Tascam 688 User Manual

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TEAC

Professional

Division

·MIOISTUOIO

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Table

of

Contents

"';'.

Block

Diagram

5

MIDI

MIXER

CONTROL

Transmitting MIDI Program Change

commands

INTRODUCTION

from

the

688 .,

,34

Understanding

the

Mixer

Scene Display

7 Changing scenes via External MIDI commands

35

Multitrack

Cassette Recorder

9

Controlling

Mutes

with

MIDI Note messages

35

The Recording System

11

Mixer

Subsystems

11

FEATURES

AND

CONTROLS

Mixer

section

36

BRIEF

GUIDE

14

Monitor

Section

38

Scene Routing Display and Controls

39

OPERATIONS

GUIDE

Recorder Section

43

Tracking

17

Autolocator

Section

45

Overdubbing

19

Meter

Section

46

Mixdown

20

Back panel

47

Punch-in

or

Insert Recording

21

Front Panel

49

Bouncing tracks (ping-pong)

24

Using

the

Scene Display

25

Transferring

All

Scenes

27

Care

and

Maintenance

50

Using

Effects

with

the

MIDISTUDIO 688 28

How

the

dbx

works

51

Specificati

0

ns

52

MIDI

SYNCHRONIZATION

level

Diagrams

55

Introduction

to

MIDI Sync

30

Optional

Accessories

57

The Recording system

with

MIDI

implementation

chart

58

MIDI

Synchronization

31

Procedures

for

MIDI Sync Recording

32

FACTORY

PRESET

SCENES

59

Mixer

operation

during

MIDI Sync

33

Us'jng External Sync Devices

33

Synchronizing the 688 to another tape deck 34

C 1990 TEAC

Corporation.

All

rights

reserved

under

international

and

Pan

American

copyright

conventions. This book

may

not

be reproduced in

whole

or

n part.

by

mimeograph

or

any

other

means,

without

permission.

Important

Safety Precautions

A

CAUTION:

TO

REDUCE

THE

RJSK

OF

ELECTRIC

SHOCK,

DO

NOT

REMOVE

COVER

(OR

BACK).

NO

USER-SERVICEABLE

PARTS

INSIDE.

REFER

SERVICING

TO

QUAUAED

SERVICE

PERSONNEL.

The

lightning

flash

with

arrowhead

symbol,

within

an

equilateral

triangle,

is

intended

to

alert

the

user

to

the

presence

of

uninsulated

-dangerous

voltage-

wRhin

the

product's

enclosure

that

may

be

of

sufficient

magnitude

to

constnute

a

risk

of

electric

shock

to

persons.

The

exclamation

point

wnhin

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.

. "

"'.

\

I

'",

"

\..

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.

~odel

number

_

~rial

number

,

WARNING:

TO

PREVENT

FIRE

OR

SHOCK

HAZARD,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE~

-2-

----

-

N<l._

D1SCHAIi!(;[ u,,"r

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EXAMPLE

OF

ANTENNA

GROUNDING

AS

PER

NATIONAL

~ICAI,(',()DE

13. Cleaning -

The

appliance should be cleaned only as recom-

mended by

the

manUfacturer.

14. Power Lines - An

outdoor

antenna should

be

located

:!JWay

from power lines.

15.

Outdoor

Antenna Grounding -

If

an outside antenna

is

connected to

the

receiver,

be

sure the antenna system

is

grounded so

as

to

provide some

protection

against voltage

surges and built

up

static charges. Section 810

of,

the

National Electrical Code, ANSI/NFPA No.

70

- 1984, pro-

vides information with respect

to

proper grounding of.

the

mast and supporting structure, grounding

of

the

lead-iii

wire

to

an antenna discharge unit, size

of

grounding con-

ductors, location

of

antenna-discharge unit, connection

to

grounding electrodes, and requirements for

the

grounding

electrode. See Figure below.

£L£Cn:UC

S(fMC(

[CUlPI.((NT

16. Nonuse Periods -

The

power cord

of

the appliance should

be 'unplugged from the

outlet

when left unused for a long

period

of

time.

17. Object and Liquid Entry - Care should,

be

taken so

that

objects

do

not

fall and liquids are

not

spilled

into

the en-

closure through

openings.'

.

18. Damage Requiring SelYice - The appliance should be ser-

viced

by

Qualified service personnel when:

A.

The

power.:supply

cord

or

the

plug has been damaged;

or

B.

Objects have fallen,

or

liquid has been spilled into

the

appliance;

or

C.

The

appliance has been exposed to rain; or

D.

The

appliance does

not

appear

to

operate normally

or

exhibits a marked change

in

performance;

or

E.

The

appliance has been dropped,

or'the

enclosure

dam'

aged.

19. Senlicing -

The

user should

not

attempt

to

service'

the

appliance beyond

thet

described

in

the operating Instruc-

tions.

All

other

servicing should be referred to qualified

service personnel.

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 safetyand operating instructions

should be read before the appliance

is

operated.

2. Retain Instructions -

The

safety and operating instructions

should

be

retained for future.reference.

3. Heed Warnings -

All

warnings

on

the appliance and

in

the

operating instructions should be adhered to.

4. Follow Instructions - All operating and use instructiom

should be followed.

5.

Water and Moisture - The appliance should

not

be used

near water - for example, near a

bathtub,

washbowl, kitchen

sink, laundry

tUb,

in

a

wet

basement,

or

near a swimming

pool, ete.

6.

Carts and Stands -

The

appliance should be used only with

a

cart

or

stand

that

is

recommended

by

the manufacturer.

6A. An appliance and

cart

combination should be moved with

care. Quick stops, excessive force, and uneven surfaces may

cause

the

appliance and cart combination

to

overturn.

7.

Wall

or

Ceiling Mounting -

The

appliance should be mount-

ed

to

a wall

or

ceiling only as recommended by

the

manu-

facturer.

8.

Ventilation - The appliance should be situated so

that

its

location

or

position

does

not

interfere with its

proper

venti-

lation.

For

example,

the

appliance should

not

be situated

on

a bed, sofa, rug,

or

similar surface

that

may block the

ventilation openings; or, placed

in a built·in installation,

such

as

a bookcase

or

cabinet

that

may impede the flow

of

air through the ventilation openings.

9. Heel -

The

appliance should be situated away from heat

sources such as radiators,

heat

registers, stoves,

or

other

appliances (including amplifiers)

that

produce heat.

10. Power Sources -

The

appliance should be connected

to

a

power supply only of the

type

described

in

the operating in-

structions

or

as marked

on

the

appliance.

11. Grounding

or

Polarization -

The

precautions

that

should

be taken so

that

the grounding

or

polarization means

of

an

appliance

is

not

defeated.

12. Power-Cord Protection - Power-supply cords should be

routed so

that

they are

not

likely

to

be

walked on

or.

pinch-

ed by items placed

upon

or

against

them,

payi!lg particular

attention

to

cords

at

plugs, convenience receptacles, and

the

point

where

they

exit from the appliance.

Safety

Instructions

-3-

Introduction

In

additIon. the MIDISTUDIO

~n

be

synchronized

to

other

mult/tracks

(like the

TASCAM

MSR-16

or

238)

or

to

II

video

cassette

recorder

using

the

TASCAM

MIDiiZER.

(Connection

of

tho

MIDilZER to a

VCR

mav

require

the

IF-

1000 Parallel Interlace U

nit.l

The 688

MIDISTUDIO®

is an

8-channel

multitrack

Cas-

sette

recorder,

1I

20

input

mixing

system

with

electronic

routing

control,

and s MIDI Tape

Synchronizer

combined

into

a

single

workstation.

It's

the

first

a-track PORTA-

STUDIO~

expressly

designed

to

meet

the

challenge

of

the MIDI

revolution.

Its

mixing

lection

Is

designed

In

a

new

way

to

accommodate

the greater

number

of

line In-

puts

in

a

typical

MIDI

studio,

up

to

20

et

once

plus

4 ef-

fect returns. Each

main

channel can acceas

up

to 4 effects

busses,

so

you

can use a

variety

of

different

effects

(reverbs, delays, choruses etc.) on

different

Inputs. MIDI

Tape Synchronization

with

Song Position Pointer (same as

that

used

by

the

TASCAM MTS-301 is

built

In.

so

that

the

capabilities

of

MIDI sequencing can

be

blended

with

the

advantages

of

multitrack

recording.

Note

for

U.K.

Customers

only

Due

to

the

variety

of

plugs

used

In

the

U,K.,

this

unIt

Is

sold

without

an

AC

plug.

