Tascam 788 Road MAP
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Tascam 788 Road MAP
User reviews and opinions
|montpied||6:41pm on Thursday, November 4th, 2010|
|Great cover,durable,bright color,fast shipment,very pleased with purchase. love the pink sparkle cover. Thanks! Fits the phone perfectly|
|owa||4:58pm on Thursday, August 26th, 2010|
|BUYER BEWARE - This phone is not compatible with North American 3G bands. All in all I love this phone, only one I can think that is better is the Samsung I9000 Galaxy S. First to all the people who say that this is different than the verizon model; do some reasearch before you post. Second.|
|mattypattyfp||2:25am on Saturday, August 21st, 2010|
|The Droid does it all. Open source apps allow this phone to go beyond its potential. Beautiful screen, phone, camera, video, mp3 player, internet.|
|johncros||8:27pm on Tuesday, August 3rd, 2010|
|i got this flew in from the US and i must say it looked good as i brought it out, i was even impressed by the apps it had on the phone.|
|haopengyou||4:31am on Monday, June 21st, 2010|
|Overall, I would take this phone over the Droid. I think that the form factor, and Sense UI really help for the consumer. I think that the Droid.|
|whitecloud1||2:50am on Friday, June 18th, 2010|
|its a great phone if you know how to use it. needs an update to 2.0/2.1 and its just about perfect from my point of view. great design.|
|GetFocus||2:21pm on Sunday, April 25th, 2010|
|This item is mislabeled. It is not for motorolal, it is for iphone only! really like it, have had it for over a month and it holds up well and is very pretty. great buy!|
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
A Brief Guide to the 788
Unpacking your 788
When you unpack your 788, you should find, in addition to this sheet: The 788 itself A power adaptor (PS-P788) for your local voltage Two balanced XLR to balanced 1/4-inch stereo jack adaptors for use when recording using balanced sound sources An OPERATIONAL TUTORIAL manual
An Owners Manual A 788 Road Map If any of these items are missing, you should contact your TASCAM distributor. Retain the carton and any packing materials, in case you need to transport the 788 to another location at a future date.
Setting up the 788
This is fully described in the other documentation, but take careful note of the following points: The 788 contains a hard disk. Like the hard disks in laptop and notebook computers, it is quite robust, but when the unit is in operation, sudden shocks and vibration may damage the hard disk, causing possible loss of data. Always make sure that the 788 is mounted on a stable, level surface. Treat the 788 as you would a notebook or laptop computer, and you should have no cause for concern, The underside of the 788 can become quite hot in normal operation. This does not indicate a fault, but you should be aware of this when picking up the 788 after it has in operation for some time. In addition, we strongly recommend that the surface on which the 788 is mounted is a firm, non-upholstered surface. Avoid standing the 788 on carpets, rugs, cloth coverings, etc. Always make and break connections to and from the 788 with the power to all units turned OFF. This is especially true of SCSI devices. If you are connecting or disconnecting a SCSI device (removable disk, hard disk, CD-R drive), etc. to or from the 788, you should turn off the power to the 788 and the SCSI device before making or breaking the connection. When powering up the system, any SCSI devices should be turned on before the 788. Audio sources should be turned on before the 788, which should be turned on before the monitoring system.
Loading and playing the demonstration song
1 Connect the 788 MONITOR OUTPUTs to your monitoring system (or plug headphones into the PHONES jack). Turn the MONITOR LEVEL control 7 fully counterclockwise, Turn on the 788, and then turn on the monitoring system. Turn up the volume of the monitoring system and turn the MONITOR LEVEL control 7 clockwise about halfway. When the 788 has finished its start up (taking about 30 seconds), press the MENU key I. Use the dial W to highlight SONG and press ENTER e. Use the dial to highlight LOAD, and press ENTER. Use the dial to highlight LIQUOR STORE, and press ENTER. 9 When the song has loaded, press the QUICK
SETUP key 4.
Use the dial to highlight MIXDOWN, and press ENTER. Press the HOME/ESC key J.
10 Press the MONITOR SELECT key E so that the STEREO indicator lights. 11 Press PLAY j to start playing back the song. 12 The channel faders X can be used to adjust the individual disk tracks, and the STEREO fader Y adjusts the overall level. The onscreen meters show the level. 13 Use the MONITOR LEVEL control to adjust the monitoring level. You can experiment with the EQ settings, effects, etc. as described in the other manuals provided with the 788.
TASCAM 788 Brief Guide 1
Front panel features
4 AC D B FG H 5 I J E K
P M N O R S U V Y T Z a b cd e g h i j k
Because the 788 relies so much on its internal software for control, many of the features described here have one or more functions. This section is not intended as a complete guide to the operation of the 788, but should give you an idea of the basic use of the controls and connectors on the front and rear panels.
3 EFFECT 1 key and indicator Controls and shows the settings and assignments of the first internal effector. 4 QUICK SETUP/ASSIGN MAP key Controls settings and display of routing and assignments, etc. as well as library functions.
1 TRIM controls Control the level from the
analog inputs to the assigned mixer channels.
5 Display screen (backlit) Shows settings
2 POST indicator Shows the pre/post settings of the internal effectors.
6 Contrast control Controls the contrast of
the display screen.
