecting TC or ABS timing

10.1.4 Location point settings

10.2 Tape timecode mode

10.2.1 TcTrack setting

10.2.2 ABS setting

10.2.3 ABS-Ofs setting

10.2.4 ABS-13 and ABS-23 settings

10.2.5 Checking tape TC

10.3 Selecting the frame rate

10.3.1 Pull up and pull down (Fs shift)

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10.4 Timecode input and output

10.4.1 Timecode input

10.4.2 Timecode output

10.4.3 Timecode output format

10.4.4 Timecode output timing

10.4.5 Using MIDI Time Code (MTC)

10.5 Recording timecode

10.5.1 Selecting the timecode source

10.5.2 Recording timecode using the generator

10.5.3 Synthesizing timecode from ABS timing

10.5.4 Assembling timecode

10.5.5 External timecode sources

10.5.6 Recording timecode from external sources

10.5.7 Checking external timecode

10.6 Video resolution

10.7 Chasing to timecode

10.7.1 Machine ID and timecode

10.7.2 Setting timecode offset

10.7.3 Setting timecode offset from the menu

10.7.4 Cancelling timecode offset

10.7.5 Setting timecode offset on-the-fly

10.7.6 Park position

10.7.7 Automatic park position setting

10.7.8 Absolute and relative difference

10.7.9 Rechasing timecode

10.7.10 Bypassing timecode errors

10.7.11 Individual recording while chasing timecode

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11 –External control

11.0.1 Selecting the control source (protocol)

11.1 Use with 9-pin external control

11.1.1 Video clocking

11.1.2 Emulation

11.1.3 Record delay

11.1.4 Cue-up tally

11.1.5 Fast wind speed

11.1.6 Track mapping

11.1.7 Timecode track mapping

11.1.8 Remote track arming

11.2 Bus protocol

11.2.1 Assigning a MIDI and Bus ID to the DA-98

11.3 MIDI Machine Control

11.3.1 MMC commands and the DA-98

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TOC-2 – 1.00 – 06/97

12 –Menu and parameter reference

12.1 Menu groups

12.1.1 Menu group 0

12.1.2 Menu group 1

12.1.3 Menu group 2

12.1.4 Menu group 3

12.1.5 Menu group 4

12.1.6 Menu group 5

12.1.7 Menu group 6

12.1.8 Menu group 7

12.1.9 Menu group 8

12.1.10 Menu group 9

12.1.11 Menu group E

12.1.12 Menu group F

12.2 Menu item index

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13 –Example setups

13.1 An all-DA-98 setup

13.2 Post-production work.

13.3 Project studio (‘B’ room)

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Table of Contents

14 –Maintenance and memory setups

14.1 Head and transport cleaning

14.1.1 To clean the heads and transport

14.1.2 Checking error rates

14.1.3 Checking head time

14.1.4 Checking head search time

14.2 Memory backup

14.3 User setups

14.3.1 Saving user setups

14.3.2 Loading user setups

14.3.3 Resetting the memory

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14.4 Checking version numbers

14.4.1 Software upgrades

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15 –Options, specifications and reference

15.1 Options for the DA-98

15.1.1 RM-98 Rack Mount Adaptor

15.1.2 Remote control (RC-848)

15.1.3 Meter unit (MU-8824)

15.1.4 Digital audio convertors

15.1.5 Cables

15.1.6 CONTROL I/O connector pinout

15.2 Specifications

15.2.1 Physical specifications

15.2.2 Power specifications

15.2.3 Digital recording characteristics

15.2.4 Tape recorder section

15.2.5 Tape transport

15.2.6 Inputs and outputs

15.2.7 Audio specifications

15.2.8 9-pin (RS-422), MIDI, synchronizer specifications

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15.3 MMC Bit Map Array

15.4 MIDI Implementation Chart

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Table of Contents

TOC-4 – 1.00 – 06/97

Section 1 – Introduction to the DA-98

1 – Introduction to the DA-98

The TASCAM DA-98 is a digita l audio mu ltit rack recorder designed for use in a variety of applications, including video post-production and audio multitrack work.

It records 8 tracks of full-quality digital audio on standard Hi8 video cassettes using a speciallydesigned transport and head mechanism. Using this medium, up to 108 minutes of continuous recording is possible on a single NTSC “120” tape.

Recording is carried out at a full 16 bits of resolution, and digital data may be input at 16, 20 or 24 bits of resolution. Analog signals are converted to digital data using 64 times oversampling deltasigma techniques.

The DA-98 builds on the foundations laid by the TASCAM DA-88 and DA-38 digital multitrack recorders, and retains compatibility with them. Tapes recorded on one of the DA series can be replayed and overdubbed on any other machi ne in the series, or any DTRS

machine.

1.1 Unpacking

The box contains the follo wing.

• DA-98 Digital Multitrac k Recor der (x 1)

• Accessories: –Rackmount scre w kit (x 1)

–AC power cord, 2 m (6 ft) long (x 1) –This manual (x 1)

• Warrant y ca rd ( x 1)

1.2 Features

Other key features of the DA-98 include:

• T ASCAM-e xclusive high-performance/high wear resistiv e rotary 4-head mechanism with TASCAM original track layout (DTRS standard)

• Use of standard, low-cost media with l ong recording and playback times

DTRS is a trademark of TEAC Corporation

• 16-bit linear quantization at either 44.1 kHz or 48 kHz provides CD-quality sound or better

• Fast, frame-accurate tape location and posit ioning; end-to-end winding for a “ 120” t ape is around 80 seconds

• Direct digital synchronization of up to 16 DTRS recorders (128 tra cks) without the use of any external sync hron ize r or cont roller

• Direct digital dubbing between DTRS units

• Track Copy function acts as an i nternal digital patchbay, allowing input-to-track a ssi gnment without the use of exter nal equi pment

• Balanced +4dBu analog inputs and outputs car ried on a con venient compact D-sub connector

• Selectable nominal analog I/O levels to conform to SMPTE, EBU, etc. standards

• 15-segment peak meters with user -se lec tabl e fall ballistics an d variable hold time (including continuous peak hold)

• Integral digital sine osci llator , providing sig nals at 440Hz for tuning and 1kHz for li neup p urposes

• Digital input and output on a single convenient compact D-sub connector (TDIF-1 for ma t)

• Settings carried out through a menu hierarchy using a 20-character x 4-line LCD dis play with cursor keys and an ENTER/ESCAPE system

• The 10 most commonly-used functions can be assigned to “soft keys” for easy recall

• Full SMPTE/EBU timecode synchronization , including on-board timecode generator

• MIDI Time Code and MIDI Machine Control

• Confidence replay mode, allowing off-tape monitoring while recording is in pr ogr ess

• Input monitor mode allows channel-b y-channel source monitoring, regardless of tape transport status

• Three user setup memory banks for stori ng setup profiles

• Simplified source/tape mon itoring functions with automatic switching

• Auto punch-in and punch-out with rehearsal mode

• 2-point full function autolocator with A–B repeat function , and 10 “soft key” location memories

• Variable speed recording and playback (up to

6.0% in 0.1% steps)

06/97 – 1.00 – 1-1

Section 1 – Introduction to the DA-98

• Shuttle mode enables “rock and roll ” audio positioning of key locations

1.3Using this manual

We suggest that you take the trouble to read this manual through at least once before st arting t o use the DA-98. In this way, you will find out where to turn when you need answers.

We suggest that you make a special note of the section 1.4, “Precautions and recommendations” as these contain some information which is unique to the DA-98.

We also suggest that you also read 5, “Menu operations”, as this will help you when you come to perform basic operations.

When referring to a control or a connector on the DA-98, the name of the control or connector will be written in bold type, and will of ten be fol lowed by a num ber in brackets, as in the example below:

Holding down the

[36] key will start the recording process.

ORD

REC

The numbers refer to the front and rear panel il lustrations and description in 2, “Front Panel controls” and 3, “Rear Panel connectors”.

[35] and pressing the

PLAY

1.4Precautions and recommendations

As with any precision piece of electronic equipment, common-sense precautions apply with the DA-98.

However, there are a few extra precautions which apply to the DA-98, and we suggest that you make a note of these, to prolong the useful life of the DA-98.

1.4.1Clock source in a digital studio

The DA-98 can be used in a variety of situations, and with a variety of equipment, either digital or analog.

If you are working with more than one digital audio unit in your setup, you should note that all units must be driven by the same central clock source (“word clock” or “word sync”).

If different word clock sources are used throughout the setup, it is actually possible to damage speakers, etc. because of mismatches.

The DA-98 can be designated as the word clock master for your studio, or can be slaved to external word clocks, using a convenient front-panel switch and standard BNC connectors.

When referring to a word or phrase which appears on the LCD display screen, the word or phrase will be written as follow s:

Move the cursor to

Memo1

Sometimes the tape counter is used to display a message. This will be shown as follows:

The tape counter will show .

NOTE

Recording is an art as well as a science. A successful recording is often judged primarily on the quality of sound as art, and we obviously cannot guarantee that. A company that makes paint and brushes for artists cannot say that the paintings made with their products will be critically well-received. TASCAM can make no guarantee that the DA-98 recordings you make. Your skill as a technician and your abilities as an artist will be significant factors in the results you achieve.

by itself

will assure the quality of the

Even though AES/EBU stereo digital audio signals are self-clocking, any AE S/EBU format signals converted and fed to or from the DA- 98 must be synchronized at word level with the DA-98.

1.4.2Confidence replay

Because the DA-98 can accept digital data and converts analog data with longer word lengths than it uses to re cord on tape (16-bit reso lution), monitoring the input source during recording will not necessarily provide a completely accurate representation of what is recorded on tape.

The DA-98 provides a dither setting (see 8.13.1, “Selecting dither settings”) which provides improved total harmonic distortion figures. Since the dither is applied prior to recording, again, monitoring the inpu t source will not allow you to hear the effect of the dithering process.

Accordingly, the DA-98 provides a confidence mode, allowing you to monitor off-tape as record-

1-2 – 1.00 – 06/97

Section 1 – Introduction to the DA-98

ing progresses. Since this monitoring is not synchronized exactly with the source inputs, gapless punch-in and punch-out is not possible in confidence mode. For full details of confidence monitoring, together with other monitoring modes available on the DA-98, see 7, “Monitoring modes”.

1.4.3 Environmental conditions

The DA-98 can be operated in mos t en vironments, but we suggest that you keep the environmental conditions within the following limits:

Ambient temperature between 5° and 35° C (41° and 95° F).

Relative humidity should be between 30% and 80% non-condensing

There should be no strong magnetic fields (speakers, etc.) near the DA-98.

Optional rack mou nt adapto r handl es (RM-98 ) are available. For details, see 15.1.1, “RM-98 Rack Mount Adaptor”.

The DA-98 should be mounted with the front panel vertical.

1.4.5 Electrical considerations

Avoid spraying polish, insecticides, etc. near the DA-98.

WARNING

If you need to clean the DA-98, use a soft cloth, moist ened if necessary with a little detergent and water. Do not use abrasive cleaners or solvents such as alcohol or thinner.

Avoid subjecting the DA-98 to jolts, sudden shocks, etc.

WARNING

If you have to return the unit for service or repair, use the original packing materials if p ossible. If the unit is to be transported to a recording location, etc., use a suitable transport case with sufficient shock protection.

TASCAM does not accept responsibility for damage resulting from neglect or accident.

1.4.4 Installing the DA-98

The DA-98 may be installed in a standard 19” rack, occupying 4U of space. Since the DA-98 is quite heavy (around 11kg – 24lb), your rack should be strong and stable to take the weight of the DA-98.

Make sure that your local power supply matches the voltage requirements marked on the rear panel of the DA-98.

If you are in an y doubt c oncern ing the l ocal po wer supply, consult an electrician.

Avoid extreme voltage fluctuations. If necessary, use an input vol tage re gulator to s mooth the po wer supplied to the DA-98.

Do not open the unit to clean inside , or to pe rform any internal adjustments. You should not attempt any cleaning or other maintenance procedures which are not described in this manual.

You may need to clean the heads occasionally. The procedure for doing this, and for checking tape error rates, etc., is given in 14, “Maintenance and memory setups”.

1.4.6 Condensation

If you use the DA-98 in a warm place after moving it from a cold place (fo r instance, re cording on location), or if there has been a sudden change in temperature, condensation may occur within the tape mechanism, with a risk of possible damage to the unit.

06/97 – 1.00 – 1-3

Section 1 – Introduction to the DA-98

If condensation does o ccur , you will not be a ble to operate the DA-98 controls, and you will see the following message on the display:

WARNING !

Condensation on drum

If you see the above message, press the

ESCAPE

key to remove the message, leave the DA-98 switched on for one or two hours, then switch it off and on again before starting recording.

If you are going to use the DA-98 in a location where you think condensation is likely to occur, move the DA-98 into the warmer location about one or two hours before recording is due to start, and leave it switched on. Turn the DA-98 off and then on again before starting recording.

1.5 Recommended tapes

The DA-98 is designed for use with Hi8 video cassettes. You cannot use any other kind of tape with the DA-98.

There are two basic types of Hi8 tape: MP and ME. Each has its own particular characteristics and merits:

• MP tapes are manufactured using a daubed magnetic particle deposit process and exhibit a level of performance which is more than acceptable. They have a durability which allows them to be use d as work tapes in studio and post-production environments.

• ME tapes have their magneti c layer produced through a metal e vaporat ion process. Gene rally speaking, though these tapes have a high performance level, they are not as robust as MP tapes (see above) and should be used for live recording and archi val purposes, rather than as work tapes.

TASCAM does not endorse any specific tape or tape manufacturer. TASCAM has licensed the use of the DTRS logo ( ) to tape manufacturers, provided their tape meets the specifications required by DTRS tape recorders. However, the use of the DTRS logo on the tape packaging does not imply any endorsement of the tape by TAS-

CAM. It is possible that the characteristics and sensitivities of tapes may be changed by the manufacturers without notice. The brands and model numbers of tapes listed below may not always meet the specif ications required b y DTRS systems for optimum performance. TASCAM assumes no responsibility for problems resulting from changes made by a manufacturer to the materials or specifications of its tape products.

The electrical characteristics of DTRS recorders are adjusted and set using Sony Hi8 tape parameters (MP and ME) prior to shipment.

1.5.1 Tape brands

The following brands and models of tape can be used with the DA-98. As mentioned above, this list does not constitute any endorsement by TASCAM of these products, nor is it a guarantee that tapes bearing this br and and model name will continue to give optimum performance.

Maker MP ME

SONY DARS-MP E6-HME

AMPEX DA8 MP BASF DA MP TDK Hi8 MP Hi8 ME Position

FUJI HI P6- DS N

MAXELL P6- XR-M E6- XD-MN

The electronics of DTRS recorders are designed to operate within s pecif ic para meters. The use of a tape with sensitivity higher or lower than that of

P6-HMP E5-HME P6-HMPX E6-HMEAD P5-HMP E5-HMEAD P5-HMPX E6-HMEX

E5-HMEX

Hi8 MP Position Hi8 ME Pro

HI P5- DS N M221MP P6M221 MP P5-

P5- XR E5- XD

1-4 – 1.00 – 06/97

tapes for which the DTRS r ecorder was originally designed may cause an error in functionality or prevent the user from getting optimum performance from the tape. Always use the shortest possible tape for a given project. Do not attempt to use 150-minute or longer tapes in DTRS machines, as the machine will detect t he thicknes s of tape and automatically eject any tape thinner than recommended.

Never attempt to use a tape with the DA-98 that has previously been used in video equipment.

WARNING

You cannot cut and splice DTRS 8mm tapes for editing purposes. Using a spliced tape in the DA-98 will invariably result in serious damage to the heads, requiring replacement. All editing must be done digitally.

Section 1 – Introduction to the DA-98

1.5.2 Available recording and playback time

Depending on whether the tape has been purchased for use with an NTSC (P6/E6) or a PAL/ SECAM (P5/E5) television system, the same length of tape (as f ar as v ideo lengt h is concer ned) will provide different times for a udio work, as shown belo w, due to dif fer ent fra me rates be tween television sy stems. The indic ation P6/E6 or P5/E5 will be printed on the tape package:

Time on tape label

20 18 25 30 27 37 45 40 56 60 54 75 90 81 113 120 108 –

P6/E6 (NTSC tape)

P5/E5 (PAL/ SECAM tape)

06/97 – 1.00 – 1-5

Section 1 – Introduction to the DA-98

1-6 – 1.00 – 06/97

Section 2 – Front Panel controls

2 – Front Panel controls

[1] Power switch

Turns the powe r to the D A98 on a nd off . When the DA-98 is turned off, se t tings will be retained in memory (see 14.2, “Memory backup”).

[2] Tape counter and status indicators

The tape counter gives the time in hours, minutes, seconds and frames.

The status indicators show the current status of various DA-98 functions. The legends of these indicators are abbreviated for reasons of space. Here is a list of their full meanings, together with the pages on which the functions are more fully described:

Legend Meaning Page

PB CONDITION ABS

REC INHI

OFFSET

TRACK COPY

PULL UP/DN

TAPE TC

TC GEN

DELAY

VARI SPEED

SHTL MUTE

EXT TC

Playback condit ion 14-1 Absolute tape time is being

used as the time reference Recording is inhibited (the

cassette’s write-protect tab is set)

Timecode time is being used as the time reference

Machine offset is in operation

Shows that the DA-98 is in TRACK copy mode

Shows pull up or down for drop-frame synchronization

Lights when the DA-98 is reading timecode from the tape

Lights when the internal timecode generator is generating

Lights when one or more of the tracks is delayed

Lights when the DA-98’s vari speed function is enabled

Shows that the shuttle m ut e function is in operation

Lights when the DA-98 is receiving external timecode

10-1

6-2

10-1

9-2

8-9

10-4

10-2

10-6

8-4

8-5

8-6

10-2

[3] Tape loading slot

Only use Hi8 ME or MP tapes as specified on page 1-4. The DA-98 will automatically eject all other tapes.

WARNING

Do not use a tape which has been used for recording video. Always use either new tapes or tapes which have been used in a DTRS recorder.

[4] EJECT key

Ejects any loaded cassette. A cassette can only be ejected when the transport is stopped.

[5] Display screen

This 20-character by 4-line LCD screen shows the menus and the parameters that can be set in the menus.

[6] FORMAT/Fs indicators and switch

FORMAT

The formatted. The

indicator sh ows that a tape is being

44.1KHz

and

48KHz

indicators

show the sampling frequency currently in use.

FORMAT/Fs

The

switch controls the formatting of tapes and allows selection of the sampling frequency used for recording (see 6.1, “Formatting a tape” for full details).

[7] REF LEVEL (r eference level

indicators)

These LEDs are used to indicate three standard reference levels: –16dBFS, –18dBFS and –20dBFS. For full details of this, see 8.7, “Reference levels”.

[8] Peak meters

These 15-segment peak meters show the input level or the recorded signal level, depending on the monitoring mode currently in operation (see 7, “Monitoring modes”).

NOTE

When using digital recording equ ipment, there is no headroom above the 0dB mark and no tape saturation is possible. Any signal which causes the “OVER” segment to light will cause audible distortion. For this reason you should take care not to let recording levels exceed this level.

06/97 – 1.00 – 2-1

Section 2 – Front Panel controls

The ballistics and peak hold times are selectable (see 8.8, “Meter modes”).

[9] RHSL (F 1) key and indicator

This key and indicator allow selection of the rehearsal mode in auto punch-in and out (see 6.6, “Punch-in and punch-out”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[10] AUTO PUNCH (F 2) key and

indicator

This key and indicator allow automatic punch-in and punch out following rehearsal (see 6.6, “Punch-in and punch-out”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[11] CLEAR (F 3) key

This key de feats t he reh earsal and a uto modes dur ing auto punch-in and out (see 6.6, “Punch-in and punch-out”). It is also used to cancel a format operation (see 6.1, “Formatting a tape”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[12] AUTO PLAY (F 4) key and indicator

When this key is pressed (the indicator will light), the DA- 98 will automatica lly sta rt playing as soon as a preset location point has been reached (see

8.2.4, “Location and playback”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[13] MEMO 1 (F 5)

When pressed, this key stores the current tape position into a memory location point which can

LOC 1

be accessed using the

key [22]. The location can be “nudged” using the menu functions (see 8.1.2, “Checking, edit ing and manua ll y en ter ing MEMO 1 and MEMO 2”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[14] MEMO 2 (+/–)

When pressed, this key stores the current tape position into a memory location point which can

LOC 2

be accessed using the

key [23]. When the

function keys ar e use d as numbe r keys, this key is used as a “sign-change” key.

[15] DIGITAL IN switch and indicator

This switch contr ols the input to the D A-98 . When on (indicator lights), the input is through the

TAL I/O (TDIF-1

erwise it is t hrough t he

) connector on the rear panel, oth-

ANALOG INPUT

DIGI-

connector.

[16] CHASE switch and indicator

CHASE

The

switch controls whether the DA-98’s transport is to “chase ” a master machine (indica tor is lit when chasing or flashing when preparing to chase) or to operate independently. The chase mode may be either timecode or ABS based (see

10.1, “ABS and SMPTE/EBU timecode”).

[17] CONFIDENCE MODE switch and

indicator

The DA-98 features a confidence replay mode which allows off-tape monitoring. This switch and its associated indicator allow selection and viewing of the status of this monitoring mode.

For a full explanation of confidence monitoring, see 7.2, “Confidence mode”.

[18] ALL INPUT (F 6) key and indicator

When this key is pressed, the indicator will light, and, regardless of the transport mode, all outputs will be switched to the signals derived from the inputs. This is primarily for alignmen t purposes, and is equivalent to pressing all the

TOR

switches ([29]) together.

INPUT MONI-

For a full treatment of monitorin g modes on the DA-98, see 7, “Monitoring modes”

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[19] AUTO MON (F 7) key and indicator

When this ke y is pr essed (the indicator will light), the monitoring system of the DA-98 automatically changes between input and off-tape monitoring, depending on the transport mode.

For a full treatment of monitorin g modes on the DA-98, see 7, “Monitoring modes”

SHIFT

When the becomes a function key.

key [24] is pressed, this key

2-2 – 1.00 – 06/97

Section 2 – Front Panel controls

[20] SHTL MON (F 8) key and indicator

When this key is pressed, shuttle monitoring is enabled (see 7.1.3, “Shuttle monitoring”).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[21] REPEAT (F 9) key and indicator

When this key is pressed, playback is repeated between the two memory locati ons set by [13] and [14] (see 8.2.5, “Repeat function” for details).

SHIFT

When the

key [24] is pressed, this key

becomes a function key.

[22] LOC 1 (F 10) key

This key locates the tape to the position set by

MEMO 1

When the

[13].

SHIFT

key [24] is pressed, this key

becomes a function key.

[23] LOC 2 (PRESET) key

This key locates the tape to the position set by

MEMO 2

When the

[14].

SHIFT

key [24] is pressed, this key allows the assignment of the function keys ([9] through [13], and [18] through [22]) (see 5.3, “Assigning menus to function keys”).

[24] SHIFT key and indicator

When this latching key is pressed (the indicator will flash), ke ys [9] throu gh [ 13] and [18] th rough [22] becom e function keys, and key [23] takes on a new function as a

PRESET

key (see 5.3,

“Assigning menus to function keys”).

[25] CURSOR keys

These keys are us ed to na vigate the c ursor through the menus controlling the DA-98 functions.

When a menu has been selected, the

DOWN

keys ( and ) are used to set

and

the values or select the choices within the menu). See page 5-1 for details of how to use these keys

in menu operations.

[26] SHUTTLE switch, indicator and

control

When the will light. The active. Turning the control to the right privides

SHUTTLE

key is pressed, the indicator

control will then be

forward cuein g and turning it to the left provides reverse cueing, similar to “rock and roll” on openreel tape decks.

For details, see 8.6, “Shuttle oper at ion s”.

[27] ENTER and ESCAPE keys

These keys ar e used in conju nction wit h the cursor keys [25] to go “up and down” the menu hierarchy.

See page 5-1 for details of how to use these keys in menu operations.

[28] REC FUNCTION switches and

indicators

These eight switches and indicators allow the setting and viewing of the record status on a trackby-track basis.

When one of these switches is pressed, the appropriate indicator will flash, the track is “armed”, and going into record mod e will st art reco rding on that track. When recording is be ing carr ied out on a track, the track’s indicator will light steadily.

[29] INPUT MONITOR switches and

indicators

These switches allow the monitoring of inputs to tracks on a tr ack-b y-track basis, irres pecti ve of t he current transport status. The appropriate indicator(s) will light when monitoring track input(s) using these switches.

Note that the function of these switches is connected with the

ALL INPUT

key [18] (page 7-1).

[30] CLOCK switch and indicators

This switch and these indicators allow you to set and view the system clock. There are three options:

Setting Meaning

INT

WORD

VIDEO

For full details of external synchronization, see 10, “Operations related to timecode”.

The DA-98 will provide its own clock reference

The clock will be synchronized to the signal received at the

WORD SYNC IN

VIDEO IN

connector

06/97 – 1.00 – 2-3

Section 2 – Front Panel controls

[31] TC REC switch and indicator

This switch is used when you wish to record timecode (either internally generated or from an external source) on a dedicated subcode track of the DA-98. No audio track is needed to record timecode. For full details of timecode operation, see 10, “Operations related to timecode”.

NOTE

It is not necessary to use timecode if two DTRS units (e.g. DA-88, D A- 38 or DA-98 machines) are to be operated together. The

ensure synchronization between machines

will

(see 9.2, “Machine ID and master/slave settings”)..

