DOCSLIB.ORG

TEAC Professional Division 488

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TEAC Professional Division 488 TASCAM TEAC Professional Division 488 5700123804 Table Of Contents Safety Instructions 3 Using Effects with the PORTASTUDIO 488 33-34 Introduction 4 Setting effect send levels 33 The Recording System 5-6 Setting the output level of effect devices 33 The three steps to multitrack 6 Setting the mix/balance control Understanding the Mixer 7-8 on effect devices 33 Signal flow in the 488 mixer 7 How to connect your effects devices 34 Cue monitor system 7 Recording with TAPE SYNC 35 Multitrack Cassette Recorder 9 Features and Controls 36-43 Track Format and Tape Recommendations 9-10 488 Mixer Block Diagram 11 Input section 36 Brief Guide 12-15 Tape monitor section 37 Step-By-Step Operations Guide 16-24 Channel controls 37 Let's tray the 488 mixer 16 Channel assignment section • 37 How to record on track 1 18 Effect send section 38 How to make an overdub on track 2 20 Stereo input section 38 How to record all other tracks 20 Group master section 40 How to record many sources Monitor section 40 onto a single track 22 488 Recorder How to record multiple tracks Cassette loading and dbx system 41 simultaneously 22 Transport-controls 41 How to mix down 23 Track controls 42 Using Memory Location Points 25-26 Displays 42 Loading MEMO points 25 Auto locators 3 Locating the tape 26 Sync features 43 Repeat Play 27 Care and Maintenance 44-45 PUNCH-IN or INSERT Recording 28-30 Cleaning 44 REHEARSE function 28 Degaussing (demagnetizing) 45 Punch-in/out procedure 28 How the dbx Works 45 Punch-in/out with RECORD 29 Troubleshooting 46 Using RECORD FUNCTION switch 30 Specifications 46-48 Using the remote footswitch (RC-30P) 30 Level Diagrams 49-50 Bouncing Tracks (Ping-Pong) 31-32 Optional Accessories 51 Ping-pong procedure 31 Ping-pong in stereo procedure 32 Safety Instructions CAUTION: 13. Cleaning — The appliance should be cleaned only as recom¬ • Read all of these instructions. mended by the manufacturer. • Save these instructions for later use. 14. Power Lines — An outdoor antenna should be located away • Follow all warnings and instructions marked on the from power lines. audio equipment. 15. Outdoor Antenna Grounding — If an outside antenna is 1. Read Instructions — All the safety and operating instructions connected to the receiver, be sure the antenna system is should be read before the appliance is operated. grounded so as to provide some protection against voltage surges and built up static charges. Section 810 of the 2. Retain Instructions — The safety and operating instructions National Electrical Code, ANSI/NFPA No. 70 - 1984, pro¬ should be retained for future reference. vides information with respect to proper grounding of the 3. Heed Warnings — All warnings on the appliance and in the mast and supporting structure, grounding of the lead-in operating instructions should be adhered to. wire to an antenna discharge unit, size of grounding con¬ 4. Follow Instructions — All operating and use instructions ductors, location of antenna-discharge unit, connection to should be followed. grounding electrodes, and requirements for the grounding electrode. See Figure below. 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 EXAMPLE OF ANTENNA GROUNDING pool, etc. AS PER NATIONAL ELECTRICAL CODE 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. (DISCHARGE UNIT (NEC SECTION 810-20) GROUNDING CONDUCTORS (NEC SECTION 610-21) GROUND CLAMPS POWER SERVICE GROUNDING ELECTRODE SYSTEM (NEC ART 250. PART H) 7. Wall or Ceiling Mounting - The appliance should be mount¬ NEC - NATIONAL ELECTRICAL CODE ed to a wall or ceiling only as recommended by the manu¬ facturer. 8. Ventilation — The appliance should be situated so that its 16. Nonuse Periods — The power cord of the appliance should location or position does not interfere with its proper venti¬ be unplugged from the outlet when left unused for a long lation. For example, the appliance should not be situated period of time. on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, 17. Object and Liquid Entry — Care should be taken so that such as a bookcase or cabinet that may impede the flow of objects do not fall and liquids are not spilled into the en¬ air through the ventilation openings. closure through openings. 