7 MONITOR LEVEL control Controls the
level of the signals from the MONITOR OUTPUTS and PHONES.
2 TASCAM 788 Brief Guide
8 INPUT (AD) keys and indicators
Control and show the assignment of inputs A through D to the mixer channels.
O LOCATE key Used to recall the list of memory location points. When shifted, used to input a memory location point. P IN, OUT and TO keys Used with three special location points for auto punch, repeat playback, location, and track editing purposes. Unshifted, these keys locate to the playback points. Shifted, they are used to set the playback points.
9 AUX INPUTS key and indicator Controls and shows the assignment of the AUX INPUTS to the mixer channels.
A TRACK key and indicator Control and show the assignment of recorded tracks to the mixer channels and virtual tracks to active tracks. B STEREO key and indicator Control and show the assignment related to the STEREO pair of channels as well as settings for these channels C SUB MIX key and indicator Control and show the assignment of the 788s internal sub-mixer, as well as the settings for the sub-mixer. D EFFECT 2 key and indicator Controls and shows the settings and assignments of the second internal effector. E MONITOR SELECT key and indicators Controls and show the signals that are
sent from the MONITOR OUT and PHONES jacks. Shifted, this key allows mono monitoring.
Q REC READY keys and indicators Used to set and display the recording status of the tracks. R TRACK CUE key Used to bring up the screen controlling the level and pan of recorded tracks to the track cue monitoring subsystem. S SEND key Used to bring up the screens controlling the level, etc. of the channel sends and master sends to the Aux and Effect send loops.
T FADER/PAN key Used to bring up the
screen controlling pan settings, and providing the fader view (for use when physical and internal fader positions do not match).
U SHIFT key Used with other keys to provide a
secondary function. When used, the SHIFT key is always pressed and held down while the other key is pressed.
F EJECT/SHUT key and indicator Used to shut down the 788, and eject removable media, and to show the status of the shutdown process. G UNDO [REDO] key Used to control the undo and redo of recording, editing operations, etc. H TRACK EDIT key Used to enter the nondestructive track editing functions (cut, move, etc.).
V MARK/CHAR [EDIT] (DELETE [SILENCE], TRIM [COPY TO], INSERT [MOVE] keys Used unshifted to insert/delete
characters in titles, add/remove selections from lists, and to enter/edit/remove location memories. Used shifted as short cuts to commonly-used track editing functions.
I MENU [TITLE] Used unshifted to enter the
system menus. Shifted, this key enters titling mode (songs, library entries, virtual tracks, etc.).
W JOG/DATA dial Used to adjust the playback position (in jog mode) and to edit parameter data. X Channel faders Used to adjust the output
level from the channels (channels 7 and 8 are always linked together). The 0 fader setting represents the nominal level.
J HOME/ESC key Returns the display to the
K CUE key and indicator Controls and shows the replay of the track cue signals from the MONITOR OUTPUTS and PHONES connectors. L SELECT keys and indicators Used to
assign inputs to mixer channels, to link channels in stereo pairs, to select channels for parameter adjustment and soloing, tracks for virtual track assignment, etc.
Y STEREO fader Used to adjust the level of
the stereo mixed signals from the STEREO OUTPUTs and from the DIGITAL OUTPUT. The 0 fader setting represents the nominal level.
M SOLO key and indicator Used to select and show the status of mixer channels selected for soloing. N EQ key Used to bring up the channel equalization adjustment screen.
Z AUTO PUNCH key and indicator Used to set and display the current auto punch status when punching new material into previously-recorded material. a RHSL key and indicator Used to set and display the status of the rehearsal facility used in recording (including auto punch modes).
TASCAM 788 Brief Guide 3
b REPEAT key and indicator Used to set
and show the status of repeat playback and recording, as well as to set the gap between repeats. c JOG indicator Lights when jog (trim) mode is in operation, as set by the STOP+PLAY key combination. d PITCH/SSA key and indicator Used to set and display the status of varispeed (pitch control) as well as the SSA (Slow Speed Audition) function. e ENTER/YES key Used to go down a level in the menu system, to confirm settings, or to give a positive answer to questions asked by the 788. f EXIT/NO key Used to go up a level in the menu system, to exit without making settings, or to give a negative answer to questions asked by the 788.
g REW key Used to move the playback position
backwards in the song. Also used with STOP to locate to the zero point. h F FWD key Used to move the playback position forwards in the song. Also used with STOP to locate to the last recording position. i STOP key Stops playback, recording or winding. Used with PLAY for jog mode. j PLAY key Starts playback. Uses with RECORD for recording. k RECORD key Use with PLAY for recording. l Cursor keys Used to navigate around menu and parameter setting screens to highlight parameters, options, etc.
