Tascam TSR-8 - Recording with Tape Sync; MIDI and SMPTE Time Code Synchronization; Sync Tone Recording and Playback

9. RECORDING WITH TAPE SYNC
Your TSR-8 has special features designed to make
it an ideal recorder for use with electronic musical
instruments. Track 8 is specifically designed to be used
with the recordable synchronizing codes used by MIDI
‘ (Musical Instrument Digital Interface) as well as the
SMPTE time code. Since MIDI itself is a computer type
digital language and cannot be recorded on analog tape,
it is necessary to convert MIDI timing clocks to record-
able FSK (Frequency Shift Keying) signals using a MID1I/
FSK converter such as the TASCAM MTS-30. Some-
times this type of converter is built into sequencers,
drum machines and computer interfaces.
If you record the sync tone at the same time as in-
strument tracks, processing delays in some sequencers
may cause phasing or timing fags during Playback. It’s
good practice to record the sync tone before recording
instruments to tape.
® Connect the FSK output (labeled ‘Sync Out” or
“Tape Out”) of your sequencer, MIDI converter,
or computer interface directly to the INPUT of track
8. Do not patch through your mixer. A direct con-
nection between the sync tone generator and the
TSR-8 ensures that FSK won't accidentally leak
into the audio, and unwanted audio won’t leak into
the FSK.
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INPUT 8
(SYNC IN) Our
LINE IN
Audio Sig.
Audio Sig.
@ Set the CH8 INPUT REF LEVEL switch on the
TSR-8’s rear to match the nominal, reference output
level of your sync tone generator. If you are using
the TASCAM MTS-30, set the switch to the -10 dBV
position.
@ Press on the Record Enable button of Track 8 (red
LED blinking).
@ Turn on the SYNC LOCK switch on the front of the
TSR-8. This defeats the dbx encode/decode for track
8 only. The SYNC LOCK LED will blink.
CAUTION: 8e sure to press the track 8’s Record
Enable button BEFORE the SYNC LOCK switch.
Otherwise recording is NOT possible on that track.
®@® Consult the owner’s manual of the device that is
generating the sync tone to find out how to start the
tone. Most units utilize a “pilot tone” that is output
before the unit is started to help you set the level on
the tape deck.
@ Press RECORD and PLAY. After a few moments, hit
START on your sequencer unit. Let the sequence
play to its completion without stopping the TSR-8.
® Once track 8 is complete, release the Track Record
button by pressing it. Its LED will go out, and the
SYNC LOCK LED will go on solid showing that the
track is locked to play mode.
Sequencer
MIDI OUT
MIDI IN
MIDI THRU
MIDI IN
LINE OUT
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Playback of Sync Tones
® Connect the Track 8 output directly to the Sync
in (“Tape in’) of the sequencer or MIDI converter.
Again, do not patch through the mixer.
® Consult the owner’s manual of your sequencer unit
for specifics of how to switch it to follow external
tape or MIDI clocks, depending on.whether you’re
using a MIDI/FSK adapter.
@ Rewind and play the tape. The sequencer or drum
machine will start at the correct place on the tape
every time and play at the same tempo that was
recorded. Or your converter will translate the sync
code playing back from track 8 into MIDI clock
information which, in turn, will drive the MIDI
program in the sequencer or drum machine. In
addition, the synthesizers and other sound sources
or processors connected to the sequencer will now
Operate in sync with the tape. In this way you can
continue to record other ‘“‘non-MIDI sound sources”
— vocals, acoustic instruments, etc. — on the remain-
ing tracks while listening to the MIDI instruments
playing along with the sync track 8.
By following this procedure, the sequencer in effect
uses track 8 as a “guide” track to play as many
instruments as are being controlled via M!DI from the
sequencer, creating ‘‘virtual’’ tracks. You may decide
to actually record the audio output of some of those
tracks so you can use the instrument in a different
way on another track, or you can leave the “‘virtual”
tracks unrecorded until mixdown time. Combining
virtual tracks with the normal tracking procedures
used in recording makes it possible to record a
tremendous number of different instrument sounds
on a small number of tape tracks. Your only real
limitation is the number of sound sources and the
capacity of your sequencer.
About Tape Sync
®@ It is possible to record onto track 7 while locked to
time code or sync tone from track 8 without any
‘probiem if you keep in mind that crosstalk is greatest
during the overdubbing of track 7, since the record
level in the head is 40 dB hotter than it is during
playback. The signa! of track 7 inductively crosstalks
‘to the head windings of track 8, possibly causing a
sequencer to miscue or a synchronizer to drop lock.
If this happens, there are a few remedies:
a) Lower the record level of the signal onto Track 7.
b) Insert a 10 or 20 dB pad between Track 8 out
and the synchronizer. There is a point with many
units where the crosstalk is attenuated below the
“confusion threshold” of the code reader, but there is
still enough level on the time code for it to be read.
c) Consider recording track 7 while the virtual tracks
aren't locked up. In playback, the crosstalk returns
to a normal level, and you can lock up to track 8
again. If you record code and sound simultaneously,
record tracks 7 and 8 at the same time ... there is no
sync crosstalk if 7 is never overdubbed onto.
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NOTE: Certain types of instruments — percussion or
other instruments with extreme transients, synths with
pulse waves, etc. — are more likely to cause a reading
problem than other instruments.
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