SYNC

connections

[32] REW key

Rewinds the tape at high speed. If this key is presse d duri ng recording, recording

will stop and the tape will rewind.

[33] F FWD key

Winds the tape forward at high speed.

If the DA-98 is in play mode, and the

REC

key is pressed, recording will start immediately on any “armed” tracks.

The

RECORD

key also is used to set punch-in

points during auto punch-in/out operations (see

6.6, “Punch-in and punch-out”).

If this key is presse d duri ng recording, recording will stop and the tape will wind forward.

NOTE

When either first time after powering up, or loading a tape, the unit first configures itself for the reel hub diameter of the tape in use, during which the tape advances at low speeds. This takes several seconds. Thereafter, the transport momentarily goes into stop mode before the tape starts fast-winding.

REW

F FWD

is pressed for the

[34] STOP key

Cancels any current tape transport mode, and stops the tape.

[35] PLAY key

Starts playing the tape. If this key pressed while recording is in progress, the DA-98 drops out of record mode.

[36] RECORD key

PLAY

If the

RECORD

all “armed” tracks (see 6.3, “Preparing to record”).

key ([35]) is pressed while the

key is held down, recording will start on

2-4 – 1.00 – 06/97

Section 3 – Rear Panel connectors

3 – Rear Panel connectors

This section provides a brief description of the functions of the connectors on the rear panel. For full details of cables to be used, pinouts, etc., see 4, “Connections”.

[37] TIME CODE (IN and OUT)

This pair of XLR connectors (female for IN and

OUT

male for for the synchronization functions of the DA-98. See 10, “Ope rations related to timecode” for full details.

[38] VIDEO (IN/THRU)

VIDEO

The video frame sync signals when the DA-98 is used with video equipment. Th e s elf-ter minati ng connector echoes messages received at the

See 10.6, “Video resolution” and 11.1.1, “Video clocking” for details of video sync operation.

[39] WORD SYNC (IN/OUT/THRU)

These BNC connectors are used to ca rr y the word clock between the DA-98 and other types of digital audio equipment. The terminating . See 8.10, “Dig ital recording” for full details.

[40] RS-422

This connector is used for controlling the DA-98 using controllers or editors which conform to the Sony P2 protocol (RS-422). See 11.1, “Use with 9-pin external control” for full details of how to use this connector.

[41] MIDI IN/OUT/THRU

These connectors carry MIDI Time Code (MTC) and MMC (MIDI Machine Control) commands. See 11.3, “MIDI Machine Con trol” for details of how these facilities are used when synchronizing to other units.

[42] CONTROL I/O

This connector is used for control of the DA-98 by external equipment. Consult your TASCAM dealer for full details of compatibility and the use of this connnector.

) provides the timecode connections

BNC connectors are used to carry

THRU

connector is self-

THRU

[43] REMOTE IN/SYNC IN

This connector is used to connect another “master” DTRS unit (e.g. DA-98, DA-88 or DA-38). See 9, “Synchronization with other DTRS units” for further details.

An RC-848 remote control unit may also be connected here, but not a ll f uncti ons of the DA-98 are available from the remote contol unit.

[44] SYNC OUT

This is used to connect another DTRS unit in the “daisy-chain” or, if this DA-98 is the last unit in the chain, to attach a termination plug.

[45] TDIF-1 (DIGITAL I/O)

This connector carries the digital signals to and from the DA-98 in TEAC Digital Interface Format (TDIF-1).

[46] METER UNIT (MU-8824)

This connector carries power and signals to drive 8 channels of the optional MU-8824 24-channel Meter Unit.

Make the connection using a TASCAM PW-88M cable.

[47] ANALOG INPUT

This connector carries 8 balanced inputs at a nominal +4dBu level. This allows convenient and reliable single-cable connection to the GROUP outputs of a suit ably- equippe d cons ole s uch as the TASCAM M-1600 series.

[48] ANALOG OUTPUT

This connector carries 8 balanced outputs at a nominal +4dBu level. This allows convenient and reliable single-cable connection to the tape return inputs of a suitably-equipped console such as the TASCAM M-1600 series.

[49] ~ IN

Use the provided AC power cord to connect the DA-98 to the AC power supply through this connector.

The pinout for this connector is given in 15.1.6, “CONTROL I/O connector pinout”.

06/97 – 1.00 – 3-1

Section 3 – Rear Panel connectors

3-2 – 1.00 – 06/97

Section 4 – Connections

4 – Connections

This section explains how to connect other equipment to the DA-98 in a variety of situations. It is not intended as a complete reference to the use of the DA-98. See the appropriate sections for full details of how these connectors are used.

WARNINGS

• When making connections between the DA-98 and other equipment, whether audio or control, both the DA98 and the other equipment must be turned wise damage may be caused to the DA-98 and/or the other equipment.

• Only use TASCAM-supplied and TASCAM-approved cables when ma ki ng connections to the DA-98. Though the cables and connectors may resemble computer cables, they serve different purposes, and meet a different set of specifications. The use of cables other than TASCAM cables will at best cause the equipment to work erratically, and at worst cause damage to the equipment.

• If the use of cables other than TASCAM cables causes or results in damage, the warranty is voided.

off

, other-

The pinouts for both the

INPUT

connectors are as follows:

where

=ground, H=”hot” (+) and C=”cold” (–).

ANALOG OUTPUT

All audio inputs are balanced and are rated at a nominal +4dBu level.

The impedance of the inputs is 20k the outputs is 10

Ω.

Ω and that of

4.1.2 Digital audio connections

Digital audio input and output signals are carried on the same 25-pin D-sub connector [45]. The sig nals are in TDIF-1 format.

To carry signals between a DA-98 and another DTRS unit, use a PW - 88D cable (1 meter l ong) or a PW-88DL cable (5 meters long). You may also use these cables to connect the DA-98 to other TDIF-1-equipped devices.

and

4.1 Audio connections

Other audio equipment can be connected to the DA-98 either using analog or digital interfaces.

4.1.1 Analog audio connections

All analog audio connections to the DA-98 are made through 25-pin D-sub connectors (input signals through [47] and out put si gna ls thr ough [4 8]).

This allows convenient and tidy cabling between the DA-98 and other units such as the TASCA M M-1600 series of mixing consoles.

It is not recommended that you mak e up your o wn cables–consult your TASCAM dealer for availability of suitable ready-made cables (and see

15.1.5, “Cables”). However,we recognize that

every situation has its own unique features, and there are occasions when a special cable must be made.

Before starting to make the cable, we suggest you contact your TASCAM dealer for full details of cable specifications, etc.

If you need to connect the DA-98 to a digital audio source using a different format, we recommend the use of the following units:

• T ASCAM IF-8 8AE Int erface Unit – converts between the TDIF-1 and AES/EBU for mat s ( 8 channels). It also provides S-PDIF format conversion faci li ti es.

• T ASCAM IF-8 8SD Int erface Unit – converts between the TDIF-1 and SDIF-2 digi tal aud io formats.

4.2 Synchronization connections

The DA-98 is equipped with sophisticated facilities for control and synchronization with other units. For full details of how to operate the DA-98 with other units, see 10, “Operations related to timecode”.

4.2.1 Analog timecode connections

The DA-98 can be synchronized to externallygenerated timecode and is also equipped with an internal timecode generator. For full details of

06/97 – 1.00 – 4-1

Section 4 – Connections

how to use the DA-98 with timecode, see 10, “Operations related to timeco de”.

The two XLR timecode connectors [37] carry balanced signals with the following polarity:

Pin # Connection

1 Ground 2Hot 3Cold

However, unbalanced signals may be used, with only pins 1 and 2 connected.

IN (balanced) OUT (balanced)

Level 0.5 Vp-p to

10.0Vp-p

Impedance > 10k

TIMECODE OUT

The

Ω

connector either transmits

2Vp-p

< 100

Ω

internally-generated timecode or re-shaped or regenerated timecode echoed from the

connector.

TIMECODE

4.2.3 Word clock connections

This set of BNC connectors [39] is used to synchronize the DA-98 to other digital audio devices.

The front panel

CLOCK

to change between clock sources, and should be

WORD

set to

when synchronizing to an external

word clock.

jack should be connected to the WORD

The SYNC OUT of the digital audio device from which the DA-98 is to receiv e the sy nchr oniza tion clock.

Note the difference between the

THRU

connectors. signals generated b y the DA-98, and to echo the s ignals received at

If the DA-98 is the last unit in the chain of video equipment, there is no need to terminate it, as this circuit is self-term i nating.

Also note that if the DA-98 is connected to other DTRS units, the

WORD SYNC

be connected between the DTRS units.

switch (page 2-3) is used

OUT

and the

OUT

is used to carry wo rd clock

THRU

jacks do not need to

is used

4.2.2 Video connections

This pair of BNC connectors [38] is used to provide video frame reference clocking when the DA-98 is used with video equipment.

The front panel

CLOCK

change between clock sources, and should be set

VIDEO

Connect the

when synchronizing to video sync.

VIDEO IN

the VIDEO OUT of a video unit. This signal should be a 1 Vp-p composite signal.

If other equipment (such as other DTRS units) also need the video frame reference clock, the signal received at the

VIDEO THRU

connector.

If the DA-98 is the last unit in the chain of video equipment, there is no need to terminate it, as th is circuit is self-terminating.

For details of ho w the DA-98 can be synchronized to video frame information, see 11.1.1, “Video clocking”.

switch [30] is used to

connector of the DA-98 to

VIDEO IN

is echoed at the

4.3 Control connections

4.3.1 RS-422 connector

This connector is used to connect the DA-98 to other controllers or editors which will control the DA-98 using the Sony P2 protocol, or a bus protocol, such as that used by the TASCAM ES-61.

If you are in d oubt a bout t he co mpat ibilit y of such a device, please consult TASCAM or your TASCAM dealer, who will be able to advise you.

The DA-98 can emul ate (thro ugh softwa re control accessed through menu 6 ) a number of de vic es for compatibility with almost any controller. See

11.1.2, “Emulation” for details. Full details of control using this connector are

given in 11.1, “Use with 9-pin external control”.

4.3.2 MIDI connectors (IN , OUT and THRU)

These standard 5-pin DIN MIDI connectors [41] are used to carry MIDI Time Code (MTC) and MIDI Machine Control (MMC) information

4-2 – 1.00 – 06/97

Section 4 – Connections

`o`t`r`g`o`t`r`g

Machine ID 1 (master, but CLOCK set to WORD)

Machine ID 2

(slave 1)

Termination

plug

PW-88S

IF-88SD

TDIF-1 digital

audio

Digital SDIF-2

device

SDIF-2

digital audio

Word clock signal

between the DA-98 and other suitably-equipped units (for instance, sequencers capable of being synchronized to MTC, and capable of t ransmitting MMC command s).

The MIDI functions are accessed through menu group 7. See 10.4.5, “Using MIDI Time Code (MTC)” and 11.3.1, “MMC commands and the DA-98” for full details.

Note the difference between

. The

OUT

connector outputs signals which

THRU

MIDI OUT

originate from the DA-98. The echoes messages received at the

THRU

connector

and

4.3.3 Paral lel cont rol

Parallel cont rol by and of the DA-98 is per formed through the

CONTROL I/O

port [42]. See 15.1.6, “CONTROL I/O connector pinout” for details of how to connect other equipment to this port.

4.4 Connection to other

MIDI

See 9.2.2, “Setting machine ID” for details of setting the Machine ID using menu group 3.

WARNINGS

The last unit in the chain must be terminated (a TASCAM termination plug must be plugg ed into the

OUT

of the last machine in the chain.

Once again, only use TASCAM cables for connection of equipment to and fr om the DA-98.

4.4.2 “Indirect” word sync

As mentioned earlier, there is usually no need to use a word clock when connecting DTRS units together. There is, however , an occasion when it is necessary to carry external word sync between DTRS units.

This is when a slave DTRS unit is recording digitally from another digital audio device:

SYNC

TASCAM units

By a “TASCAM unit”, we mean another D A-9 8, a DA-88 or a DA-38 unit, or an optional remote control unit, which may also be connected in a “chain” with mu ltiple DTRS units.

4.4.1 Multiple DTRS units

Use a TASCAM PW-88S cable when connecting other units to the [43] or to the

REMOTE/SYNC IN

SYNC OUT

connector ([44]).

This synchronization c able will carry the internal synchronization code and the transport signals, etc. There is no need to make any other connections, apart from the audio connections (either digital or analog).

If more than one DTRS unit is to be used, the first unit in the chain must have its Machine ID set to “1”, (“0” in the case of DA-88s) and subsequent units must have their IDs set in order with no gaps in the numbering sequence . Note that the diagram below does not show any audio connections.

Machine ID 1

(master)

PW-88S PW-88S

Machine ID 2

(slave 1)

`o`t`r`g `o`t`r`g`o`t`r`g

connector

Machine ID 3

(slave 2)

Termination

plug

Though the slave will receive its word clock from the master unit, the mast er itself must receive its word clock from the other digital audio device.

In this case, the master unit will have its clock

WORD

source set to clock from the master unit through the

, and the slave will receive its

SYNC IN

[43].

4.4.3 Meter unit (MU-88 24)

The optional MU-8824 external meter bridge unit can be connected using a PW-88M cable from the

METER UNIT

make any settings on the DA-98 when connecting the meter unit.

connector [46]. You do not need to

06/97 – 1.00 – 4-3

Section 4 – Connections

4-4 – 1.00 – 06/97

Section 5 – Menu operations

5 – Menu operations

Read this section to understand the basic principles of menu operation. This will help you find your way round the DA-98’s functions easily and quickly.

5.1 The menus

The DA-98 has 12 menu groups, labelled from 0 through 9, and E and F. These are referred to in this manual as “menu group 0”, menu group E”, etc.

The menu which is used to select these 12 menus is called the “top” menu, and looks like this

Select Menu Group

01234567

89----EF

Dly/Tr.Cp/Vari/Loct

The bottom row of the display is used as a quick reference to remind you of the currently-set value or the contents of the menu group.

These are the choices within menu 0:

Delay Memo 1

Trk Copy Memo 2

Vari Spd Loc Pre

1 0000 Sample

Use the cursor keys to navigate between menu items within the group. The bottom line of the display will change to show the cu rrently-set values for the parameter beside the cursor.

When the cursor is beside the desired parameter, press the

ENTER

key. You can now change the val-

ues of that parameter.

5.1.3 The ESCAPE key

ESCAPE

The menu hierarchy (fr om menu s creens to s ub-menus to the top menu). It is therefore used if you enter the wrong menu by mistake.

For a full description of the menu tree, see 12, “Menu and parameter reference”.

• There is also an alphabetical index of menu functions and items on page 12-8.

key is used to move up through the

5.1.1 Navigation around the menu system

The cursor keys [25] are used to navigate round the screen. In this manual, we use the following terms for these keys:

CURSOR

key

Term used in text

key

DOWN

key

LEFT

key

RIGHT

key

Notice that in the top menu, as you move the cursor between menus, the bottom line will change, reflecting the contents of the me nu.

5.1.2 Using the ENTER key

From the top menu, when the cursor is beside the desired menu group, press

ENTER

that menu group. The screen will change, and the choices within that group will be shown.

[25] to enter

5.1.4 Editing values

When a parameter has been selected for editing, the function of the cursor keys is changed.

LEFT

If there is only one parameter, the

RIGHT

keys are not used, and the UP and keys are u sed to change the v alue of the paramet er . If the parameter is a number, the

DOWN

the value and the

key decreases the value.

If there is more than one parameter or there are “sub-values” to the parameter, such as in the following exampl e (men u group 8), the funct ions ar e a little changed:

Gen Start Fs shift

Gen Mod TcRec Src

01:33:12:17 30NDF

Here, the internal timecode generator start time can be set. Obviously, we could edit the “frames”

and

key increa ses

DOWN

06/97 – 1.00 – 5-1

Section 5 – Menu operations

field and keep pressing the UP key, but one hour would be 30 x 60 x 60 = 10,800 key presses!

To avoid this,, th e

LEFT

and

RIGHT

keys move the cursor between the “fields”; in this case, hours, minutes, seconds and frames.

Regardless of whether one value o r several subvalues have been edited, the changes to the values are made immediately. The cursor keys can then be used for navigation again.

In most time-based menus, when the “frames” field is being edited, the value can be changed

to the number of frames in 1 second

from (the exact number varies between settings) and

back to

However, if the cursor is moved to an invisible “field” to the right of the frames field, incrementing the v alue of the f rames field above the numbe r of frames in a second will increment the seconds field.

As an example:

1) The menu screen shows: “

00:01:43:29

when the frame rate is 30fps.

”

5.1.6 Changing menu values fast

Sometimes it is useful to be able to change a value fast (for ins tance , time values such as minutes and

DOWN

seconds). To do this, hold down the key and press the

ENTER

change faster as long as the

key. The values will

ENTER

key is held

down.

5.1.7 Blanking the screen display

There are times when you may want to blank the backlit screen display (for instance, the light may be a visual distraction, or you may want to discourage tampering fingers).

1) Press the

ENTER

down, press

You can also hold down the press

ENTER

2) The screen will blank, and the back light will go out.

3) To restore the screen display, press any of the following:

CURSOR

NOTE

keys.

The screen will be relit, and show the top menu.

key, and while holding it

ESCAPE

ENTER, ESCAPE

ESCAPE

, or any of the

key and

2) Press

3) The menu screen shows: “

00:01:43:00

However:

1) The menu screen shows “

2) Press

3) The menu screen shows: “

00:01:43:29_

00:01:44:00_

5.1.5 Resetting a menu value

Sometimes it is neces sary to reset a menu value to a default value.

To do this quickly, hold down the

DOW N

press the and press the

key (or hol d down the

key). If the menu value is a time value in hh:mm:ss:ff for mat, all the fields wi ll be reset to zero. If there i s more than one ind ependent field in a menu screen, use the cursor to point to the value that you want to reset to zero.

key and

DOWN

”.

key

This can be used as an alternative way of returning to the top menu when you are inside the menu hierarchy

5.2 Function key modes

These keys are often used to jump to frequentlyused menus (see 5.3, “Assigning menus to function keys”), but their function can be changed, as described here:

SHIFT

1) Press and hold down the while holding it down, press the [14] to enter the

Function Key Mode

menu.

As an alternative to the method above, you can go to menu group 7, move the cursor to

Mode

and press

ENTER

key [24], and

MEMO 2

Funct-

key

5-2 – 1.00 – 06/97

Section 5 – Menu operations

2) This menu gives you three choices,

Locate Position

Function Key Mode

Select

uses the function keys as a quick way of jumping around the menu system (see 5.3, “Assigning menus to func tion keys”).

Locate Position

tion keys to location memories (see 8.2.1, “Storing a function key location memory”)

10 Key

numeric keypad for direct entry of numerical data (see 5.2.2, “ Using the functi on keys as number keys”).

allows you to use the function keys as a

and

10 Key

assigns the ten func-

3) Select the option with the UP and

DOWN

keys.

5.2.2 Using the function keys as number keys

When the has been set to the function keys as number keys for direct entry of numerical data.

The function key number is used to enter the digit

F 1

( which enter s a

When you have entered the value using the function keys as number keys, you should press the

PRESET

just entered.

The following is a step-b y-s tep guide to entering a value (1 minute and 5 seconds) into the Locate Pre-roll parameter (see 8.1.3, “Set ting the locati on pre-roll time”) .

1) Set the function key mode to

described above (page 5-2).

Function Key Mode

enters a 1,

10 Key

F 2

(see above), you can use

enters a 2, etc.) except fo r

key ([23] to confirm the value you have

10 Key

parameter

F 10

, as

NOTE

When you change the function of the “soft” keys between menu and location functions, the values assigned to the other function are not lost, and will be restored when you next change the function of the soft keys.

5.2.1 The SHIFT key and function keys

key).

LOC 2/PRE-

F 7

)).

Usually, the 10 function keys and the

SET

MEMO 2/ +/–

and

keys perform the duties as marked on the top of their la bels (e.g. key [19] usually works as the

AUTO MON

T o use the k eys as function k e ys (whethe r locati on keys, preset menu keys or as n umber keys), press

SHIFT

the

The

key.

SHIFT

indicator wi ll start to flash.

While it is flashing, these keys are used as described on the bottom row of their labels (e.g. key [19] now becomes function key 7 (

2) Go to menu group 0, move the cursor to , and press

Pre

Locate Pre-roll

3) Press the

ENTER

00min00sec

SHIFT

key [24]. The indicator will

start to flash .

4) Press the

Locate Pre-roll

F 1

key [9]:

00min01sec

The bottom line of the display will start to blink, showing that you are entering numerical data.

Loc

SHIFT

Press the

key again to stop the indicator flashing an d return the keys to their original functions.

Notice that the number is entered from the right of the fields, e ven though the cursor position is not at the right of the field.

06/97 – 1.00 – 5-3

Section 5 – Menu operations

5) Press the

Locate Pre-roll

F 10

key [22] (to enter a 0):

00min10sec

6) Press the F 5 key [13 ]:

Locate Pre-roll

01min05sec

7) The numbers for this value have now been entered, but the value itself has not. Press the

LOC 2 (PRESET)

The bottom line of the display will stop blinking.

8) You can use the UP and

key [23] to enter the value.

DOWN

keys to adjust

the value you have just entered.

SHIFT

9) Press

again to restore the function keys

to their “non-function” values.

many of the menu functions only rarely (for instance, whether the DA-98 is a master or a slave unit).

Some of the keys below the tape counter ([9] through [13], and [18] through [22]) can be used as “soft keys”, providing instant access to the menu screens you use most often.

5.3.1 To assign a menu screen to a key

1) Set the function key mode to described in 5.2, “Function key modes”

2) Use the cursor and

ENTER

menu function you want to assign to a key.

SHIFT

3) Press the

key [24] (the indicator will

flash).

4) Press the

PRESET

key [23]. The following will

appear on the display.

Function Preset

"Push Function Key"

keys to get to the

NOTE

Some parameters (e.g. offsets) can take either positive or negative values. To change the sign of the value, use

MEMO 2 (+/–)

the tive and negative values.

key [14] to toggle

between posi-

You can use the function keys as number keys in almost any menu where direct numerical input is possible.

You cannot use these keys as number keys when there are only two choices (even if they are numerical). An example of such a menu is the

Rechase Mode

two options for the

menu (page 10-13), where the

Window

value are 1 second and 2 seconds. This parameter should be s et usin g the

and

DOWN

keys, not the number keys.

5.3 Assigning menus to function keys

It is quite like ly that you will f ind you rself using a few of the same menu functions many times (for instance, manual adjustment of punch points) and

5) Press the key (

F 1

through

F 10

) to which you

want to assign the menu screen.

This will assign the menu screen to the key and the

SHIFT

indicator will go out.

5.3.2 Recalling an assigned menu function

1) Press the

flash).

2) Press the

assigned to the menu function you want to recall.

SHIFT

[24] key (the indicator will

key (1 through 10) which has been

The menu screen will be recalled, and the indicator will go out.

SHIFT

5-4 – 1.00 – 06/97

Section 6 – Basic operations

6 – Basic operations

This section explains some of the basic operations using the DA-98. Section 8, “Advanced operations” describes more advanced operations.

Most operations on a DA-98 are similar to those on a traditional analo g mul titrack re corder, but we suggest that you read this section and the next to learn about the features of the DA-98.

6.1 Formatting a tape

Before you use a tape in the D A -98, you must f irst format it. This marks internal synchronization patterns for the servo to follow on subsequent passes through the tape as well as the subcode data (ABS). No audio data is normally recorded d uring a formatting operation (but see below).

While formatting is proceeding, you cannot perform any other transport operation except stopping the tape.

a feature designed to stop you formatting a tape accidentally.

NOTE

If you do press the the indicator lights steadily and you then change your mind about formatting the tape, you can use the

CLEAR

key [11] to

4) Now use the

FORMAT/Fs

cancel the operation.

FORMAT/Fs

switch twice so

switch to select the

sampling frequency (either 44.1kHz or 48kHz).

The sampling frequency that you select depends on the eventual use for the recording. For audio work, selecting 44.1kHz will allow you to produce CD master tapes with no frequency conversion.

NOTE

If a digital signal is received at the [45] as selected and shown by the and indicator [15 ], the DA-98’s recording and playback sampling frequency is automatically determined by the sampling frequency of the input signal and you cannot change it.

DIGITAL I/O

DIGIT AL IN

that

jack

switch

You cannot change the sampling rate while formatting is in pr ogress.

1) Switch on the DA-98 and load a tape into the tape loading slot [3]. As the tape is loa ded and threaded, the tape counter s will show

For details of tapes that you can use in the DA-98, see 1.5, “Recommended tapes”.

2) Press REW [32] to ta ke the tape to th e beginning. When the beginning of the tape is reached, the tape counter will show (“beginning of tape”).

3) Press the

FORMA T/Fs

switch [6]. The

indicator will start blinking. Press the

switch again within 5 seconds. The

FORMAT

FORMAT/

FORMA T

indicator will then light steadily.

If you do not press the within 5 seconds, the indicator will go ou t. This is

FORMAT/Fs

switch twice

5) To start formatting the tape, hold down the

RECORD

NOTE

key [36] and press the

The tape counter may show a negative ABS time for a short while at the start of the formatting process. While it is displaying a negative value, no audio recording can take place.

6) The tape will format to the end, and then rewind automatically, stopping at the

position.

You are now able to use the tape for recording.

It is possible to format tapes on a number of DTRS units simultaneously. For detail s, see 9. 4.1, “Synchronized formatting”.