m n o p q r s t
m PHONES jack Used with standard stereo
headphones (1/4 jack). n REMOTE jack 1/4 jack used with a footswitch such as the TASCAM RC-30P for hands-free punch operations. o AUX OUTPUT jacks Output unbalanced signals from the Aux loop at 10 dBV. Connect to the L output only for mono. p MONITOR OUTPUT jacks Output the selected monitor signals. RCA (phono) jacks at a level of 10 dBV. q STEREO OUTPUT jacks Output the mixed stereo signals. RCA (phono) jacks at a level of 10 dBV. r AUX INPUT jacks Accept 10 dBV unbalanced signals (1/4 jacks) to the Aux input channels for assignment to mixer channels or the sub-mixer. s MIC/GUITAR switch Switches the input impedance of INPUT D between MIC/LINE (MIC)
and a value suitable for electric guitars, basses, etc. (GUITAR). t INPUTS A through D Accept 50 dBu to +4 dBu balanced signals. Use the supplied XLR-tophone convertors to connect XLR-equipped sources. u DIGITAL OUTPUT Outputs the mixed stereo signals in digital audio IEC60958 TYPE II (SPDIF) format from a coaxial RCA connector. v SCSI connector SCSI-2 connector for connection of external storage devices, CD-R drives, etc. w MIDI IN and OUT Accept and transmit MIDI information as described in the manuals. x POWER IN Connect this only to a PS-P788 power supply unit where the voltage requirements match your local power supply. y POWER switch Press to turn on, and press again to turn off after shutting down the 788 using the EJECT/SHUT key F as described in the manuals.
3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan
Phone: (0422) 52-5082
4 TASCAM 788 Brief Guide
Printed in Taiwan MA-0407
P 9 P 7
To set your levels, press REC READY on track 1. Track 1's LED will blink, and track 1's color will invert in the screen. Your levels should be showing up in the meters on the screen. Set the level as loud as possible, without clipping the "0" point at the top of the meter. Once you've got your tracks enabled and the levels are properly set, press PLAY + RECORD and start playing. When you're done, press STOP, and disarm the track by pressing REC READY on track 1. The REC READY LED will stop flashing, and the track number in the main display will go back to normal color. To listen to audio from the recorded track, raise the level for track 1 in the cue section. To do that, press TRACK CUE (just above the stereo fader) to view the TRACK CUE section. The TRACK CUE faders on the screen will control the volume of track playback directly from the recorder. Raise the TRACK CUE fader (in the screen) on track 1. When you press PLAY, you should hear the track playing back. Recording Another Track To route INPUT D to channel 2 on the mixer, hold down INPUT D and press SELECT for channel 2 of the mixer. Notice that the LEDs indicate INPUT "D" has moved from channel 1 to channel 2. Raise the fader for channel 2, and you should hear the source. If you are using the guitar input with guitar effects, notice that the guitar effects are still intact with the new assignment.
the arrow keys to select the parameter you want to change, and use the JOG/DATA wheel to change the value.
scan the song to find a particular part, pressing REW or F FWD will play all 8 tracks forwards and backwards to help you find the proper location. Once you've set your IN, OUT and TO locate points, push SHIFT + COPY TO. The screen will ask which track you want to pull your audio from, which track it is going to, and how many times you want to copy the part. The tracks can be edited on individual track level, stereo pair, or across all 8 tracks simultaneously. Use the arrow keys to move between the various parameters, and the JOG/DATA wheel to change the settings. Press ENTER to accept the settings.
If you want to change the type of effect and recall another preset, press ENTER while you are in the effect screen. The display will show you the library of effects available. Use the CURSOR keys and JOG/DATA wheel to select effects from either the PRESET or USER tabs and press ENTER.
The 788's effect processing can be used as a dynamic or multi-effect processing chain inserted on channels. When the effect is routed that way, the effect will be assigned as the first item in the signal flow chain. (For information about the effect capabilities or assignment, see Effect Processing, p20.) The EQ Section To view the EQ section of the 788, press the EQ button right in the middle of the 788's control surface, then press SELECT for the channel you wish to view. The screen to the right should appear. The 788's three band EQ is comprised of sweepable high EQ bands are arranged vertically, with matching parameters aligning and low shelf bands, plus a horizontally. Use the arrow keys parametric mid band. An to move between the parameters. ON/OFF switch allows A/B comparisons between the enhanced signal and the original. Finally, a PAD/GAIN control allows the signal to be padded down to prevent the channel from overloading from high boost EQ curves, or to increase signal strength when large frequency bands areas are dug out of the signal's power. Shelf and Parametric EQs Explained
ON/OFF control PAD/GAIN setting Channel indication
THE CHANNEL STRIP
The 788's main mixer provides extensive processing power and routing flexibility. Once the signal is routed to the main channel, the signal flows through the following steps:
Send/Return (insert) for built-in effects. This only applies if EFFECT 1 is assigned as a Multi-Effect processor on a channel or EFFECT 2 is assigned as dynamics. EQ Section If an aux send is assigned as pre-fader, it's level is independent of the channel fader. This is typically used for monitor mixes or allowing the channel to be washed out in an effect (no dry signal). Channel Fader If an aux send is assigned as post-fader, its level is affected by the channel fader. This is typically used for effect sends, because the relationship between the effect and dry signal will remain constant when the fader is adjusted.
EQ basically increases and decreases the volume of specific frequency ranges in a sound. Your standard hi-fi usually has a bass and treble control. the bass control can boost or cut the low Standard Boost/Cut frequencies, with the center 20Hz 20kHz between 80-120Hz. The treble Boost control will boost or cut the higher Cut frequencies, with a typical center between 6-12kHz. The next level of control from the standard boost/cut EQ is a sweepable EQ. Sweepable EQs have a gain control to adjust the boost or cut Mid Parametric Freq control, but also can change the Freq 20Hz 20kHz center frequency. This movable center allows accurate tuning of Sweep High/Low the EQ to specific "sweet spot" areas of the sound. Examples - Perhaps 80Hz boost will offer pillowy sound to a bass, while a 200Hz cut will take out a muddy tone.