Please

request

your

dealer

to

install

the

correct

plug

to

match the

maIns

power

outlet

where

your

unit

will

be

used

as

per these instructions.

..,-4-

NOTE:

This

voltage

conversion

is'

not

possible

on

models

sold

in

the

U.S.A., Canada, U.K.,

Australia

or

Europe.

You'll

get

the

best

results

by

having

your

system

set

up

so

you

can

experiment

with

it

'as

you

read.

Don't

make

the

mistake

of

booking

a crucial

recording

session before

you've

had free

time

to

really

get

to

know

your

688.

This manual is

divided

into

sections.

INTRODUCTION:

Everyone,

from

expert

to

novice,

should read

this

part.

OPERATIONS

GUIDE:

This

covers

the

"how

to"

proce-

dures

of

basic

multitrack

recording

with

the 688.

It

ad-

vances

to

instructions

about

us.lng

effects,

bouncing

tracks, and

punching

In.

MIDI OPERATIONS:

After

you've

worked

with

and are

comfortable

with

the

mixer

and

the

recorder

sections,

read

this

If

you

want

"how

to"

procedures

of

MIDI

syn-

chronization.

Non-MIDI

users

don't

need

this

part.

FEATURES

AND

CONTROLS: Everyone

should

use

this

·what

is

it?"

dictionary

that

defines

every

control

and

indIcator

on

the

688

In detail.

The

688 MIDISTUDIO

is

different

in

major

ways

from

previous

PORT

ASTUDIOs.

The

basic

structure

of

the

mixer,

the

features

of

the

tape

transport,

the

MIDI

im-

plemuntation,

llnd

the

electronic

switching

are

811

new.

To get the

most

out

of

your

688, spend

some

time

now

to

READ THE

MANUAL!

You'lI

be

ghid

you

dId.

Even

If

you're

experienced,

you'll

discover

Borne

tricks

you

haven't

tried before.

How

to

Use This

Manual

Precautions

Changing

the

Memory

Back-up

Battery

The

included

battery

lasts

about

5 years.

We

recommend

'you

to

change

the

battery

In

advance

to

prevant

-accidental

erasure

of

the

contents

of

the

99 scene

mem-

ories.

If

the

battery

has

run

low,

when

you

turn

on

the

688

you

will

see

the

switch

settings

of

factory

preset

scene 01, insteed

of

the

last scene

you

used.

For

infor-

mation

on

how

to

change

the

battery,

consult

TASCAM

or

your

nearest

TASCAM

dealer.

Voltage

Conversion

_-

This

unit

i~

adjusted

to

operate

on

the

electric

voltage

epeclfied on

the

unit,

power

cord

tag,

or

plICklng carton.

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pag.

works

just

like

the

MAIN

page.

sending

any

of

the

four

EFFECT RETURNS

to

any

of

the

aight

GROUPs.

A black

dot

indicates

when

a

MAIN

chan'nel

(1·10

only) is

muted

lturned

off)'

This

shows

that

the

DUAL

mIx

(channels 11-20) has

been

linked

to

Groups 1 and 2. (Dual Left

to

1, Dual

Right

to

2.]

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ttttjngs

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plgosl

Some

lettings

are

visible

regardless

of

page: DUAL

LINK and CHANNEL MUTE:

You

may

have

noticed

that

there

is

no

·Assign

Dual"

screen

for

inputs

11-20. The

DUAL

channels 111-20)

cannot

be

assigned

individually.

Instead,

the

dual

sec-

tion

acts

as

a stereo

8ubmixer

whOse

left

and

right

out-

puts

can be LINKED

to

the

group

outputs

for

recording.

DUAL LINKs should

be

turned

OFF

when

you

went

to

use

the

DUAL

section

to

monitor

some

InputJl-that

is,

hear

them,

but

not

record them.

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These black squares

show

that

MAIN

channels (1-10)

are

getting

their

inputs

froni

the

MIC jacks.;: . .

Mixer

Routing/Scene

Display

To

make

the

688 MIDISTUDIO easy

to

use, TASCAM de-

signed

an

electronic

switching

system

that

controls

and

memorizes all

mixer

routing

into

99

·scenes·. Recalling a

scene changes

the

routing

of

the

whole

mixer

at

once,

instead

of

having

to

switch

each channel

individually.

The

688

comes

from

the

factory

with

Scenes 1-12 al-

ready preset

with

the

most

commonly

used settings, so

you

can

get

s\lrted

just

by

pressing

the

UP, DOWN, and

RECALL keys.

What

is

routing?

Every

control

on a

mixing

console

performs

'one

ci(three

relatively

simple

tasks: . .

1. Where

FROM-called

·input

selection·

or

·sourclng·,

2.

Where

TQ---allled

·assignment".

"

3.

How

MUCH--called

level,

gain,

attenuation,

trim,

mute,

on/off, etc, etc.

The

mixer

of

the

688

contains

146

different

sWitches.

This is

more

than

the

BC~ne

display

can

show

at

once,

so

there are

th~ee

"display pages"

to

each scene:,.; "

INPUT ,page

This

is

the

page

that

shows

the

source

("where

from")

of

each

of

the 20

channels.of

the

mixer.

' .

ASSIGN

MAIN

page

This

is

the

·where

to·

display

for

the

MAIN

channels'(l-

10). It

shows

which

channels

are,assigned. to

which

of

the

eight

output

groups

of

the

mixer.

readv

for

recording;

These black squares

show

that

MAIN

cha'nnels

1-'0

are assigned

to

Group

" ready

to

be

'recorded

on

Track

1:

.

~,

.

• •

.

•

1.

,

•

•

to

-

....

0

00

0

0"

0

0

00

-

_

...

,

..........

n

,

-

...

~ODOOCJOOOOO

U

I

a.aODOOOClOOOO

"'0000000000

lOW>Il000

00D

OOO

D

~

a.'OOODOODOOD

..

, 0 0 0 a D

Cl

CJ 0 0 0

-~

.

c.r>lo

0

DODO

CJ 0 0 0

.

.

•

.

•

.

,

.

•

..

-7-

--

--

-

Scene

Assign

I

Assign

Input

Input

•

Dual

MAIN

EfF

MAIN

DUAL

Unk

01

GROUP 1

MIC

LINE

GRP 1-2

02

GRP

2

·

·

•

03

GRP

3

· ·

GRP 3-4

04

GRP

4

· · ·

06

GRP6

·

·

GRP

6-6

oe

GRP

6

·

· ·

07

GRP

7

·

·

GRP

7-8

08

GRP

8

·

·

·

IScene

I

Assign

I

Assign

Input

Input

Dual

MAIN

EFF

MAIN

DUAL

Unit

I 12

I GROUP 1-2

TAPE LINE

GRP

1-2

Factory

Presets

The

first

12

scenes

come

from

the

factory

with.

settings

that

will

help

you

get

started. You can see

this

data

in

more

detail

in

the

charts

on

pages 66-60.

Scene 12 is

the

MIXDOWN scene. Here,

the

TAPE

be-

comes the source

of

the

main

channels, and everything

is

assigned in stereo

to

Groups 1 and 2:

These scenes are identical

except

for

their

ASSIGNments.

All

Inputs

are

8ct~ve-the

mics

through

the

MAIN

channels 1-10, and

the

lines

though

DUAL

channels 11-

20,

with

LINKS ON.

Scenes 1-8 are dedicated

to

tracking

or

overdubbing

onto

the

eight

tracks

of

the recorder,

one

at

a time:

Note

that

while

the

XLR jacks

are

labeled MIC on

the

scene

display,

they

can

accept

line-level

inputs

(from

synthesizers, etc.)

if

the

TRIM Is

turned

down.

This makes

it

possible

to

have 20

line

sources

at

once

with

the

688.

A

simple

XLR-to-phone

adapter

is all

that

Is

needed-this

is

why

the jacks are labeled MIC (LINE

A).

These factory presets are

just

a suggestion, and there are

87 blank scenes available so

you'can

build

scenes

that

fit

your

own

studio.

(Even

the

first

12 can

be

erased

or

changed

at

any

time.)

For example,

if

you

want

a synthesizer

plugged

Into

a

1/4"

LINE

(B)

Jack

to

go

through

a

MAIN

channel instead

of

the DUAL,

you

just

have

to

make a scene

with

LINE as

the main channel source. LINE can

be

selected as the

input

for

the

MAIN

channel,

the

DUAL channel,

or

both

channels simultaneously.

The

same is true

for

MIC, and

the eight TAPE tracks.