9. Heat — The appliance should be situated away from heat 18. Damage Requiring Service - The appliance should be ser¬ sources such as radiators, heat registers, stoves, or other viced by qualified service personnel when: appliances (including amplifiers) that produce heat. A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the 10. Power Sources — The appliance should be connected to a appliance; or power supply only of the type described in the operating in¬ C. The appliance has been exposed to rain; or structions or as marked on the appliance. D. The appliance does not appear to operate normally or 11. Grounding or Polarization — The precautions that should exhibits a marked change in performance; or be taken so that the grounding or polarization means of an E. The appliance has been dropped, or the enclosure dam¬ appliance is not defeated. aged. 12. Power-Cord Protection — Power-supply cords should be 19. Servicing — The user should not attempt to service the routed so that they are not likely to be walked on or pinch¬ appliance beyond that described in the operating instruc¬ ed by items placed upon or against them, paying particular tions. All other servicing should be referred to qualified attention to cords at plugs, convenience receptacles, and service personnel. the point where they exit from the appliance. 3 Introduction The PORTASTUDIO 488 is... Using this manual : To get the most out of your 488, please take the time to read through this The PORTASTUDIO 488 is an 8-track "Multitrack manual. Some time spent now will keep you Master" cassette tape recorder and a full-function from overlooking some of the features that make mixer with 12 inputs/4 outputs combined into a the 488 a more creative tool. You may discover single workstation. some new tricks you haven't tried before. Its high audio quality and creative flexibility Use of capital letters : In general, we use all reflect the experience and innovation that have upper case type to designate a particular switch, allowed TASCAM to earn its reputation in control, jack name or label (like PAN). Transport professional audio production fields, and its modes and some features are described with an user-friendly design makes the 488 suitable for upper case first letter (like Record mode). anyone, from expert to novice. NOTE FOR U.K. CUSTOMERS THIS DIGITAL APPARATUS DOES NOT EX- U.K. Customers Only: CEED THE CLASS B LIMITS FOR RADIO Due to the variety of plugs being used in the NOISE EMISSIONS FROM DIGITAL APPARA- U.K.; this unit is sold without an AC plug. Please TUS AS SET OUT IN THE RADIO INTER- request your dealer to install the correct plug to FERENCE REGULATIONS OF THE CANADIAN match the mains power outlet where your unit DEPARTMENT OF COMMUNICATIONS. will be used as per these instructions. IMPORTANT The wires in this mains lead colored in in accordance with the following code: BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals of your plug, proceed as follows: The wire Which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. This product is manufactured to comply with the radio interference of EEC directive "82/499/EEC." 4 The Recording System The PORTASTUDIO 488 is a complete audio additionally need these: Input devices production facility in a single box. It is divided (microphones, instruments). Output devices into two major sections: a full-function mixer and (headphones), 2-track recorder, Effects an 8-channel, multitrack cassette recorder. To processors, etc. complete the recording system, you'll 5 The Three Steps to Multitrack The diagram below depicts how signals from equipment connected to the 488 can be routed. In TRACKING and Overdubbing, the mixer inputs are usually microphones or instruments, going IC. different tracks of the recorder. In OVERDUBBING, the MONITOR section and TAPE CUE of the mixer must be used to listen to previous tracks while you record new ones, so there is a two-way flow through the console. In MIXDOWN, signal comes from the multitrack and is sent to an external 2-track recorder. 6 Understanding the Mixer Signal Flow in the 488 mixer The illustration below shows how the input OUT jacks and the multitrack recorder (not signal passes through the 488 Mixer section. shown). This is the most important signal route After the MASTER faders they go to the GROUP in the mixer and is called "Main Mix". To Tape (RECORD FUNCTION switches) Cue Monitor System The CUE mix and MONITOR switches are also The five MONITOR Source switches choose crucial for successful multitrack recording, which mix(es) you can hear in the PHONES - the because they control what you hear in the CUE mix, and any of the four GROUPS.