To Stereo Fader
The other control on the sends is the PRE/POST fader switch. This switch determines whether the send gets its signal before or after the channel fader. The significance of that is whether or not the channel fader level has any affect on the level of the send. PRE FADER - When a send is placed before the fader, the send level is totally independent of the fader. This is typically used for headphone monitor mixes, allowing the performer to have an independent mix from what the engineer is listening to. (The engineer can tweak the levels of channels without affecting the talent's cue mix.) POST FADER - When a send is placed after the fader, the send level is affected by the channel fader. This is the popular mode for effect sends, since the balance between the effect and dry signal will be maintained. OFF - For convenience, the send can also be turned off. This is good for A/B comparisons of a signal with and without an effect or muting a channel from a headphone mix created on the aux sends. It can also be a simple way to bring in specific effects for a channel without moving the dial all the way up and down. (i.e. adding a delay on a vocal for the chorus, and keeping the vocal dry during the verse.) The only real differences between the EFFECT SEND and AUX SEND is what they feed. These are listed below: EFFECT SEND can feed the internal processor EFFECT 1. The signal before the EFFECT 1 processor can be monitored at the MONITOR section. If EFFECT 1 is not assigned to EFFECT SEND, then EFFECT SEND will be muted. AUX SEND always feeds the AUX OUTPUT on the back panel of the 788. AUX SEND can also feed the internal processor EFFECT 2, if EFFECT 2 is assigned as a stereo processor on AUX SEND. The signal before the EFFECT 2 processor can be monitored at the MONITOR section. Fader, Pan & Linking Channels These functions are fairly straightforward, but this will make sure you understand the screen layout, and show you some short cuts. Channels 1-6 on the 788's main mixer can be linked into stereo pairs, if so desired. Linking the channels saves time by automatically assigning the same values for volume, send levels, and EQ for both channels. This is extremely useful for stereo pairs of audio. Linking channels use an odd channel with its following even channel. (ie - Channels 1-2 can be linked, but 2-3 cannot.) To link the channels, press SELECT for the two channels at the same time. SELECT for both channels
On vocals, perhaps 2kHz will add an edge, 6kHz might take some "honk" out of the sound, and 10kHz will add an airy quality to the sound. A parametric EQ goes a step beyond the sweepable EQ by offering variable Q width. This controls how wide an area the EQ will affect around the center tone. This may take some practice to really use Mid Parametric Q effectively. However, the 20Hz 20kHz parametric EQ can be used as a tool to eliminate ringing noises, Wide/Narrow or it can be used with great precision to sweeten the sound by focusing in on the specific range of the sound you want to affect. The mid band of the EQ is a parametric band. Example - By focusing the frequency on a ringing tone from a floor tom and narrowing the bandwidth, offending rings can be reduced without greatly affecting the original tone of the recording. The other common shape of an EQ is called a shelf. The shelf will rise up to a point, just like a boost/but band will, but the shelf EQ continues that peak level of boost through the rest of the frequency High & Low Shelf band. So, a high shelf will slope 20Hz 20kHz as it approaches the center frequency, then it maintains that Shelf EQ boost or cut forever. The low shelf does the same thing, but the shape is inverted. On the 788, the high and low bands are shelf bands, with a sweepable center frequency. Effect & Aux Sends The EFFECT SEND and AUX SEND operate similarly to each other, although they are not identical. First, we'll cover their similarities, then Selector for PAN and MASTER we'll point out the few PRE/POST LEVEL send differences at the end. fader or OFF controls level Both the EFFECT SEND and AUX SEND are stereo sends, with level and panning controls. In the screen (at right), each send is arranged in a row with the EFFECT SEND on top and the AUX SEND on the bottom.
EFFECT SEND and AUX SEND labels
To the right of the and dials is a dial labeled , which adjusts the overall level of the send. ( controls the amount of one particular channel in the send, affects the level of all the channels.)
2) Press the buttons for the input sources that you want to put in to (or take out from) the input submixer. The flashing lights should indicate the changes you are making 3) If the STEREO light is flashing under SOURCE, then the input submixer is routed to the stereo fader. If the light is not flashing, then it is not routed to the stereo fader. To change the status, press STEREO. 4) Release the SUB MIX button.
should light up when either button is pressed. To unlink the channels, press SELECT for the two channels at the same time again. The channel SELECT lights should only turn on for one channel at a time now. The screen at right shows the panning controls for channels 1 and 2, if the channels are not linked. The value is shown in this screen, as is the fader level. (The fader level value is displayed as under the level.) The fader level can only be changed with the physical fader on the 788; this fader level display is only for your information or session notes. The screen at the left shows what the screen will look like if the channels are linked. The faders are merged together, and the even channel shows for its value, indicating the level comes from the odd channel. When channels are first linked together, the panning is automatically set hard left and hard right. You can adjust this if you want to focus the stereo pair in the mix differently.
