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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.
}
(Cease) Sead
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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
23
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.
24
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