Tascam TSR-8 - Page 20

To record again using the same memory points, press
the AUTO IN/OUT switch again (its LED will again
blinking), then press PLAY.
To terminate the Auto In/Out procedure, press the
CLEAR switch. The AUTO IN/OUT LED which was on
solid will turn off. By hitting CLEAR, you erase all of
the three memory points (Preroll Start, Punch-in and
Punch-Out points).
About Punching In
Setting in and out points: For both musical and
technical reasons, when punching in or out of a track,
you must select points that are “in the clear”, i.e., in the
pauses between’ phrases or notes. It sounds unnatural
and makes the insert noticeable if you record a new note
before the old one has ended, or are holding a note as
you punch in or out. For this reason, some session
players leave a beat or two of silence between passages
they might want to edit later. Making inserts well
requires some practice. Many engineers count bars and
beats to keep track of the punch in and out points and
hit them on cue. Because of the spacing between the
erase and record heads, you may need to anticipate your
———
ena
in/out points by a fraction of a second for extremely
tight cues though the gapless operation and high speed
of the TSR-8 makes it much easier.
External computer punching: If you need insert
points that are consistently repeatable within 1/30th of
a
second,
you
may
want
to
control
the
TSR-8
by
an
external computer device. With this method, track 8 is
recorded with SMPTE time code and punch-in/out
points are entered into the TSR-8 via the serial connec-
tor on the back panel. The procedure is similar to the
TSR-8’s built-in AUTO IN/OUT function but more
accurate because the computer is reading a reference
actually recorded on tape instead of tach pulses gener-
ated by the movement of the tape reels.
Level matching: No matter how carefully you set
your punch points, if the inserted material is louder,
softer, or a different tone from the original track, it will
be noticeable. Set the EQ and volume settings on your
mixer the same as they were during the original record-
ing. If you make inserts immediately after recording,
don’t change the instrument or mixer settings at all.
Keep in mind that at a certain point it’s better to record
the whole track over than making multiple punch-ins.
7. BOUNCING TRACKS (PING-PONG) +H
The recording capability of the TSR-8 is not limited
to the eight tracks. As you progress with recording, you
may reach a point where you need more than eight
tracks of material. This is where Bouncing — also called
Collapsing or Ping-ponging tracks — is invaluable.
Essentially, bouncing tracks consists of a ‘‘mini mix-
down": taking tracks that have already been recorded,
TRK
Tjolnym
A
B
Cc
D
1
2
3
4
5
6
7
8
Bouncing tracks 1 — 4
onto track 8
Other Tips About Bouncing
1. Before you record over the parts that have been
bounced together, make certain that you’re happy with
the overall sound of the bounced parts, because you
won't be able to change their mix or punch-in to fix
errors,
2. It is possible to bounce tracks more than once, i.e.,
to take a bounced track and-combine it yet again with
other material onto another empty track. There are
limits, however, just as there are anytime you make a
copy of a copy. Eventually the sound will get “blurry”
— treble will be decreased and added dropouts will
become more noticeable. Whether the added versatility
20
A+B+C+D
making a mix of these tracks and re-recording them
back onto an empty track (or tracks) of the TSR-8.
With all multitrack recorders, it is possible to get
feedback when a track is recording signal being bounced
from
the
track
right
next
to
it.
To
eliminate
feedback,
it
is advisable to bounce ona track away from the originals.
TjoO;njm
>
EtF+Gt+H
A+B+C+D
Tracks 1 —4 available Bouncing new tracks 1 — 4
for recording new parts onto track 7
of bouncing is worth the slight loss of sound is up to you
and the demands of your project.
3.
It
is
also
possible
to
add
new,
previsously
un-
recorded
parts
to
the
bounced
material,
for
example
to
take
Tracks
1-4
and
mix
them
with
additional
“live”
sounds
onto
Track
5.
4.
Certain
material
lends
itself
to
bouncing
—
vocal
backgrounds,
layered
keyboards,
etc.
Main
parts
of
the
program
such
as
lead
vocals
and
instrumental
solos
are
best
left
on
their
own
tracks
so
you
can
control
them
in
the
final
mix.