The 788 has an TRACK CUE section available on board which will be used to monitor tracks from the recording section. The TRACK CUE does not feed the stereo fader at all, so you can't use it in a mixdown situation. It has a dedicated button in the MONITOR section of the 788 in the upper right. To view the TRACK CUE section, press the TRACK CUE button just above the stereo fader. This screen functions much like the submixer screen. The CURSOR keys and JOG/DATA wheel are used to navigate and change the values of the pan and level controls. One notable difference is the TRACK CUE section takes two screens, since it has eight tracks to monitor. One screen shows tracks 1-4, and the other shows tracks 5-8. Tracks can be accessed directly by pressing SELECT for the track you want to change, or you can scroll with the arrow keys "over the edge" of the screen to the next one.
The 788 has an input submixer available on board which can be used to increase your available inputs on mixdown, or it can be used to monitor external sources without using valuable mixer channels. The input submixer is assignable only to the stereo fader. NOTE: The input submixer can be engaged and disengaged from the stereo fader. If you cannot hear the audio from the submixer, follow the instructions below on assigning the submixer. To view the input submixer screen, press SUB MIX. The screen at right should appear. Use the CURSOR keys and JOG/DATA wheel to change the values to your liking. To assign inputs to the input submixer and route the submixer to the stereo fader: 1) Press and hold SUB MIX. with graphic controls, as well as position values for accuracy. The SUB MIX light should flash, along with any channels already assigned to the input submixer.
Pan and volume are indicated The name of the input shows if the input is assigned to the submixer, "OFF" if it is not assigned.
Monitor sections are common on recording consoles, but not so typical on live mixers. The monitor section is designed to allow you to listen to different areas of the board (typically submixing areas) either for simple troubleshooting, for use as a headphone mix, or anything else you can dream up. The SELECT button in the monitor section will scroll through the various listening points one at a time. The last option is to monitor nothing at all. The LEDs to the left will indicate the source currently selected. (Monitoring nothing is indicated with all four LEDs off.) A mono switch is available by pressing SHIFT+SELECT. It is good practice to check your mix in mono to make
sure signals aren't out of phase with each other.
scene or routing library that you wish to wish to name and press SHIFT+MENU/TITLE. See Section V, "Assigning Names" on p23 for complete naming capabilities and instructions. When a scene is recalled, the display will immediately flip to the ASSIGN MAP screen to show you the routing scheme you've just recalled
The CUE button at the bottom of the monitor section switches the TRACK CUE section on and off in the MONITOR OUTPUT. As mentioned in the TRACK CUE section, the TRACK CUE mix does not appear in the stereo mix. This only turns the TRACK CUE mix on to the monitor section.
Pressing SHIFT + SELECT will monitor in mono. The LEDs in the monitor section will flash to indicate MONO mode. To go back to stereo, press SELECT.
The ASSIGN MAP on the 788 is a chart that shows you where the various signals are routed in the 788. You can view this at any time by pressing SHIFT+QUICK SETUP. Audio sources are listed down the left side of the screen, with mixer channels listed across the top.
Main Mixer Channels Input Submixer
ROUTING & SCENE LIBRARIES
As easy as the signal routing is on the 788 with the controls on the surface of the recorder, it is sometimes easier to just recall a set-up from a preestablished library. This is especially true when you're switching projects, or moving from recording tracks to bouncing down, etc. The three basic routing setups under the QUICK SETUP key are: - Routes inputs straight to mixer channels. (Input A to track 1, input B to track 2, etc.) - Routes recorder tracks to all channels on the mixer for playback. - Routes tracks 1-6 to channels 1-6, and assigns the stereo mix to tracks 7/8 for bounce down. There is also a ROUTING LIBRARY where you can store your own routing set-ups, and a SCENE LIBRARY which can store a complete snapshot of the mixer settings (ie - fader levels, EQ curves, aux sends, etc.) Both the scene library and The READ and SAVE tabs indicate whether the selected scene will the routing library work be loaded, or the target for saving the same way. and the current set-up. tabs are shown at top. If the R tab is selected, the chosen scene or routing scheme will be loaded into the mixer. If is selected, the current mixer settings or routing scheme will be saved to that location. Use the CURSOR keys to switch tabs and select the scene. Pressing ENTER/YES will recall the selected scene. A 12 character name can be assigned to each scene and routing scheme. To assign a name, highlight the
Confirmation Messages Last Locate Point Passed
MORE LOCATE RESOLUTION
The normal resolution of the locate points would be to the frame. This would typically yield a 1/30th of a second accuracy. If you want more resolution, you can adjust to sub-frame accuracy using 10 sub frames to a frame. This yields a 1/300th of a second accuracy.
Time locations can be fine adjusted to sub frame accuracy. Scroll to the subframe column, and adjust with the JOG/DATA wheel.
The time display shows hours, minutes, seconds, frames, and sub-frames. One of these time denominations will be underlined; the one that is underlined can be adjusted by the JOG/DATA wheel. To move the cursor around, use the arrow keys. This gives you editing resolution accurate to the sub-frame. The other way to get to sub-frame accurate locate points is to use the JOG/DATA capabilities mentioned earlier in this section. You can enter the JOG/DATA mode by pressing STOP+PLAY together, then pressing the RIGHT CURSOR key until you are zoomed in at 32x aspect ratio. That scrubs at the sub-frame level.