6.1.1 Aborting the format process

To abort the process before formatting actually takes place (i.e. you have pressed the switch twice in error), press the The

FORMAT

indicator will go out.

CLEAR

PLAY

key [35].

FORMAT/Fs

key [11].

As explained earlier, the only transport operation you can perform once formatting has started is to stop the tape.

06/97 – 1.00 – 6-1

Section 6 – Basic operations

However, we do not recommend interrupting the formatting process, but suggest that you let the tape run to t he end.

If you interrupt the formatting (or the formatting is interrupted by a power cut or events beyond your control), rewind the tape and start the format from the beginning of the tape again.

6.1.2 Recording while formatting

If you hav e armed an y tra cks (you h av e press ed its

REC FUNCTION

flashing), any aud io signal routed t o that track wi ll be recorded while formatting is in progress.

NOTES

• If you have recorded and formatted part of a tape, and you wish to continue formatting and recording on the rest of the tape (“assembly”), you should rewind to a pre-formatted, blank section of the tape and resume formatting and recording from there.

• Recording and formatting will continue at the sampling frequency used on the first part of the tape.

switch [28] and the indicator is

3) If y ou are r ecording fro m a digital source, pr ess

DIGIT AL IN

the

switch [15]. The indicator will

light.

4) Select the input which will be routed to each track on which you will be recording.

This may involve the use of an external patch bay (analog), but the DA-98 also incorporates a “virtual patch bay” which can be used for signal routing; both digital and analog. This is accessed through the Track Copy function (see 8.11.1, “Track Copy (channel-to-track routing)”).

With a digital recorder such as the DA-98, track crosstalk is almost negligible (better than 90dB at 1kHz). For this reason, you do not have to worry so much about the constraint s of choosing ph ysical track locations as you do with analog recordings.

If you need to copy a track to another track later in the recording process, remember that track copying in the digital domain will add no noi se or distortion. A digital copy is a “clone” of the original, and no loss of quality is incurred.

• Avoid re-starting recording and formatting from an unformatted section of the tap e.

6.2 Recording the first tracks

There are a number of different ways of recording the first tracks. However, all follow the same basic principles.

NOTES

• When using a newly-formatted tape, we suggest that you record a blank “leader” about 30 seconds long, starting from the begin ning of the ta pe, to av oid dropo ut. Leave a similar recorded blank “trailer” at the end of the recording. You can use the Rec Mute fun ction as a convenient way of recording silence (see 8.12, “REC MUTE (recording silence)”).

• If the tape counter shows a negative value, you cannot record on the tape at that position.

6.3 Preparing to record

1) If you have not already loaded a formatted blank tape, do so now.

6.3.1 Write-protecting cassettes

If you attempt to record on a cassette where the write-protect tab has been closed, an error message will appear on the screen as you press the

RECORD

key. Recording is, of course, not possi-

ble on a write-protected cass et te . Hi8 cassette write tabs work in the opposite man-

ner to DAT cassettes, and “closed” means “writeprotect”.

If the tape is write-protected, the

REC INHI

tor to the left of the tape counter will be lit. Eject the tape, ope n the write-protect tab, replace the cassette, and try again.

NOTE

Sony Hi8 cassettes (and those from some other manufacturers) have the words “SAVE” (write-protected) and “REC” (write-enabled) molded into the cassette shell by the protection tab.

6.3.2 Recording the basic tracks (i)

indica-

2) Make sure that varispe ed is turned off (c heck

VARI SPEED

the

indicator [2] and see 8.5.2,

“Resetting the spe ed t o s ta ndard” if necessary).

6-2 – 1.00 – 06/97

1) Arm the tracks on which you wish to record.

Press the indicator will start flashing.

REC FUNCTION

key of these tracks; th e

Section 6 – Basic operations

2) Adjust the input signal levels so t hat the track

OVER

meters read high, but the

segment does

not light.

NOTE

Use the reference level you have chosen (see 8.7, “Reference levels”) to be your “nominal” level.

3) Hold down the

PLAY

key. The tape will start moving and

RECORD

key, and press the

recording will start.

REC FUNCTION

The light steadily.

When you start recording, the point at which recording starts is automatically stored into memory for punch-in purposes.

indicators of all tracks will

4) To stop recording and stop the tape, press the

STOP

key. You can also press the

PLA Y

key, which will continue the tape movement, but stop recording.

1) Turn off the

RECORD FUNCTION

switch of the

track you have just recorded.

W e s uggest turni ng of f t he This will prevent you from accidentally hitting the

RECORD

writing what you have already recorded.

key and going into record mode, over-

2) Make s ure that the

INPUT MONITOR

RECORD FUNCTION

of the track you have just recorded is turned off (see 7 .1.1, “ALL INPUT [18] and INPUT MONITOR [29]”).

3) Rewind the tape to the point that you started

PLAY

recording and press

6.4 Overdubbing

Overdubbing subsequent tracks is carried out in a very similar way to recording the first tracks.

If you are unsure about the difference between monitoring modes as implemented on the DA-98, now is a good time to read the section 7, “Monitoring modes”.

6.3.3 Recording the basic tracks (ii)

This is an alternative method of reco rding basic tracks on a blank, formatted tape.

1) Arm the tracks and adjust the levels as described in [1] and [2] above (6.3.2, “Recording the basic tracks (i)”).

REC FUNCTION

The tracks will flash.

2) Press the

PLAY

key. The tape will start moving.

3) When y ou reac h the point at which y ou want to start recording, press the

REC FUNCTION

The tracks will light steadily.

The point at which recording starts is automatically stored into memory for punch-in purposes.

4) Stop recording as described above.

indicators of all armed

RECORD

indicators of all armed

key.

Obviously you will want to record while you listen to the off-tape signals from previouslyrecorded tracks and the input source on tracks where recording is taking place.

Note, however, that the use of confidence mode when overdubbing (see 7.2, “Confidence mode”) is not recommen ded, as t he off-tape replay signals will be delayed, making it impossible to provide accurate cues.

6.5 Track bouncing

Though the DA-98 provides a method of copying tracks digitally (see 8 .11.1, “T r ack Cop y (c hann elto-track routing)”), there is no way of combining tracks within the DA-98.

If you need to combine tracks, this must be done through an external console, routing all tracks to be combined through an outpu t group, and rout ing that group to the appropriate track input.

6.3.4 Replaying the first tracks

When you have positioned the tape at the beginning of the recor ding you ha v e jus t made (or at the pre-roll point) , you can st art pl aying back the tap e.

6.6 Punch-in and punch-out

There are a number of ways in which the DA-98 can be used to perform reliable punch-in and punch-outs automatica ll y. Punch points can be set

06/97 – 1.00 – 6-3

Section 6 – Basic operations

and edited to frame accurac y , ei ther from a cue list or “on-the-fly” in real time.

The DA-98 provides a rehearsal mode which simulates the punch ing proces s, allowing the artists to perfect the timing of the new material.

The mechanics of punching on a digital recorder appear to the ope rat or to be the same as on an analog recorder.

Crossfading, however, is an important and useful function on digital recorders, to ensure continuity between original and punched material. In the case of the DA-98, this crossfade time is adjustable from 10 milliseconds to 200 milliseconds (see 8.4, “Crossfade times”).

AUTO MON

The

mode is essential here: in both rehearsal and punch modes, the material prior to the punch point is monitored off tape. The monitoring of armed tracks changes to source while rehearsals and punching are carried out and then changes to off-tape again after the punch-out point.

Pre-roll point

Punch-in point

Punch-out point

Post-roll point

punch-in time, and the time when recording stops is stored as a punch-out time.

This is not usually the way in which you will wa nt to set the punch p oints , ho we ver. There are se v eral alternati ve w ays in wh ich you c an set t hese poi nts, as described below:

6.6.2 Setting punch points “on the fly”

This method demands sharp reflexes (but you can edit the punch points later as we show below).

1) Press the

AUTO MON

light).

2) Arm the track(s) on which you will be recording (use

3) Press the

RHSL

The indicator will flash, showing that the DA- 98 is in “rehearsal learn” mode.

4) Rewind t he tape to bef ore wher e the punch is to occur.

5) Start playing the tape (press

You will monitor the off-tape signals.

key [19] (the indicator will

REC FUNCTION

(rehearsal) key [9].

PLAY

Pre-roll time Post-r oll time

Rehearsal learn

TAPE SOURCE TAPE

Rehearsal

TAPE SOURCE TAPE

AUTO PUNCH

TAPE SOURCE TAPE

Replay check

TAPE TAPE TAPE

NOTE

Though you can p e rform punch recording in either the confidence mode (see 7.2, “Confidence mode”) or the ALL INPUT mode (see 7.1.1, “ALL INPUT [18] and INPUT MONITOR [29]”) , the monitoring in these modes does not make it easy to perform accurate punch operations. We suggest that you turn these modes off if you want to perfo rm punch-ins.

6.6.1 Automatic punch point setting

Whenever recording takes place, the time when recording begins is automatically stored as a

6) At the point where the punch is to occur, press

RECORD

The

RECORD

indicator of any armed tracks will light

TION

steadily.

The

INPUT MONITOR

tracks will light and monitoring will change to input source recording for these tracks.

At any time when the rehearsal key is lit or flashing, this means that recording will no t actually be carried out, even if the

REC FUNCTION

key will flash, and the

indicator of a ny armed

RECORD

indicators are lit.

key and/or the

REC FUNC-

7) At the point where you want to punch out, press PLAY.

The

REC FUNCTION

tracks will start flashing again. The will go out.

The

INPUT MONITOR

tracks will go out, and monitoring of these tracks will return to off-tape status.

indicator of any armed

RECORD

indicator of a ny armed

key

6-4 – 1.00 – 06/97

Section 6 – Basic operations

8) After the post-rol l period, the t ape will return to the pre-roll point (the punch-in point minus the pre-roll offset).

RHSL

The ing that the DA-98 is in rehearsal mode.

NOTE

If you want to alter the pre-roll and post-roll times, see

6.6.4, “Editing the pre-roll and post-roll times”. The punch-in and punch-out points will remain the same while you change the pre- and post -roll times.

indicator will now light steadily, show-

6.6.3 Setting punch points using the

menus

1) Press the until the indicator lights steadily).

2) Pr ess the light).

3) Go to menu group 1 and select the

Point

ENTER

RHSL

(rehearsal) ke y [9] twice (or

AUTO MON

key [19] (the indi cator will

option using the cursor keys and

Punch-in Point

6.6.4 Editing the pre-roll and post-roll times

As shipped from the factory, the DA-98 will position the tape 5 seconds before the punch-in point, whether this has been set by you, or set automatically (as described above).

The post-roll is factory set to 3 seconds. You can alter both these times using the following method:

1) Enter menu gr oup 1 and mov e the cursor to the

Pre/Post

In Point X-Fade

Out Point Dither

Pre/Post Rec Mute

00:00:06:00 ABS

2) Press

times:

Pre-roll Post-roll

menu option:

ENTER

to set the pre-roll and post-roll

Pre Post

00m05s 00m10s

00:09:21:12 ABS

4) Use the

LEFT

and

RIGHT

keys to select the “field” (h ours, minutes, seconds or f rames) that you want to edit, and use the

and

DOWN

keys to change the values.

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”.

5) Press

6) Select

ESCAPE

Out Point

NOTE

You can also use this process to edit p unch poi nts which have been set “on the fly

to return to menu group 1.

and repeat the process.

”

7) Locate the tape to the punch-in point (minus

LOC 1

the pre-roll time) by pressing

[22].

3) Use the

LEFT

and

RIGHT

keys to position the

cursor by the “field” (minutes or seconds) that

you want to change and use the

and

keys to alter the value.

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”.

Since there is little point in setting pre- and postroll times to frame accuracy , you can only set these values to second accuracy.

The minimum values you can set are 5 seconds and the maximum value is 59 minutes 59 seconds.

Any punch operation from now will take your setting for pre-roll and use it when locating the tape to the punch-in point.

For example, if your pre-roll time has been set to 10 seconds (00:00:10:00), and the punch-in point is at 00:06:03:12, the tape will locate to 00:05:53:12 when starting rehearsal or punch-in.

DOWN

06/97 – 1.00 – 6-5

Section 6 – Basic operations

4) Post-roll is set in the same way. Use the

RIGHT

and

keys until the cursor is by the

LEFT

Post

field, and repeat the steps above.

The minimum value for post-roll is 3 seconds.

6.6.5 Rehearsing the punch-in

After you ha v e set t he punch points, and you have located the tape to the pre-roll point, as described above, you can rehearse the punch process.

RHSL

1) Press the lights steadily.

This indicates that you are now in rehearsal mode.

2) Press

PLA Y

pre-roll point.

3) At the punch-in point, monitoring will change to source.

RECORD

The

TION

steadily. However, recording will not be carried out.

key [9] so that the indicator

. The tape will start playing fr om the

key will flash, and the

indicator of any armed tracks will light

REC FUNC-

1) While the tape is running, press the [22].

There is no need to press

The tape will return to the punch-in point, minus the value specified in the punch-in offset (6.6.4, “Editing the pre-roll and post-roll times”).

NOTE

The pre-roll location time (see 8.1.3, “Setting the location pre-roll time”) is not used here.

2) Pressing

STOP

PLAY

will then re-start the rehearsa l

or punch-in process.

NOTES

LOC 2

• Press ing the

punch-out pos itio n mi nu s the pu nc h - in pre - r o ll ti me .

• These function s are only operative when the

AUTO PUNCH

they are off, the mally.

• If the

SHIFT

indicator is flashing, the act as function keys (see 5.2.1, “The SHIFT key and function keys”).

key will locate the tape to the

indicators are lit or flashing. When

LOC 1

key has been pressed, and the

and

LOC 1

LOC 2

and

first.

keys

LOC 2

LOC 1

key

RHSL

will act nor-

SHIFT

keys will

4) At the punch-out point, moni toring wil l change back to off-tape monitoring.

The tape will continue playing to the po st-roll point and then rewind to the pre-roll point.

NOTE

AUTO PLAY

If the

PLAY

key [12] so that the indicator lights), playback

will start again as soon as the pre-roll poi nt is reached.

mode is active (press the

AUTO

5) Repeat the rehearsal process until you are satisfied with the performance.

6.6.6 Interrupting a rehearsal or punch

recording

Very often while rehearsing a punch-in, you will not want to run the tape all the way to the punchout point (an entry cue is missed, or a mistake is made early on in the take). In these cases, the following procedure applies to both rehearsal and punch recording:

6.6.7 Recording the punch-in

1) Make sure the tape is at the pre-roll point, and press the

The indicator will flash, showing that the DA- 98 is in auto-punch mode.

2) Press

At the punch-in point, the light steadily, as will the tors of any armed tracks. Monitoring will change from off-tape to source and the of any armed tracks will light.

Recording will now actually take place. Any recorded material which was previously on the armed tracks between the punch points will be replaced by the new recording.

AUTO PUNCH

PLAY

. The tape will start playing.

key [10] once.

RECORD

REC FUNCTION

indicator will

INPUT MONITOR

indica-

6-6 – 1.00 – 06/97

3) At the punch-out point, the monitoring will go back to off-tape (the

INPUT MONITOR

indicators of armed tracks will go out), and when the post-roll point is reached, the tape will rewind to the pre-roll point.

NOTE

Section 6 – Basic operations

4) The

AUTO PLAY

If the

PLAY

key [12] so that the indic a tor lights), playback

will start again as soon as the pre-roll point is reached.

AUTO PUNCH

mode is active (press the

indicator will light steadily,

AUTO

showing that the DA-98 is now in replay mode.

6.6.8 Replaying the punched material

1) To replay the punch-in, press the PLAY key.

Playback will start (the tors of the armed tracks will continue to flash).

2) At the post-roll point, the tape will automatical ly rewind to the pre-roll point.

3) If you want to record the punch-i n ag ain, press

AUTO PUNCH

the

key [10] so th at the indicator flashes, and repeat the process described above.

4) If y ou are sati sfied wit h the punch-in, fo llow the steps below, otherwise, pr ess the punch-in point, press the so that the indicator flashes, and repeat the take.

REC FUNCTION

LOC 1

to return to

AUT O PUNCH

indica-

key

6.6.9 Exiting punch-in mode

1) Disarm any armed tracks (press the

FUNCTION

out).

2) Press the

This will exit the mode.

The usual functions, but the punch points are still retained in memory.

3) Press the goes out.

Normal monitoring modes will now be in operation (see 7, “Monitoring modes”)

switches so that the indicators go

CLEAR

LOC 1

AUTO MON

key [11].

AUTO PUNCH

LOC 2

and

key so that the indicator

(or rehearsal)

keys will return to their

REC

06/97 – 1.00 – 6-7

Section 6 – Basic operations

6-8 – 1.00 – 06/97

Section 7 – Monitoring modes

7 – Monitoring modes

NOTE

We strongly advise you to read this section – the effective use of multi track moni toring is o ne of th e ke ys to an efficient recording session.

Like all multitrack recorders, the DA-98 has a number of differen t monitorin g modes, depending on the current monitor status, transport status and whether the track is armed or not.

In addition to the “standard” modes common to most multitrack recorders, the DA-98 includes two new monitoring features: the

MODE

[17], and the individual track

TOR

switches [29]. These are described in this

CONFIDENCE

INPUT MONI-

section.

7.1 Monitoring controls

The controls which affect monitoring are:

INPUT MONITOR

The

switches allow you to perform the same function on a track-by-track basis, allowing you to adjust the level balance between off-tape monitoring and the input source, and are available from a number of modes as described in the table below.

7.1.2 AUTO MON

When replaying a track, you will usually want to monitor the program material recorded on the tape. However, there are times when you want to monitor the source input rather than the off-tape signal, even in play mode.

The following table shows what will be monitored from a track. This depends on the

REC FUNCTION

the

switch settings, and on the

transport mode currently engaged.

AUTO MON

and

ALL INPUT

•

INPUT MONITOR

•

REC FUNCTION

•

CONFIDENCE MODE

•

AUTO MON

•

SHTL MON

•

[18]

[29]

[28]

[17]

[19]

[20]

7.1.1 ALL INPUT [18] and INPUT MONITOR [29]

When these are active, the signal from the DA98’ s outputs will al ways be the input sourc e signal received at the input for the appropriate track or tracks.

When the and the

ALL INPUT

INPUT MONITOR

will light. Monitoring for all tracks will be source monitoring, rather than off-tape.

When the

ALL INPUT

off this mode, the status of the indicators will revert to the status before the

INPUT

key was turned on.

INPUT MONITOR

The

ALL INPUT

the indicator goes out).

key is pressed, its indicator

indicators of all tracks

key is pressed again to turn

INPUT MONITOR

switches are disabled until

key is turned off (the

ALL INPUT

ALL

ON ON ON OFF OFF ON OFF OFF

a. “Selectable” as used here means that individual tracks’

INPUT MONITOR

source and tape monitoring. Off-tape monitoring is obviously only possible when the tape is moving (in recording or play back modes).

b. Confidence mode (see 7.2, “Confidence mode”) is possible in this mode ( and when confidence mode is active, the monitoring is selectable between source and tape.

AUTO MON

The

Tape Source Source SelectableaSelectable Selectable Selectable Source Selectable Selectable Selectable

switches can be used to switch between

AUTO MON

off and

REC FUNCTION

function therefore allows you to

Selectable

on)

switch automatically between monitoring modes as the tape transport function changes.

NOTE

ALL INPUT

The from the table above (when this mode is active, monitoring for all tracks will always be source monitoring, regardless of the status of

key overrides the monitoring mode

AUTO MON

06/97 – 1.00 – 7-1

Section 7 – Monitoring modes

7.1.3 Shuttle monitoring

In addition to these modes, there is one furth er control,

SHTL MON

but only in one special case – shuttle mode. Usually, when shuttling the tape, you will want to monitor off-tape. However, if a track is armed, you may want to listen to the source input signal, rather than the off-tape recording.

NOTE

ALL INPUT

tions described below. Any shuttle monitoring while

ALL INPUT

SHTL MON

The

MON

is off. While shuttling, you can use tracks’

INPUT MONITOR

status) to change between source and off-tape monitoring.

When the

AUTO MON

(the indicators will light), the output from all armed tracks will be the source input. This cannot be changed.

[20], tha t affects monitoring,

overrides any shuttle monito rin g selec-

is on will always be s ource monitoring.

key has no effect when

AUTO

switches (regardless of arming

SHTL MON

and

are both on

wrongly routed, resulting in an unwanted recording being produced, it is a relati v ely simple mat ter to re-record the take.

In a live recording situation, this l uxur y i s not possible. One can hardly ask an orchestra giving a concert to repeat a movement of a symphony for re-recording purposes!

For this reason, the DA-98 includes a confidence mode which permits off-tape monitoring on a track-by-track basis while recording is in progress.

Confidence mode provides monitoringoff-tape while record ing for all track s, except those tracks whose

INPUT MONITOR

switch is active. The monitoring of these tracks will be the input source, not tape.

The actual mechanics of ho w thi s is accompli shed internally are quite complex, but the result is that off-tape s igna ls ar e delayed by about 240 milliseconds relative to the input signal. This means that it is not recommended that you perform punch-ins, etc. in the c onfidence mode.

NOTE

You can always (regardless of any other status except

ALL INPUT

unarmed tracks to switch between source and tape monitoring.

AUTO MON

)

is on, but

INPUT MONITOR

use the

SHTL MON

switch of

is off, all armed tracks will monitor off-tape in shuttle mode. This cannot be changed.

NOTES

You can also disable off-tape shuttle monitoring with the Shuttle Mute function (see 8.6.2, “Shuttle muting”)

Shuttle monitoring is attenuated by 12 dB compared with other monitoring modes. This helps to avoid damage to tweeters, etc. when shuttling fast .

7.2 Confidence mode

When actually recording in a studio, it is usu al to monitor the input signals, rather than the tape. This allo ws acc ur ate synchronization between studio events and the actions of the control room staff. If a “glitch” is later discovered in the recording, or it is discovered that a signal has been

In the confidence mode, overdubbing will be out of sync with pre vious ly re corded tr acks, as wel l as with the input source.

We suggest you use confidence mode only when laying down long takes of basic tracks which will not need punching for correction (e.g. laying down tracks from a video worktape, or classical live recordings). You may also choose to use confidence mode when you are dubbing fr om another audio multitrack tape to the DA-98, to ensure the quality of the transfer.

Another use for the confidence mode is when you are recording using dither (see 8.13, “Dither”). You may want to che ck the ef f ects of dither on t he re-quantized recording as the tracks are being laid down.

7-2 – 1.00 – 06/97

Section 7 – Monitoring modes

7.2.1 Arming tracks in pairs

In confidence mode, tracks are armed and unarmed in pairs (1+2, 3+4, 5+6, 7+8).

NOTE

Turning on confidence mode unarms any tracks which have been armed prior to turning on confidence mode.

1) Pr essing t he

REC FUNCTION

track 2, for i nstance, will a rm both tracks 1 a nd

2) Pressing either track 1 or track 2’s

FUNCTION

key will unarm both tracks (regardless of whic h track’ s was used to arm the tracks).

3) If confidence mode is turned off, track arming and unarming can now be carried out on a track-by-track basis.

Even if tracks were armed in pairs while confidence mode was enabled, when confidence mode is disabled, they can now be unarmed individually.

of either track 1 or

REC

REC FUNCTION

key

flashing. This is to stop you from entering the confidence mode by accident.

5) To leave confidence mode, press the

CONFIDENCE MODE

key once.

7.2.2 Using confidence mode

1) Adjust the r eco rding le v els on al l armed track s.

2) Turn off

the ALL INPUT

NOTE

3) Press the

AUTO MON

Using confidence mode, it is possible to monitor some tracks off-tape during recording while monitoring the input source of others. However , as explained above, the way in which the confidence mode is implemented means that the off-tape signals are delayed by 240 milliseconds relative to the input source signals. Hence, the off-tape and source signals will be out of sync, and we suggest that if “mixed-mode” monitoring is to be carrie d out, the same operator should not attempt to listen to both off-tape and source monitor signals.

CONFIDENCE MODE

The indicator will flash.

4) Press the

CONFIDENCE MODE

five sec onds of pr essing it fo r the f irst ti me. The indicator will light steadily.

If you do not press the twice within five seconds, the indicator will stop

mode and make sure that

switch is off.

key [17] once.

key again within

CONFIDENCE MODE

key

06/97 – 1.00 – 7-3

Section 7 – Monitoring modes

7-4 – 1.00 – 06/97

Section 8 – Advanced operations

8 – Advanced operations

8.1 Autolocation

The DA-98 contains two location memories, accessible throu gh the

LOC 1

and [23]). These also allow a “A facility, which allows you to rehearse part of a mixdown, for instance. These two location memory points are referred to as “MEMO 1” and “MEMO 2”.

In addition to these two location memories, the DA-98 can also store 10 more location memories, which are accessed through the function keys ([9] through [13] and [18] through [22]).

As with the punch recording points (see 6.6, “Punch-in and punch-out”), it is possible to set and edit these points in a number of ways.

LOC 2

and

↔B repeat”

keys([22]

1) Go to menu group 0:

Delay Memo 1

Trk Copy Memo 2

Pitch Loc Pre

10:04:12:12 ABS

If you are only checking the location points, you can see the value of the location point on the bottom line of the display screen. As you move the cursor between value shown will change appropriately. Press

ESCAPE

Memo 1

when you have finished checking.