Tractcing

Mixdown

The

Three

Steps

to

Multitrack

Why

~He

all

these

scenes

and

INPUT

and ASSIGN

switches necessary] Because there are three basic steps

to

multitrack

recording.

In each step, the signal

flow

through

the

mixer

has to change direction:

{[;J

Overdubbing!

:Ia

'V

;;i\~MonilorSection~

M.in

Saction

3

E=§

-'~

----~

4ue::J~

~o,~,,~

L-688

----.J

2

Track

Notice

how

the

arrows

in

the

pictures above change

di-

rection.

In TRACKING and OVERDUBBING,

the

mixer

Inputs

are

usually

microphones

or

Instruments,

goIng

to

different

tracks

of

the

recorder. In OVERDUBBING,

part

of

the

mixer

must

be used

to

monitor

previous tracks

while

you

record

new

ones, so

there

is

a

two-way

flow

through

the

console. In MIXDOWN, signal

comes

from

the

m

...

ltltrack

and is sent

to

an

external 2-track recorder.

On

a

mixer

with

mechanical switches,

you

have

to

press

dozens

of

separate

switches

to

go

from

overdub

to

mix-

down

modes. But because

of

the 688's scene dIsplay, all

you

have

to

do

is change scenes (by pressing

UP,

DOWN,

or

the

number

keys,

then

RECALL),

and

everything

changes

for

you. '

-8-

Mu{titrack Cassette Recorder

The 688 records on

readily

available standard (Philips)

Compact Cassette tape.

high

bias Type II. You can record

on

any

or

all

eight

tracks

of

the

688

at,

any

time.

• There are

two

counter

displaya,

one

ahowing

the

current

position

and

the

other

showing

an autolOCllte

or

punch point.

With

proper

operating

techniques,

It

la

not

necessary to

leave

a,

guard

band between

music

and sync

tone

tracks

because

of

the

low

crosstalk

of

the

TASCAM

head,.

Us-

ing

OBX noiae

reduction

the

'sonic

quality

of

the

688

is

only

exceeded

by

reel-to-reel

recorderl

with

noise

re-

duction.

The

transport

controls

of

the MIDISTUOIO are

micropro-

cessor operated.

allowing

high

reliability

and

automatic

functions

that

make

the

unit

easier

to

use: '

• REHEARSE and AUTO IN-OUT use

the

counter

to

electronically

mark

punch-in and

out

tim'es. Once you

have

set

the

points,

you

can practice

an

insert several

times

before

actually

recording,

with

machine

precision each

time.

• A three position autolocator (MEMO 1 and 2 and Zero)

allows

key

positions

to

be located automaticallv.

• REPEAT

allows

a 8ection

to

be

played'

ovar

and

over

between

the

MEMO

1 and

MEMO

2

points,

for

re-

hearsal.

• The

counter

display

can

show

either

reel revolutions

or

acts liS a

timer

,hawing

how

long

tha transport

hal

been

in

PLAY

or

RECORD

mode.

In

addition,

the

tranaport

capstan

motor

la ae(V()-C()n-

trolled,

so

that

the

tape

speed can

be

Increased

or

de-

crea~

with

the

PITCH CONTROL

to

mateh

pltx:h

or

for

specIal effects.

The

capstan can be externally

controlled

by

a eynchronizer (such

aa

the

TASCAM MIDIIZER) con-

nectad

to

the

ACCESSORY 2 Interface'

~f

the

688

80

tha

tape

will

"lock"

to

anothar

recordar, either audio

or

video.

using SMPTE Time Code. '

The 688 can be

remotely

controlled

by

the

optional

RC-88

remote

control

unit

which

puta

the

transport

controls

up

to

5 m (15

ft.)

away.

Punch-In and Punch-out can be

engaged

using

the

optional

RC-30P

footawitch,

which

gives

you

an

"extre

hand"

In

the

r.cording

proceaa.

During

Rehearse and

Auto

In..()ut modes.

you

can even

put

the

deck

into

PLAY

or

REWINO

with

the Re-30P.

for

totally

"hands free"

operation.'

' ,"-":;

Track Format and Tape

Recommendations

• I

.•.•.

The 688 MIDISTUOIO uses a basis speed

!of

9.5

em/sec.

(3-3/4 ips)

which

is

two

times

(2X) the

normal

speed

of

a

standard

audio

cassette.

It

also

empioV8

a'

discrete

8-

channel

format

head developed especially

by

TEAC

for

TASCAM

multitrack

cassette recorders. Hera Is a

com-

parison

of

venous

cassette formats:

@

(Unit:

mm)

ANSI

(Phlllpsl

2Tr

20>

IEC

(Phllipsl

4Tr2Ch

©

®

®

TASCAM

TASCAM

TASCAM

lEe

4Tr3Ch

4Tr4Ch

8Tr8Ch

(PhiliPS)

4Tr4Ch

~q

®

~

®

1l

I

II

!

o

~

!

~

~

i

~

II

S

!

..

3

d

S

~~

i

tl

,

I

CH. r---"I '

I

.

,

r 1

CH-r

'hf

lCli,

r 1 I

I I I

"

I I I ' J I

Jll

J I J

I I I I

Tapes,recorded on stereo cassette recorders

will

not

play

back

properly

on the 688 because

of

the differences

in

the

track

format

and tape speed. For the same reasons, tapes

recorded

on

the

688 MIDISTUDIO

will

not

play

back

properly

on stereo cassette recorders. Material recorded

-9-

on

the

688

must

be

mixed

down

to

stereo

for

final

distribution.

The

688

MlDISTUDIO.

like

all

multitrack

cassette

recorders, records and plays the tape in one

direction

/

-----

---

----

-

only.

The 688

needs

the'

entire

width

of

the

tape

to

record

its

eight

tracks,

eliminating

the

option

of

recording

on

both

sides

(actually,

it's

both

directions).

Therefore,

you

should

decide

which

side

(side

"A"

or

side

"a")

you

want

to

use

and

use

that

side

exclusively.

It's

a

good

idea to

get

Into

the

habit

of

consistently

using

the

same

side on all

multitrack

tapes.

Tape

Type

The

688

MIOISTUDIO

is

Internally

adjusted

for

,HIGH

BIAS

"Type

II" taPe.

This

means

that

for

best

results,

you

should

'only

use

tapes

of

this

type.

Examples

~ould

in-

clude

TOK SA,

Maxell

XL-II

or

equivalent

formulations.

We

strongly

suggest

that

you

select

one

good

quality

brand

and

use

it

exclusively.

The

time

you

spend

creating

your

multitrack

master

is

much

more

valuable

than

the

money

you

save

by

buying

inferior

tape.

The

cassette

shell

essentially

becomes

e

part

of

the

688's

transport.

Poor

quality

shelis

can

cause

wrinkles,

snarls

and

shredding'

of

the

edges

of

the

tape

with

use. Even

small

scratches

on

the

tilpe

oxide

can

cause

"dropouts"

(temporary

loss

of

signal)

on

one

or

more

of

the

tracks.

HiQ!!

Q1JalitY

tapes are less

likely

to

cause

problems

in

the

long

run,

Accidental

Erase/Record

Protection

To protect a

finished

master

tape,

it

is

necessary

to

punch

out

both

record

protect

tabs.

Even

though

you

are

recording

in

only

one

direction,

the

688 MIOISTUDIO uses

the

entire

width

of

the

tape, as

mentioned

above.

If, ,for

example,

you

remove

only

one

o'f

the

tabs,

you

could

accidentally

insert

the

cassette

into

the

688

backwards

and erase all

eight

tracks

of

the

master.

Tape

Length

Use

the

shortest

possible

tape

for

a

given

work.

It

Is

not

unusual

to

play

e

tape

100

times

before

you

are'finlshed,

80

select a cassette

length

that

i8

as

close

as

possible

to

the

length

of

the

program

you

plan

to

record.

cassettes

C·60

length

and

shorter

are

often

made

from

thicker

stock

than

longer

cassettes.

The tape used

in

C-120

cassettes

Is

extremely

thin

and

can cause

winding

problems,

crimping,

wrinkling,

and

other

d8~r

to

the

oxide

coating

of

the

tape

which

wnl

destroy

rr

work.

Don't

use

C-120s In

the

68B.

Remember

that

at

2X

normal

speed,

and,

the

"one-slde·

only"

8-track

single

direction

format

means

that

you

have

only

1/4X

normal

play

time.

(approx.)