PUNCH IN/OUT & AUTO PUNCH
One-Button Punch Punching in and out of record on the fly is commonly done to allow the performers the chance to fix just a small part of their performance. The single button punch feature makes this function easy to use. If you are playing, you can just press REC to go into record; pressing PLAY when recording punches out of record. No button combinations necessary! Footswitch (TASCAM RC-30P) There is a 1/4" port on the back labeled REMOTE that can accept a TASCAM RC-30P for using a footswitch for punch in/out. Using your feet to engage and disengage record keeps your hands on your instrument, making punches on complex parts much easier and more reliable. Auto Punch Auto Punch allows you to have the 788 automatically do the punch in/out for you. This offers more precision on the punch location, plus it allows you to shift your focus back to being the musician, rather than focusing on being the engineer. Pressing the AUTO PUNCH button (just above F FWD) will show you the two modes of Auto-Punch: and. The only difference between them is what the 788 will use for the punch in and punch out points. Aside from that, all other features are identical. - The 788 will punch in and out at the same points as the last recording made. So, you can manually perform the first punch in, then have the 788 perform the rest. - The 788 will use the time stored in the IN and OUT locate point registers. This allows you to fine tune these locate points, and you'll be able to punch in as tightly and precisely as needed. Once you've selected the Auto Punch mode, the LED above the AUTO PUNCH button should be lit. Pressing PLAY will allow you to practice the punch-in, without actually recording anything. This is great for making sure the points are where you want. Pressing PLAY and RECORD together will engage the 788 in Auto Punch and record the punch. Press STOP to finish your auto-punch session.
When you select the edit function, there will be a prompt for which tracks the edit should apply to. You can edit on a single track, stereo pair, or all 8 tracks at a time. It is also possible to edit across tracks. For instance, you can copy from one track to another. It is also important to understand that some edit functions keep the time line of the song intact, while other functions (called "ripple" functions) affect the audio beyond the edit point. Below, we have an example of a COPY>PASTE (standard) edit and a COPY>INSERT (ripple) edit. ORIGINAL TRACK
COPY>PASTE overwrites existing audio at the TO point, and does not affect any audio after the copy. COPY>PASTE
COPY>INSERT moves the audio after the TO point down the exact length of the insert. COPY>INSERT
All of the editing is non-destructive with 999 levels of undo that are saved to disk. This means you have lots of opportunity to experiment with different versions without fear of losing anything. Edit Functions Definitions copies the audio between the IN and OUT locate points and pastes it over any preexisting audio starting at the TO locate point.
All of the editing functions will use the IN, OUT and TO locate points for reference on edits. For instance, if you are copying a background vocal track to another chorus, you would place the IN and OUT locate points around the part to be copied, then place the TO locate point where you want the part to go.
COPY AUDIO IN OUT COPY>PASTE TO
copies the audio between the IN and OUT locate points and inserts it at the TO point, moving all other audio down the length of the section being copied.
removes everything between the IN and OUT points. All audio after the OUT points is moved up to the IN point.
IN IN OUT COPY>INSERT IN IN OUT TO TO CUT
moves the audio between the IN and OUT locate points and pastes it over any preexisting audio starting at the TO locate point. The key difference between MOVE>PASTE and COPY>PASTE is that MOVE>PASTE deletes the original audio between the IN and OUT point.
removes recorded audio between the IN and out points, but does not affect the time line.
allows you to copy a physical track to another physical track. (ie - Copying all of the audio from track 1 to track 5.) deletes any audio not used in a song in order to reclaim more hard drive space for more record time. This will delete virtual tracks, audio edited out, audio recorded over, etc. This function cannot be undone.
moves the audio between the IN and OUT locate points and inserts it at the TO point. moving all other audio down the length of section being copied. The key difference between MOVE>INSERT and COPY>INSERT is that MOVE>PASTE deletes the original audio between the IN and OUT point.
IN THIS SECTION: MIDI Clock & Tempo Maps. MTC (MIDI Time Code) Generate/Chase. 788 Metronome.. MMC (MIDI Machine Control).. MIDI Program Change Commands. RELATED TOPIC: Fader Matching p p p p p 28
See Mixer Functions, p 12
While simply broadcasting measures, bars and beats will help keep the devices together, they typically require a TEMPO MAP. The tempo map tells each device what the time signature and tempo of the song is. This helps each device better anticipate the location of the bars and beats, and gives them the information on how to count the beats. Each device in the MIDI Clock chain will need their own copy of the tempo map. Setting the 788 to Generate MIDI Clock The 788 needs to be set to generate MIDI Clock. To make that setting: 1) Press MENU. 2) Select with the JOG/DATA dial and press ENTER/YES. 3) Select with the JOG/DATA dial and press ENTER/YES. 4) Make sure and is set to (internal clock), is set to (MIDI Clock).
Introduction to MIDI Clock MIDI Clock is a basic synchronization standard that is commonly found on drum machines and basic keyboard workstations. It is also commonly supported on most sequencing software. MIDI Clock keeps the individual MIDI devices locked together in musical terminology, using a counting structure that looks like this: BAR : BEAT : PPQ The terms bar (measure) and beat should be familiar, but PPQ is a new one for some. PPQ stands for Part Per Quarter; PPQ is the internal subdivision of the quarter note. As with any other synchronization chain, one device is deemed the master. The master broadcasts the MIDI Clock information, and the others will follow the MIDI Clock data. In choosing the master, the rule of thumb is to set whichever device has to work the hardest as the time code master. The 788 is processing a lot of data to record and play back 8 tracks of 24 bit audio, so it will be the master in your studio. The drum machines and sequencers will follow the 788.