2) Move the cursor to

ENTER

press

Memo 1

00:04:12:12 ABS

to select th e location poin t to edit.

and

Memo 1

Memo 2

, the

and

8.1.1 Setting MEMO 1 and MEMO 2 “on

the fly”

This can be done r egardl ess of the current status of the tape transport (playing, recording, winding, stopped, or shuttle).

1) Press the

The current tape position will be stored to the appropriate location memory (MEMO 1 or MEMO 2).

The display screen will indicate that the location memory point has been stored.

Position saved in

location memory

10:03:12:24 ABS

MEMO 1

MEMO 2

key; [13] or [14].

8.1.2 Checking, editing and manually

entering MEMO 1 and MEMO 2

The checking, editing, and manual entry of MEMO 1 and MEMO 2 location points are all essentially the same operation. Location points can be edited and entered to frame accuracy.

3) Use the

LEFT

and

RIGHT

keys to select the field you wish to edit (hours, minutes, seconds or frames) and the

and

DOWN

keys to change

the value.

You can reset the value of a location point field to

” by holding down t he UP key and pressing

“

the

There is also an “invisible” field to the right of the location value, which you can use to fine-tune the location point time, as described in 5.1.4, “Editing values”.

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”.

key (or the other way round).

DOWN

8.1.3 Setting the location pre-roll time

When you locate to a loca tion memory ( whether it is one of the MEMO 1/2 points or the 10 “functi on key” memories), the tape wi ll stop at the memorized location point, minus a pre-defined pre-roll time.

As shipped, the DA-98’s default location pre-roll time is 0 seconds. You can edit this to a value between 0 seconds (the tape will locate to the

06/97 – 1.00 – 8-1

Section 8 – Advanced operations

exact location point) and 59 minutes, 59 seconds, in 1 second increments.

NOTE

This pre-roll time is independent of the punch pre-ro ll time (see 6.6.4, “Editing the pre-roll and post-roll times”).

1) Go to menu group 0, move the cursor to , and press

Pre

Locate Pre-roll

2) Use the

LEFT

ENTER

00min06sec

and

RIGHT

keys to select the field

Loc

you wish to edit (minutes or seconds) and the

DOWN

and

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”.

When you go to a location point, the tape will now locate to the location point, minus the value you have just entered. F or instance, if the location point is at “00:12:04:03” and you have set a location pre-roll time of 5 seconds, the tape will locate to “00:11:59:03”.

keys to change the value.

8.1.4 Moving to MEMO 1 and MEMO 2

When you have set the location memories as describe d above, you simply need to press the

LOC 1

tape to these location points. The display will show the location memory value

and the pre-roll time.

Locate Preroll

Point Time

LOC 2

keys ([22] or [23]) to move the

8.2 Function key location memories

As explained earlier, the ten “soft” function keys can be assigned to locate to memorized positions.

8.2.1 Storing a function key location memory

In addition to the MEMO 1 and MEMO 2 memories, you can also assign 10 additional memories to the function keys.

The function keys must be in “location memory” mode (see 5.2, “Function key modes”).

The tape transport can be in any function (play, record, stop, shuttle) when you store a memory and assign it to a function key.

SHIFT

1) Press the

The

SHIFT

2) Press the

Function Preset

PUSH FUNCTION KEY

Locate Position

3) Press the function key to which you want to

assign a memory.

The display screen will show the time of the location memory after you have stored it to a function key.

You can continue to press function keys to add location memory points. If you are recording a song, for example, you could r un the t ape from t he beginning of the song and use the function key memories to mark the beginning of verses, chorusses, instrumental breaks, etc. In post-production work, you could use this feature to mark impo rtant points in the video soundtrack.

key.

indicator will start to flash.

LOC 2/PRESET

key [14]

10:02:23:08 00m03s

The tape will locate to the location memory minus the location pre-roll time, as described above.

8-2 – 1.00 – 06/97

4) To use the function keys for their preset

functions as written on the front panel, press

SHIFT

again so that the

SHIFT

indicator goes

out.

8.2.2 Editing function key memories

Function key memories can be edited in the same way as the MEMO 1 and MEMO 2 memories.

Section 8 – Advanced operations

1) Go to menu group 7, move the cursor to

(Func)

Locate Position

(Function Key)

, and press

F. 1 10:04:23:15

ENTER

ABS

Loc

2) Move the cursor to the function key number, and use the

and

DOWN

keys to select the number of the function key memory that you want to change.

3) Use the

LEFT

and

RIGHT

keys to select the field

(hours, minutes, seconds or frames) and us e the

and

DOWN

keys to change the value of the

field.

There is an “invisible” field to the right of the number. Moving the cursor to this field and press-

ing the whole time value.

and

DOWN

keys will “fine-tune” the

8.2.3 Locating to a function key memory

Once a location has been assigned to a function key, this is the procedure for location to the memory position:

SHIFT

1) Press the

SHIFT

The

2) Press the function key corresponding to the memory to which you want to locate.

The display will show the location point and the pre-roll time, and the tape will start to locate to the appropriate location memory.

key.

indicator will start to blink.

If you have pressed the before pressing the

PLA Y

indicator is on), replay will start automati-

AUTO PLAY

SHIFT

key in step 1, (the

key [12]

AUTO

cally when the location point is reached.

8.2.5 Repeat function

You can repeat playback continuously between the two location memory points (

Memo 2

NOTE

When we talk about the “first” and the “second” locations here, we are referring to the earlier and later location times.

Memo 2

tion as the “second location point”.

Memo 1

, and hence we would refer to it in this sec-

could be at a later time than

Memo 1

and

The tape will wind to a little before the first point (if it is not there already) and start playing. The off-tape monitoring will start a t the first memory location and continue until the second location is reached. The tape will then stop playing, and rewind to a little before the first point and start playing again.

8.2.6 To start repeat play

1) When the two location points have been set, press the

REPEAT

2) The tape will locate to the first location point and start playing until the second location point, rewind to the first location point, and play again. This process will be repeated.

While the tape position is between the two location points, the will flash while the tape position is outside the two location points.

key [21] .

REPEA T

indicator will be lit steadily . It

3) To use the function keys for their preset functions as written on the front panel, press

SHIFT

again so that the

SHIFT

indicator goes

out.

8.2.4 Location and playback

If you press the ing (the

PLAY

playing when it reaches the location point.

If you press

PLAY

the

key will light steadily, the tape will stop

and playback will start immediately.

PLAY

key while the tape is locat-

key will flash), the tape will start

PLAY

twice while the tape is locating,

3) Stop the repeat function by pressing the

REPEAT

key.

REPEAT

The

If the tape is playing, it will continue playing (past the second location point).

indicator will go out.

06/97 – 1.00 – 8-3

Section 8 – Advanced operations

If the tape is rewinding to the first location point when the

NOTES

• The two location points must be a t le ast 5 seco nd s ap ar t for the repeat facility to be operational.

• If you have only set one location point, the repeat will be between “00:00:00:00” and the location point.

• Pressing any transport control while repeat play is in progress will stop the replay, but will not cancel the repeat mode. To restart the repeat playback, locate to either location point, and while the tape is winding, press tape is before the second location point.

REPEAT

PLAY

. Alternatively, press

key is pressed, it will stop.

PLAY

while the

8.3 Track delay

The DA-98 allows you to delay tracks relative to the other tracks, either when recording or playing back. You can use this function for post-production “slip”, compensate for delays caused by external processing equipment, allow for propagation delay in multi-microphone sessions or add special effects.

The track delay can be set from –200 samples to +7200 samples. A negati ve number means that th e track on which the “delay” setting is made is advanced in time relative to the other tracks. However, this does not mean th at th e DA-98 includes a time machine! Sin ce the moni tori ng head i s a “v irtual” head, made of a composite of delayed offtape and input source si gnals, t he “po sition” of the recording head can be adjusted in both directions.

The track delay, expressed in seconds, is between –4 to +150 millisec onds. At a typ ical sou nd prop agation rate, the maximum value corresponds to about 50 meters (about 160 feet) of distance.

8.3.1 To set the track delay:

1) Select menu group 0, and move the cursor to

Delay

. Press the

ENTER

key:

2) To select the track whose delay time you want to change, move the cursor to the number at

the bottom left of the scre en and use the

DOWN

keys to select the track.

If the function key s are in n umb er en try mode (see

5.2.2, “Using the function keys as n umber keys”),

F 1

you can use keys through 8 directly.

You can select tracks can be selected using function keys 9 or 10).

through

F 8

to select tracks 1

through 8 or

all (all

and

3) By moving the cursor to the bottom right parameter (shown here as “ using the

and

DOWN

keys, you can display

Sample

”), and

and set the track delay in either samples or

msec

milliseconds (

4) Mo ve the cursor to the cen tra l number. The

DOWN

and

keys will change the delay value for

the selected track(s).

Remember that you can reset the value to zero by

pressing and holding the

DOW N

the track, then all track delays will be reset to zero.

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”.

NOTE

When any track is set to be d ela yed , th e tor by the tape counter [2] will light.

key . If “

all

key and then press ing

” has been selected for the

DELAY

indica-

8.4 Crossfade times

As we mentioned earlier (see 6.6, “Punch-in and punch-out”), digital punch recording requires that the original and new signal be crossfaded over a short period of time.

Track Delay Time

Track

1 0000 Sample

8-4 – 1.00 – 06/97

The factory default crossfade time for the DA-98 is 10 ms, and this can be adjusted in 10 millisecond steps to a maximum of 200 ms.

For the most part, 10ms is an adequate value and will produce seamless punches, but there may be times (matching reverb settings, etc.) when a longer crossfade is required.

Section 8 – Advanced operations

1) Select menu group 1, move the cursor to

and

ENTER

DOWN

10ms

keys to adju st the

Fade

Crossfade Time

2) Use the

and press

X-

crossfade time.

You can also use the function keys to enter the value directly, as described in 5.2.2, “Using the function keys as number keys”

8.5 Vari speed (pitch control)

The speed of recording and playback (and hence the pitch) of the DA-98 can be adjusted to 6% above or below normal speed in 0.1% steps.

NOTE

You cannot operate the pitch control when the DA-98 is slaved to another unit, or synchronized to an external word clock (see 4.2.3, “Word clock connections”) or to a video clock (see 4.2.2, “Video connections”).

steps.

NOTES

•The

• If pull up or pull down (Fs shift) is enabled (see 10.3.1,

V ARI SPEED

will light whenever the setting is speed is set to

“Pull up and pull down (Fs shift)”, vari speed cannot be enabled.

indicator by the tape counter [2]

Vari

, even if the

0.0%

Playback and recording will now take place at the new speed.

8.5.2 Resetting the speed to standard

1) Selec t menu 0, mov e the cursor t o and press

Vari Speed

ENTER

Vari + 1.4%

2) Move the cursor to the

Vari

Vari Spd

field.

8.5.1 To set a non-standard speed

1) Selec t menu gr oup 0, mov e the cur sor to , and press

Spd

Vari Speed

2) Use the

LEFT

cursor by the left parameter (

3) Use the

rather than

V ARI SPEED

The will light.

ENTER

Fix + 0.0%

and

DOWN

and

Fix

RIGHT

keys to select

keys to move th e

indicator by the tape counter [2]

Vari

4) Mo ve the cur sor to the v alue sett ing and use the

and

DOWN

keys to alter the speed in 0.1%

Vari

Fix

Vari

3) Use the to

Fix

The

V ARI SPEED

and

DOWN

keys to change

indicator by the tape counter [2]

will go out.

NOTE

Remember that the status of the the variable speed. If the speed is set to a value other

0.0%

than remain at the standard value until

Vari

V ARI SPEED

Vari/Fix

, and the status is

indicator reflects the

parameter, not the value of

Fix

, the

Fix

is changed to

8.6 Shuttle operations

The shuttle switch, indicator and knob [26] are used to simulate the “rock and roll” location method on open-reel tape decks, allowing you to locate a point on tape through audible cues.

As the knob is moved from the center detented position, the shuttle speed becomes higher.

Vari

speed will

The variation in speed is not continuous; but as you turn the knob from the center position, the shuttle speed changes, following these values (rel-

06/97 – 1.00 – 8-5

Section 8 – Advanced operations

ative to normal speed): 0.25 , 0.5, 1.0, 2.0, 4.0, 8.0 . The 1.0 speed is only available when shuttling in the forward direction.

Shuttle operations are only possible when the

SHUTTLE

indicator is lit (press the

SHUTTLE

switch).

NOTE

SHUTTLE

If the center position for 10 seconds, the shuttle mode is disabled, and the indi c a tor go es off.

knob remains untouched at the

8.6.1 Shuttle monitoring

This is also covered in 7.1.3, “Shuttle monitoring”.

The default behavior of the DA-98 is that when shuttling the tape, you can choose whether to monitor off-tape or source when shuttling, using the tracks’

NOTE

INPUT MONITOR

switches.

1) Enter menu gr oup 2, mo ve the curso r to and press

Mute

Shuttle Mute

ENTER

Shtl

off

2) Use the

mute

and

off

DOWN

keys to set the shuttle

8.7 Reference levels

The value of reference level (for analog inputs and outputs) on the DA-98 can be selected from among three standard values: TASCAM, SMPTE and European reference levels, depending on the application. The meanings of these three levels are:

Standard

Reference

level

(0dBFs)

Nominal

level

Maximum

level

When monitoring in shuttle mode, the monitor signal is attenuated by 12 dB (to avoid possible damage to ears and speakers ).

AUTO MON

When

[19] is on, the monitoring of

any armed tracks wil l be of f-tape, unl ess the

MON

[20] is on, in which case, the monitoring of armed tracks will be sourc e input . The moni tori ng of all other (unarmed) tracks can still b e switched on a track-by-track basis using the tracks’

MONITOR

The

MON

switches.

SHTL MON

is on. When

key is only enabled when

AUTO MON

is off, it has no

effect.

8.6.2 Shuttle muting

As explained a bov e, s huttling the t ape will u sually allow of f-tape monitor ing. Ho wever, there ma y be times when you will want to mute all off-tape signals when shuttling.

SHTL

INPUT

AUTO

TASCAM –16dB +4dBu +20dBu European –18dB +4dBu +22dBu SMPTE –20dB +4dBu +24dBu

To set the reference level, perform the following steps:

1) Enter menu group 2, move the cursor to

Level

2) Use the the following:

-20dB

, and press ENTER:

Analog In/Out

Reference Level

-16 dB

and

DOWN

-16dB

keys to select between FS,

-18dB

FS.

FS and

Ref

8-6 – 1.00 – 06/97

Section 8 – Advanced operations

REF LEVEL

The following way to show the level selected:

Level Indicators

-16dB

-18dB

-20dB

NOTE

FS FS FS

Any tapes produced with the TASCAM DA-88 or DA38 will conform to the TASCAM standard.

indicators [7] will light in the

indicator is lit

Neither indicator is lit

indicator is lit

8.8 Meter modes

The DA-98 peak bargraph meters can be customized to suit your working preferences. Both the peak hold time and the “ballistics” of the meters can be adjusted.

8.8.1 Peak hold time

1) Enter menu group 2, move the cursor to

Meter Mode

Level Meter Mode

Peak Hold Release

0 sec Fast

and press

ENTER

8.8.2 Meter ballistics

Use the same menu ( described above to change the “fall-back” ballistics of the peak meters. You cannot change the rise time of the meters, which are fixed with peak meter characteristics.

1) Move the cursor to the and use the between

Slow, Medium

Level Meter Mode

Release

DOWN

and

keys to select

and

Fast

parameter

8.9 Sine oscillator

The DA-98 incorporates a digital oscillator for lineup and signal tracing pur poses. This oscillator is a sine-wave oscillator at either the standard tuning frequency of 440Hz or the standard tape lineup frequency of 1kHz.

The oscillator signal level is at the nominal signal level of +4dBu (but note that since the oscillator is a constant sine wave, it cannot truly be compared with “real-world” transient signals).

To operate the oscillator:

1) Enter menu 2 , move the curs or to and press

Sine Oscillator

ENTER

Sine Osc.

) as

2) Use the

Peak Hold

LEFT

RIGHT

and

keys to select the

parameter and the UP and keys to set th e value for the peak signal level hold time.

This value can be set to values between 0 seconds (peak levels are not held at all) and 9 seconds. There is another value, permanently display the maximum peak signal level. This can be useful if you are doing a “dry run” rehearsal, but you cannot keep your eyes on the meters all the time that the rehearsal is going on.

You can also use the function keys in the number key mode (see 5.2.2, “Using the function keys as number keys”) to enter the peak time directly.

NOTE

To turn off the peak hold display if been set, change the peak hold value to the meter segments will “drop back”.

Continue

DOWN

, which will

has

seconds and

2) Use the

and

oscillator between

When the oscillator is turned on, it overrides all other track inputs.

WARNING

When using the oscillator, you should turn down the monitor level s in the control room and studio to avoid damage to your ears (and the speakers).

off

DOWN

keys to turn the

off, 440 Hz

8.9.1 Recording the oscillator

As mentioned above, the oscillator overrides all other track inputs , r e gardless of whether digital or analog input has been selected.

Recording the oscillator test tone is therefore similar to any other recording operation.

and

1kHz

06/97 – 1.00 – 8-7

Section 8 – Advanced operations

8.10 Digital recording

The DA-98 is able to accept (and output) digital signals at the

DIGITAL I/O

1 format. The IF-88AE and IF-88SD interface units provid e conversion to and from AES/EBU (and SP-DIF) and SDIF-2 formats.

The DA-98 should be connected to other TDIF-1 equipment using a PW-88D or PW-88DL connector cable.

WARNING

Only use a TASCAM digital cable when making digital audio connections to the DA-98. Other types of cable may cause damage to the system, and the warranty will be voided if such damage is caused by use of the wrong cables.

The DA-98 shou ld be set to be ei ther a word clock master or a word clock slave when connected to other digital equipment. There can only be one word clock master in a setup.

connector [45] in TDIF-

1) Sele ct menu 2, mo v e the cur sor to and press

TDIF Word Length

2) Use the between

We suggest that you experiment with the dither settings (see 8.13, “Dither”) if you find you are recording quantization noise at low levels when the input word length is set to 20 or 24 bits. Though you will lose a little in the signal-to-noise ratio, total harmonic distortion figures will be improved.

NOTE

If you are dubbing tracks from a DA-88, this value must always be set to 16 bits.

ENTER

16, 20

DOWN

and

and 24 bits.

16 bit

keys to change the value

Word Len

Since the TDIF-1 format carries a word clock as part of the interface, there is no need to make a word clock connection when recording through

DIGITAL I/O

the

connector.

8.10.1 Changing between digital and analog inputs

To change between digital and analog inputs, simply press the

indicator will light.

NOTE

If you attempt to record digitally from a digital source which has a different frequency from that previously recorded as the DA-98’ s tape format, the Fs indicator corresponding to the tap es samplin g f requenc y will start to flash. This indicates a frequency mi smatch.

Recording with differ en t samplin g fre qu enc ie s is not recommended – probl ems will cer tainly o ccur on replay of such a recording.

DIGITAL IN

switch [15]. The

DIGITAL

8.10.2 Selecting word length

When data is accepted through the connector, the word length of the incoming data must be set. This can be selected from between 16-bit, 20-bit or 24-bit. To set the word len gth:

DIGIT AL I/O

8.11 Routing digital inputs

When recording analog signals, it’s usual to route them through a console’s sub-grouping system or if the number of groups is not sufficient, through an external patc hbay.

Neither of these is an easy option with digital signals, and so the DA-98 provides a kind of internal patchbay in the form of the Track Copy function (see 8.11.1, “Track Copy (chann el-to-track r outing)”).

The default setting for this feature is “straight through”, as shown below.

1 2 3 4 5 6 7 8

1 2 3 4

Track Copy Input 12345678 (Dig) Tape Track 12345678 on

3 4 5 6 7 821

5 6 7 8

Inputs

Tape tracks

8-8 – 1.00 – 06/97

Section 8 – Advanced operations

However, each track can be patched internally to take its input from any one of the eight inputs or from any one of the other ta pe tr ac ks. Note that in the example below, it is possible for a track to act as an input source to another track at the same time that it is recording from an external input. This allows great flexibility in dubbing situations.

1 2 3 4 5 6 7 8

3 4 5 6 7 821

Track Copy Input 1234 (Dig) Tape 1234 Track 12345678 on

Inputs

Tape tracks

Naturally since the DA-98 tracks are digital, there is no loss of quality incurred when tracks are transferred.

NOTE

3) Use the

LEFT

and

RIGHT

keys to move th e

cursor to the track you want to route.

You can also use the function keys as number k ey s for direct selection of the track (see 5.2.2, “Using the function keys as number keys”).

4) Use the UP and

DOW N

keys to change the track input between inputs 1 through 8 and tracks 1 through 8.

NOTE

If you change fro m analog to digital input (see 8.10.1, “Changing between digital and analog inputs”) or vice versa, the display will change between

(Dig)

as appropriate.

(Ana)

and

5) To re-route a track to its input, press and hold down the

key and then press the

DOWN

key.

8.12 REC MUTE (recording

silence)

There may be times whe n you wish t o prevent any signal from reaching an armed track (in other words, when you record, you are recordin g silence onto the track.

1) Enter menu group 1, move the cursor to

mute

and press

ENTER

Rec

It is not possible to combine tracks (as in conventional “ping-pong”) using the Track Copy function. Combining of tracks must be carried out through an external mixing console. You can bounce a track to itself, but it is not a particularly meaningful process!

8.11.1 Track Copy (channel-to-track routing)

1) Select menu group 0, move the cursor to

and press

Copy

Track Copy

Input 12345678 (Ana)

Tape

Track 12345678 off

2) Use the

LEFT

cursor to the display and change it to

The

TRACK COPY

ENTER

and

off

RIGHT

keys to move th e

on the bottom line of the

indicator will light.

Trk

Rec Mute

Off

trk 12345678

In the screen above, tracks 7 and 8 are muted (no input signal is routed to them).

2) Use the

»»»»»»

LEFT

and

RIGHT

navigate betwe en tr acks. Us e the

cursor keys to

»»

and keys to switch the track muting of individual tracks on or off.

Pressing and hold ing the UP key and then press ing the of all tracks.

key will reset the REC MUTE settings

DOWN

8.13 Dither

Dither is the technique of adding a kno wn noi se to low-level signals, especially when converting from a high number of bits (for instance 24 or 20

DOW N

06/97 – 1.00 – 8-9

Section 8 – Advanced operations

input bits, as in the case of the DA-98) to a lower number (for instance 16, the DA-98’s tape word length) to improve quantization.

Paradoxically, this technique of adding noise removes quantization noise and distortion at low signal levels and improves the overall distortion figures.

Though quantization noise is reduced, there is a loss of a few dB in the signal-to-noise ratio. For this reason, the DA-98 does not implement dither as a standard, but allows you to choose between no dither, rectangular or triangular (the shapes refer to the distribution of values in the digital noise). Rectangular gives about 3dB better signalto-noise ratio than triangular, but there is noise modulation, which may be audible when recording and playing back low-level program sources.

NOTES

• We suggest using the confidence mode of off-tape monitoring when recording using dither in order to be able to check the effect instantly (see 7.2, “Confidence mode”).

• Dither can be turned on and off while recording is taking place. However, there will probably be an audible change in the sound quality. We sugg e st makin g a test recording before a session using confidence mode. In this way you will be able to make an instant assessment of the effects of the different dither settings on your program material.

8.14 Setting the power-on message

You can set a power-on message of up to 20 characters (letters, numbers and some punctuation) which will be displayed when t he D A-98 is turned on.

The default message is

TASCAM

other than this:

1) Select menu group 2, move the cursor to

PwrOn Msg

Power-on Message

ROCKJOE STUDIOS

and press

S CLEAR INIT

ENTER

2) To clear the current message, use the

RIGHT

keys to move the cursor to

the ENTER key

press

3) Use the

LEFT

and

RIGHT

keys to move the

cursor to the left field, and press the

DOWN

keys to select a character.

Characters available are: A through Z, -, ., [space] and “

4) Press

” for the “0” (zero) character).

ENTER

through9 (you can use the letter

to confirm the character and add

it to the end of the power-on message.

.T o set a message

LEFT

CLEAR

and

8.13.1 Selecting dither settings

1) Select menu group 1, move the cursor to

Dither

2) Use the

and press

Rectangular

and function you want, and pr ess the setting.

A full discussion of dither and other digital audio techniques is outside th e scope of this manual. However, a good starting point for learning about this, and other aspects of digital au dio, is John Watkinson’s

Digital Audio

8-10 – 1.00 – 06/97

, pub Focal Press.

ENTER

DOWN

keys to select the dither

ENTER

to confirm

The Art of

5) Press entered.

NOTE

To reset the message to to message will be erased and replaced.

ESCAPE

and press the

INIT

when all characters have been

TASCAM

ENTER

, move the cursor

key. The

current

Section 9 – Synchronization with other DTRS units

9 – Synchronization with other DTRS units

This section describe s the techniq ues and methods to be followed whe n the DA-98 is linked to oth er DTRS units (e.g. TASCAM DA-38, DA-88 and of course other DA-98 units).

Up to 16 DTRS units can be linked, for a total of 128 digital tracks.

If you are connecting DTRS units of different types to the DA-98, use the DA-98 as the master unit and the other units as slave units.

9.1 Synchronization connections

As described in 4.4.1, “Multi ple DTRS uni ts”, t he cable to be used when connecting the DA-98 to other DTRS units for synchronization purposes should be a PW-88S cable. This is 1 meter (3 ft.) long. If you require a longer cable, please consult your TASCAM dealer.

from

INT

[30] or to connect the

WORD SYNC

connectors [39].