THIS DIGITAL APPARATUS DOeS NOT EX·

CeED

THE

CLASS B LIMITS

FOR

RADIO

NOISE EMISSIONS FROM

DIGITAL

APPARA·

TUS

AS

SET

OUT IN

THE

RADIO INTER·

FERENCE REGULATIONS

OF

THE

CANADIAN

DEPARTMENT

OF

COMMUNICATIONS.

LE

PRESENT APPAREIL NUMERIQUE N'EMET

PAS

DE

BRUITS RADIOELECTRIOUES

DE-

PASSANT

LES

LlMITES APPLICABLES AUX

APPAREILS NUMERIOUES

DE

CLAssE'B'

PRESCRITES DANS

LE

REGLEMENT

SUR

LE

BROUILlAGE

RADIOElECTRIOUE EDICTE

PAR

lE

MINISTERE

DES

COMMUNICATIONS

DU

CANADA.·

,

This product

is

manufactured

to

comply

with

the

radio interference

of

EEC directive "82/499/EEC."

Bescheinlgung

des HenlteUersllmporfeurs

Hiermit

wird

beacheinigt, daB

der/die/das

MISCHPUl

TMIT

MAGNETTONBANDGERAT

618

IGe,l!.

~P.

Bueichnung)

~

'in

Obereinslimmung mit den

Bestimmungender

AM1'SBUnl63119M.

VFG

104511984,

VfG

104611984

.

IAmt.blarl~Q,fOgungl

funk-entstOrt 1st

Der Deutachen

Bundespost

wurde

das

Inverkehrbringen

dieses Gerates angezelgt

und

die Bereehtlgung zur Ober-

pnllung

der

Serie aul Elnhaltung

der

B&stimtnungen eingeraumt

TEAC

CORPORATlON

ADVARSELI

Uthiumbatterl - Eksplosionsfare

ved

fejlagtig

handtering. Udsklftning

mA

leun

ske med batteri

af

samme fabrikat

og

type.

Lev~r

det bwgte

batted

tilbage til

leverand~en.

VARNING

Explosionsfara

vid

felaktigt batterlbyte.

Anvand samma batterityp eller

en

ekvivalent

typ

som

rekommenderas

av

apparattillverkaren.

Kassera anvant batterl enligtfabrikantens instruktion;

CON

FORME

AL D.M.

13

APRILE

1989

DIRETIIVA CEE/87/308

C-30

7.6

min.

C-46

11.5

min.

C-60 15

min.

e-90

22.5

min.

i.·

-10-

THE

APPLIANCE CONFORMS WITH

EEC

DIREC-

TIVE 87/308/EEC REGARDING INTERFERENCE

SUPPRESSION

Control

Monitor

and Amplifier

Multitrack

Recorder

2-Traclc (Mixdown) Recorder

Talent

Cue

(Phones)

QO

0

00 00

00

0 0

0

~:B

o 0

0

0

00

00

0 0

o 0

o 0

o 0

00

o 0

0

0

0

0

o 0 o 0

00 00

00

0

0

0

0

~

S

o 0

QO

00 00

QO

0 0

0

o 0

o 0

00 00 00

0 o 0

_0.

.9.

0

o 0

00

00

OQ

00

0

cccDDDD

0

o 0 o 0

00 00

o 0

00

coe

DOC

.9

O_Q

QO

00

00

0

0

oec

coo

(Reverb.

Delay,

coo

0 0

0

o 0 o 0

00 00

0

CCJcooocooo·O:::.:::D

Echo,

Comp., etc.)

•

~~

n

n

n

~~

~m

00000000

DOClO

~~

"'c=J

DODD

coo

DODD

~

~P

I I I I I •

Mixer

There

are six

elements

to

a

complete

recording system:

•

Multitrack

recorder

•

Mixer

•

2·track

(Mixdown)

Recorder

•

Input

devices

(microphones,

synthesizersI

•

Output

devices (headphones

or

amp

and speakers)

• Effect processors

The

Recording

System

The MIDI STUDIO

contains

two

of

these

elements-the

mixer

and

the

multitrack

recorder-in

one

unit.

Even

though

they

are

wired

together

internally,

it

is

important

to

understand

that

they

still

aet as separate elements,

When

you

plug

into

Input

1,

you're

plugging

into

lLkb..wl:.

nel

of

the

mixer.

NOT

Track 1

of

the recOrder. You have

to

use

the

mixer

controls

to assign

that

input

to

the

track

of

the

recorder

you

want

to

record on.

Mixer

Subsystems

The

mixer

of

the

688 is easy

to

understand

if

you

break

it

down

into

seversI

fjubsystems

and

team

the

purpose

of

each

section based on

where

it

gets

its

signal FROM and

where

it sends signal·TO.

Aux

Mix:

This

section gets

its

signal

from

the

main

or

dual

sections,

and

sends

it

out

to

external

signal

processing

devices.

Main

Mix:

This

is

the

recor-

ding

mixer.

It

gets

signal

from

multiple

inputs,

processes

them

f.or

level

and

tone,

and

sends

them

to

tape

recorder

tracks.

..

o 0

o 0

000

00

o 0

00

D

--------

000

0000

0

0

00

00

J~

000

000

0

0 0

00

00

000

000

0 0 0

o~

00

oQ.

0 0

0000

0

0

o c

o~

10

0r'1:'

f.Q~~

0 0

0 0

00

00

Iolnl"

I"

1"1,,

I"

,,,

!"I"

00

.·0

1000

o

01~1.g

00

00

o Q

n!nln

Inlnlii

11"\

000

0.000

00

1m

-

.•

.

~

n

.~

Monitor

Mix:

ThIs

is

the

listening

mixer.

It

gets

signal

from

the

tape

recorder,

or

from

any

,,0/

the

other

mixer

subsystemsd~nd

sends

them

to

your

control

room

speakers

or

headphones.

Dual

Mix:

This

section

can

add

10

extra

sources

to

the

Main,

Monitor,

or

Aux

systems. It gets

signal

from

multiple

inputs,

or

from

post-

Main

fader. Its stereo

output

can

be

heard

in

the

Monitor,

linked

to

the

Main

Mix

for

recording,

or

connected

to

external

effect devices.

-

11

-

Main

Mix;

This

subsystem

(Channels 1-10) is the largest

in the

688. Its purpose

is

to

control

signals

going

to

tho

multitrack

recorder

during

tracking

and

overdubbing,

and

to the

stereo

recorder

during

mixdown.

The

Main

Mix

offers

the

most

control-each

channel

has a

linear

fader.

an equalizer, an

insert

point,

and

can

be

Individually

assigned

to

any

of

the

eight

Groups.

Each

Group

connects to Its

corresponding

tape track. Each channel

of

the

Main

Mix

can

get

signal

from

its

corresponding

Mic

or

Line

jack.

and

send

it

to

any

of

the

eight

Group

outputs

and tape tracks.

@)

LINE B

TAPE~

ICh

1,'11_

81

'8

DIlJvl

0

o·

{FFECT

"£TURN

Monitor

Mix:

It's

important

that

the

engineer/

pro-

ducer/performer

has a separate

mix

to

listen

to

and make

adjustments

on.

without

affecting

the

Main

Mix

going

to.

tape. The 688

has

an 8x2 Tape CUE MONITOR

mixer

and

Monitor

Source

switches

for

this

purpose. The

CUE

MONITOR

always

gets

its

signals

from

the

multitrack

tape.

But

what

does

a track send

to

this

mixer

during

RECORD

or

READY

mode,

especially

before a punch-in?

This

is set

by

the

MONITOR MODE keys.

If

both

are off,

pressing

a RECORD FUNCTION (track

arming)

switch

During

mixdown

or

bouncing

tracks. channels 1-8 can get

signal

from

the

multitrack

tape.

The

pan

pot

and

ASSIGN

MAIN

page

determine

the

destinlltion

or

a

channel:

Group

1

to

Track 1.

Group

3

to

Track 3,

and

so

on.

The EFFECT RETURNS

are

actually

four

specialized

in-

puts

to

the

Main

Mix.

They

can be

assigned

to

any

of

the

eight

Groupe via the ASSIGN

EFF

page,

allowing

you

to

record

effects

onto

any

track,

or

onto

the

mixdown

deck.

:

~~I~I~~~TiA~P~E~

TO

SCENE

OISl'LAY

lPLAYBACK

ONL

YI

AND

CUE MONITOR

~~~~g~~~~¥jr;;;,M~o

IlL

02lR

0;3

~~~~~~

04

\:.!