Editing the Tempo Map The tempo map in the 788 will list all the tempo and key signature changes in the song. It is not necessary to enter the time signature and tempo of every measure; only the changes need to be entered. To edit the tempo map: 1) Press MENU. 2) Select with the JOG/DATA dial and press ENTER/YES. 3) Select with the JOG/DATA dial and press ENTER/YES. 4) Press INSERT or DELETE to add or remove changes in the map. Navigate the list with the CURSOR keys, and change the settings with the JOG /DATA dial.
Setting the 788 to Generate MIDI Time Code The 788 needs to be set to generate MIDI Time Code. To make that setting: 1) Press MENU. 2) Select with the JOG/DATA dial and press ENTER/YES. 3) Select with the JOG/DATA dial and press ENTER/YES. 4) Make sure and is set to (internal clock), is set to (MIDI Time Code).
MIDI TIME CODE (MTC)
the same ID), you would end up arming track 1 on all machines. However, if you only have a MMC master and one slave, it is usually easier to simply leave the status set to ALL so that you know the 788 will get the signal. MMC with MIDI Sequencers The primary application for MMC with the 788 is to allow a MIDI sequencer (or other MIDI device) to control the 788. In other words, pressing play on your sequencer will send an MMC message to the 788 to start playing. Typically, the 788 will be set to transmit MTC or MIDI Clock for the sequencer to follor,, and everything then runs as one system. This is a common practice for musicians to use when making minor modifications to the sequenced tracks, either balancing MIDI tracks, fixing wrong notes, or even experimenting with different parts once the audio tracks are recorded. Controlling the 788 through MMC allows you to focus on one set of controls. You don't have to go to the 788 to start playback. In order to set the 788 up to work this way, the 788 will be set to be an MMC slave. The screen will need to be set up to broadcast either MTC or MIDI Clock, with the set to (internal). Then make sure your sequencer is set to follow the time code coming from the 788, and you're all set!
1) MMC command for PLAY is issued from the computer to the 788.
2) Time Code is sent from 788 to sequencer for sequencer to chase.
There are a number of mixer and effect processor functions that can be controlled through MIDI control messages. Control over these functions can be enabled and disabled in groups. The first item is will determine whether the mixer scenes (preset mixes) can be recalled through program change messages. The determines whether the effect programs can be recalled with standard program change messages.
Im changing the EQ on the 788, and Im not hearing the changes Im making. Youre probably either adjusting the EQ on the wrong channel, the EQ is switched off for that channel, or youre changing FREQ or Q without any gain on that band. The channel number is indicated in two places. The channel you are affecting will have its SELECT light on. Also, the channel number is
IN/OUT control PAD/GAIN setting Channel indication
Next, check the screen. To get to it, press MENU, select , and choose. Under the tab, make sure the is set either to or. ( is if you are triggering an external sound module for metronome tones. is if you are using the internally generated clicks.) The parameter in this screen will select whether the metronome will sound when the 788 is in record and play, or only in record. ( means record only, and means record and play.) If is set to , then the metronome will not sound when the system is playing. Switch to if you always want to hear the metronome. If you are using the 788s internal clicks, make sure the is raised up loud enough. (It should be reasonably audible at 100.) Also, make sure you are listening to the audio coming out from either the PHONES, or from the MONITOR OUTPUT. The signal is not routed to the STEREO OUTPUT. If you are using the 788 to generate MIDI tones for an external MIDI sound module, check the tab of the menu. Make sure the MIDI channel in the 788 is set to the same MIDI channel of your synth module, and that the note numbers and velocities the 788 is sending will be a valid value for the module. Lastly, check to make sure the audio connections from the MIDI module to your monitor system are properly routed, and that the volume is up for each stage of that signal routing. Im moving the faders, but its not affecting the level of the sound. Move the fader all the way up, and all the way down. If the level is now properly processing, then you have fader matching set to. If you recall a mixer scene, or control the fader levels through MIDI controller messages, the physical fader position may not represent the level the actual processed fader position. The fader matching parameter determines the relationship between the physical fader
indicated in the EQ screen, just above the L/R meters in the right EQ bands are arranged vertically, side of the screen. If with matching parameters aligning horizontally. Use the arrow keys the channel number to move between the parameters. shown by these indicators is not the channel you want to affect, press SELECT for the channel you want to affect. To make sure the channel EQ is turned on, find the little box in the upper left corner of the EQ screen that is labeled. The button underneath it should show. If it is blank, the EQ is bypassed. To turn the EQ back on, move the cursor to the box, and turn the JOG/DATA wheel. Lastly, check the parameter you are changing. If you are changing a parameter in the FREQ or Q rows and the GAIN for that column is set to 0, then you are adjusting the parameters of a totally flat curve. Add some gain, and youll start to hear the difference. I cant hear the 788s metronome. There are a couple of settings that affect the metronome: First, check to make sure that the 788 is set to generate MIDI Clock. The metronome timing is generated from the MIDI Clock logic, and will not work in any other setting. To check this, press MENU, select , then select. The should be set to , and the should be set to.