WARNING

Always make and break all synchronization connections with the power to all units in the chain turned OFF.

9.2 Machine ID and master/ slave settings

Each DTRS unit in the chain must be assigned a machine ID. The unit at the head of the chain (the master) should have ID number 1.

Though not strictly necessary, we suggest, that IDs are assigned in a consecutive sequential order from the head of the chain.

9.2.1 Differences between DTRS models

The DA-98 and DA-38 both use machine IDs that are set by software (the machine must be turned on for the ID t o be set). The values for the IDs of these models start at “1” and go up to “16”.

WARNINGS

• Be sure to use only the optional PW-88S sync cables. The use of any other cables could damage the DA-98.

• Be sure to connect the termination plug that comes with the PW-88S cable to the last slave’s SYNC OUT connector [44], or else incorrect functions may occur.

• Turn on all the DTRS units in your system, regardless of whether you actually use all of them. A unit or units turned off will make synchronization impossible.

• To synchronize multiple DTRS units, use a pre-formatted tape in the master unit, and also in the slave units. Since the DTRS system uses ABS time to achieve synchronization, tapes without ABS t ime re co rde d on th em make synchronization impossible.

• To synchronize multiple DTRS units, all the tapes in each unit must be formatted at t he same sampling rate, or synchronization is impossible.

The synchronization connections form a “daisychain”, with the master unit at the head of the chain, and the last slave at the tail.

Connections are made from the one unit to the

REMOTE IN/SYNC IN

SYNC OUT

[44] of

[43] of the

next. You do not need to change the

CLOCK

setting

The switch on the back of the DA-88 is only operative when the u nit is turn ed of f. I t is ma rke d fro m “0” through “F”.

When including DA-88s and DA-98s in the same chain, add 1 to the number shown on the DA-88’s rear panel machine ID switch to make the DA88’s machine ID match the series of the DA-98 (and DA-38) IDs. Any DA-88 whose Machine ID is not 1 (the switch has been set to a value other than 0) will show its Slave ID briefly at power-on.

Therefore, for a chain of three units; a DA-98 as master, with a DA-88 and DA-38 as slaves, the machines’ IDs should be set as follows:

Unit

DA-98 1 1 Menu system (see

DA-88 1 2 Rotary switch on

How the ID is

set

below)

OFF

rear panel

06/97 – 1.00 – 9-1

Section 9 – Synchronization with other DTRS units

1) On each slave unit, go to menu group 3, move the cursor to

Unit

How the ID is

set

Time Mode

TimeMode

and press

ENTER

DA-3 8 3 3 Tape count e r

menu system

It therefore mak es se nse to set the machine IDs of all DA-88s in the chain first, immediately after connections have been made with the power off, and then turn on power to all units b efore setting the machine IDs of all DA-98s and DA-38s in the chain.

NOTE

When you set the machine IDs, you can set the ID of any machine first, but we recommend doing this in a standard sequence, working from the head of the chain to the end.

9.2.2 Setting machine ID

1) Select menu group 3, move the cursor to , and press

Machine ID

ENTER

Mcn

ABS

If the bottom line does not show

), press the UP or

displayed.

DOWN

2) On each slave unit, press the

key so that

CHASE

ABS

switch

(if it shows

ABS

[16].

The

CHASE

indicator will start flashing.

3) Press any of the transport controls on the master unit (machine ID 1). The slave unit(s) will synchronize and follow the transport commands of the master.

When a slave unit is locked to the master unit, its

CHASE

indicator will light steadily.

4) To turn off chase mode on a slave unit, press the the

CHASE CHASE

switch or the indicator goes off.

STOP

key [34] so that

Machine 1

2) Use the

from

NOTE

If you try to set the ID to a value other than 1 when the synchronization cable is not connected, the display will show an error message. Press message and continue.

to 16.

and

DOWN

keys to select a value

ESCAPE

to remove the

9.2.3 Master/slave settings (CHASE mode)

Each unit with an ID greater than 1 is regarded as a slave unit.

9.3 Machine offset

It is sometimes necessary to offset a unit in the chain relative to the master unit. This offset can be set to frame accuracy to a maximum value of

±02:00:00:00.

NOTE

This offset is unrelated to timecode offset and refers only to the machine offset when synchronized to other DTRS units.

9.3.1 Setting machine offset

1) Select menu group 3, move the cursor to

Offset

Machine Offset

, and press

+00:12:38:00 ABS

ENTER

Mcn

9-2 – 1.00 – 06/97

Section 9 – Synchronization with other DTRS units

Backing music

Copy of video worktape audio trac ks

Connection from

SYNC OUT to SYNC IN

00:57:00:00

Start of tape

01:00:00:00

Start of video

01:02:21:18

Music entry

00:57:00:00

Start of tape

01:00:00:00

Start of music (tape is cued here)

Press the UP or DOWN key at this point. Offset will be set to 00:02:21:18

2) Use the

LEFT

and

RIGHT

keys to select the field to be edited (hours, minutes, seconds or frames) and the

and

DOWN

keys to change

the value of that field.

You can use the function keys as number keys (see

5.2.2, “Using the function keys as number keys”) to enter the value directly.

You can also change the sign of the offset value

between

3) Use the

and - by moving the cursor to the sig n.

ENTER

key to confirm the setting.

NOTE

There is an “invisible” field immediately to the right of the frames field. If you place the cursor there an d increment or decrement the value, you can change the time as a whole (as the frame field passes its maximum value, the seconds field will increment).

9.3.2 Cancelling machine offset

To cancel machine offset, simply set the offset value to 00:00:00:00.

1) Press and hold down the

DOWN

key to reset the value in the

Offset

menu (see above).

Machine offset will now be cancelled.

key and press th e

Machine

9.3.3 Setting machine offset “on the fly”

As well as entering an absolute number, it is also possible to enter a number “on the fly” as the tapes are playing.

4) Locate the two tapes (mas ter and slave) so that they have the right offset.

You can play the tapes and pause them or car ry ou t the next operation while one or both tapes is being played back.

5) Press either the UP or

DOWN

key at the correct

offset time to capture and store the offset.

The current difference between the master and slave tapes will be be displayed on the bottom line of the display screen and stored as an offset.

NOTES

The value entered in this way can be edited later using the technique described above.

You cannot determine the offset from an unformatted tape, or if either tape is currently displaying a negative ABS value.

9.3.4 An example of setting offsets

A practical example of setting offsets is given here.

The master DA-98 contains the tape with the dialog and reference tr ack s fr om the video worktape. Another DA-98 (the slave) has a tape with some tracks containing video backin g music.I t is nec essary to produce an offset between the two so that when the master is played, the music tracks will start at the correct time relative to the dialog and reference tracks.

1) On the slave machine, select menu group 3, move the cursor to

ENTER

2) Make sure chase mode (see 9.2.3, “Mast er/sla ve settings (CHASE mode)”) is off on the slave unit.

3) Use the

LEFT

cursor to a second “invisible” field to the right of the frames field

Machine Offset

and

AUTO OFFSET

Mcn Offset

RIGHT

keys to move th e

, and press

06/97 – 1.00 – 9-3

Section 9 – Synchronization with other DTRS units

1) Locate the slav e tape with the ba cking musi c to the start of the music.

The shuttle mode is useful here (see 8.6, “Shuttle operations”).

2) Rewi nd the master to a little before you want the music to enter.

3) Make sure the slave is ready to accept an “onthe-fly” offset entry as described above.

4) Start playing the master DA-98.

5) When the music entry point is reached, press

DOWN

the

6) Stop the master, and set the slave into

key to capture the offset point.

CHASE

mode (see 9.2.3, “Master/slave settings (CHASE mode)”).

7) Rewin d the master to a little before the music entry and start playing.

The slave machine should no w follow the tr ansport movements of the master, with the appropriate offset, so that the music enters at the right point.

You may want to exploit these features of the DTRS system to make archi v e cop ies, and “s afet y copies” of important material (see 1.5, “Recommended tapes” for our suggestions on tape use).

1) With the power to all units turned OFF, make the synchroniza tion connections as described i n

9.1, “Synchronization connections”.

Remember to terminate the slave unit.

2) Connect the (source) to the

Use only the approved cables (PW-88D or PW88DL) to connect the DTRS units. Use of any other cables can cause damage to the units and will invalidate the warranties.

DIGIT AL I/O

DIGITAL I/O

[45] of the master unit

of the slave (target).

3) Turn on both units. Make sure the machines’ IDs are correctly set (see 9.2.2, “Setting machine ID ”).

4) Insert the master tape into the source master and a blank tape, formatted with the same sampling frequency as the master tape, into the target sla ve.

9.4 Digital dubbing

`o`t`r`g

PW-88S (sync cable)

`o`t`r`g

PW-88D or PW-88DL (digital I/O cable)

Terminator plug

When you copy tapes between DTRS units in the digital domain, there is no loss of quality. A “worktape” or copy is therefore indistinguishable from the ori ginal. Additionally, the DA-98 uses low-cost media (Hi8 video cassettes).

NOTE

When you copy tracks from DA-88 units, the word length should be set to 16 bits (see 8.10.2, “Selecting word length”)

SOURCE MASTER

TARGET SLAVE

5) Select

DIGITAL INPUT

on the target slave (see

8.10.1, “Changing between digital and analog inputs”).

6) Put the target slave machi ne into

CHASE

mode (see 9.2.3, “Master/slave settings (CHASE mode)”).

7) Locate the master tape to a point before the material you want to duplicate.

The target slave will also locate since it is in CHASE mode.

8) Arm all tracks (

REC FUNCTION

) on the target

slave machine.

9) Make sure that all

REC FUNCTION

switches on

the source master are turned OFF.

NOTE

REC FUNCTION

If any are turned on, you will erase your master tape! Y ou may want to use the tape’s write-protect tab (see 6.3.1, “Write-protecting cassettes”).

switches on the source master

9-4 – 1.00 – 06/97

Section 9 – Synchronization with other DTRS units

10) On the master machine, hold down

PLAY

and press

No recording will take place on the source master, but the tracks will be recorded digitally on a oneto-one basis to the target slave.

There is no need to carry out any special pre-dubbing procedure such as timing the digital output – the digital and analog outputs are separate.

You can use the Tr ack Copy f unctions on the target slave machine (see 8.11, “Routing digital inputs”) to transfer tracks from the source master tape to different tracks on the target slave. Note that you cannot combine tracks by this method.

RECORD

9.4.1 Synchronized formatting

When several units are connected together, you can format sev eral tapes simultaneously, using one machine as the master. This can be a very convenient way of saving time and effort.

1) Make sure that all machines are connected

SYNC

together using the described above, and that the last unit in the chain is terminated.

2) Load a blank unformatted tape into each DTRS unit.

Make sure all tapes are the same length.

3) Press the

CHASE

switch [16] on all of the slave

DTRS units. The indicator will flash.

4) Press

FORMAT/Fs

[6] twice within five seconds, on each of the DTRS units (master and all slaves) so that all

The first time you press the FORMAT/Fs switch , the indicator will flash. Press it again within five seconds to select format mode. If you wait more than 5 seconds, the indicator will stop flashing.

If you press the

FORMAT

the format operation.

FORMAT

CLEAR

indicator is lit steadily, you will cancel

5) Select the same sam pling rate (48kHz or

44.1kHz) on each DTRS unit.

Any slave DTRS unit which has a different sampling frequency selected from that selected on the master will display an error message.

connections, as

indicators are lit.

key [11] while the

6) Press and hold master. All slave units’

PLAY

and press

CHASE

RECORD

on the

indicators will light steadily, and the tapes will start to be formatted in synchronization.

9.4.2 Recording while formatting

As with a single-machine format (see 6.1.2, “Recording while formatting”), it is possible to record while formatting.

You may want to use this feature when making a live multi-machine recording, and there has not been time to format al l t he t apes in advance of the performance.

Remember that you should let the tapes run to the end–you should not halt the formatting/recording process part of the way through the tape.

9.5 Error messages

These error messages refer to DTRS synchronization:

WARNING!

TDIF(dubbing)cable

not connected

Appears if the digital cable is not connected.. Reconnect th e correct cabl e to the

DIGITAL I/O

connector.

WARNING!

No clock from MASTER

Check connections

and settings

Appears when the sync cable is not connect ed, the master has been turned off, or the master’s sampling frequency is different from that of the slave unit’s. Recheck these parameters.

If either of these messages appears, correct the fault, and press the

ESCAPE

key to return to nor-

mal operation.

06/97 – 1.00 – 9-5

Section 9 – Synchronization with other DTRS units

9-6 – 1.00 – 06/97

Section 10 – Operations related to timecode

10 – Operations related to timecode

The DA-98 contains synchronization facilities, including a timecode generator, which allow it to act either as a timecode master or a timecode slave.

If timecode is recor ded, a speci al discre te subcod e track is used, which leaves all eight tracks free for recording and playback of audio material.

However, the DA-98 is able to synchronize with external timecode devices, even if the DA-98 tape has not bee n striped, by converting its internal servo subcode (ABS) to timecode “on-the-fly”.

A full range of options is provided for full compatibility with the widest possible range of other equipment.

10.1 ABS and SMPTE/EBU timecode

In some menus, by the time value, you may see

ABS

either ferent timing reference methods and the differences between them.

10.1.1 ABS time

“

ABS

time of the tape as recorded on the subcode of the tape. This timing starts at the beginning of the tape with a value of 00:00:00:00. This is the ti m in g r ef erence used when the DA-98 is not using SMPTE/ EBU timecode.

Timecode (whether SMPTE or EBU) contains a fixed number of frames per second. However, the ABS method of timing works in a slightly different way.

or TC. Here, we explain these two dif-

” stands for “Absolute”, and is the absolute

This pattern is repeated every three seconds, as you will notice when you set frame values using the menu system in ABS mode. When multiple DTRS units are connec te d t oget he r i n DTRS sync mode, the master unit always outputs ABS timings to the slave unit(s).

10.1.2 Tape timecode

“TC” stands for timecod e, and is sho wn when e v er a SMPTE/EBU timecode value is use d rather than the ABS value. The timecode may be internal or external and can be SMPTE/EBU, received and transmitted via the

TIME CODE IN/OUT

or SMPTE/EBU timecode synthesized from the ABS subcode (see 10.2, “Tape timecode mode”).

Whether the SMPTE/EBU timecode is generated or synthesized, we wil l re fer t o it as “t imecode” in this manual, to distinguish it from ABS timing values.

SMPTE/EBU timecode can be re-produced independently of ABS timings and can be of any frame format supported by common timecode standards.

When multiple DTRS uni ts are connected , and the master unit’s

CHASE

mode is set on, the master will chase to any incoming timecode, regardless of whether timecode or ABS timings have been selected as the time mode (see 10.1.3, “Selecting TC or ABS timing” below).

Timing information received and transmitted from and to external controllers (e.g. RS-422, MIDI or Bus) will always be referenced to timecode values.

When the DA-98 is refe renced to its ab solute

ABS

timecode, the

indicator to the left of the tape counter [2] will light, and when referenced to timecode (internal or external), the will light.

jacks [37],

indicator

In three seconds of time, there are 100 frames. These frames are allocated as follows:

Second

00 – 01 33 32 01 – 02 33 32 02 – 03 34 33

Number of frames

Maximum frame value displayed

10.1.3 Selecting TC or ABS timing

NOTE

This procedure is fundamental to synchronization operations. If you select absolute timing mode when you want to synchronize with timecode, you will be unable to synchronize the DA-98.

06/97 – 1.00 – 10-1

Section 10 – Operations related to timecode

To chan ge between the two different time reference modes, perform the following procedure:

1) Select menu group 3 and press

Mcn ID Ctrl Prt

McnOffset Trk Arm

TimeMode

ABS

2) Select

Time Mode

3) You can use the

ABS

either

The appropriate indicator by the tape counter (either

(absolute) or TC (timecode).

ABS

and press

or TC) will light.

and

DOWN

ENTER

keys to select

10.1.4 Location point settings

NOTE

If you change an offset value (timecode or ABS), any punch points, location memories, etc. will be invalidated. For example, if you change the offset to 00:30:00:00 (30 minutes) from 00:00:00:00 (no offset), a punch point which was previously at 00:33:00:00 (33 minutes into the tape) will still have the same value (00:33:00:00), but will now be only 3 minutes into the tape.

10.2.1 TcTrack setting

This is the one s etting in this menu wh ich does not use the ABS conversion facility. You should only

use this setti ng if you ha v e alre ady st riped th e dedicated timecode track with timecode (either from an external source or from the DA-98’s own internal generator).

If you have selected

TcTrack

in the menu above, any timecode recorded on the tape will be used as the tape timecode source.

10.2.2 ABS setting

If you have selected ABS subcode time from the tape will be used as the timecode, with the start of the tape having a timecode value of 00:00:00:00, as with the ABS code itself.

The timecode frame rate used will be the frame rate as selected in 10.3, “S electing the frame rate”).

NOTE

If you are using ABS timings as timecode, the hours, minutes and seconds of the ABS time will correspond to the converted timecode,

29.97 non-drop or 30 drop. In these cases, the difference between ABS values and timecode values will be about 2 seconds per hour.

ABS

in the menu above, the

unless

the frame rate is set to

10.2 Tape timecode mode

The following procedure allows you to select the source for tape timecode (including ABS timings used to synthesize SMPTE timecode. This synthesized timecode is treated exactly as if a tape had been striped with timecode).

1) Go to menu group 5, move the cursor to

Tape TC

Tape TC Mode

2) Use the

, and press

and

the various options:

ABS-13

Ofs

These options are all described individually below.

10-2 – 1.00 – 06/97

DOWN

and

ENTER

Mode

ABS

keys to choose between

TcTrack, ABS, ABS-

ABS-23

10.2.3 ABS-Ofs setting

As with the previous setting, this converts the ABS subcode timing to timecode, but allows you to add an offset to the absolute value so that the timecode does not start at the zero point.

When you select this option, the display will change to allow you to enter an offset time:

Tape TC Mode

Offset 30ND Mode

00:00:00:00 ABS-Ofs

Section 10 – Operations related to timecode

0 3 13 2926 3916

Absolute time in minutes from start of tape (ABS-13 setting)

etc…

Timecode val ue s

1) Use the

LEFT

and

RIGHT

keys to choose the f ield to change (hours, minutes, seconds or frames) and then us e the

and

DOWN

keys to change

the value of that field.

You can also enter a time offset directly using the function keys (se e 5.2.2, “Using the function keys as number keys”).

The time you e nter will then be the time at which the timecode starts from the be ginnin g of the tape. For instance, if you ent er an of fset of 00:59:00:00, and the tape is positioned exactly 1 minute after the start, the timecode will be 01:00:00:00.

10.2.4 ABS-13 and ABS-23 settings

These settings are useful if you are recording many pieces on one tape. They automate the process of providing a timecode “pre-roll” and starting each piece at an easily-memorable timecode position.

The ABS-13 setting should be used to record pieces of 10 minutes or less in length, and the ABS-23 for pieces of 20 minutes or less.

the timecode will restart at 01:57:00:00. If

has been selected, this will occur approxi-

ABS-

mately 23 minutes after the start of the tape (the piece is 20 minutes long). This allows another track to begin at 02:00:00:00.

This process continues until the end of the tape is reached. Wherever the tape is located, this calculation will be performed, allowing you to locate each track easily with reference to the timecode values.

The diagram b elow shows the relationsh ip between the “synthesized” timecode and the absolute time on tape, assumiong that the “hours” value has been set to 00.

With both of these settings, the start of the tape is automatically set with an offset of hh:57:00:00, where hh is the number of hours.

Tape TC Mode

Offset 30ND Mode

00:57:00:00 ABS-13

1) Use the

LEFT

and

RIGHT

keys to select the

“hours” field.

2) Use the

and

DOWN

keys to set the “hours”

value.

Here we assume (for simplicity) that the “hours” value has been set to 00. If you set this to a different value, add the appropriate offset as you read this explanation.

Timecode is synthesized, starting at 00:57:00:00, allowing three mi nutes of timecod e “pre-roll” before the nominal start of the piece at 01:00:00:00.

With

ABS-13

selected, once the tape is posi-

tioned approximately 13 minutes from the start,

10.2.5 Checking tape TC

TAPE TC

The light when timecode recorded on tape or synthesized from ABS is being read. The indicator will not light in areas of the tape where no timecode has been recorded if selected, and will not lig ht at the beg inning or end of tape if any of the ABS modes has been selecterd. Timecode is not read in STOP mode and the indicator will not light in STOP mode.

As well as the tape counter, the display screen can also be used t o show tape timecode values and the frame rate currently recorded on tape, as described below.

1) Go to menu group E, and move the cursor to

Tape TC

Ext TC Abs Diff

Tape TC Rel Diff

Gen TC

01:02:48:17 30ND

indicator by the tape counter will

TCTrack

has been

06/97 – 1.00 – 10-3

Section 10 – Operations related to timecode

2) Start playing the tape.

3) The selected timecode value will be displayed on the bottom line, together with the frame rate of the timeco de.

The frame rate displa yed d epend s on the timecode frame rate as recorded on the tape (if

Track

frame rate (if another option has been chosen).

has been selected) or on the selected

10.3 Selecting the frame rate

The DA-98 can use the following standards for timecode (including timecode synthesized by the ABS to TC facility): 30 non-drop, 30 drop, 29.97 non-drop, 29.97 drop, 25, and 24 frames per second (fps).

When using the DA-98 to chase to a timecode master, the system frame rate on the DA-98 must match the frame rate of the timecode master, otherwise chase operations are not possible.

The frame rat e is automatical ly set when a tape which has been striped with timecode is inserted, or if power is switched on with a striped tape already inserted in the unit. The frame rate recorded on the tape will be used as the system frame rate.

T o change the frame rate in other cases, follow the procedure below:

1) Go to menu group 5, move the cursor to

Frame

, and press

ENTER

To avoid this, pull up and pull down functions are provided to adjust sampling frequencies to dropframe rates , etc.

1) Go to menu group 8, move th e cursor to

Shift

2) Use the

Pull Down 30NDF, Pull UP 29.97 NDF 30DF

NOTES

• This setting is

• The clock source must be set to

• If vari speed is enabled (see 8. 5, “Vari speed (pitch con-

• When the Fs shift mode is operational, you cannot

, and press

Fs Shift Mode

and

Pull UP 29.97 DF, Pull Down

and

off

PULL UP/DN

The will light if the setting is anything other than

you must reset it every time the DA-98 is turned off and on again.

shift function to p ull u p, a n d to function to pull down.

trol)”, it is not possible to use the Fs shift function.

change the timecode frame rate (see 10.3, “Selecting the frame rate”).

ENTER

DOWN

off

keys to select between

indicator by the tape counter [ 2]

not

memorized in the backup memory–

INT

when using the Fs

VIDEO

when using this

off

TC Frame Mode

29.97 NDF

2) Use the

and

DOWN

keys to select the frame

rate for your project.

10.3.1 Pull up and pull down (Fs shift)

When working in film post-production with NTSC telecine equipment, the frame rate of film (24 fps) and the NTSC color fr ame rate (29.9 7) do not form a simple mathematical ratio, and the sampling frequencies of either 44.1kHz and 48kHz are t herefore affected on transfer b ack to film.

10-4 – 1.00 – 06/97

10.4 Timecode input and output

Only timecode (not ABS timing) can be transmitted and received via the

TIME CODE IN

jacks. ABS timings are used for multiple DTRS unit synchronization.

10.4.1 Timecode input

There are two primary reasons for the DA-98 to receive timecode: when the DA-98 is chasing to timecode, and must receive the master timecode, and when the DA-98 is to record timecode from another unit (but see 10.5.5, “External timecode sources” below).

To view incoming timeco de, follow the procedure below:

and

OUT

Section 10 – Operations related to timecode

1) Go to menu group E, and move the cursor to

Ext TC

Ext TC Abs Diff

Tape TC Rel Diff

Gen TC

01:02:48:17 30ND

2) Incoming timecode will be displayed on the bottom line, together wi th the fram e rate of the timecode.

EXT TC

The received.

indicator will light when timecode is

10.4.2 Timecode output

The timecode received at the or the timecode recorded on tape, can be output from the

TIME CODE OUT

When the DA-98 is the timecode master, the timecode it outputs should be off tape.

However, when the DA-98 is in the middle of a timecode chain, you will probably wa nt to retr ansmit the incomin g timecode (the

THRU

1) Go to menu group 5, move the cursor to

OutTc Src

ENTER

press

(output timecode source), and

TIME CODE IN

jack.

OUT

jack,

functions as

signal will be simply filtered before being retransmitted.

NOTE

When the DA-98 is in CHASE mode, and the timecode output has been set to

“TcTrack setting”

DA-98 will be the received timecode, with the offset value added or subtracted from it. This means t hat any other DTRS units slaved to the timecode output do not need to have separate offset settings, but can use the master DA-98’s offset.

TC Track

), the timecode output from the

(see 10.2.1,

10.4.3 Timecode output format

Fast LTC

This which timecode is output when fast winding the tape, or if s huttling is carried out at gr eater than normal playback speed.

5 Frame

The mation is not output continuously. Here, the DA98 reads the timecode from the tape as it is spooling, outputs 5 consecut ive frames at normal spee d starting with the value which has been read from tape, then reads the tape again, outputs another 5 consecutive frames based on the new tape position, and so on.

Leap

The

setting means that timecode is output continuously during fast operations, and will not be contiguous (it will leap between frames).

function controls the way in

setting means that timecode infor-

Output TC Source

External (regen)

2) Using the UP and DOWN k eys, select one of the

Tape

three options: off-tape,

External (regen)

; timecode will be replayed

; the external timecode will be re-generated by the DA-98’s generator, resulting in a clean signal, or

External (reshape)

; the timecode

off

The

setting means that timecode is not out-

put during fast operations.