:=<52~::!>(CB

5

'-""';';;;:;:;;::::=<>06

~::::::===~ttB7

---;;;:;;;=::">08

GROUP OUT

selects

the

Group

as

the

Monitor

and

Meter

source.

INSERT keeps

the

source

of

a Rec-ready track TAPE

until

the

moment

of

punch

in.

MIX

allows

you

to

hear

1uUh

live and tape in

the

CUE MONITOR

during

the "preroU" .

The

five

MONITOR

Source

switches

choose

which

mixer(s)

you

are

listening

to-this

Cue

Monitor.

the

Dual,

Aux

1

or

2,

or

directly

to

Group

1-2

of

the

MaIn

Mix.

-12

-

J

..

I

•

pressing LINK GRP 1-2

allows

you

to

send

up

to

13

live

sources

and

7

tape

tracks

to

the

mixdown

deck: 10

via

Main.

10

via

the Dual

Mix.

When LINKs are

~

and DUAL

is

pressed

on

the

Monitor

Select

switch,

it

acts

as an

expander

to

the

monitor

mixer,

allowing

you

to

hear

up

to

ten

live

MIDI-

controlled

Instruments

without

recording

them.

Any

changes

you

make

to

the Dual Level ond Pan

controls

will

be

in

your

headphones/monitors

only,

end

won't

affect

the

Main

Mix

going

to

tape

(similar

to

the

way

the

CUE

MONITOR

mixer

worles).

(PtA

Y BACK O,..L

Yl

T~

Dual

Mil(:

Each channel

of

the

DUAL

section can

get

its

input

signal

from

the

corresponding

MIC

or

LINE

input

jacks. TAPE track (Ch. 11-18

only),

or

Main

Channel Fader

(POST).

The

Dual

acts

as a

totally

independent

101(2

stereo

lIubmlxsr,

and

can

be

used

for

either

recording

or

listening.

Wok

Dual-Grp

makes

the

688

into

a 20x8 console,

while

maintainIng

a

compact

sIze.

When

you

need

to

racord

more

sources

than

the

ten

channels

of

the

Main

mix

con

handle,

the

UNK

function

assigns

the

output

of

the

dual

Mction

to

any

of

the

Groups

for

recording.

For

example,

during

final

mixdown

with

MIDI-controlled

tracks,

Aux

Mix:

The

AUX

1

and

AUX

2

submixer

signals

come

from

various

points

in

the

Main

or

Dual

signal

paths.

Let's assume

that

you

have

a

digital

delay, reverb,

or

an-

other

signal processor

that

you

want

to

use

on

more

than

one

input

simultaneously.

Your

688

is

able

to

send

signals

of

any

combination

of

Input

channels

to

the

AUX

1

and

AUX

2 OUT

Jacks

on

the back panel. These

outputs

can

then

be

connected

to

your

signal

processor,

and

the

processor's

output(s)

can

be

connected

to

the

EFFECT

RETURNs,

or

even beck

to

another

mixer

input.

Aux

1

always

gets

Its

signal

from

the

MAIN

signal

path,

either

before

(PRE)

or

aft~r

IPOST) the

main

fader. ThIs

allowa

It

to

be

used as

either

an

independent

headphone

feed

Isimllar

to

"montior"

or

"foldback"

controls

on

a

PA

board)

or

8S

an

effect

send

from

channels 1-10.

Aux

2 can

get

its

signal

either

from

the

MAIN

path

(POST,

same

as

Aux

1),

or

from

the

DUAL

path.

This

al-

lows

it

to

be used

89

a second

effect

send

from

main

channels 1-10,

or

es the

onlv

effect

send

from

dual chan-

nels 11·20. '

j:~

-13-

e

points

the fly·,

the

two

·0000·

·0000·,

n

of

the

~ari8ble

mode

to

'LAY

and

r

MEMO

rt in both

nultitrack

track;

for

lea~y,

its

tion and

x noise

ormallV,

I MEMO

nd

clear

s you

to

-articular

='

,.\J

-14-

AUX

2: A post-fa(jer effect,send

from

the

MAIN

or

DUAL channel. The center positlon ia

OFF.

Turn

to

the

left

to

,send signal

to

AUX

2

Muter

from

the

post DUAL level control

point, and

to

right

to

seri~,

algnal from the

post

MAIN fader point.

AUX

1: A pre

or

post-fader effect send

from

the MAIN channel. The center position is

OFF.

Turn

to

the

right

to

send signal

to

AUX

1 Master from the POST-fader point, and,to

left

to

send signal from the PRE-fader point.

Equalizer:

3 band

with

a midrange frequency sweep.

HIGH; Shelving type treble control

with

shelving

point

at 10

kHz,

can affect frequencies

from

2

kHz

to

20

kHz.

MID: Sweep frequency range

is

250

Hz

to

5

kHz.

LOW:

Shelving type bass

control

with shelving point at 100

Hz,

can affect frequencies

from

20

Hz

to

500

Hz.

OL: Overload indicator

for

the MAIN channel

input

signal. Lower the MIC TRIM

or

output

volume

of

the

source

if

this flashes.

MIC

TRIM: Sets

how

much preampHfication

will

be added

to

the MIC IUNE

Al

jack. Turn

to

the

right

if

the siglUll needs amplification,

to

the

left

if

the signal is

90

loud

it

ia distorting

the

mixer

electronIcs.

..

UNE

B:

These 1/4· jacks are

for

LINE·level signals only, and can be the

input

for

either the

Main

or

Dual channel. In

the

factory preset scenes, however, LINE slgnales are sent

through the DUAL channel controls.

MIC

IUNE

AI:

These balanced

XLR

jacks can be the

input

of

either the

Main

or

-Dual

channel. Microphones

or

line-level devices such

as

synthesizers

may

be connected here,

with

level

adjustment

by the MIC TRIM control.

In

the factory preset scenes,

this

MIC

jack signal is sent through the Main channel controls.

IDUAL Channel

Output

section

I

MAIN

Channel

Output

seCtion

IEqualization and Auxsend

I

Input

selection

and

adjustments

DUAL

LEVEL:

Sets the vol':l,me

of

the DUAL channel feeding the DUAL MASTER control.

,DUAL

PAN:

Sets'the

pan position (left-right balance)

of

the DUAL channel In the DUAL

MASTER stereo mix.

PAN:

Sets

the

pan position

!left-right

balaneel

of

the

MAiN

chennel between odd/even

groups

!left

,tor

GRP

1, 3,_6 and 7,

right

for

GRP

2,

4,

6 end

B,

center

for

aliI via the

• ASSIGN

MAlNt~reen

dl*}~Y.

,,'"

'Mi

-

__

~h.nnel

f.d.,.~~

the

volume

of

the MAIN channel feeding the

group

master faders,

~I-

---INSERT:

This is a 3-conductor send/receive jack

for

the in&ertion

of

an

external signal

processor (such

as a compressor) between

the

EQ

and Channel Fader

of

the

MAIN

channel. '

:1

rief

Guide

I

OUTPUT

JACKS: Rear

panel

(not

shown)

I

Monitor

Section

GROUP OUT 1-8: Connect 1/L and

2JR

to

the

inputs

of

your

mixdown

deck.

The GROUP OUT jacks can also be connected

to

external mixers, etc.

TAPE

OUT 1-8: These are the

direct

outputs

of

the multitrack recorder.

EFFECT

RETURN 1-4: These are

the

input

jacks

for

the effect devices.

AUX OUT 1

and

2:

Connect these to the

inputs

of

effect devices.

DUAL OUT: These are the

output

jacks

of

the DUAL stereo

mix

as a stereo

effect send

or

additional

monitor.

MONITOR OUT: Connect these

to

the

monitor

amplifier

in

your

control

room.

IEffect Return

Section

EFFECT

RTN 1-4:

Controls

the

volume

of

the EFFECT RETURN

signals

feeding the GROUP MASTERS via ASSIGN

EFFECT

screen

display.--------....,

CUE MONITOR LEVEL/PArt TheM

controls

creatE

track tape

for

your

phone.

end

monitor

syste

switch is on).

If

a track

i,

in

Sefe mode, the

sou

PAN

control

is Tape;

in

.ecord

mode. the

SOUni

the

mixer

being recorded.

In

Record Ready

modE

the MONITOR MODE

keys.

MONITOR

switches:

The

....

Iect

what

signel.

PHONES. and see displaJllld

on

the

MONITOR

what

hi

pressed

down,

yll.l

can

hear

any

or

all 0\

1-2.