Load more

Recommended publications
  • Compatibility Between Baseband Converters and Mts Stereo
    COMPATIBILITY BETWEEN BASEBAND CONVERTERS AND MTS STEREO THOMAS F. MARTIN DIRECTOR OF RESEARCH AND DEVELOPMENT TOCOM DIVISION, GENERAL INSTRUMENT CORPORATION The MTS stereo signal can pass through a With an understanding of these three items, baseband converter for input to a stereo it becomes apparent that the MTS signal can television. The composite MTS signal is be passed, but that the use of the volume also available for an internal or external control in the baseband converter has an decoder. effect on stereo separation. MTS uses signal matrixing for Components .of the MTS Signal compatibility. Left and right channels are summed (L+R) for transmission in the normal The MTS signal is composed of several 20Hz to 15kHz range. The stereo difference components, which can best be understood by information (L-R) is transmitted on a examining the composite frequency spectrum subcarrier at 31.5 kHz. shown in figure 1. The (L-R) signal is dBx companded to reduce MTS BASEBAND SPECTRUM noise. There is no companding of the (L+R) signal. As a consequence, stereo separation is optimized only at unity processing gain. There is a fairly wide DEVIAnON (KHZ) volume control range over which acceptable separation is maintained, because separation as low as 10 dB yields subjectively pleasing stereo imaging. L-R Introduction The advent of Multichannel Television Sound (MTS) has raised many questions for cable operators and equipment manufacturers. one of these questions is whether the MTS format signal will pass throuqh a baseband converter for decoding in a stereo FIGURE 1 television. To understand the implications of MTS in The left and right channel source signals the baseband converter, an understanding of are processed in the signal matrixing three things is neceaaaryz circuit.
    [Show full text]
  • DBX DISCS... the State-Of-The-Art in Phonograph Records
    S E G S g DISC L I 1ANG C x c DB FUL Dis L T WORLD' db E featurin TH FIRS DYNAMI CATALO DIGITA 7 . No Bulk Rate U.S. Postage PAID dbx Inc. Boston, MA 71 Chapel Street Permit No. 56073 Box 100C Newton, Mass. 02195 DBX DISCS... The State-of-the-Art in Phonograph Records dbx Encoded Disks represent a major break­ through in music reproduction. They are the first phonograph records to reproduce the full dynamic range of the studio master tapes from which they were made. The music experience provided by dbx Discs is Stunning. Now you can enjoy realistic music dynamics in your home — with all the fine detail and subtle nuances that create the emotional impact and excitement of a live performance. Originally developed for professional recording studios, dbx encode/decode technology has been employed to eliminate record surface noise for all practical purposes. With a sound quality that is virtually indistinguishable from the master tape, the dbx Encoded Disc is the only record format that can reproduce the full dynamics of digital recordings — an amazing 90 dB dynamic range, compared to the restricted dynamic range of about 60 dB for even the finest conventional "audiophile" records. dbx Discs are produced using the finest master tapes available. Whether your interests are in classical, popular/folk or jazz music, you can now enjoy music performed in your home by your favorite artist — heard against a background of virtual silence. At last, you can listen to the music itself, not to the record! dbx Discs can be played on your present stereo system with the addition of a dbx Model 21 Disc Decoder or one of the dbx 120 or 220 series tape noise reduction systems.
    [Show full text]
  • Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
    Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder.