1) Go to menu group 5, move the cursor to

Fast LTC

Fast LTC Mode

2) Use the

and press

DOWN

ENTER

5 Frame

keys to sele ct t he option as

described above.

10.4.4 Timecode output timing

Because of the nature of the digital-to-analog conversion, the timecode which is output from the DA-98 must be synchronized to match the audio timing from either the digital or the analog audio

06/97 – 1.00 – 10-5

Section 10 – Operations related to timecode

outputs, whichever set of outputs is in use at the time.

1) Go to menu group 5, move the cursor to

OutTc Tmg

ENTER

press

Output TC Timing

2) Use the

Analog

(output timecode timing) and

Analog

and

DOWN

and

Digital

keys to select between

10.4.5 Using MIDI Time Code (MTC)

The DA-98 c an output MIDI T ime Code in al most exactly the sa me way as it outputs aud io timecode, with the following exceptions.

MIDI Time Code can be output either when the DA-98 is playing, or in fast forward or rewind, or when stopped. You can turn off the output during the “fast” mo des and whi le st oppe d, t o avoid overloading a MIDI data stream.

1) Go to menu group 8, move th e cursor to

TcRec Src

and press

TC Record Source

2) Use the

(source for timecode recording),

ENTER

Generator TC

and

DOWN

keys to select a source for the timecode recording from the following options:

External TC

Generator TC, Tape

If you select code will also be shown, as determined in the tape timecode selection menu (see 10.2, “Tape timecode mode”).

NOTE

Generally speaking, timecode should be recorded from an external source only when audio tracks and timecode must be transferred together from external units. In all other cases, we suggest that you use the internal generator or the tape as sources for recording t imecode.

, the source of the tape time-

Tape

and

1) Go to menu group 7, move the cursor to MTC Out and press

MTC Output

Output Fast Stop

2) Use the

ENTER

on off off

LEFT

and

RIGHT

cursor keys to select the field for which you want to turn MTC on and off, and the

and

DOW N

keys to turn

MTC on or off.

Note that if the turning the other fields

Output

field is turned

will have no effect.

off

10.5 Recording timecode

10.5.1 Selecting the timecode source

The DA-98 allows you to select one of three sources for recor ding ti meco de: the DA-98’s in ternal generator, an external source or timecode based on tape.

To select the source for recording timecode:

If you are recording timecode only, we suggest that you do not use external sources for recording timecode.

Tape

Set above, and use

as the source as d escribed immediately

ABS

ABS-Ofs

(see 10.2.2, “ABS setting” and 10.2.3, “ABS-Ofs setting”) as tape timecode sources. This will ensure an accurate relationship between th e timecode and t he ABS timing reference (the fact that the genera tor must be started manual ly means tha t there will not be a tight relation between timecode and the ABS timing).

This will also allow you to synchronize multiple DTRS units accurately to external timecode, even though the slave units are not timecode-based.

10.5.2 Recording timecode using the generator

1) Insert a formatted tape into the DA-98.

It is possible to format and stripe a new tape simultaneously, by setting up the formatting procedure as described in 6.1, “Formatting a tape” and then following the instructions below.

10-6 – 1.00 – 06/97

Section 10 – Operations related to timecode

2) Select timecode as the timing reference (see

10.1.3, “Selecting TC or ABS timing”).

3) Select a frame rate (see 10.3, “Selecting the frame rate”).

4) From menu group 8, move the cursor to

TcRec Src

and press

TC Record Source

5) Use the

of the timecode as

The options here are

TIME CODE IN

at internal generator) or the third option, which reflects the settings made in the

Mode

6) Go to menu group 8, move the cursor to

Start

ENTER

(generator start time) and press

Generator Start Time

(source for timecode recording)

ENTER

Generator TC

menu (see 10.2, “Tape timecode mode”).

and

DOWN

keys to select the source

Generator TC

External TC

Generator TC

Tape TC

(received

(the

Gen

9) Go to menu group 8, move the cursor to (generato r mode) and press

Mode

Generate Mode

00:55:00:00 30ND

Run/Stop Mode

Stop Reset

10) Press the

TC REC

switch [31].

The indicator will start flashing.

11) Now press the UP or

DOWN

key to start the

ENTER

timecode generator.

TC GEN

The

indicator by the tape counter will

light.

12) Press and hold the

PLAY

press the RECORD

and

key and the tape will start recording.

TC REC

The

The display will change from Pressing the under this field will stop the generator.

You can also start recording and then start the timecode generator. In this case, an warning message will appear on the display screen as you start recording, to tell you that there is no timecode source.

indicator will light steadily.

Stop

DOWN

key while the cursor is

Run

Gen

00:00:00:00 30ND

7) Use the

LEFT

and

RIGHT

keys to select the field (hours, minutes, seconds or frames) to be edited, and the

and

DOWN

keys to change

the value.

You can also use the function keys as number k ey s to input the value directly, as described in 5.2.2, “Using the function keys as number keys”.

8) When you have finished setting the start time, press

ENTER

Mode

If the than

Reset

field is set to

, stopping the generator and then re-

Continue

rather

starting it will pick up the timecode values from where it left off.

Conversely, setting this field to

Reset

will restart from the start time set above every time the generator is stopped and re-started.

It is also possible to “drop into” timecode recording by starting the transport in record mode and then pressing the

TC REC

switch. Howev er, we do not recommend this method of working, as it is impossible to check the time code source prior to recording.

If the method described above (arming the timecode track, and then starting recording) is used, the tape counter is used to show the output from the timecode source (the generator) when the timecode track is a rmed , f la shi ng whe n the tape is stopped, and steady when the tape is running.

06/97 – 1.00 – 10-7

Section 10 – Operations related to timecode

If there is no timecode sourc e, the tape counter will show all hyphens while the timecode track is armed.

After starting the generator, you may want to make other settings, and will therefore have to change the display screen.

The tape counter shows the timecode from the generator, but you can use the following procedure to check the frame rate, especially in situations where you are usi ng t he o utput from the DA98’s generator to stripe another tape, etc.

1) Go to menu group E, and move the cursor to

Gen TC

Ext TC Abs Diff

Tape TC Rel Diff

Gen TC

01:05:12:23 30ND

2) The bottom line of the display screen will show the timecode values currently being output by the generator.

The assembly function reads a few seconds of timecode from tape and then uses this to jamsync the internal generator, which then s tripes the rest of the tape.

1) Select

TC Track

from the

Tape TC Mode

menu (see 10.2.1, “TcTrack setting”).

2) Go to menu group 8, move th e cursor to

TcRec Src

ENTER

press

TC Record Source

(timecode record source) and

Tape Assemble

3) Make sure the tape is r ewound to a point whi ch already contains ti mecode which can be used as the source for the rest of the tape.

4) Arm the timecode track (press

TC REC

so that

the indicator is flashing ).

The tape counter will show the last timecode read from tape as a flashing display.

10.5.3 Synthesizing timecode from ABS timing

When you are synthesizing timecode from ABS, using any of the following options:

Ofs

ABS-13

ABS-23

ABS, ABS-

, as described in

10.2, “Tape timecode mode”, the tape counter display behaves differently from the way as described above.

The tape counter will n ot fla sh when t he timecode track is armed and the tape is stopped, and it will not display all h yphens, s ince t he ti mecode s ource is always available.

In this case, you can start recording the timecode at any time (be fore or after) the tape has started moving.

10.5.4 Assembling timecode

You may want to use the assembly function when the first part of a tape contains timecode, and you want to stripe the rest of the ta pe with timecode that follows on seamlessly from the originally recorded timecode.

5) Start playing the tape.

As timecode is read from the tape, the tape counter will show the values read from tape. If the tape does not contain timecode, the tape counter will show all hyphens.

6) Start recording when the tape counter is showing timecode (press the

The

TC REC

Timecode will now be laid down in a continuous stream, starting at the current timecode value. The tape counter will display continuous timecode values.

It is also possible to press the starting audio recording.

indicator will light steadily

RECORD

TC REC

key).

key after

10.5.5 External timecode sources

The following notes should help you when you must record timecode on the DA-98 from an external source (analog or digital). As mentioned earlier, though, you should only need to record timecode from an external source when the audio and timecode tracks have to be transferred

10-8 – 1.00 – 06/97

Section 10 – Operations related to timecode

together, keeping a strict relati onship between the audio and timecode tracks.

In all other cases, we suggest using either the DA98’s internal generator or timecode from tape. If you use these as sources, there will be no jitter problems, and any problems of synchronization with the di gital audio cl ock are eliminated.

NOTE

When recording timecode from an external digital source, make sure the digit al clock of the DA-98 and that of the external source are synchronized, as explained in 4.2.3, “Word clock connections” and 4.2.2, “Vide o connec tio ns” . A war ning m essage will app ear if the timecode source and the DA-98 are not synchronized, but timecode can still be recorded. However, the resulting timecode recording will probably cause synchronization problems in the future.

When recording timecode from a timecode generator, make sure that there is a common

video reference for both the DA-98 and the generator (set the

CLOCK

of the DA-98 to

VIDEO

When recording timecode from another DTRS unit, synchronize the two units using ABS chase

(setting the timecode/audio source unit to be a slave unit as described in 9.2.3, “Master/slave settings (CHAS E mode)”). After the two units have been synchronized in this way, timecode and audio can be transferred together.

When recording timecode fr om a d igital s ource (audio or video), make sure that the DA-98 and

the other unit are lo cked to a co mmon word ( audio recorder) or video (video recorder) clock reference. After the two machines have been synchronized in this way, timecode and audio can be transferred together.

When recording timecode from an analog recorder, feed the analog recorder or its external

synchronizer and the D A-98 with a common vi deo source, and use the video resolve function of the analog recorder or synchronizer, if this is provided.

• timecode already recorded on an audio track of the DA-98

• timecode recorded on other DTRS units, using ABS chase with the D A-98

• timecode recorded on any other recorders synchronized with the DA-98

• a timecode generator, video-synchronized with the DA-98.

NOTE

Do not use any timecode rec or ded on the DA-98’s dedicated subcode track as the timecode master when transferring timecode from an analog reco rder.

If your analog recorder cannot chase to external timecode, you must firs t record the timecode fro m the analog recorder on an audio track of the DA98 and then transfer the time code to the dedicated timecode track.

Timecode recorded on the audio track in this way is synchronized to the audio clock, and can subsequently be transferred (through patching) to the timecode track.

10.5.6 Recording timecode from external sources

1) Set the

“Selecting TC or ABS timing”).

2) Set the timecode record s our ce to

source”).

3) Press the

track.

4) Start the external source to check the status of

the external timecode.

Time Mode

to TC (see 10.1.3,

External

(see 10.5.1, “Selecting the timecode

TC REC

If no external timecode has been r ecei ved since the DA-98 has been switched on, the tape counter will show all hyphens.

If external timecode has been received since the DA-98 has been switched on, but is not currently being received, the tape counter will flash.

switch to arm the timecode

If the analog recorder has no video resolve function, it may ha ve a timec ode chase funct ion, which can be driven by any timecode source from the following list:

If the external timecode is currently being recei v ed at normal (play) speed, the tape counter will show the value of the timecode curr ently being received. If the external timecode is being received from a

06/97 – 1.00 – 10-9

Section 10 – Operations related to timecode

source in fast wind mode, the tape counter will flash.

If the timecode source is not clock-synchronized with the DA-98, a warning will be shown on the display screen. In this case, although you can record timecode, it is not recommended, as this will probably cause problems later on.

5) Stop the external timecode source, and rewind or reset it to a p oint prior to where you want recording to begin.

The tape counter will now start to flash.

6) Restart the source.

The tape counter will display received timecode.

7) Press and hold down

PLAY

and press

RECORD

Timecode will now be recorded from the external source onto the timeco de track.

If the tape counter was flashing when the indicator was flashing (the timecode track was armed), the tape counter will now show all hyphens, and nothing will be recorded .

TC REC

As well as the sample clock, the timecode can be referenced to a video clock (i.e. the start of each timecode frame is synchronized with each frame boundary received at the

VIDEO IN

can be independent of the received frame clock. Additionally, in a similar way to timecode rechase

mode (page 10-13), the DA-98 can be set to rechase the video frame sync (muting playback output as it recha ses), or to run f re ely once sync is achieved, ignoring any breaks in the received video signal.

1) Go to menu group 5, move th e cursor to (Video Resolve) and press

Rslv

Video Resolve

on/off Mode

2) Use the

off free

LEFT

and

RIGHT

keys to select the frame synchronization mode ( the

and

DOWN

keys to togg le it on and

terminal) or

ENTER

on/off

Vid

) and

off

10.5.7 Checking external timecode

There is another w ay y ou ca n che ck external timecode, as described below. This method is useful for checking the fr ame rate of i ncoming t imecode, if you are not sure what frame rate has been recorded or is being generated by the timecode source.

1) Go to menu group E, and move the cursor to

Ext TC

Ext TC Abs Diff

Tape TC Rel Diff

Gen TC

01:02:48:17 30ND

2) Incoming timecode will be displayed on the bottom line, together with the frame rate of the timecode.

10.6 Video resolution

As explained abo v e, i f the DA-98 is to be synchronized with a VTR, all units must share a common video referenc e f or the digital audio clocks, generated either by the VTR or from a sync generator.

3) Use the

LEFT

rechase mode (either

and

RIGHT

keys to select t he video

free

re-sync

10.7 Chasing to timecode

The following secti ons des cri be the operation of the DA-98 when chasing to external timecode.

The operation of the the way the

CHASE

switch is used when synchronizing DTRS units (see 9.2.3, “Master/slave settings (CHASE mode)”), but in this case, the machine ID is not used.

10.7.1 Machine ID and timecode

Since a DA-98 with machine ID set to 1 is always a master unit as regards DTRS sync operation, there is no need to make any setting on such a machine if it is to be a timecode slave. As long as timecode is received at the tor [37] (the

EXT TC

machine ID is set to 1 will automatically enter timecode chase mode when the pressed.

However, when a DA-98 unit has its machine ID set to a value other than 1, there is a conflict when

indicator is lit), a unit whose

switch is similar to

TIME CODE IN

CHASE

key is

connec-

10-10 – 1.00 – 06/97

Section 10 – Operations related to timecode

the CHASE key is pressed. You must determine whether the chase mode refers to timecode or to the DTRS sync, and this is done using the Time Mode menu (see 10.1.3, “Selecting TC or ABS timing”). If

ABS

is selected, when

CHASE

pressed, the machine wi ll ent er DTRS sync mode,

but if

is selected, the machine will attempt to

lock to externa l timecode. When the DA-98 is in “chase-ready” mode (the

CHASE

received at the

indicator is flashing) and timecode is

TIME CODE IN

connector, the DA98 will start to chase the timecode. When it is locked to the incoming timecode, the

CHASE

cator will light steadily.

NOTES

• The timecode frame rate used on the DA-98 must match

the frame rate of incoming timecod e (see 10.3, “Selecting the frame rate”). If they do not match, a warning message will be shown, and the DA-98 will not chase to timecode. You can ch eck the frame rate of incoming timecode (see 10.5.7, “Checking external timecode”) and of the timecode recorded on t he DA-98’s tape (see

10.2.5, “Checking tape TC”

• The timecode used internally by the DA-98 does not

have to be an actual timecode striped tape. Instead, timecode can by “synthesized” from the ABS subcode timings, as described in 10.2, “Tape timecode mode”.

The exact ways in which it chases the timecode and handles transport functions, etc.are determined by a number of settings, as described below:

10.7.2 Setting timecode offset

You may enter a timecode offset for the audio from the DA-98 to match the audio (or video sequence) from the timecode master.

As with the machine offset (see 9.3.1, “Setting machine off set”) , you can ei ther s et th is ma nuall y, entering the number s, or set it “on-the-fly” by e ar. In either case, once the offset has been entered, it can then be edited.

indi-

10.7.3 Setting timecode offset from the menu

1) Go to menu group 4, move the cursor to

Offset

Timecode Offset

+00:00:00:00.00 25F

2) Use the

and press

LEFT

and

ENTER

RIGHT

keys to select the field (hours, minutes, seconds, frames or subframes) and use the

You can use the function keys in the number key mode (see 5.2.2, “Using the function keys as number keys”) to enter the of fset (an d the leading sign) directly.

If this value is set to anything other than 00:00:00:00.00, the counter will light.

If you move the cursor to the right digit of the subframe field, this will act as a “roll-over” field (i.e. if you are incrementing the value and it passes 99, the frame field will increment.

and

DOWN

keys to set the value.

OFFSET

indicator by the tape

10.7.4 Cancelling timecode offset

When the timecode offset value is set to all zeros, timecode offset is cancelled and the

OFFSET

indi-

cator goes out.

1) From the

Timecode Offset

described above, press the

and

DOWN

keys

simultaneously to reset the value.

10.7.5 Setting timecode offset on-the-fly

There is a second “invisible field” to the right of the subframe fiel d (s imil ar to that for machine offset settings – (page 9-3)). Moving the cursor to this field changes the display:

Timecode Offset

The offset can be set to subframe accuracy (100 subframes = 1 frame).

AUTO OFFSET

This screen allows you to set the offset by pressing the

or the

DOWN

key. When you do this,

the diff erence betwee n incoming timecode and the

06/97 – 1.00 – 10-11

Section 10 – Operations related to timecode

internal timecode will be captured and stored as the timecode offset (either a positive or negative value).

Note that if the words

AUTO OFFSET

are not displayed on the screen, you cannot capture the offset value.

Once the offset value has been captured successfully, the display will change to show the captured offset value on the b ottom line.

After the timecode offset has been entered in this way, you can “fine-tune” the value to subframe accuracy using the method described above.

10.7.6 Park position

When the D A-98 is s lav ed to an e xt ernal time code source, it will take some time between the master unit starting to play and starting to transmit timecode for the DA-98 to read.

These functions all ow you to measure and test the optimum pre-roll position for the DA-98 (when it is a timecode slave) to park itself relative to the master timecode device so that it will lock up and start playing quickly.

1) Go to menu group 4, move the cursor to

Park Posi

Park Position

TEST

off 02s08f 25F

(park position) an d pr ess

ENTER

2) The t ime value shows the current park setting,

and this can be changed using the

DOWN

keys, or the function keys .

and

10.7.7 Automatic park position setting

When the DA-98 is acting as a timecode slave, it can automatically determine the optimum park pre-roll position to sync with the master.

1) Go to menu group 4, move th e cursor to

Park Posi

Park Position

TEST

off 02s08f 25F

(park position) and pr ess

2) Play and stop the master tape.

3) Turn the DA-98’s

DOW N

4) Use the

CHASE

on, if it is off.

keys to turn the

parameter on.

The DA-98 will then rewind so that the relative difference is zero. When the DA-98 has stopped, go on to the next step below.

5) Play the timecode master.

When the value shown on screen has stopped changing and is stabilized, go on to the next step below.

6) Turn

TEST

UP or DOWN

off (

key). The optimum park pre-roll time for the timecode master is now stored.

10.7.8 Absolute and relative difference

The offset as set above (10.7.2, “Setting timecode offset”) can be called the “absolute difference” between the two times. However, if the slave machine “wanders ” (actua lly, this is unlik ely), th e offset (theoretical difference) will not be equal to the absolute difference. The “relative difference” is expressed as below:

Relative difference = Absolute difference – Offset Thus, if the offset is set on a slave machine to

+00:10:00:00 (10 minutes ) and while chasing, the two machines’ counters read as follows:

Master 10:15:12:12 Slave 10:05:12:08

ENTER

TEST

10-12 – 1.00 – 06/97

Section 10 – Operations related to timecode

the slave is now 10 minutes and 4 frames behind the master.

Slave (offset set to +00:10:00:00)

Tape counter shows:

10:05:12:08

but should be

10:05:12:12

Relative difference =

+00:00:00:04

Absolute difference =

+00:10:00:04

Master

Tape counter shows:

10:15:12:12

Since the slave is meant to be exactly 10 minutes behind the master , the differe nce, +4 frames, i s the “relative difference” between the master and the slave.

To view the absolute and relative differences between master and slave machines:

1) Go to group menu E:

Ext TC Abs Diff

Tape TC Rel Diff

Gen TC

00:00:00:04 25F

2) Move the cursor to either (absolute difference) or

Abs Diff

Rel Diff

(relative difference). The appropriate value will be shown on the bottom line of the display screen.

break in the timecode, though, you may want the DA-98 to rechase the master.

As well as selecting rechase, you can also select the length of the “rechase window”. This means that if the difference between internal and incoming timecode is greater than the value of this window (1 or 2 second s in the case of t he DA-98), the synchronizer will start to rechase.

1) Go to menu group 4, move the cursor to

Rechs Mod

ENTER

Rechase Mode

Mode Window

rechase 1 sec

2) Use the

Mode

field, and the UP and

choose between

3) If you select move to the of either

(rechase mode) and press

LEFT

or 2 seconds.

RIGHT

and

rechase

Window

keys to select the

, use the

field, and select a windo w

DOWN

and

keys to

free

RIGHT

key to

10.7.10Bypassing timecode errors

As timecode is received from a remote master unit, it may be subject to errors (dropouts on the timecode master tape, etc.). These errors can cause synchronization failure (the DA-98 will no longer be locked to the timecode of the master unit).

10.7.9 Rechasing timecode

When timecode is received, the DA-98 can either constantly monitor the internal off-tape timecode (or the ABS equivalent as set in 10.2, “Tape timecode mode”) and the external timecode, issuing “speed-up ” and “slow-down” messages to the transport to keep itself in sync (rechasing), or it can synchronize once and run freely, ignoring the incoming timecode.

While the DA-98 is re-syncing (speeding up and slowing down), playback output will be muted,

INT

unless the clock is set to find that the DA-98 does not need to rechase, however, and you can leave it in free-running mode. If the timecode master tape includes a

). Usually you should

You can set the DA-98 to bypass and ignore incoming timecode errors of up to 30 frames in length, or up to 10 frames in length.

1) Go to menu group 4, move the cursor to

ErrBypass

ENTER

Error Bypass

2) Use the

and 30

(Error Bypass), and press

10 Frame

and

Frame

DOWN

keys to select between

06/97 – 1.00 – 10-13

Section 10 – Operations related to timecode

10.7.11Individual recording while chasing timecode

If slave DTRS units are chasing a master DTRS unit, the defaul t acti on is fo r t he sla v es’ re cord st atus to follow that of the master. If the slaves are connected with TC as well as SYNC, and ha v e TC rather than ABS selected as the timing reference, this default behavior can be overridden using the function described here.

1) Go to menu group 4, move the cursor to

TcChs Rec

ENTER

press

TC Chase Indiv. Rec

(timecode chase record), and

enable

2) Use the

enable

(individual recor ding is possible

while chasing to timecode) an d

and

DOWN

keys to select between

disable

chasing units will follow the record status of the first unit).

(all

10-14 – 1.00 – 06/97

Section 11 – External control

11 – External control

The DA-98 can be c ontrolle d by o ther uni ts, eit her through the

REMOTE IN/SYNC IN

nector [43] as described in 9, “Synchronization with other DTRS units”, the 9-pin control connect or [40], or through the nector [41] using MIDI Machine Control.

11.0.1 Selecting the control source (protocol)

1) Go to menu group 3, move the cursor to

Ctrl Prt

ENTER

Control Protocol

2) Use the

9Pin, MIDI, Bus

These are all self-explanatory, except for the setting, which refers to the sync/control bus carried through the of a device which can use this protocol is the TASCAM ES-61 editing controller.

NOTE

The selection of an external control pr otocol does not disable the local controls. When an external controller is selected, the last control pressed, whether local or remote, operates the DA-98.

(control protocol) and press

9Pin

and

DOWN

RS-422

keys to select between

and

off

connector [40]. An example

TASCAM con-

RS-422

MIDI IN

serial

con-

Bus

The DA-98 should also be set with video resolve

set to

, either free-runnin g or rechase ( see 10.6,

“Video resolution”).

CLOCK

The pressed until the

switch of the DA-98 [30] should be

VIDEO

indicator lights.

11.1.2 Emulation

The DA-98 is able to emulate a number of different units, so that when a De vice-I D request is sent, the appropriate r epl y can be sent back in response.

1) Go to menu group 6, move the cursor to (Emulation Device) and press

Dev

Emulation Device

PCM-7050

2) Use the UP and DOWN keys to select a device

from the following list:

•

PCM-7050

•

BVH-3000

•

BVU-950

•

BVW-75

•

PCM-800

•

BVH-2000

•

DVR-10

•

TASCAM

3) Set your editor to control the device which is

closest to the emulation you have just selected.

If the editor determines its controlling method from the reply to Device ID request, you should try using IDs starting from the top of the list.

ENTER

Eml

11.1 Use with 9-pin external control

The RS-422 control allows the DA-98 to be controlled by a number of dif fe rent ed it or/co ntrol lers, in the same way as a VTR or DAT.

11.1.1 Video clocking

If the DA-98 is to be controlled by a video editor, it is essential that the DA-98 and the controller receive identical video signals from the same source (a video generator, for example).

If the editor recognizes “TASCAM” (and therefore bypasses video emulation) use the

TASCAM

emulation setting.

11.1.3 Record delay

Most recorders (both VTRs and audio recorders) drop into record a short ti me after the y rec ei ve the command to start rec ording, and ed itor/contr ollers are programmed to take this into account.