CUE

MONITOR, AU)( "

AUX

2,

end DUAL

MONO switch makes the

nonitor

mix

monophoni

MASTER: This

controls

the overall level

of

the mon

to the MONITOR OUT jacbl and the btJilt-in headl

I

Master

Section

SUM

switch:

Combines the signal

from

the

AUX

buss

with

the

signal

from the

AUX

2 buss.

----------------------,

AUX MASTER 1-2: These are the

master

controls

for

the

two

effect

send

outputs.

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

DUAL

MASTER:

This

is

the

master

control

for

the DUAL

stereo

mix'

(Channels

11-20).-----------------------.,

GROUP MAsTER faders:

Adjusts

the

output

levels

of

the Group mixes

to

GROUP OUT jacks. CUE

MONITOR

controls.

and

to

the

multitrack

recorder.----------------------..;..--'"

I

Monitor

Section

Scene

Dls~ley

and

keys:

This

section

controls

all

routing

of

signal

flow

through

the 688's mixer.

ThE!re

are three "pages·

or

modes

to

the display;

the black squares

display

the

different

switch

settings

for

INPUT and

ASSIGNment in

the

mixer

channels. The keys have different functions on

each page.

All

switch

settings

can be stored in

99

scene memories;

'the

first

12

scenes are loaded

with

the

most

commonly

used settings, An

introduction

to

the Scene

Display

is on page

7.

Details

of

operation

are

on pages 25-27.

Definitions

of

each key are on pages

39~2.

Graphs

of

the_

~~cto.ry

presets are on pages 59-63.

.1

MONITOR MODE

ke.,.:

These

determine

the

source

of

a CUE MONITOR

control whose

RECORD

FUNCTION

light

is flashing:

Group~

(both keys

om;'

Tape playback)INSERT on).

or

a mi)(

of

Tape and

Group.(MIX

on), The.

eight TRK/GRP meteni'

follow

the

same

logic.-----·,-,·----...;,'<·---------------

....

-15

-

1iIiiiI--~

.........

f

••

'.

:;jlllO

0 0 0

000

:1

o

mpr

I)

I

Monitor

Section

IRecorder ell

COUNTER:

T~

the

Memory

RTZ:

Return:

position.

AUTO

IN/OU1

you've set

II

CLEAR:

Used

the current i

RHSL:

Rehear

then previ8\

LOC

1

and

2:

point.

SHUTTLf

key

use the

con

audio

cue.

RECORD

FUM

into

Rec

Re;

example.

GI

LED

will

fles

REPEAT:PrtSI

MEMO

poin

RESET:

Press

TRANSPORT

~

DBX NR 1-4/

reduction

01

leave

it

on.

CHECK:

Show

TRT:

Tape

RUI

TRT mode.

RECORD.

MEMO

t and

point.

PITCH

CONTRI

Record

or

PI

TAPE

SPEED

transport

I

speed

(±

1~

h 8

. f

CUE

MONITOR

LEVel/PAN:

Th

d k

'd

Inputs 0

your

mix

own

ec .

....--

ese

contro

s create a stereo

miX

rom t e

d to external mixers. etc.

track tape

for

your

phones and

monitor

system

(if

the

CUE

MONITOR

switch

is on).

If a track

is

in

Safe mode, the source

of

its

CUE

LEVEL and

~f

the multitrack recorder.

PAN

control

is Tape;

in

Record mode,

the

source is

the

Group

output

of

the

mixer

being recorded.

In

Record Ready mode. the cue source is set

by

~s

for the effect

devices~

the MONITOR MODE

keva.

itS of effect devices.

,...MONITOR

switches:

These select

what

signats

you

will

hear

in

the

PHONES, and see displayed

on

the

MONITOR lJR meter. Depending on

8

DUAL

stereo

mix

as a stereo

what

is pressed

down,

you

~n

Iilear

any

or

all

of

the

five mixes; GROUP

-

1-2,

CUE

MONITOR, AUX 1,

AUX

2, and

DUAL

MONO switch makes the monitor

mix

monophonic.

-

~itor

amplifier in

your

control

.... MASTER: This controls the overall level

(If

the

monitor

mix

and send signal

to

the

MONITOR OUT jacm and the

built-in

headphone amp.

I

y;/

the

EFFECT

RETURN signals

EFFECT

$Creen

display.

"'1!

--.

"

"'""

...

""'-

I-po.

~

___

--=ndIrt~

~~

./

I

,a

~-

~-,e

/

~o

eM.

-~

./

~@

-

,0

a·e

w.

AUX 1

buss

with

the signal

f-=O

J

·0

.~

e

/

C",

.

-'0

,ntrols for the

two

effect

send

.~

I~·e

0

~

1--0

-

~~:O-

/

01

for the DUAL stereo

mix

.r>

-0

-

:w~

a·tJ

levels

of

the Group

mixes

to

~

--

.-

trois, and to the

multitrack

-?J

0;-;0

-

-

-

-0

'"!:.-

..:..

Ei

-~

aD

~

~

0 0

_ •

.11

•••

'

....

0

...

Ei

--

"II

0'"

--..:Ii

-01·10

~O.'

0

':'1

BB

-..!:'

DO

1:..-

0

cccce

-

0

~~

0

-

~

:'1

c

'

..

-~

-

E:i

•

DO

-

I

OL

co

cae

0

DEi

r5

t

......

'.

,

••

_:

.".

0

0

-

-

......

...

-~--..~

...

..:C

rols all routing

of

signal

flow

~MASTEIII-----,

dJ(1J (!J

(~ll!)

OJ

0

CfJ

Q]

Q)

llfi

lag

..

"or modes

to

the

display;

,.....

witch settings

for

INPUT and

~[

II·

• • .

..

• •

.)~

-

-

0171080008

SElBEl

Ilyl

have

dIfferent

functions

on

l~

- -

"""

-

- -

ed in

99

scene memories;

'the

1

;-

~FJr!jI

]

c=:J

G

BEl

-

-

commonly used settings.

An

-

-

~

-

uu.~BB8

f-

-

(

.~

.....

~G.

ge

7.

Details

of

operation are

I-

-

- -

re

on

pages 39-42.

Graphs

of

E

~

II:

n:

1ci:ltiJ0011

-

-

~

E

~

Il=

8 .ouree

of

a

;CUE

MONITOI;\.

'/L'Z/IlI

...

.

...

H

n89hing: Group' (both keys off);

I

lpe

end

Group.<MIX on). The

,

".

"L

C.

-

15-

-16

EUPAN

TheM controls create a stereo

mix

from the 8

ur

pho

...

and

monitor

system

(if

the

CUE

MONITOR

a track

i.

in

Safe mode, the source

of

its

CUE

lEVEL and

ape;

in

Record

mode, the source

is

the

Group

output

of

ecorded.

In

Record Ready mode, the cue source is set

by

lODE

keys.

•

IRecorder

controls

.------TAPE

SPEED: Sets

the

status

of

the

PITCH CONTROL

function

of

the

transport.

FIX

position

for

standard;

VARI

for

Play/Record

in

variable

speed

(±

12%1; EXT

for

the

external control.

...------

PITCH CONTROL: Increases

or

decreases

the

speed

of

the

transport

in

both

Record

or

Play mode,

over

a 12% range•

••

:

Th

.....

Ieet

what

signals

you

will

hear

in

the

displav-d on the MONITOR UR meter. Depending on

down, you c.n

hur

any or all

of

the five mixes; GROUP

OR,

AUX 1, AUX

2.

and DUAL.

kes

the monitor

mix

monophonic.

..-----

RECORD

FUNCnONswitches

-'-8:

Press these keys

to

put

the

multitrack

into

Rec

Ready mode. Each

Group

of

the

mixer

connects

to

a track;

for

example, Group 1 connects

to

trac:lts

1.:

When

a track

is

In

Rae

Ready, its

LED

will

flash. In Record

mode,

the

LED

will

turn

solid.

troIs the Gvel'llllievel

of

the

monitor

mix

and send signal

OUT

jacks and the built-in headphone amp.

RHSl:

Rehearsal. In

this

mode,

you

set the Punch-In/Out

point

·on

the

fly·,

then

preview

what

it

sounds like before actual recording.

RTZ:

Return-To-Zero - press

to

fast

wind

the

transpo"

to

the

·0000·

position.

RESET:

Pre~

to change

the

current tape location in the

counter

to

·0000·.

TRT: Tape Run Time; SwItches

the

counter

display

from

COUNTER

mode

to

TRT

mode,

which

shows

the

minutes and sesconds elapsed

in

PLAY and

RECORD.