    [Show full text]
  • Cordiing SERVING TODAY's MUSIC/RECORDING-CONSCIOUS SOCIETY
    #06691E) $1.50 cORDIING SERVING TODAY'S MUSIC/RECORDING-CONSCIOUS SOCIETY VOL, 3 NO. 8 MAY 1978 COMMODORESA Session with the IIIIIIIIIIIIIIIIII I III lUel ( AN N'A1)IíIUHN 1S J-11vq chi ^08iW0d 0 0000 d 4tiotZva429ifi4iA www.americanradiohistory.com SEE WHAT'S NEW, THEN SEE WHAT'S BETTER 1.-d_ SIX STRI G SALES You've seen wha's new . the same MXR quality at an what's louder, sicker, tig- even lower price. ger, shinier ... bct have you So, go out and see what's seen what's better? The MXR new. Then see what's slightly Phase 90 makesasmall claim new ... and better ... from on new with its new lower ph, , ,,, llAJ MXR. price and new graphics, jut For more information see even better is :hat we've your MXR dealer. MXR In- added a touch or regenera- novations, Inc., 247 N. Good- tion for more intensity wth- man Street, Rochester, New out sacrificing that class c Ph a`c 9C sund. What York 14507, (716: 4L2 -5320. Distributed in Canada this amounts to is that the phase- that s t the indus- by Y: kville Souic Ltd., 80 Midwest Road, Scar - try standard is now ever more versa-11H - in its per- borough, Ontario formance while maintaining tl- MXF .tandard of quality and re iab lity. The Phase 9C is cne member of our f.= ily of phase shifters, which includes t-ie Phase 1CO, our top -of- the -line phase shi ter, and our Phase 45 hich offers CIRCLE 91 ON READER SERVICE CARD www.americanradiohistory.com the pr and that includes the Recording Studio I he American market after tw3 years of trendsetting success in Europe, RSD is competition, as well as tvvo very important, unique extras.
    [Show full text]
  • DBX Model 140X Type II Noise Reduction Unit Manual
    I I Owner's Manuc I I I MODEL 140) I Type II Noise Reducti I dbx Professional Produ< I I I I I - I ' ,_ l • I I • I I ! dbx I I ' . I . - - www.SteamPoweredRadio.Com I I Tobie Of Contents page contents I Introduction I 2 Front Panel 3 Rear Panel I 4 Connecting Your l 40X to Your System 4 System Connections I 5 Multi-Channel Connections 6 Basic Operation I 8 Specific Applications 9 Understanding dbx Noise Reduction I 11 Installation Considerations 11 Input Cable Configurations I 14 Output Cable Considerations 17 Mounting the 140X in a Rack 20 Maintenance and Tech Support I 20 Maintenance and Troubleshooting 20 Technical Support I 20 Factory SeNice 20 Shipping Instructions 21 Specifications I 22 Schematics 27 Registration, Feedback I 27 Registration Card 27 Warranty I 27 User-Feedback Form I Manufactured under one or more of the following U.S. patents: 3,3n,792; 3,681 ,618; 3,714,462; 3,789,143; 4,097,767; 4,329,598; 4,403,199; 4,409,500; 4,425,551: 4,473,795. Other patents pencing. This dbx-branded product has been manufactured by AKG Acoustics, Inc. I This manual is part number 95094-000-01 C Copyright 1990 by AKG Acoustics, Inc. I dbx Professional Products a division of AKG Acoustics, Inc. 1525 Alvarado Street, San Leandro, CA 945TT USA I Telephone (1) 415/351-3500 Fax: (1) 415/351-0500 Telex: 17-1480 www.SteamPoweredRadio.Com I dbx 140X INTRODUCTION I I Introduction Congratulations on purchasing the dbx l 40X Type II Noise Reduction System.
    [Show full text]
  • WIDE SCREEN MOVIES CORRECTIONS - Rev
    WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988.
    [Show full text]
  • The Impact of Multichannel Tv Sound on the Cable System Headend
    THE IMPACT OF MULTICHANNEL TV SOUND ON THE CABLE SYSTEM HEADEND Thomas R. Stutz, Product Manager JERROLD DISTRIBUTION SYSTEMS DIVISION GENERAL INSTRUMENT CORPORATION on a particular transmission system. To ABSTRACT avoid a repeat of the present AM stereo radio controversy, however, the FCC Although the Federal Communications protected the EIA's recommended MTS system Commission (FCC) did not rule on a and, in effect, created a de facto Multichannel Television Sound (MTS) standard. standard, they did protect the Electronic Industry Association's {EIA) recommended All problems solved, right? Not system. As such, the FCC has created a de quite. During the decades which followed facto standard for the transmission and FM stereo radio, an entire cable reception of MTS. television industry was developing. By 1984, more than 30 million subscribers This paper summarizes the effect of were being served by over 7000 cable the MTS de facto standard on the cable systems throughout the nation. These system's headend equipment. Although systems employ various generations of other cable carriage schemes are in use equipment and technology. Many are small today to supply satellite stereo services, 12 channel systems with limited bandwidth this paper will only consider in-band and outdated technology, while others have carriage of the MTS signal. No judgements excess capacity and utilize will be made concerning the audio state-of-the-art technology. Regardless performance of the MTS signal. Also of the available bandwidth or technology discussed will be an overview of the employed, these systems will have to deal modifications and equipment necessary for with the issue of MTS.