The SYNC screen should be set to generate MIDI Clock. The metronome will not do anything if the SYNC SRC is not set to CLOCK.
read or. If it shows , then change it to or.) Make sure that the send level and master send levels are turned up. Lastly, check to make sure the effect processor output is set high enough. Press EFFECT 1 or EFFECT 2 (whichever one youre using) and look at the bottom parameter. That should be turned up loud enough to be heard. (A level of 100 is sufficient.)
Make sure the send is set to either PRE or PST, not OFF.
position and the processed fader position. If the FADER MATCHING is set to , the processed fader position will not change until the physical fader value has matched the processed fader position. To change this setting, press MENU, select , and choose. Change fader matching to either or. Everything is in mono.
If any of these lights are flashing, the 788 is monitoring in mono.
Make sure the STEREO LED is illuminated.
Next, check to make sure the effect processor is assigned as a stereo processor. Press and hold the SEND button. If the light above the Effect 1 or Effect 2 (whichever you are trying to use) doesnt blink, then that means the processor is assigned as a channel insert or stereo insert. To assign the effect processor Press and hold as a stereo processor again, the SEND button. If the effect press and hold SEND, then processor is press EFFECT 1 or EFFECT 2, assigned as a stereo effect on then release SEND.
a send, that EFFECT's LED will flash.
If not, press SELECT until the STEREO light comes on.
In the SEND screen, make sure that the send is not turned off. (The setting in the far left should either
The 788 doesnt play when I hit PLAY. Press HOME/ESC, and check to see if time is rolling. If time is rolling, youre probably in a quiet part of the song. Go to a section of the song where some audio has been recorded. If the play light flashes when you press PLAY, that means it is waiting for MIDI Time Code to start. Press MENU, select , and choose. The first parameter is. If that is set to , change it to.
Make sure that the SYNC SRC is set to INT. If it is set to EXT, the 788 will wait for time code to follow. Waiting for time code is indicated by a flashing PLAY LED.
When I lock the 788 to another source, the pitch wavers and the sound cuts in and out. ORThe 788 is out of time from the source. Chances are you have different MTC frame rates selected for the two machines, or the machines might be running too fast or too slow. To check the frame rate on the 788, press MENU, select , and choose. Make sure the frame rate is the same on both your master machine, and your 788. If you are only experiencing minor variation over time and your frame rate is a variation of 30 or 29.97, pay particular attention to the drop and non-drop status of the frame rates. If the two machines just seem to be out of time from each other, check the same screen for MTC offsets that dont belong. (If the tracks were recorded with an offset, the offset must be maintained through the entire project. Otherwise youll probably want to set the MTC offset to 00:00:00:00. Another possible cause would be that the machines are not locked with time code, but instead are reacting to each other with MIDI Machine Control. Make sure you have MIDI Time Code enabled; you may want to disable MIDI Machine Control. To turn off MIDI Machine Control, press MENU, select , and choose. Under the tab, choose to be.
Tips & Tricks
TIPS & TRICKS OVERVIEW
This section was assembled by the crew of Engineers and Product Specialists that worked on the 788. During the course of beta-testing, programming effect patches, and recording demos into the 788, we've come up with a short list of neat tricks. Some of these functions were designed in, some were just a good stroke of luck. Either way, these are yours to benefit from. You should really be familiar with the 788 before going through this section. These are not primary recording techniques, but rather ways to really stretch the capabilities of the 788. are using the EFFECT 1 as an insert processor, the first aux send doesn't feed anything. You may want to bring the send out of the 788 so you can process it with an external effect processor. You can set the MONITOR OUTPUT to monitor the EFFECT SEND. So, connect your effect processor to the MONITOR OUTPUT, and listen to your mix from the STEREO OUTPUT. If you've got a mixdown deck attached there, listen from the output of the mixdown deck. While this means you won't be able to use the MONITOR LEVEL control on the surface of the 788, it does offer a way to solve the problem in a pinch. Teaching Tool - "SSA: Slow Speed Audition" This is actually a standard feature on the unit, but people often overlook little things like this. The SSA feature can play back a stereo pair of tracks at slower speeds without changing the pitch. The variable speeds are 85%, 65%, or 50% of the original tempo. The main function of SSA was to enable you to play a track of a song you wanted to learn, then use SSA to slow it down so you can learn it better. For years, musicians used the tape speed control on our cassette based Portastudios for this very function. However, the 788 can process this so that the pitch is not changed. The sound quality of this process will not be as clear as the original, but it should give you plenty of clarity so that you can make out the part. Sound Creation - "Speed Games" In the days before digital audio workstations and digital synthesizers, the most convincing sound effects were made by recording sounds, then applying filters and listening to the sound forwards and backwards at different speeds. Try recording different sounds in the 788, then scrubbing them at slow speeds. Heck, try it with the Slow Speed Audition too, perhaps it can add a mechanical quality to it. Or, slow the pitch way down then add the SSA feature to it after that! If you find something you really like, record it on an external recorder. Then, record it back on the 788 at normal speed so you have that wild sound you can use in your project! Whether you're making your own video, making wild sounds for your drum loops or simply trying to create a unique sound effect, these effects can be the highlight of your project!
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