CHECK:

Shows

the

Memory

pornt

in

MEMORY display.

REPEAT: Press

to

set up a contInuous

play-rewind

loop

betwean

the

two

MEMO

points.

LOC , and 2:

Pr,ss

to

fast

wind

(LOCate) the

transport

to

either

MEMO

point.

MEMO

1 and 2: Press to

enter

the

current

counter

location

as a

MEMO

point.

,

\

=:

o

/

AUTO

IN/OUT:

Pr.ess

to

start

the

automatic

punch~in/out

with

the

points

YOU've

set

in Rehearsal.

CLEAR: Used

to

turn

off

the

RHSL and AUTO IN/OUT

functions

and clear

the

current

in/out

points

from

memory.

COUNTER:

Two

four-digit

display

that

shows

the

current

tape position and

the

Memory

point.

used

for

autolocation functions.

TRANSPORT KEYS: These

work

the

&ame as on

any

cassette recorder.

SHUTTlE

key

end

control

knob: Pressing the SHUTTLE key

allows

you

to

use

the

control

to

move

the

tape

forward

or

reverse to

find

a particular

audio

cue.

DBX

NR

'-4/5-8

(Rear panel,

not

shown):

ThIs

turns

the

dbx

noise

reduction

on

and

off

for

each

group

of

tracks (1-4 and 5-8).

Normally,

leave

It

on.

Step-BywStep

Operations

Guide:

Tracking

Following

aro

step-by-step

instructions

for

the

basic

procedures

of

the

MIDISTUDIO.

They

will

give

you

the

basic

experience

you

need

to

fully

understand

the

sections

that

explain

the

capabilities

of

the

688

in

detail,

80

you

can

customize

it

for

your

own

situation.

ISETUP

I

f

Preset

the

controls:

To

avoid

problems,

begin

with

the

power

off. Make sure

the

following

controls

are

set

•

Bring

all the

faders

down.

In

the

channels:

• Set all MIC TRIMS to

full

counter-clockwise

(7

o'clock)

•

Set

all

EQs.

AUX

1

and

2.

and

PAN

controls

(main,

dual and cue

monitorl

to

center

(12 o'clock)

In

the

master

and

monitor

section:

•

Turn

all

the

EFFECT RETURNS,

AUX

end

DUAL

MAS-

TERS,

the

CUE

MONITOR

LEVEls,

and

the

monitor

MASTER

off

(to

full

counter-clockwise

(7

o'clock))

• Put all

the

MONITOR

SWITCHES

(from

GROUP

'·2

to

MONO)

in

their

OFF

position

(up):

IRECORDING THE FIRST TRACK

Prepare

to

Record

Insert

a

cassette:

Press

on

the

cassette

door's

lower

right

hand

corner,

and

it

will

spring

open.

Insert

a

high

quality

blank

High

Bias

(Type

III tape. Close

the

door.

If

you

want

to

use

a

microphone

for

your

first

experi-

ments.

plug

it

into

the

MIC

(LINE

A)

XLR jack '/11.

If

you

want

to

use an

instrument,

plug

it

Into

the

LINE B

phone

jack

just

below

it.

Set

any

volume

controls

on

the

In-

strument

to

maximum.

In these

first

exercises

using

factory

presets, MIC

will

go

through

the

Main

channel,

and

the

LINE

instrument

will

go

through

the

Dual

channel.

Later,

you

can

alter

the

factory

presets

to

bring

LINE B

through

the

Main

chan-

nel.

but

stick

with

this

procedure

for

now.

Tum

the

POWOf'

on.

• On

the

rear

of

the

unit

set

the

DBX

switches

to

IN.

The LEOs

will

go

on

the

control

panel.

• Check

to

see

that

both

the

SYNC

"EXT"

and

"MIDI"

LEOs are

off.

Select

the

Input

and

outDut

for

the

channel

1.

On

the

numbered

CHANNEL keys,

preas

"OW

then

..

,",

This

should

make

"SCENE

01"

appear

In

the

assign

display

and

the

scene

number

will

blink:

It'a

a special

factory

praset

intended

for

recording

all

inputs

onto

track

1

(unless

your

unit

has

already

been

used

by

someone

else,

1n

which

case

you

should

S88

pp. 27

"Restoring

Factory

Presets"1.

Alternately,

you

cen

U98

the

UP/DOWN

keys

to

make

the

scene

eppear

in

the

display.

Press

the

ASSIGN

MAIN

key.

The

screen

should

look

like this:

In

the

transport

section:

•

Set

the

TAPE SPEED

to

FIX.

• Set

the

SYNC

switch

to

OFF.

Plug

in

headphones

or

monitor

amplifier

and

speakers:

Make

sure

the

headphones

are

stereo.

Inserting

any

mono

jack

Into

the

headphone

jack

shorts

out

the

head-

phone

amplifier.

If

you'd

rather

use a

monitor

speaker

setup,

connec1

the

MONITOR

OUT

jacks

on

the

back

of

the

688

to

the

In-

puts

of

your

powet'

amplifier.

~1.

12J_.I'

••

'O

_

.....

0

00000

000

0

-

_

...

1

••••••••••

n I

-

...

CJ

CJ

0 0 0

CJ

Cl

0 0 C

U

I

-'DO

Cl

DODD

Cl

0 0

....

0000000000

-'OClOOOOClOOO

-

_.

Cl

0 0

Cl

Cl

Cl Cl

° ° 0

--

-,

Cl

°

CJ

0 0

CJ

0 0

CJ

0

_

..

_.

0 0 ° 0 0 CJ °

CJ

° 0

This

ahows

that

all

Main

channels

and

the

Dual

output

are

routed

to

Group

1.

If

you

are

usIng

a

microphone,

make sure

the

Main

pen

pot

ia

turned

to

the

center,

or

to

the

left.

If

you

are

using

an

Instrument.

do

the

same

for

the

Dual pan

pot.

If

the

pan

pots

are

turned

hard

right,

they

can't

send

signal

to

Grp

1

even

though

they're

assIgned

there.

2.

Press

RECALL

The

scene

number

will

stop

blinking

and

Scene

0'

is

activated.

To

racall

scenes

you

can

optionally

use

the

RC~OP

footswitch.

When

connected

to

the

REMOTE

UP/DOWN

jack

on

the

front

snd

pressed.

it

has

the

same

effect

8S

pressing

UPJDOWN

and

then

RECALL

3.

Press

the

INPUT

key

and

make

sure

the

8COne

looks

like thIs;

~l

11

••

SI'.,tO

--

000

000

00

00

-

..:

..........

n

I

-

...

CJOOOCJOCJCJOCI

U

I

_OCOClOOClOClCJ

-

oocoOCJoooc··

...

,?oOCJogcOClCJ

-

~

..........

--

-

_oCJooCJpoCJoCJ

-

..

....,.DOOODCJOr.::lCJD

• ,

~

4 5 • ,

..

• 10

4. Press

the

ASSIGN

MAIN

key

to

switch

the

screen to

show

the

MAIN

switch

settings

again.

Set

the

output

leyel

5.

Microphone:

Increase

the

Channel 1

fader

to

the

shaded area between 7

and

8.

Instrument:

Turn

up

the

DUAL

lEVEL

11

pot

to

about

"2

o'clock".

Also.

increase

the

DUAL

MASTER

pot

to

the

same

position.

6.

Increase

the

MASTER

1/L-2/R

fader

to

the

shaded

area

between

7

and

8.

7.

Press RECORD

FUNCTION

switch

1#1.

The

red LED

above

the

key

will

start

to

flash.

8.

Check

to

see

that

the

MONITOR

MODE

"INSERT"

Is

not

pressed

above

the

shuttle

knob.

If

it is,

you

cannot

hear

the

input

source

until

you

put

Track 1

into

record

mode.

MONITOR

MODE

o 0

INSERT

MI)(

DO

9.

Microphone:

While

performing

into

the

mic,

slowly

increase

the

MIC

TRIM

until

the

average

level

of

the

TRKlGRP 1

meter

reads

around

0 dB. Occasional

peaks

to

"+8"

are OK.

Instrument:

Start

with

the

instrument's

volume

con-

trols

up

full.

While

performing;

lower

or

raise

the

DUAL

LEVEL

control

for

the

proper

meter

readings.

In

any case, If the CHANNEL OL (overload) INDICATOR

blinks, reduce the MIC TRIM level

Dr

the instrumenfs level

control, to avoid distorting

the mixer.

l1i:~ENING

TO

THE FIRST TRACK

1. Press

the

RECORD FUNCTION

switch

fl,

so

you

can't

accidentally

erase

what

you've

just

recorded.