    [Show full text]
  • 6Channel Mixer 4Track Recorder
    AKÀI pvofessiona[ MEEI4 6CHANNEL MIXER 4TRACK RECORDER ÀKÀI @ ô" @ @' professioua[ -ô- -ô" æ@ @ @ - -ô-l @. -ô -9: "6" :i): "ô-@ ...---.t o o @l ".".". Mtr""Et"4 i' ?" .. lr- t::E É -6 t,-" -rO. E L) le rô (ô t,.,.",,".... o @r lo @ @ @ @ "Tô o o t lc o @ o ..; tr ,ll tr ,,,,,.:F t*1," mlftt-l mltfil Ë -6 @@ flf l[ Hl 'ï'ï': o o le @ @ 1..,,..--, o@ fil fll ,[] ,3, o o lo @ @ o t:.--' fl p" p" /ô o o _o" 9 Ë Ë'Ë'Ë Ë ffififfi !5" é^o !4. E tr "6, o .": ; .,.: ; @@ !1' !!! o 6!tr 6'o s.tr ; tr """tr | @ieif qllLg ) E5lËlËlijliî rr I t T:;l I -"---T--:t il ,* I 1..-,1 #:9" I T------l----:--- T,-;--l "-*.. t l-':; I r-r-r" ( À ÀÀü To prevent fire or shock hazard, do not expose this appliance to rain or moisture. Operator's Manua! -.Ê--l I T T Warning Precautions Power requirements FOR CUSTOMERS Power requirements for electrical equipment differ from area to area. IN THE UK The operating voltage of this machine is preset at the factory ac- IMPORTANT FOR YOUR SAFETY cording to it's intended destination. However, some models are The flex supplied wiJh your machine will have two wires as equipped with a voltage selector. lf your machine is so equipped, shown in the illustration. before connecting, check to see that the VOLTAGE SELECTOR on the rear panel is set to the voltage for your area. lf not, please set it correctly before plugging in the power cord.
    [Show full text]
  • United States Patent [191 [11] Patent Number: 4,691,234 Albean [45] Date of Patent: Sep
    United States Patent [191 [11] Patent Number: 4,691,234 Albean [45] Date of Patent: Sep. 1, 1987 [54] NOISE REDUCI‘ION CIRCUIT FOR G. Eilers, IEEE Transactions on Consumer Electron TELEVISION MULTI-CHANNEL SOUND ics, 8/84, vol. CE-30, No. 3, pp. 236-241. [75] Inventor: David L. Albean, Indianapolis, Ind. “TV Multichannel Sound—Encoding and Transmis sion” by Lee et al., IEEE Transactions on Consumer [73] Assignee: RCA Corporation, Princeton, NJ. Electronics, 8/84, vol. CE-30, No. 3, pp. 242-246. [2]] Appl. No.: 761,216 “TV Multichannel Sound-Reception and Decoding” by Mycynek et al., IEEE Transactions on Consumer [22] Filed: Jul. 31, 1985 I Electronics, 8/84, vol. CE-30, No. 3, pp. 247-250. [51] Int. Cl.4 ............................................. .. H04N 7/04 [52] US. Cl. ............................ .. 358/144; 358/198 Primary Examiner—Tommy P. Chin [58] Field of Search .............. .. 358/144, 198; 381/1-4, Assistant Examiner-David E. Harvey 381/7 Attorney, Agent, or Firm-P. J. Rasmussen; P. M. Emanuel; R. H. Kurdyla [56] References Cited PUBLICATIONS [57] ABSTRACT “The DBX Television Multichannel Sound Com A television receiver includes an audio signal process pander: Characterization” by L. B. Tyler, published by ing arrangement for expanding a second audio program Electronic Industries Association, l2/83, pp. 22-56. (SAP) signal compressed in accordance with the “dbx” “TV Multichannel Sound—The BTSC System” by C. system in a relatively simple manner. The signal pro G. Eilers, IEEE Transactions on Consumer Electron cessing arrangement includes a ?rst ?lter for providing ics, 2/85, vol. CE-31, No.