Howev er, the DA-9 8 start s recor ding im medi ately it receives the command. You can compensate for this using the Record Delay settings.

06/97 – 1.00 – 11-1

Section 11 – External control

1) Go to menu group 6, move the cursor to (Record Delay) and press

Dly

Record Delay

2) Use the

1 Frame

DOWN

and

keys to select the record

ENTER

delay in frames.

This is the time that the DA-98 should delay between receiving a record command and actually starting to record.

This value can be between

Auto

to on the emulation selected, as shown below:

Emulation Frames

PCM-7050 BVH-3000 BVU-950 BVW-75 PCM-800 BVH-2000 DVR-10 TASCAM

. The value of the Auto setting depends

3 4 6 3 0 4 5 0

and 9, or defaults

The delay is calculated in the following way: the first frame boundary of the video signal received at the

VIDEO IN

after the record command is received is counted as”1”. This number is incremented as subsequent frames are received, and when it equals the rec ord delay value as set above , recording starts.

If the value is set to on receipt of the command, and if to

, recording starts instantly

, when the

first frame edge is received. If no correct video sy nc signals are being r eceiv ed,

or if video sync mode is not enabled for some reason, interna l data frame timing (every 30ms) is used instead.

This delay is also used for controlling the timing of the monitor switching.

Rec

locates to the desired position, and then goes into pause mode.

What is then returned to the controller depends on the following setting:

1) Go to menu group 6, move th e cursor to

Cueup Tly

Cueup Tally

2) Use the

Stop

and

(cue-up tally), and press

Stop

DOWN

and

Still

keys to select between

Some controllers will only take their next action when they know that the controlled slaves are

Stop

stopped. Select the

value for use wit h these

controllers.

Other controllers (e.g. the LYNX II and MicroLynx synchronizers) make a distinction between pause and stop. When using such synchronizers, select the

Still

value.

11.1.5 Fast wind speed

There are two basic methods for locating used by controllers. The first method is to send a locate command. The second is to send fast wind and shuttle commands.

If the usual high speed winding of the DA-98 is used with the second method, the tape will almost inv ariable o vershooot eac h time and nev er come to rest. For that reason, you can select between the fast wind modes ( at 100 ti mes play speed) an d fast shuttle (8 times play speed) depending on the method used by your controller.

1) Go to menu group 6, move th e cursor to

Fast Spd

ENTER

Fast Wind Speed

(fast wind speed) and press

ENTER

11.1.4 Cue-up tally

When a locate command is received while the DA-98 is in 9-pin protocol mode, the transport

11-2 – 1.00 – 06/97

x 100

Section 11 – External control

2) Use the UP and

100

and 8.

DOWN

keys to select between

To determine whether your controller is sending (a) locate commmands or (b) fast wind commands, enter a locate operation from the remote controller.

If a true location command is being sent, the screen display will show the location point for a few seconds and only the fast forward and rewind keys will light. If the second type of command is received, the display will not change, and the fast forward and rewind indicators will light steadily, and the

SHUTTLE

indicator will flash.

11.1.6 Trac k mapping

When a controller arms and r ecords o n tracks, you need to specify which tracks on the controller correspond to particular tracks on the DA-98. The video controller protocol allows for control of up to eight digital and four analog audio tracks. The setting described here allows you to map controller tracks to DA-98 tracks.

This mapping does not imply any correspondence between the user inter face of the contr oller and the DA-98 tracks–it refers to the relationship between the command signals transmit ted by the con troll er and the DA-98 tracks. The relationship between the user interface of the controller and the command signals must be determined using the controller itself.

1) Go to menu group 6, move the cursor to (track mapping) and press

Map

Track Mapping

Ana 1234

Dig 1234

Trk 12345678

The lines above sho w the analog and digital tracks to which the DA-98 tracks on the bottom line are currently assigned.

ENTER

Trk

addressing DA-98 track3, and when referring to digital track 4, it is addressing DA-98 track 8.

2) Use the UP and DOWN keys to select the track mapping for use with your setup. The pre-set options available are shown below:

DA-98 track

Analog Digital Analog Digital Analog Digital Analog Digital Analog Digital Analog Digital

There are no user-settable track mappings, but the pre-set mappings are designed to cover every circumstance.

12345678

⇒

1234

12345678

12341234

11223344

12341234

11223344

11.1.7 Timecode track mapping

This is a special in sta nce of track mapping, where the track corresponding to analog track 3 in the controller’s command signals is mapped either to the digital audio track selected above (11.1.6, “Track mapping”), or to the DA-98’s dedicated timecode track.

1) Go to menu group 6, move the cursor to

Rec EN

TC Record Enable

and press

ENTER

The terms “analog” and ‘digital” used here have nothing to do with whether tracks actually are analog or digital. They correspond to the “Analog” and “Digital” tracks which the controller uses.

In the assignment above, therefore, when the controller refers to analog track 3, it is actually

disable

06/97 – 1.00 – 11-3

Section 11 – External control

2) Use the UP and

enable

and

If you choose the controller’s command signals as “analog 3” will be the audio track designated as “analog 3” in

Track Mapping

the choose enable, the DA-98’s timecode track will be mapped to the track referred to by the controller’s command signals as “analog 3”.

DOWN

keys to select between

disable

, the track referred to by

menu above. If you

11.1.8 Remote track arming

You may sometimes wan t to disabl e the a rming of tracks from th e remote system (either TASC AM bus, MIDI or 9-pin).

Since many video e ditors, etc. o nly pro vide for the control of four tracks, this means that you cannot control the eigh t t rac ks of the DA-98 from the edi tor, and so remote track arming should be disabled, allowing you to control the tracks locally.

1) Go to menu group 3, move the cursor to , and press

Arm

Remote Track Arming

ENTER

Trk

This MIDI ID is not the same as a MIDI Channel number (even though some units’ manuals may refer to it as a “channel number”), and is not connected with the Mac hine ID (s ee 9.2, “Machi ne ID and master/slave settings”). To set the MIDI ID:

1) Go to menu group 7, move th e cursor to

MIDI ID

MIDI/Bus ID

2) Use the between

, and press

and

001

and

DOWN

ENTER

keys to select a value

127

, making sure that this

001

ID is unique in your setup.

You can also use the function k e ys as number k e ys (see 5.2.2, “Using the function keys as number keys”) to enter the MIDI ID directly.

You can also select the value which allows the DA-98 to accept all MMC commands transmitted over the MIDI network (this setting has no effect if Bus is selected).

Receive All

enable

2) Use the

enable

and

DOWN

and

disable

keys to select between

11.2 Bus protocol

If Bus protocol is selected (see 11.0.1, “Selecting the control source (protocol)”), the DA-98 can be controlled by controllers such as the TASCAM ES-61.

Each DA-98 must be assigned a unique number between 1 and 127, as described below.

11.2.1 Assigning a MIDI and Bus ID to the DA-98

A MIDI ID is used in a MIDI Machine Control setup to identify each unit in the MIDI chain. The same number is also used as a Bus identifier.

One (and only one) of up to 127 units can be designated as the MIDI Timecode Master for the whole chain.

11.3 MIDI Machine Control

As well as cont rol from t he 9 -pin RS-4 22 por t, t he DA-98 can also accept commands received at the

MIDI IN

Control protocol. Set the MIDI ID using the method described

immediately above. The MMC commands used by the DA-98 are

listed in see 1 5, “ Opti ons, specifications and ref er ence”.

The control source must be set to

11.0.1, “Selecting the control source (protocol)”) for this to be effective.

The implementation of the MI DI Machine Control protocol and the commands which are available are described in 15.3, “MMC Bit Map Array”.

11.3.1 MMC commands and the DA-98

An example of a MIDI sequencer being used to control a DA-98 (using the auto-punch of the sequencer to punch in and out on the DA-98

port (page 3-1) using the MIDI Machine

MIDI

(see

11-4 – 1.00 – 06/97

tracks) is given below. Note that the sequencing software must be able to transmit MMC commands and also to sync to MTC for this to be effective:

Section 11 – External control

MIDI IN (2) (keyboard events)

MIDI OUT (MTC)

MIDI OUT (keyboard events)

MIDI IN (1) (MTC)

MIDI OUT (1) (MMC commands)

MIDI OUT (2) (musical data)

MIDI IN

The sequencer is set up to transmit MMC commands, and is set so that it synchronizes to SMPTE/MTC.

When a “transport” command is given from the sequencer, the appropriate MMC command is transmitted to the DA-98. When the DA-98 has located and starts playback (or recording), the MTC is transmitted back to the sequencer, which locks in and starts at the correct point.

In this way, though the DA-98 is the timecode master, the sequencer is the transport master.

The arrangement shown here uses 2 inputs to the sequencer . The same ef fect co uld be achi ev ed with the intelligent use of filtering mechanisms.

06/97 – 1.00 – 11-5

Section 11 – External control

11-6 – 1.00 – 06/97

Section 12 – Menu and parameter reference

12 – Menu and parameter reference

12.1 Menu groups

This section provide s a quic k guide to the menus and their functions, providing a li st of menus in each menu group, the paramet ers available in e ach menu, and the values that e ach parameter can take (def ault values are underlined). There i s also , wher e v er appropr iate, a ref erenc e to the secti on of the manual which de scrib es t he function.

Please note the 12.2, “Menu item index” which provides an alphabetically-sorted list of menu functions.

12.1.1 Menu group 0

D e l a y M e m o 1

T r k C o p y M e m o 2

V a r i S p d L o c P r e

Menu item Parameter(s) Values Reference

Track Delay Time

Track Copy

Vari Speed

Memo 1

Memo 2

Locate Pre-roll

Track Delay time

Unit Track source Input (digital or analog) 1 through 8 or track 1

Enabled Turns track copy operations Enabled

Amount

Time value Defaults to

Minutes and seconds

through 8,

-200

through

sample, msec

through 8. Default is straight-through input to tracks assignment

Fix, Vari

-6.0%

0.0%

00min00sec

59min59sec

All

through

150

)

7200

(msec) – default

through

+6.0%

00:00:00:00

through

(samples) -4

off

(default is

8.3, “Track delay”

8.11.1, “Track Copy (channel-to-track routing)”

8.5, “Vari speed (pitch control)”

8.1, “Autolocation”

8.1.3, “Setting the location pre-roll time”

06/97 – 1.00 – 12-1

Section 12 – Menu and parameter reference

12.1.2 Menu group 1

I n P o i n t X - F a d e

O u t P o i n t D i t h e r

P r e / P o s t R e c M u t e

Menu item Parameter(s) Values Reference

Punch-in Point

Punch-out point

Pre-roll Post- roll

Crossfade Time

Dither

Rec Mute

Time value Defaults to

Pre-roll time Post-roll time

Milliseconds

Type of dither

Track muting

00m05s 00m03s

10 ms

off, Rectangular, Triangu- lar

off

00:00:00:00

through through

through

59m59s 59m59s

200 ms

in 10 ms steps 8.4, “Crossfade

for each track 8.12, “REC MUTE

12.1.3 Menu group 2

S h t l M u t e M e t e r M o d e

W o r d L e n S i n e O s c .

R e f L e v e l P w r O n M s g

Menu item Parameter(s) Values Reference

Shuttle Mute

Enabled

off

6.6, “Punch-in and punch-out”

6.6.4, “Editing the pre-roll and postroll times”

times”

8.13, “Dither”

(recording silence)”

8.6.2, “Shuttle mu ting”

TDIF Word Length

Analog In/Out Reference Level

Level Meter Mode

Sine Oscillator

Power-on Message

12-2 – 1.00 – 06/97

Length in bits of incoming data

Reference level in dB

Hold time Release rate

Enabled Up to 20 alpha-

numeric characters

16 bit, 20 bit, 24 bit

-16dB, -18dB, -20dB

to 9 seconds or

)

Slow, Fast, Medium

off, 440 Hz,1kHz

INIT

CLEAR A

is selected, defaults t o

clears all entered characters.

through Z, 1through

Continue

TASCAM

9, -, .

space may be entered

(default

and

8.10.2, “Selecting word length”

8.7, “Reference levels”

8.8, “Meter modes”

8.9, “Sine oscillator”

8.14, “Setting the power-on message”

Section 12 – Menu and parameter reference

12.1.4 Menu group 3

M c n I D C t r l P r t

M c n O f f s e t T r k A r m

T i m e M o d e

Menu item Parameter(s) Values Reference

Machine ID

Machine ID for

through

synchroniza tion

Machine Offset

Time Mode

Control Protocol

Remote Track Arming

Time value to frame accuracy

Time reference

Type

Enabled

Defaults to

02:00:00:00

ABS, TC

9Pin, MIDI, Bus, off

enable, disable

+00:00:00:0 0

12.1.5 Menu group 4

T c C h s R e c T C O f f s e t

R e c h s M o d e P a r k P o s i

E r r B y p a s s

Menu item Parameter(s) Values Reference

TC Chase Indiv. Rec

Enabled

enable, disable

9.2.2, “Setting machine ID”

9.3.1, “Setting machine offset”

10.1.3, “Selecting TC or ABS timing”

11.0.1, “Selecting the control source (protocol)”

11.1.8, “Remote track arming”

10.7.11, “Individual recording while chasing timecode”

Rechase mode

Error Bypass

Timecode Offset

Park Position

Mode Window

Time in frames

Time to su bframe accuracy

Test Manual entry

rechase, free

1 sec

10 Frame, 30 Frame

Defaults to

12:00:00:00.00

off, on 00s00f

2 sec

+00:00:00:00.0 0

through 2 seconds minu s 1 f rame

10.7.9, “Rechasing timecode”

10.7.10, “Bypassing timecode errors”

10.7.2, “Setting timecode offset”

10.7.6, “Park position”

06/97 – 1.00 – 12-3

Section 12 – Menu and parameter reference

12.1.6 Menu group 5

T C F r a m e F a s t L T C

O u t T c T m g V i d R s l v

O u t T c S r c T a p e T C

Menu item Parameter(s) Values Reference

TC Frame Mode

Output TC Timing

Output TC Source

Fast LTC Mode

Video Resolve

Tape TC Mode

a. If the

ABS-Ofs

(Absolute timing with offset) option is selected, the bottom line of the display changes to allow

direct entry of the desired offset value.

Frame Rate

Output reference

Source of timecode output

Linear timecode in fast wind

Enabled Mode

Mode

30 DF, 30 ND F, 29.97DF

29.97 NDF, 25 F, 24 F

Analog, Digital

TAPE (ABS External (regen)

External (reshape)

05 Frame, Leap, off

on, off free, re-sync

TcTrack, ABS, ABS-Ofs 13

ABS-23

TC Track)

ABS-

10.3, “Selecting the frame rate”

10.4.4, “Timecode output timing”

10.4.2, “Timecode output”

10.4.3, “Timecode output format”

10.6, “Video resolution”

10.2, “Tape timecode mode”

12-4 – 1.00 – 06/97

Section 12 – Menu and parameter reference

12.1.7 Menu group 6

E m l D e v T C R e c E N

R e c D l y F a s t S p d

T r k M a p C u e u p T l y

Menu item Parameter(s) Values Reference

Emulation Device

Record Delay

Track Mapping

TC Record Enable

Fast Wind Speed

Cueup Tally

12.1.8 Menu group 7

Device name

Time in frames

PCM-7050, BVH-3000, BVU- 950

BVW-75, PCM-800, BVH-

2000

DVR-10, TASCAM

through 9 frames or

Auto

(the number

of frames depends on the selected emulation)

Track maps Various mappings of DA-98 tracks to analog/

digital. Default is DA-98 tracks 1 through 4 correspond to analog tracks 1 through 4 and DA-98 tracks 5 through 8 correspond to digital tracks 1 through 4.

Enabled

Referenced to

disable, enable

x 100, x8

play speed Message to

Stop, Still

remote

M T C O u t M I D I I D

F u n c t M o d e L o c ( F u n c )

11.1.2, “Emulation”

11.1.3, “Record delay”

11.1.6, “Track mapping”

11.1.7, “Timecode track mapping”

11.1.5, “Fast wind speed”

11.1.4, “Cue-up tally”

Menu item Parameter(s) Values Reference

MTC Output

Function Key Mode Select

MIDI/Bus ID

Locate Position (Function Key)

Output Fast wind mode Stop

Mode for function keys

MIDI ID for MMC

Enabled

Function key Time value

on, off

off

on on, off

Menu, Locate Position 10 Key

001

through

off

“

Locate Position

127,Receive All

(if function key mode is

”, location

point is displayed. If the function key mode is

Locate Position

not “

”,

off

displayed)

F. 1

through

Defaults to

F.10

00:00:00:00

10.4.5, “Using MIDI Time Code (MTC)”

5.2, “Function key modes”

11.2.1, “Assigning a MIDI and Bus ID to the DA-98”

8.2.2, “Editing fu nc tion key memories”

06/97 – 1.00 – 12-5

Section 12 – Menu and parameter reference

12.1.9 Menu group 8

G e n S t a r t F s S h i f t

G e n M o d e T c R e c S r c

Menu item Parameter(s) Values Reference

Generate Start Time

Generate Mode

Fs Shift Mode

TC Record Source

a. If

Tape

is selected, there will be another parameter automatically appended. This parameter will be

ble

ABS, ABS/Offset, ABS/Auto13

Tape TC Mode

12.1.10Menu group 9

Time value Defaults to

Run/Stop Mode

Pull up/down parameters

Timecode source

menu (page 12-4).

C l e a n i n g S e t u p

B E R D i s p

00:00:00:00

Stop, Run

Reset

off, Pull Down 30NDF Pull Up 29.97NDF Pull Up 29. 97 DF, Pull Down 30DF

External TC, Generator TC

Continue

Tape

ABS/Auto23

depending on the setting made in the

10.5.2, “Recording timecode using the generator”

10.3.1, “Pull up an d pull down (Fs shift)”

10.5.1, “S electing the timecode source”

Assem-

Menu item Parameter(s) Values Reference

Cleanin g Mode

Block Error Rate

Setup

on/off Counter

Tape area

Setup memories Load/Save

off, on

Automatically incremented

Tape Edge,Tape Center

1, 2

, 3 and F (factory)

Load, Save

12-6 – 1.00 – 06/97

14.1.1, “To clean the heads and transport”

14.1.2, “Checking error rates”

14.3.1, “Saving user setups”

Section 12 – Menu and parameter reference

12.1.11Menu group E

E x t T C A b s D i f f

T a p e T C R e l D i f f

G e n T C

Menu item Parameter(s) Values Reference

Ext TC

Tape TC

Gen TC

Abs Diff

Rel Diff

There are no user-settable values in this menu. Moving the cursor to the menu item will display the relevant value on the bottom lin e of the display.

12.1.12Menu group F

S y s V e r F r o n t V e r

S e r v o V e r S y n c V e r

D r T o t a l D r S e a r c h

Menu item Parameter(s) Values Reference

Sys Ver

Front Ver

Servo Ver

Sync Ver

Dr Total

Dr Search

There are no user-settable values in this menu. Moving the cursor to the menu item will display the relevant value on the bottom lin e of the display.

10, “Operations related to timecode”

10.7.8, “Absolute and relative difference”

14.4, “Checking version numbers”

14.1.3, “Checking head time”

06/97 – 1.00 – 12-7

Section 12 – Menu and parameter reference

12.2 Menu item index

Use this alphabetical list when you want to find out quickly to which menu group a menu item belongs.

Menu Item

Abs Diff

Analog In/Out Reference Level

Block Error Rate

Cleaning Mode

Control Protocol

Crossfade Time

Cueup Tally

Dither

Dr Search

Dr Total

Emulation Device

Error Bypass

Ext TC

Fast LTC Mode

Menu group

E 2 9 9 3 1

1 F F 6 4 E 5

Menu Item

Park Position

Power-on Message

Pre-roll Post-roll

Punch-in Point

Punch-out point

Rechase mode

Record Delay

Record Mute

Rel Diff

Remote Track Arming

Servo Ver

Setup

Shuttl e Mu te

Sine Oscillator

Menu group

4 2 1 1 1 4

1 E 3 F 9 2 2

Fast Wind Speed

Front Ver

Fs Shift Mode

Function Key Mode Select

Gen TC

Generate Mode

Generate Start Time

Level Meter Mode

Locate Position (Function Key)

Locate Pre-roll

Machine ID

Machine Offset

Memo 1

MIDI /Bus ID

MTC Output

Output TC Source

Memo 2

6 F 8 7 E 8 8 2 7 0 3 3 0 7 7 5

Sync Ver

Sys Ver

Tape TC

Tape TC Mode

Tc Chas e Indiv. Rec

TC Frame Mode

TC Record Enable

TC Record Source

TDIF Word Lengt h

Time Mode

Timecode Offset

Track Copy

Track Delay Time

Track Mapping

Vari Speed

Video Resolve

F F E 5 4 5 6 8 2 3 4 0 0 6 0 5

Output TC Timing

12-8 – 1.00 – 06/97

Section 13 – Example setups

13 – Example setups

This section gives a few examples of how the DA-98 might be used in real-world situations together with other equipment.

13.1 An all-DA-98 setup

In this example, a small audio studio offers its clients 24 digital tracks by using three DA-98s synchronized together.

LARGE MONITOR

NEAR FIELD MONITOR

DA-98

LARGE MONITOR

SYNC

METER

REMOTE

REMOTE CONTROLLER

METER UNIT

DAT

CASSETTE

POWER AMP

EFFECTORS

FROM STUDIO

TO STUDIO

MIXING CONSOLE

Many of the clien ts bring in w orktapes or basic t racks re corded on t heir home D A-38s or from sma ller proj ect studios using a DTRS machine. The DA-98s in the studio can, naturally, use these tapes.

If a client brings in a different model of (timecode-based) machine and tape from a project studio, the DA98’s timecode facilities are used. Usually, though, timecode synchronization is not used, and the DA-98s are synchronized using DTRS synchronization.

The mixing console is a TASCAM M-5000 console. Sin ce t he i ntegral patchbay of this console is alre ady fitted with D-sub conne ctors, t he cabl ing requi rements a re reduce d – all t rack inpu ts and tape ret urns are carr ied on six cables, rather than 48.

05/30/97 – 1.00 – 13-1

Section 13 – Example setups

The tape returns and inputs are fed directly using cables suc h as the PW-10D and PW-4D into the patch bay’s 25-pin D-sub connectors.

The studio is a small one, so there is no s epar at e machine room, but the compac t size of the DA-98 al lows 24 fully-digital tracks to be kept in onl y 12U of rack space. A remote cont rol and meter ing unit allo ws the whol e studio to be controlled from one central location.

Mastering mixdown is carried out to DAT (TASCAM DA-30 MK II), with “take-home” copies made on MiniDisc (TASCAM MD-801) and analog cassette (TASCAM 302).

13.2 Post-production work.

TV MONITOR

SYNC GENERATOR

REF IN

TC INVIDEO IN

SYNC

VIDEO IN

SYNC

VIDEO IN

METER

REMOTE

REMOTE CONTROLLER/EDITOR

METER UNIT

TC IN

TC INVIDEO IN

VTR

VIDEO OUT

TC OUT

DA-98

DAT

LARGE MONITOR

POWER AMP

NEAR FIELD MONITOR

LARGE MONITOR

POWER AMP

ANNOUNCER'S BOOTH

MIXING CONSOLE (AUTOMATION)

EFFECTORS

In the post-product ion wo rld , the DA-98 excels, thanks to it s fle x ible and sophist icat ed syn chroni zati on capabilities, which give it more control th an ever before. The three DA-98 units are linked toge ther in a timecod e “daisy” chain, allowing them to function as one 24-track recorder, whether or not timecode is bei ng r ece ived from the master source. The first (master) DA-98 has its timecode output set to TC Track, which means that

13-2 – 1.00 – 05/30/97

Section 13 – Example setups

when timecode is r eceived, it is re-tra nsmit ted, togeth er with t he offset set on the master un it(s ee 10.7. 5, “ Setting timecode offset on-the-fly”) . The slave DA-98s output reshaped timecode. When timecode is not being received, and the 3 DA-98s are to act as a singl e ind epe ndent multitrack recorder, the

CHASE

ter DA-98 is the only key that needs to be pressed to change modes. Each track can be individually delayed, with the delay units being selectable between milliseconds and sam-

ples, allowing even more precise synchronization. Telecine facilities can also benefit from the extensive range of pull-up and pull-down sampling frequencies,

allowing eas y synchroniza tion, e ven wit h the non-inte ger rati os imposed when con vert ing standard 24fps fi lm material to NTSC drop-frame color.

The DA-98 has the a dvantage of media compatibility with the DTRS tapes received fro m smaller suit es and project studios, allowing a complete multitrack soundtrack to be built up from different sources.

In addition, the integrati on of the DA-98 into the post-production environment is completed by it s extensive emulation facilities, allowing it to interface with a wide range of editor/controllers, reducing the need for additional investment. As new equipment is introduced, the “future-proof” nature of the DA-98 makes it ready for future developments

key of the mas-

05/30/97 – 1.00 – 13-3

Section 13 – Example setups

13.3 Project studio (‘B’ room)

The DA-98 provides a n excellent recording solution for the smaller project studio.

SEQUENCER

MONITOR SPEAKERS

MIDI INTERFACE

MIDI IN

MTC

MIDI OUT

SYNC

MIDI IN

MIDI OUT

MMC

DA-98

DA-38

MIXER

MIDI IN

KEYBOARD

MIDI IN

MIDI OUT

SOUND

MODULE

EFFECTORS

AMP

Since the machine itself is re latively small and port able, it can be transported to larger assembly studio s which are not equipped with DTRS recorders. When the assembly studios use DTRS units, of course, the small size and compact nature of the Hi8 cassette medium makes it easy to transport working (and even master) tapes between locat i ons.