Its

lEO

will

go

out.

2.

Start

playing

the

tape.

If

necessary,

slowly

increase

the

CUE

MONITOR

LEVEL

'1

control

to

the

desired

level.

3.

AdJust

tho

MONITOR

MASTER

level

for

a

comfortable

listening

level.

At

this

point

yd~'have

~mpleted

the

first

track,

also

called'.

take

or

pass.

If

the

recording

quality,

level,

and

perlorm~nce

are

OK,

proceed

to

the

next

step;

recording

an

overdub.

-

18-

Set

the

monitor

leyel

10.

In

the

MONITOR

section,

press

the

CUE MONITOR

switch

(down

position

I.

Slowly

incre

...

the

CUE

MONITOR LEVEL

'1

control

until

the

MONITOR

Land

R

meters

read "0 dB-.

11.

If

you

haven't

already,

put

on

the

headphones and In-

crease

the

MASTER

monitor

rotary

control

to

a

comfortable

listening

level.

This

will

not

affect

the

meter

readings.

IMPORTANT: Do

not

change

the

settings

of

the

MAS-

TER

and

CHANNEL faders

to

adjust

the

monitor

level-

change

the

monitor

controls

onlv.

put

th'

recorder

Into

record

mode

12. Pre

..

PLAY

and

ellow

the

tape

to

run

for

ebout

15

seconds.

This

witl

run

the

tape

leader

onto

the

take-

up

reer, and

put

the

beginning

of

the

tape

in

front

of

the heads.

13. Press

the

TAT

key

until

the

COUNTER/TRT

display

is

in

counter

mode.

It

will

show

4

numbers

without

'a

colon.

14. Pross RESET.

This

·zeros

out"

the

COUNTER display.

so

you

can use

the

RTZ

(Return

to

Zerol

key

when

you're

done

recording

to

get

back

to

this

point

on

the

tape.

15. Check

to

see

that

only

RECORD

FUNcnON

switch

'1

is on

with

its

LED flashing.

16.

While

holding

RECORD.

press

PLAY.

The

RECORD

FUNCTION, RECORD,

and

PLAY

lights

will

all

go

on

solid. and

you

are

now

recording

on track

1.

Perform

yo

ur

first track.

17. Press STOP.

then

RTZ.

The

688

will

rewind

the

tape

to

the

start

position.

Step-By-Step

Operations

Guide:

Overdubbing

Overdubbing

is

recording

new

tracks

while

listening

to

previously

recorded

tracks

with

the

CUE MONITOR sec-

tion.

In

this

quick

tutorial.

we're

going

to

continue

using

the

factory'

preset

Scene

settings

as

our

basis.

RQute

the

source

to

Track 2

1.

SCENE: On

the

numbered

CHANNEL keys, prB6S

"0"

then

"2".

This

should

make

"SCENE 02"

appear

in

the

assign

display

and

the

scene

number

will

blink.

Then

press

RECALL. The ASSIGN

MAIN

Scr"n

should

look

like

this:

OoI.....

NCL.

, J J ..

:I

• , • • 10

,.,..."""

0

000000000

-

-

_.

a

c::J

a a

c::J

c::J

CJ

c::J

0

c::J

02

-

...

,

..........

-,

CJ

c::J

0 a

c::J c::J

a

c::J

0 0

""'·0

0 0 0 CJ 0 0 0

CJ

0

-,

00

CJ CJ CJ 0 CJ CJ a 0

-

·'00

CJ 0 0

00000

"",.-

_T

0000000000

_

..

foftl·D

0 a

Cl

0 0 CJ CJ

0·0

, t .) .. $ • , • I

'0

This

shows

that

all

channels

are

assigned

to

Group

2.

Make

sure

the

PAN

control

of

any

channel

you

wish

to

record

is

in

the

center,

or

to

the

right.

You

do

not

need

to

repatch

the

microphone

or

Instrument

you

used

in

the

first

exercise.

if

you're

using

the

same

source

for

the

overdub.

Set

the

output

level

This

is

the

same

procedure as in recording

the

first

track..

3.

Press RECORD

FUNCTION

switch

112.

The

red LED

above

the

key

will

start

to

flash.

Make

sure

all

other

RECORD FUNCTION

switch

are OFF.

NOTE:

If

you

want

to

record

different

sources

for

the

overdub,

set

their

levels as

YQU

did

In

Steps

5

and

9

on

the

previous

page.

4. Play

the

instrument

or

speak intQ

the

microphone,

to

check

that

the

TRK/GRP 2

meter

reads

in

the

middle,

averaging

around

"0 dB",

and

the

channel's

OL

indicator

is

only

occasionally

flashing.

If

necessary,

lower

the

MASTER 1/l-21R fader.

Set

tbe

monitor

level

Monitoring

is

what

makes

overdubbing

different

from

tracking.

You

need

tQ

set

the

levels

of

the

first

track

and

your

live

instrument

in

the

cue

monitor,

without

disturb-

ing

the

settings

that

control

how

much

goes

to

the

tape

recorder. (See p.

e,

"The

three

steps

tQ

multitrack".)

5. Check

to

see

that

the

MONITOR MODE INSERT

light

is

OFF.

Make

sure

CUE MONITOR

is

the

only

switch

pressed

in

the

MONITOR section.

(For

details

of

how

INSERT

and

MIX

affect

the

CUE MONITOR,

s"

page

43.)

6.

While

playing

your

instrument.

slowty

Increase

the

CUE

MONITOR

LEVEL '2

control

for

"0

dB"

on

the

MONITOR meters.

7.

If

you

haven't

already,

put

on

the

headphones

and

in-

crea.se

the

MASTER

monitor

rotary

control

tQ

a

com-

fortable

li3tening

level.

8. Press PLA V

and

increase

tt1e CUE

MONITOR

LEVEL

.1

contrQI

to

hear

the

playback

of

track

1 in.

your

headphones,

along

with

your

live

instrument.

9. AdJust

the

CUE

MONITOR

LEVEL

or

PAN

11

and

112

until

you

hear

the

balance

you

want

in

your

head-

phones.

10.

Pre

..

RTZ

to

rewind

the

tape

to

the

start

position.

Put

the

recorder

Into

record

mode

11.

While

holding

RECORD, press

PLAY.

The

RECORD

FUNCTION, RECORD,

and

PLAY

lights

will

all

go

on

solid,

and

you

are

now

recording

on

track

two.

Perform

your

first

overdub.

12.

Press

STOP, tt1en·RTZ.

The

688

will

rewind

the

tape

to

the

start

position.

Wlten

to

the

oyerdyb

13. Press

the

RECORD FUNCTION switch

'2,

&0

you

can't

accidentally

erase

what

you've

just

recorded.

Its LED

will

go

out.

14. Press PLAY. You

will

hear

the

pl<tyback

of

both

track

,

and

2. You

can

re-adjuat

the

CUE MONITOR LEVEL

and

PAN

cQntrols

to

get

a

8tereo

monitor

mix

Qf

the

fi

rst

two

tracks.

Perfonning

overdubs

3

to

8

Tracks 3

thru

8 can

be

recorded

using

almQst

the

Identical

procedure

aa

above.

The

differences

are:

•

Different

preset

scenes (03

thru

08)

•

Different

RECORD FUNCTION

switches

•

Use

MASTER

fader

3-4,

5-6

or

7-8

to

set

the

record

levels

• Use

cue

MONITOR LEVEUPAN

controls

2-8

to

set

the

monitor

levels

You can

connect

new

sources

to

any

empty

MIC

or

UNE

jacka

as

long

as

you

use

the

factory

preset

scenes 03-09

for

the

each

assign

all

channels

to

one

group

like

the

presets

01 and 02. '

To

record

on

more

thin

QDe

track

limultaDtoysly,

you

will

probably

have

to

create

YQur

own

acen

..

following

the

procedure

on

pages

23·26.

But

to

help

you

get

started,

here

are

two

shortcuts:

Factory

Sc:ene 10

assigns

one

MIC

jack

to

each track (Ch.

1

to

GRP 1, Ch. 6

to

GRP 5 etc.).

Just

patch

the

mic

Into

the

same

channel

as

the

track

you

want

to

record.

You

can

record

eight

mic

sources, each

on

a separate track.

Uslng~Scene

11.

which

assigns

every

input

to

1111

eight

Groups

lit

once,

you

can record

on

any

odd

lind

even

track

using

the PAN

controls

for

assignment.