    [Show full text]
  • Tascam TEAC 122 Master Cassette Deck Manual
    TASCAM TEAC Production Products MASTER CASSETTE DECK C~__~O~W_N_E_R_'S__M_A_N_U_A_L___) 5700012100 • The guarantee of performance that we provide for the 122 must have several restrictions. We say that the recorder will perform properly only if it is adjusted properly and the guarantee is that such adjustment will be possible. However, we cannot guarantee your skill in adjustment or your technical comprehension of the manual. Therefore, calibration is not covered by the Warranty. If your attempts at such th ings as rebias and record EQ trim are unsuccessful, we must make a service charge to correct your mistakes. 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 well received critically. The art is the province of the artist. T ASCAM can make no guarantee that the 122 in itself wi" assure the qual ity of the recordings you make. Your skill as a technician and your abilities as an artist will be significant factors in the results you achieve. -2­ Introduction TABLE OF CONTENTS INTRODUCING THE TASCAM 122 The T ASCAM 122 is a 4-track, 2·channel Introduction. 3 recorder/reproducer designed for the production Introducing the T ASCAM 122 .. .. 3 environment to produce master cassette tapes. Specifications ... .................. " 4 Features are provided to ensure the quality. The Features and Controls ........ ...... 5 - 8 tape transport mechanism is two-motor; for Connection.
    [Show full text]
  • Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
    Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's first magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the first Japanese tape recorder.
    [Show full text]
  • Owner's Manual
    424@$ OWNER’S MANUAL 3D0023100A Table Of Contents Safety Instructions 3 Using Effects with the Introduction 4 PORTASTUDIO 424 MKIII 35-36 The Recording System 5 Setting effect send levels 35 The three steps to multitrack 5 Setting the output level of effect devices 35 Understanding the Mixer 6-7 Setting the mix/balance control Signal flow in the 424 MKIII mixer 6 on effect devices 35 Tape cue monitor system 7 How to connect your effects devices 36 Multitrack Cassette Recorder 8 Syncing MIDI-Tape—Using the Track Format and Tape Recommendations 9-10 TASCAM MTS-30 37 PORTASTUDIO 424 MKIII Brief Guide 11-14 Troubleshooting 38 Step-By-Step Operations Guide 15-24 Features and Controls 39-45 Let's try the 424 MKIII mixer 15 424 MKIII Mixer How to record on track 1 16 Input section 40 Track 1 playback through TAPE CUE 18 Stereo input section 41 How to make an overdub on track 2 19 Monitor section 41 How to record tracks 3 and 4 20 Master section 41 How to record many sources onto a Output section 41 single track 20 424 MKIII Recorder How to record a mix onto two tracks Cassette loading and dbx system 42 simultaneously 21 Transport controls 43 Recording on more than two tracks Track controls 44 simultaneously : DIRECT 22 Displays 44 How to mix down 23 Autolocators 44 Using Memory Location Points 25-26 Optional Accessories 47 Loading MEMO points 25 Care and Maintenance 48-49 Locating the tape 26 How the dbx Works 49 Repeat Play 27 Specifications 50-52 PUNCH-IN or INSERT Recording 28-32 Block Diagram 53-54 Preliminary 28 Level Diagram 55 Rehearsal and auto in/out procedures 29 Manual punch-in 31 Bouncing Tracks (Ping-Pong) 33-34 Ping-pong procedure 33 "© Copyright 1998, TEAC Corporation" All rights reserved under international and Pan American copyright conventions.
    [Show full text]