Should the DA-98 be moved between locations, the different user setup memory banks allow instant switching of the DA-98 from the “master re corder ” rol e in the p rojec t stu dio , to th e “sec onda ry rec order ” ro le i n the larger studio.

Digital dubbing involves no loss of quality, so project studio tapes may be duplicated as often as required, and the quality of the tape s produced “at home” is equ al to those produced in the larger studio.

The DA-98 can be considered, in many ways, as a modular multitrack system, and hence the number of tracks available to the project studio can be incremented at relatively little cost and with no learning curve for the expansion. For project studios which ar e alr eady usi ng DTRS mach ines a nd requ ire a litt le mor e funct ionality than is available from, say, the DA-38, the DA-98 represents an attractive upgrade path, adding addi-

13-4 – 1.00 – 05/30/97

Section 13 – Example setups

tional tracks and integrated synchronization to the existing DA-38 system, while providing total media compatibil ity with existing recordings, as well as a familiar use r interface.

The MIDI capabilities of the DA-98 are also of great value to the smaller studio, allowing the integration of the DA-98 wi th exist ing MIDI systems, sync hronized usin g MIDI Ti me Code and, through MMC int egrati on, effectively turning the digital audio tracks of the DA-98 into extra tracks of the sequencer.

Since recording can be carried out at the same time as formatting, it is possible to record whenever inspiration strikes, rather than being held back by the limitations of technology.

05/30/97 – 1.00 – 13-5

Section 13 – Example setups

13-6 – 1.00 – 05/30/97

Section 14 – Maintenance and memory setups

14 – Maintenance and memory setups

14.1 Head and transport cleaning

The DA-98 incorporates an internal cleaning mechanism that not only cleans the rotary head, but also the tape as it ent ers t he tap e path . The provision of this cleaning mechanism significantly reduces the need for manual cleaning. If, despite the internal cleaning mechanism, the

TION

indicator (page 2-1) lights, the heads are dirty and manual cleaning procedures should be followed.

Use a TEAC HC-8 cleaning tape (recommended) or a dry cleaning tape specially designed for Hi8 8mm video equipment.

WARNINGS

NEVER use a wet-type cleaning tape, as this will result in winding problems.

The use of the dry tape will reduce the head life of the DA-98 by about five hours. Use of manual cleaning is therefore discouraged.

PB CONDI-

will shorten the time between cleaning operations.

NOTE

Most name brand tapes are of very high quality. However, it is sometimes possible to receive “bad” stock which exhibits execssive shedding characteristics. If you receive such tape stock, stop using it immediately, and follow the cleaning procedure as described below.

14.1.1 To clean the heads and transport

1) Use the cursor keys [ 25] s o th at th e curs or is by menu group 9, and then press

Select Menu Group

01234567

89....EF

Clen/BER/Setup

If you do not see the screen above, press the

ESCAPE

key [27] until it appears.

ENTER

2) Within menu group 9, move the cursor so that it is by

Cleaning

Cleaning Setup

BER DISP

[27].

We recommend the following schedule (based on our experien ce with the DTRS system) for cleaning and maintenance schedules. See 14.1.3, “Checking head time” below for details of how to check head usage time.

Every 350 to 400 hours

Every 1000 hours (every third cleaning)

Perform manual cleaning of heads and guides as described bel ow. Check the tape path alignment after cleaning. This requires proper test and measurement equipment, and should be performed only by qualified service personnel.

A complete alignment che ck sh ou ld be performed.

The above clea ning cyc le t imings are based on t he assumption that the DA-98 is being operated in a clean environment. A dusty or smoky atmosphere

Count:0000 off

3) Press

ENTER

Cleaning Mode

Count:0001 off

4) Press the mode to

If a tape has already been loaded, it will automatically be ejected.

DOWN

key to set th e cleaning

5) Insert the cleaning tape.

6) The cleaning tape will “play” for about 5 seconds and then be ej ect ed aut oma ti cal ly. The cleaning counter (number of times the heads have been cleaned) will be incremented by one.

06/97 – 1.00 – 14-1

Section 14 – Maintenance and memory setups

• Do not attempt to rewind or fast forward the cleaning tape, eithe r in th e DA-98 or in a video unit. Simply insert it int o the DA-98 when you use it the next time.

• Excessive cleaning c an ca use excessive wear on the heads. Do not clean th e hea ds too frequently, and never perform the hea d cl eaning procedure more than 5 times runni ng.

• In addition to cleaning the heads, we recommend that you hav e the DA-98 checked by an authorized TASCAM service technicia n every 500 hours or so of use.

14.1.2 Checking error rates

If you hear noise a nd distortion on playback, even after cleaning the heads, or if you are presented with a tape of dubious quality, you may want to check the er ror rate of the tape.

You can check the error rates at two tape positions, edge and center, for each of the two heads.

1) Use the cursor keys [25] so that the cursor is by menu group 9:

Select Menu Group

01234567

89----EF

Version/Drum time

2) Press

ENTER

Block Error Rate

AHead

BHead

3) Use the

Edge

and

Block errors are shown by a solid block. It is inevitable that there will be a few errors, but if the display consists mainly of solid blocks while the tape is playing, something is wrong (and you will almost certainly be able to hear it!).

Use this display to show where the tape is in error, and which head is causing errors. In this way, you can pinpoint the cause of trouble.

Tape Edge

DOWN

and

Center

keys to select between

If playing another tape seems to remove the errors, the problem is with the tape, otherwise you may want to clean the heads (see 14.1, “Head and transport cleaning”). Remember not to clean the heads more than 5 times in a row.

NOTE

If, after trying different tapes and cleaning the heads, you still see many errors, you should contact a TASCAM service technician to check your DA-98.

14.1.3 Checking head time

This function allows you to check the number of hours that the head has been use d in play or record mode.

1) Use the cursor keys [25] so that the cursor is by menu group F, and then press

Select Menu Group

01234567

89----EF

Version/Drum time

ENTER

[27].

2) Within menu group F, move the cursor so that it is by the

Dr total

field. The number of whole hours that the head has been in use will be shown on the bottom line of the display.

Sys ver Front ver

Servo ver Sync ver

Dr total Dr search

0014

14.1.4 Checking head search time

This allows you to check th e numbe r of hour s that the head ha s spent in fast forward and rewind modes:

1) Use the cursor keys [25] so that the cursor is by menu grou p F:

Select Menu Group

01234567

89----EF

Version/Drum time

2) Press

ENTER

14-2 – 1.00 – 06/97

Section 14 – Maintenance and memory setups

3) Within menu group F, move the cursor so that it is by the

Dr search

field. The number of whole hours that the head has been in use for fast forward and fast rewind will be shown on the bottom line of the dis play.

Sys ver Front ver

Servo ver Sync ver

Dr total Dr search

0002

14.2 Memory backup

The DA-98 includes non-volatile memory (NVRAM) which preserves almost all user settings after the power is turned off.

14.3 User setups

You can save commonly-used setups in one of three user setup memory banks: 1, 2 or 3. This enables you to pre-configure the DA-98 for different jobs (video or film post-production, or different recording se tups, for example). There is al so a preset memory bank which contains the factory settings (see below).

1, 2

3) Move the cursor to

DOW N

4) The word

key:

Setup

Ready ?

Save 1 2 3

Ready?

or 3, and press the UP

will flash on the screen. To save the current setup to the selected setup memory, press the

The word

Done

will appear on the screen for

key.

DOWN

about 2 seconds and the user settings will be stored to the selected setup memory bank.

14.3.2 Loading user setups

1) Go to menu group 9, move the cursor to

Setup

and press

Load 1 2 3 F

ENTER

When the DA-98 is shipped, the contents of all setup memories are the same; the y cont ain the fac tory settings.

14.3.1 S aving user setups

1) Go to menu group 9, move the cursor to

Setup

and press

Setup

Load 123F

2) To store the current setup, use the

DOWN

keys so that the bottom line reads

Save

Setup

Save 1 2 3

ENTER

and

2) To load the setup memory into the current memory , use the

bottom line reads

Setup

Load 1 2 3 F

3) Move the cursor to

DOW N

The word

key:

Setup

Ready ?

Load 1 2 3 F

Done

will appear on the screen for

Load

DOWN

and

keys so that the

1, 2

or 3, and press the UP

about 2 seconds..

The conte nts of the currently-select ed setup will be loaded into memory.

06/97 – 1.00 – 14-3

Section 14 – Maintenance and memory setups

14.3.3 Resetting the memory

You may sometimes want to reset all of the memory to factory settings. The values of all the factory settings a re listed i n 12, “Menu and parameter reference”.

1) Go to menu group 9, move the cursor to

DOWN

and

ENTER

to select

Save

Load

from

key to move the cursor to F

key, and you will see the

flashing on the screen.

key again to change the

Ready ?

Setup

2) Press between

3) Use the

and press

Setup

Load 123F

Load

RIGHT

(factory). Pre ss the

Ready?

word

4) Press the

Done.

This confirms that the memory has

been reset to factory settings.

synchronization software) field. The version number of the appropriate software will be shown on the bottom line of the display.

Sys ver Front ver

Servo ver Sync ver

Dr total Dr search

Ver 1.00

14.4.1 Software upgrades

TASCAM pursues a policy of continuous improvement to prod ucts, an d there may be futu re enhancements to the DA-98 software. Your TASCAM dealer will be able to advise you of developments in th is area.

14.4 Checking version

numbers

In case of problems, you may need to quote the version number o f the DA-98’s internal software components to a TASCAM representative.

1) Use the cursor keys [25] so that the cursor is by menu group F, and then press ENTER [27].

Select Menu Group

01234567

89----EF

Version/Drum time

2) Within menu group F, move the cursor so that it is by the

Front ver Servo ver

Sync ver

Sys ver

(front panel software version),

(servo contr ol so ft war e v ersion)

(system version),

(version of the

14-4 – 1.00 – 06/97

Section 15 – Options, specifications and reference

15 – Options, specifications and reference

15.1 Options for the DA-98

You can purchase a number of options through your TASCAM dealer.

15.1.1 RM-98 Rack Mount Adaptor

The RM-98 Rack Mount Adaptor consists of a pair of rack handl es whi ch can be fitted to the DA98 to help with removing it from th e rack for transportation, etc.

To fit these handles, you must first remove the rack mounting ears fi tted t o the DA-98 as shipped, and attach the handles as shown in the illustration below.

Accuride s trips are fitted as shown below:

Make sure that all screws and bolts are securely tightened before replacing the DA-98 in the rack.

15.1.2 Remote control (RC-848)

The RC-848 Multi-unit Remote Controller can be used with the DA-98 as well as the DA-88 and DA-38 DTRS recorders. However, note that not all functions of the DA-98 can be used with the RC-848.

The DA-98 is also fitted with screw holes in the case which all o w yo u to fit Accuride guide rails (18” or 20”) which also help with removing and replacing the DA-98 from and to rack installations.

200 series

The RC-848 can be rack-mounted using the RM8824, or placed on a roll-around stand (CS-848).

If a longer cable is required, the 10 meter (30 ft.) PW-848L can be used.

The RC-848 can also be connected to units with an ACCESSORY-2 connector. For these purpo ses, the PW88-AC2 cable is required.

• If an RC-848 controller is used, it should be connected to the D A-98’ s connector [43].

• Up to 6 DTRS units can be controlled using one RC-848 controller.

• The first DA-98 o r DA-38 unit in the chain should be giv en Machine ID 1 (ID 0 f or D A-88 units), ev en if a n RC-848 i s us ed.

• The last DTRS unit in the cha in (e ven if it is the only one) must be terminated a t the connector [44] using a TASCAM terminator.

REMOTE IN/SYNC IN

SYNC OUT

Accuride is a registered trademark of Accuride

International Inc.

15.1.3 Meter unit (MU-8824)

The optional MU-8824 external meter bridge unit can be connected using a PW-88M cable from the

METER UNIT

connector [46].

06/97 – 1.00 – 15-1

Section 15 – Options, specifications and reference

The meter can be rack mounted using the RM8824 rack mount angle accessory or mounted on the RC-848 using the MK-8824 mounting kit.

No settings are neces sary on the D A -98 to use t his meter unit.

15.1.4 Digital audio convertors

TASCAM supply two types of convertor which allow conversion between TDIF-1 and other digital audio formats.

The IF-88AE converts between eight audio channels of TDIF-1 and AES/EBU (SPDIF), and the IF-88SD con verts betwe en eight audio channels of SDIF-2 and TDIF-1.

The cables used to connect the IF88-SD to the SDIF-2 device are:

Cable Purpose

PW-SD1 IF-88→SDIF-2

→

PW-SD2 SDIF-2

IF-88

15.1.5 Cables

As mentioned, TASCAM cannot accept any responsibility for damage ca used b y the us e of the wrong cables.

Cable Purpose

PW-1ES 1m (3 ft.) standard 9-pin RS-422 cable PW-5ES 5m (15 ft) standard 9-pin RS-422 cable PW-88M External meter connecting cable

15.1.6 CONTROL I/O connector pinout

Signal

No.

1 PLAY 20 SUB GND 2 FFWD 21 SERIAL OUT 3REW 22– 4 AUX 1 23 SERIAL IN 5STOP 24– 6REC 252 FS 7AUX 2 26FLAG 1 8 CHASE 27 FLAG 2 9– 28C2 10 SUB GND 29 2F SYNC 11 PLAY TALLLY 30 F SYNC 12 FFWD TALLY 31 – 13 REW TALLY 32 SRCK 14 STOP TALLY 33 – 15 R EC TALLY 34 LOAD 16 LOCK TALLY 35 – 17 AUX 1 T ALLY 36 SUB GND 18 AUX 2 TALLY 37 SUB 5 V (max 50mA) 19 ACTIVE SENSE

Pin No.

Signal

Always consult your TASCAM dealer to see if there is a ready-made cable to meet your needs. The TASCAM cables to be used with the DA-98 (at the time of writing this manual) are given in the table below:

Cable Purpose

PW-88D 1 m (3 ft.) DA-98 ↔ DTRS digital dub-

bing cable

↔

PW -88DL 5 m (15 ft.) DA-98

bing cable PW-88S 1 m (3 ft.) DA-98 PW-2D 2m (6 ft.) analog balanced audio I/O cable

(e.g. DA-98 PW-4D 4m (12 ft.) analog balanced audio I/O cable

(e.g. DA-98 PW-10D 10m (30 ft.) analog balanced audi o I/O

cable (e.g. DA-98

↔ ↔

15-2 – 1.00 – 06/97

DTRS digital dub-

↔

DTRS sync cable

M1600)

↔

M1600)

Section 15 – Options, specifications and reference

15.2 Specifications

15.2.1 Physical specifications

482mm

465mm

430mm

357mm

330mm

Size (exc feet) w x h x d 482 x 176 x 357 (mm)

19 x 6.9 x 14.1 (in)

Weight 11 kg (24 lb)

176mm

101.6mm

11mm

Maximum recording time 108 min (using P6 120 tape) Other features Up to 16 DTRS units can be

synchronized, giving up to 128 recording tracks

15.2.2 Power specifications

Power requirements USA/Canada 120 VAC, 60 Hz

U.K./Europe 230 VAC, 50 Hz Australia 240 VAC, 50 Hz

Power consumption 62W

15.2.3 Digital recording characteristics

Number of recording tracks 8 Sub-code ABS track, SMPTE/EBU

timecode facility Sampling frequency 44.1 kHz, 48 kHz Recording resolution 16 bits linear Error correction Double-encoded Reed-

Solomon code

15.2.4 Tape recorder section

Format DTRS format Recording method Rotary-head, helical-scan

method Tracking method A TF Erasure me t h od Overwrite Head construction 2 x record, 2 x playback Tape type Hi8 MP tape / Hi8 ME

06/97 – 1.00 – 15-3

Section 15 – Options, specifications and reference

15.2.5 Tape transport

Vari speed ±6% (0.1% steps) Fast forward/rewind time 80 seconds (using P6 120

tape) Time to play from stop Less than 2 seconds Search speed Maximum of 100 x play

speed Shuttle speed Forward and reverse at 8.0,

4.0, 2.0, 1.0, 0.5 and 0.25

play speed (1.0 speed avail-

able only in forward shuttle

mode) Positioning accuracy To 1 sample Positioning lock time Within 8 seconds (when

locating 2 DA-98s synced

together)

15.2.6 Inputs and outputs

Analog inputs D-sub 25-pin balanced

+4 dBu nominal (full s cale

–16, –18 or –20 dB,

selectable)

Impedance: 20k Analog outputs D-sub 25-pin balanced

+4 dBu nominal (full s cale =

–16, –18 or –20 dB,

selectable)

Maximum output levels

+20 dBu (ref. level –16 dB)

+22 dBu (ref. level –18 dB)

+24 dBu (ref. level –20 dB)

Impedance: 10kΩ Digital I/O D-sub 25-pin

TDIF-1 format Remote in/sync in D-sub 15-pin

Conforms to REMOTE IN/

SYNC IN protocol Sync out D-sub 15-pin

Conforms to REMOTE IN/

SYNC IN protocol Word cl ock in/thru BNC connector, 75

level ON/OFF (THRU auto-

terminated) Word clock out BNC connector, 75

level Level meter output D-sub 15-pin Timecode input XLR-3 balanced

Input impedance: > 10 k

Input level: 0.5 Vp-p to

10.0V p-p

Timecode output XLR-3 balanced

Output impedance (< 10 0

Output level: 2.0 V p-p

Ω

at TTL

Ω

at TTL

Video INPUT/THRU NTSC or PAL

Negative Sync Composite Video, Sync Composite Video or Frame Pulse (auto detect)

1 V p-p, Sync Composite Video or Sync Composite Video)

TTL Level (Frame Pulse) THRU automatically termi-

nated (75Ω)

MIDI IN, OUT, THRU RS-422 D-sub 9-pin

Conforms to RS-422 specifications

±0.2 V (Negative

15.2.7 Audio specifications

Maximum output level 20 dBu, 22 dBu, 24 dBu,

±1dB

3 levels are selectable Impedance load of 10 k

Frequency response 20 Hz to 20 kHz ±0.5 dB Signal-to-noise ratio (Fs=48kHz, Ref level= –16 dB)

Dynamic range (Fs=48kHz, Ref level= –16 dB)

Total harmonic distortion and noise

Crosstalk > 90 dB at 1kHz Emphasis 50/15 Cross-fade time 10ms to 200ms (10ms incre-

Track delay –200 to +7,200 samples (–4

Offset

Source monitor > 100 dB (22 k LPF and A-weight)

Recording / playback > 97 dB (22 k LPF and A-weight)

Source monitor > 100 dB (22 k LPF and A-weight)

Recording / playback > 97 dB (22 k LPF and A-weight)

Source monitor < 0.006% Recording / playback

< 0.006% (REC/PLAY 1 kHz SIN full-scale –0.5dB, 22 k LPF and A-weight)

µs (playback)

ments)

to +150 ms) in single-unit increments. Can be set in samples or ms.

2 hours (to frame accuracy)

Ω

15.2.8 9-pin (RS-422), MIDI, synchronizer specifications

MMC functions Track delay, track copy con-

Ω

Supported timecode formats SMPTE 30, 29.97 drop, 29.97

Ω

)

trolled by System Exclusive messages

non-drop, EBU 25 and Fil m 24 fps

15-4 – 1.00 – 06/97

Section 15 – Options, specifications and reference

Timecode offset Up to 24 hours (jamsync

capability) ABS to SMPTE con version

facility (with offset)

Video sync Video frame resolvable even

when VIDEO not selected as clock source

06/97 – 1.00 – 15-5

Section 15 – Options, specifications and reference

15.3 MMC Bit Map Array

Commands unavailable on the DA-98 are struck through, as for example (RECORD PAUSE).

Byte Bit 7 Bit 6 (40H) Bit 5 (20H) Bit 4 (10H) Bit 3 (08H) Bit 2 (04H) Bit 1 (02H) Bit 0 (01H)

c10

c11

c12

c13

c14

c15

c16

c17

c18

c19

(06)

RECORD

STROBE

(0D)

MMC

RESET

(14) (13) (12) (11) (10) (0F) (0E)

(1B) (1A) (19) (18) (17) (16) (15)

(26) (25) (24) (23) (22) (21) (20)

(2D) (2C) (2B) (2A) (29) (28) (27)

(34) (33) (32) (31) (30) (2F) (2E)

(3B) (3A) (39) (38) (37) (36) (35)

(46)

(4D)

ADD

(54)

DEFERRED

VARI . PL AY

(5B) (5A) (59) (58) (57) (56) (55)

(66) (65) (64) (63) (62) (61) (60)

(6D) (6C) (6B) (6A) (69) (68) (67)

(74) (73) (72) (71) (70) (6F) (6E)

(7B) (7A) (79) (78) (77) (76) (75)

(05)

REWIND

(0C)

COMMAND

ERROR

RESET

(45)

VARIABLE

PLAY

(4C)

MOVE

(53)

COMMAND

SEGMENT

(04)

FAST

FORWARD

(0B)

CHASE

(44)

LOCATE

(4B)

MTC

COMMAND

(52)

GROUP

(03)

DEFERRED

PLAY

(0A)

EJECT

(1F) (1E) (1D) (1C)

(3F) (3E) (3D) (3C)

(43)

UPDATE

(4A)

GENERATOR

COMMAND

(51)

EVENT

(5F) (5E) (5D) (5C)

(7F)

RESUME

(02)

PLAY

(09)

PAUSE

(42)

READ

(49)

ASSIGN

SYS. MAS

(50)

PROCEDURE

(7E) (7D) (7C)

(01)

STOP

(08)

RECORD

PAUSE

(41)

MASKED

WRITE

(48)

STEP

(4F)

DROP FR.

ADJUST

(00)

reserved

(07)

RECORD

EXIT

(40)

WRITE

(47)

SHUTTLE

(4E)

SUBTRACT

REC STROBE

VARIABLE

WAIT

15-6 – 1.00 – 06/97

Section 15 – Options, specifications and reference

Byte Bit 7 Bit 6 (40H) Bit 5 (20H) Bit 4 (10H) Bit 3 (08H) Bit 2 (04H) Bit 1 (02H) Bit 0 (01H)

r10

r11

r12

r13

r14

r15

r16

r17

r18

r19

(06)

GENERATOR

TIME CODE

(0D)

GP5

(14) (13) (12) (11) (10) (0F)

(1B) (1A) (19) (18) (17) (16) (15)

(26)

Short

GENERATOR

TIME CODE

(2D)

Short GP5

(34) (33) (32) (31) (30) (2F)

(3B) (3A) (39) (38) (37) (36) (35)

(46)

SELECTED

TIME CODE

SOURCE

(4D)

RECORD

STATUS

(54)

STEP

LENGTH

(5B)

GENERATOR

COMMAND

TALLY

(66) (65)

(6D) (6C) (6B) (6A) (69) (68) (67)

(74) (73) (72) (71) (70) (6F) (6E)

(7B) (7A) (79) (78) (77) (76) (75)

(05)

LOCK

DEVIATION

(0C) GP4

(25)

Short

LOCK

DEVIATION

(2C)

Short GP4

(45)

TIME

STANDARD

(4C)

RECORD

MODE

(53)

TRACK INPUT

MONITOR

(5A)

CHASE

MODE

FAILURE

(04)

ACTUAL

OFFSET

(0B)

GP3

(24)

Short

ACTUAL

OFFSET

(2B)

Short GP3

(44)

COMMAND

ERROR

LEVEL

(4B)

FAST

MODE

(52)

TRACK SYNC

MONITOR

(59)

RESOLVED

PLAY

MODE

(64)

RESPONSE

SEGMENT

(03)

REQUESTED

OFFSET

(0A)

GP2

(1F) (1E) (1D) (1C)

(23)

Short

REQUIRED

OFFSET

(2A)

Short GP2

(3F) (3E) (3D) (3C)

(43)

COMMAND

ERROR

(4A)

STOP

MODE

(51)

RECORD

MONITOR

(58)

CONTROL

DISABLE

(5F)

MTC

SETUP

(63)

VITC INSERT

ENABLE

(7F)

RESUME

(02)

SELECTED

MASTER

CODE

(09) GP1

(22)

Short

SELECTED

MASTER

CODE

(29)

Short GP1

(42)

RESPONSE

ERROR

(49)

VELOCITY

TALLY

(50)

GLOBAL

MONITOR

(57)

LIFTER

DEFEAT

(5E)

MTC

COMMAND

TALLY

(62)

TRACK

MUTE

(7E) (7D) (7C)

(01)

SELECTED

TIME CODE

(08)

GP0/LOCATE

POINT

GP7

(21)

Short

SELECTED

TIME CODE

(28)

Short GP0

LOCATE

POINT

Short GP7

(41)

UPDATE

RATE

(48)

MOTION

CONTROL

TALLY

(4F)

TRACK

RECORD

READY

(56) FIXED SPEED

(5D)

GENERATOR

USER BITS

(61)

EVENT

RESPONSE

(00)

reserved

(07)

MTC

INPUT

(0E) GP6

(20)

reserved

(27) Short MTC

INPUT

(2E)

Short GP6

(40)

SIGNATURE

(49)

SELECTED

TIME CODE

USER BITS

(4E)

TRACK

RECORD

ST ATUS

(55)

PLAY

SPEED

REFERENCE

(5C)

GENERATOR

SETUP

(60)

PROCEDURE

RESPONSE

WAIT

15-7 – 1.00 – 06/97

Kolpak DA-98 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual