> TASCAM TEAC Production Products 38 e 8-Track Recorder/Reproducer OPERATION/MAINTENANCE 700027000The guarantee of performance that we provide Yor the 38 must have several restrictions. We sey that the recorder will perform properly only if it is adjusted properly and the guarantee is that such adjustment will be possible. How. ever, we cannot guarantee your skill in adjust ment or your technical comprehension of this manual, Therefore, Basic Daily Setup is not covered by the Warranty. If your attempts at such things 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 obvious- ly cannot guarantee that. A company that makes paint and brushes for artists cannot say that the paintings made with their pro- ducts will be well received critically, The art is the province of the artist. TASCAM can make no guarantee that the 3B in itself will assure the quality of the recordings you make, Your skill as @ technician and your abilities as an artist will be significant factors in the results you achieve,TABLE OF CONTENTS Introduction to the 38 and Its Design Philosophy Features and Controls Entering “Record” ThedB; Who, What, Why... Impedance Matching and Line Levels - Daily Setup Voltage Conversion Note for U.K. Customers . Connection and Operation of the DX- 4D... M-30 Recording Mixer Specifications of the M-30 Accessory Information Specifications of the 38. More Information is Available MAINTENANCE 1. Theory of Operation 1 1 1, 2. 3. Logic Used in the Tape Deck System Control IC Pin Assignments and Their Functions . Block Diagram ..... Input Signals and Resulting Modes Mode Transition woe Operation with more than One Input Signal Input/Output Levels Initial Reset Circuit Shut-Off Circuit . 1-4. Capstan and Brake Solenoid 1 5. 154 6. FOS=S Drive Circuit . Reel Motor Drive Circuit Reproduce (Record) Operation Tape Direction Sensing and Counter Clock Generation Circuits Counter Clock Pulse Motion Sensing Circuit £.F. and REW Operation . Electrical Brake System Coumter Zero Return... . Punch In/Out Control Circuit. Edit Control Circuit .. REC and PLAY MUTE Signals 1-1. Display Circuits . cee 48 1-16. Amplifier Circuit Description 1-16-1 Power Muting Circuit .......... 1-16-2 Bias and Record Control Circuit . 1-163 Reproduce Amplifier Circuit 2. Checks and Adjustments 2-1, Essential Test Equipment Required . 55 2-2, Removing the Panels of the Deck ... 56 2-3. Capstan Thrust Clearance . ... 57 24, Brake Mechanism cee BF 28. Brake Torque ..........2..:+.2. 87 2-6, Reel Motor Torque 26-1 Take-Up Torque......... 88 26-2 Back Tension seve eee 5B 2-7. Pinch Roller Pressure wees BD 28. Reel Table Height Adjustment ..... 60 29. Tape Speed .....- . 60 2-10. Wow and Flutter Check... 22.2... 60 2-11. Record/Reproduce Amplifier Checks and Adjustment .......-. 61 Head Contact seen 61 Head Azimuth Adjustment . . 61 2-1-1 Input Level Calibration 62 211-2 Meter Calibrai 63 2-113 Reproduce Level Calibration .... 63 2-11-4 Reproduce Frequency Response . 63 2-11-45 Bias Tuning and Bias Trap Adjustments cones 64 2-116 Recording Bias Adjustment ..... 64 2-11-7 Recording Level Adjustment .... 65 2-118 Frequency Response (Overall) ... 65 2-119 Signal-to-Noise Ratio (Overall)... 65 2-11-10 Erase Ratio DAT-11 Adjacent Channel Crosstalk. 2-11-12 Distortion seeee ee 3. Exploded Views and Parts Lists 3-1. Exploded Views and Parts Lists of 38 ....-....-0004+ 67 Assembling Hardware Coding List ........ 77 4, PC Boards and Parts Lists 41, PC Board and Parts Lists of 38. 5. Schematics 1. Wiring Circuit Diagram ...... 92 2. Head Assembly Circuit Control and Amplifier Circuits Insert dbx Noise Reduction Unit DX-4D and Record- ing Mixer M-30 are optionalNote: It you notice any differences, either an the outside fr the inside of the uni descriptions in this manual, talk to your dealer. He may have revision sheets that will show manufactur ng changes, oF notifications of how to deal with any changes in set-up or maintenance procedures Save this Loaklet, refer to it when necessary, ond good luck with your 38, from the illustrations and “dbx noise reduction system made under license from dbx, Incorporated. The name “dbx” and the dbx symbol are trademarks of dbx, In corporated, WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE This tape deck has a serial number located on the rear panel. Piease record the madel number and serial number and retain them for your records. Mode! Number Serial Number Introduction to the 38 and Its Design Philosophy No matter how elaborate 9 multichannel tape recorder is, 1t doesn’t do the job without help. A lot of equipment is involved, and a lot of talent as well. The recorder becomes the key stone in a system that involves microphones, mixers, loudspeakers, amplifiers and many sophisticated electronic devices. Everything contributes @ part to the system of multichannel recording Because of what we have learned about multi channel recording systems in the past 10 years, TASCAM decided to concentrate on improving functions in the 38 that are strictly the province of the tape recorder and to remove features that we felt were best placed elsewhere in the system, The cost saved by eliminating features that are usvally duplicated by our mixers, such as headphone amps and micro: phone inputs has been used 10 improve the overall quality of the recorder. The result, a better and more flexible recorder/reproducer for the system of multitrack recording, This logical arowth now reflects the needs of the studio style or, if you will, the professional recordist. it has long been our contention that profes- sionalism is defined by people and what results they achieve. It’s not something that auto. matically happens when you buy a tape machine with a lot of tracks, or a very high price. It’s what you do with the equipment and how well you do it that makes the point. In designing the 38, we believe we have been guided by the multichannel system as it truly |s, We are sure our recorder/reproducer can deliver the performance necessary to achieve solid results. if you would like to comment on our design philosophy, please feel free to contact us. Criticism and comment from our owners has helped us improve our products and our busi hess, We welcome all feedback. Please send in the warranty card. Although it is not absolutely necessary to insure warran: ty protection, it will allow us to learn some things about who you are and what you do with tape, From time to time we mail out literature and information of interest to the multichannel recordist. Let us know where you are and we'll keep in touch.CAUTION: (Never try to activate the EDIT switch while the tape is being fast forwarded or rewounded or the sudden stoppage may cause the tape to snap. Another thing to remember is that the EDIT switch is to be in the ( © OFF) position before attempting to reproduce. @ PITCH CONTROL PULL ON Controt Permits a £12 % variation of the tape speed in the recording or reproducing modes. Pull out and turn to the left (-} to decrease the speed of the tape transport; turn to the right (+) to increase the transport speed. Push in to disengage. NOTE: Be sure to keep this control pushed in for normal record/reproduce operations. © CUE Lever This control will defeat the fast motion tape lifters. The more pressure you apply, the closer the tape will come to the heads. This will allow the reproduce signal to be heard in fast motion for cueing. Use only enough pressure to hear the signal. Too much signal will damage the elec: tronics, and if your monitor system is turned up, high ‘requency playback signal will damage your loudspeakers so be sure the cue lever is not engaged (locked) when in fast motion. The latch Position is provided only for hand winding the 5 tape to find an edit point. Push the lever all the way up a second time to release, CAUTION: Use of the cue lever in fast forward or rewind will greatly accelerate head wear. ® FUNCTION SELECT LED Indicators Off — Record mode cancelied. Lit — Record/Reproduce Standby ® FUNCTION SELECT Buttons Determine the record/reproduce status of the corresponding channels. Up —Safe, reproduce or source determined by OUTPUT SELECT buttons, Down — Ready to record, If “Record” has been selected through the transport controls, depressing this button will begin record. ing immediately. Output of recorder switches to source, ® Capstan Shaft @ Pinch Rotler ® Shut Off Arm The shut off arm will drop power to the trans port if the tape breaks. It's good idea to allow t to drop when you take a break in the middle of a session. Doing this will stop the constant rotation of the capstan, and will iengthen theFEATURES AND CONTROLS @ NAB Hub Adaptors Permanently mounted. Use 10-1/2 reel only. Rotate adaptor ring CW to fully tighten, @ Reel Tables 1/2" tapes are to be used, We recommend to always use the same size and kind of reels. © ZERO RETURN Button When depressed, counter 0000 may be cansidered a one position “autolocator” allowing rewind ( 44) to find one spot (0000) on the tape with out the use of the cue lever. You won't need an audible cue to find this location, and accidents to the tape or damage to the monitor system ‘tweeters will be avoided. This auto stop function is only possible in rewind (#4) and if you are using ( >» ) fast forward, the transport will not stop at 0000. 1. If the rewind time is short, the transport will stop at 999, not precisely on the “mark”, but very close, 2. If the rewind time is long (hall @ ree! of tapel, the transport will cycle between ( ««) and (> ) several times and finally come to rest at counter 999 Tape slippage will lower the accuracy of the “stop” point, so, always check by listening before rerecording. You may not be exactly “on-cue". Take care. 4 CAUTION: ‘Once the ZERO RETURN operations are com pleted, make sure to reset this button to (0 OFF). @ Digital Counter A 4-digit counter. © RESET Button Press this button to obtain “0000” to determine the record start or ZERO RETURN positions. © Tape Guide Roller @ Tension Arm © POWER Switch When depressed ( = ON), the digital counter and VU meters light, Press again ( 1 OFF) to discontinue power to the deck @ EDIT Switch Depressed when editing becomes necessary. With the EDIT switch and ( » } button de pressed, the tape will begin unthreading itself (dumping) because the take up reel will not be moving to take up the slack, When the tape is found in this condition (loose from the supply reel), recording, fast forwarding and rewinding becomes impossible. Leave this switch in the (2 OFF) position except when editing. caUT Neve tape the snap, EDI befo @PiT Permit the re Pull oi speed 10 incr Push i NOTE Be su norma cu This « lifters the ta the ro for cu signal. tronic high f loudsp engage Positic slife of the capstan motor bearings. It is not Necessary to unthread the tape. Just allow it to become slack so that shut off arm can drop ® PAUSE Status Indicator The green LED lights only when PAUSE and RECORD have been simultaneously pressed ® RECORD Status Indicator The red LED lights up when the deck has been set into the record mode and begins blinking if the FUNCTION SELECT buttons are not de- pressed. Master Record Status LED Shows record state Off — Safe Blinking — Record ready On = Recording in progress (or RECORD/ PAUSE} Transport Controls These buttons control the tape transport. The use of the RC-71 Remote Control Unit (when connected to the REMOTE connector on the rear panel) does not affect the functions of the front panel controls, (> } Play Button The tapes moves at a consistent speed of 15 ips (38 cm/sec). A motion sensing facility is adapted in this deck so that when the button is pressed, it will go into the reproduce mode even from fast forward or fast rewind after an instantaneous pause STOP Button { >» ) Fast Forward Button (44) Rewind Button RECORD Button After pressing the desired FUNCTION SELECT buttons corresponding to the tracks to be re~ corded on, simultaneously pressing RECORD and (> } initiates recording of the selected tacks, The FUNCTION SELECT LED indica- tors of the selected tracks will light; the red (RECORD) LED will light, or if the FUNCTION SELECT button has not been pressed, it will begin blinking. CAUTION: Be careful because pressing the FUNCTION SELECT buttons causes the selected tracks to go into the record mode. PAUSE Button Pressing this button temporarily discontinues the record/reproduce functions. Press PAUSE ‘and RECORD to obtain record-standby, inwhich case a green LED will light. @OUTPUT SELECT LED Indicators Indicates which OUTPUT SELECT buttons have been activated. INPUT LED: Red SYNC LED: Yellow REPRO LED : Green @ OUTPUT SELECT Buttons Select which of three possible sources to feed the output jacks (rear panel) and VU meter ¢ cuits, The LED's above the buttons show selec: tion. INPUT ~ Meter reads line input to recorder, input signal appears at output jacks. ‘Tape signal will not be heard. SYNC — Used for all normal operations, record- ing, syne/reproduce and playback Meter reads input or head #2 play output depending on setting of FUNC- TION SELECT buttons. REPRO —Selects head #3. Meter now reads ‘tape playback. Does not prevent re- cording on head #2. Used in set-up to check performance and record/play monitoring of tape. @ VU Meters Depending on the FUNCTION SELECT and the OUTPUT SELECT button settings, these meters show the record input signal, the sync reproduce output signal or the reproduce output signal level while recording. 0 VU = ~10 dB (0.3 V) BACK PANEL ® REMOTE Connector Allows connection of the optional RC-71 Remote Control Unit. @ Input Jacks Input level is -10 dB (0.3 V). Input imped- ance is 50K ohms (unbalanced). @ Output Jacks Output level is -10d8 (0.3V). Minimum load impedance is 10K ohms (unbalanced) @ DBX UNIT CONTROL SIGNAL Connector This allows connection of the optional DX-4D Noise Reduction Unit and supplies control signal to the dbx unit to permit simultaneous NR Recording/Reproducing. @ PUNCH IN/OUT REMOTE Connector (RC-30P) Allows connection of the optional RC-30P TASCAM PUNCH IN/OUT REMOTE PEDAL. 6ENTERING “ RECORD” OUTPUT SELECT BUTTONS: The signal pre- sented at the output terminals is controlled by the OUTPUT SELECT buttons INPUT will typically be used for source calibra tions during system interface and set-up proce- dures. When this button is deoressed, the input signals are sent directly to the output terminals. REPRO will present the reproduce head signal to the output jacks for those situations where it is desirable to monitor the printed signal on the tape for reference during the recording, SYNC will be used for most operations: record- ing, overdubbing (sync), and reproduce. The monitoring status is then determined by the FUNCTION SELECT buttons, FUNCTION SELECT BUTTONS: When the OUTPUT SELECT js in either the INPUT or REPRO position, the FUNCTION SELECT buttons have the single purpase of determining the record status. UP is safe. DOWN is ready-to- record. When the OUTPUT SELECT js in the SYNC position, the FUNCTION SELECT buttons serve ‘two purposes: (1) they determine the record status — UP is safe, DOWN js ready-to-record, and (2) they determine the monitoring status UP is sync/tape reproduce; DOWN is source. There are 3 ways to anter record: 1,With the OUTPUT SELECT in the SYNC position, depress the FUNCTION SELECT buttons for those tracks on which you wish to record. The LEDs will indicate ready-to-record fon those particular tracks. Enter record with the TRANSPORT CONTROLS — depress RECORD (red LED lights) and PAUSE (green LED lights) together. Then push ( > } and the selected FUNCTION SELECT LEDs will remain lit until released. 2. To facilitate punch-ins, the logic can be revers. ed by first setting the FUNCTION SELECT button in the UP position and entering record with the RECORD and ( » } buttons. Now the record LED will blink, indicating ready to-record, and you are monitoring sync/tape reproduce. At the appropriate time, depress the FUNCTION SELECT button(s) for the tracks you wish to punch-in, and you enter record while simultaneously switching the monitor to source. The record status indicator will now stay on instead of blinking. Now, imagine two different occasions where it is desirable to punch: in a correction on a given track, instead of recording the entire part all over again EXAMPLE 1: If the correction needs to be made at the BEGINNING of the tune — say a hesitant start that is slightly out of syne with the downbeat — then there is no need to monitor reproduce (syne) since the bad start will only serve to confuse the musician. Indeed, that part of the track will be re-recorded So the punch-in is straightforward enough: enter the record mode on the appropriate track with the corresponding FUNCTION SE- LECT button. Press the record and { ») button when the slate occurs — at the begin- ring of the tune — then enter stop at a con venient, appropriate time, after the punch-in is completed. EXAMPLE 2: In this situation, suppose an error has been mace near the end of the tune — or in the middle — the example 1 is still valid. Now the musician will likely need to hear his perform: ance up to that point so that the punci does not represent a different style or feel, and therefore, is consistent with the rest of the performance. In this case, enter record ready by pressing the record and play buttons simultaneously. The record mode will be activated when a FUNCTION SELECT but- ton is depressed. When the FUNCTION SELECT js in the UP position, the musician will be monitoring re produce (syne) and probably play along with the previous performance until the time comes to punch-in the correction. When that mo ment occurs, simply press the appropriate FUNCTION SELECT button for the corre sponding track that is ready to be recorded. Two things then happen. First, you instantly enter the record mode on that track, and the new part will replace the previous one, in syne of course, Second, the monitor is automatical- ly switched from’ tape (UP position) — sync reproduce — to source (DOWN position) ~ so the musician can hear his new part as it is be- ing added. The logic remains consistent.PUNCH IN/OUT Operation with the REMOTE PEDAL RG-30P: Connect the TASCAM PUNCH IN/OUT RE MOTE PEDAL to the rear of the 38. Now, even with both of your hands occupied, PUNCH IN/ OUT can still be performed by using the remote pedal. While in syne reproduce, pressing the pedal with your foot initiates punch-in of the channels for which record function has been selected Punch-out is done by simply pressing the peda again. THREADING THE TAPE “Lift the head access cover and roloate the syne head shield to goin access for threading, maintenance purposes, etc.THE dB; WHO, WHAT, WHY No matter what happens to the signal while it is being processed, it will eventually be heard once again by a human ear. So the process of con- verting @ sound to an electrical quantity and beck to sound again must follow the logic of human hearing. The first group of scientists and engineers to deal with the problems of understanding how the ear works were telephone company researchers, and the results of their investigations from the foundation of all the measurement systems we use in audio today. The folks at Bell Laboratories get the credit for finding out how we judge sound power, how quiet a sound an average person can hear, and a almost all of the many other details about sound you must know before you can work with it successfully. From this basic research, Bell Labs. developed a system of units that could be applied to all phases of the system. Sound traveling on wires as electrical energy, sound on tape as magnetic energy, sound in air; anyplace that sound is, or has been stored as energy until some future time when it will again be sound, can be described by using the human ear-related system of numbers called "‘bels”’ in honor of Alexander Graham Bell, the inventor of the telephone. What is a bel and what does it stand for? It means, very simply, twice as loud to the human ear. Twice as loud as what? An obvious question. The bel is always a comparison between two things. No matter what system of units of measure you are working with at the time, you must always state a value as 4 reference before you can compare another value to it by using bels, volts, dynes, webers — it doesn’t matter, a bel, or ear-related statement of “twice as loud’ is always a ratio, not an absolute number. Unless a zero, or “no difference” point is placed somewhere, no comparison is possible. There are many positive and definite statements of reference in use today. But before we go over them, we should divide the “bel” into smaller units. “Twice as loud” will be a little crude to be used all the time. How about one tenth of a bel? Okay, the decibel it is, and 0 means “no difference, same as the reference’. It seldom means “nothing’’. Now, if you double the power, is that twice as loud? No, it is only 3 dB more sound, If you double an electrical voltage, is it twice as loud? No, it is only 6 dB more sound, The unit quantities must follow nonlinear progressions to satisfy the ears’ demand, Remember, decibels follow the ears. All other quantities ‘of measure must be increased in whatever units necessary to satisfy the human requirements, and may not be easy to visualize. Sound in air, our beginning reference, is the least sound the human ear (young men) can detect at 1000 to 4000Heriz. Bell Labs. measured this value to be 0.0002 microbar, so we say 0 dB 0.0002 microbar and work our way up from the bottom, or from the point at which there is “no perceivable sound to humans”. Here is a chart of sounds and their ratings in dB, using 0.0002 microbar pressure change in air as our reference for “0 dB spl’ (Sound Pressure Level). SOUND AND MUSIC REFERENCE &Since the reference is assumed to be the lowest possible audible value, dB spl (Sound Pressure Level) is almost always positive, and correctly written should have a + sign in front of the number. But it is frequently omitted, Negative 4B spl would indicate so low an energy value as to be of interest to a scientist trying to record fone cricket at 1,000 yds. distance, and is of no significance to the multichannel recordist. Far more to the point is the question “What is a microber?" It is @ unit of measurement related to atmospheric pressure and although it is extremely small, it must be divided down quite a lot before it will indicate the minimum pressure change in air that we consider minimum, audible sound. This will give you a better idea of the sensitivity of the human ear. One whole atmosphere, 14.70 pounds per square inch, equals 1.01325 bars, So one whole atmosphere in microbars comes out to be 1,013,250. One microbar of pressure change is slightly less than one millionth of an atmosphere, and you can find it on our chart as 74 dB spl. It isnot terribly loud, but it is certainly not hard to hear. As 4 matter of fact, it represents the average power of conversational speech at 6 feet. This level is also used by the phone company to define normal earpiece volurne on a standard telephone. Now think about that minimum audible threshold again: 0.0002 microbar That's two ten-thousandths of a millionth part of one atmosphere! This breakdown of one reference is not given just to amaze you, or even to provide a feel for the quantity of power that moderate levels of sound represent. Rather, it is intended to explain the reason we are saddled with a ratio/ logarithm measurement system for audio. Adding and subtracting multi-digit numbers might be easy in this age of pocket calculators, but in the 1920's when the phone company began its research into sound and the human ear, a more easily-handled system of numbers became an absolute necessity. Convenience for the scientist and practical engineer, however, has left us with a system that requires a great deal of complex explanation before you can read and correctly interpret a "spec sheet” for almost any piece of gear. Here are the formulae for unit increment; but they are necessary only for designers, and unless you build your own gear, you won't have to deal with them. For power (watts) increase or loss, calculate by the foltowing equation: P2 10 LOGi0- py N (dB) For voltage, current or pressure calculations: V2 _ 20 LOG io yy = N (dB) Plotting the points resultant from using these equations we come up with the following chart. Once we have this chart, we can see the difference between the way humans perceive sound and the amount of force it takes to change air pressure. Unfortunately, the result is not a simple “twice as much pressure” of sound to be heard as “twice as loud”. If you plot decibels as the even divisions on a graph, the unit increase you need is a very funny curve. This is how the ear works, and we must adapt our system to it, We have no choice if we expect our loudspeaker to produce a sound that resembles the original sound we begin with. The hhigh sensitivity to sound of the human ear produces a strong “energy” illusion that has confused. listeners since early times. How powerful are the loudest sounds of music in real power? Can sound be used as a source of energy to do useful work, such as operating a car? For any normally “loud” sound the answer is, 10regrettably, no! perhaps not so regrettably, consider what would happen if one pound of pressure was applied not to your head, but directly to your inner ear. One pound of air pressure variation is 170 dB spl! This amount of “power” might do some useful work — but not much, it’s still only one pound and to make use of it you will have to stand one mile away or you will go deaf immediately. If we reduce our sound power to realistic musical values, we will not be injured, but we will have almost nothing (in real power terms} to run the mic with! This low available energy is the reason that high gain amplifiers are required for microphones, When we take a microphone and ‘pick up” the sound, we do have some leeway in deciding how much ‘energy we must have in order to operate the electrical part of our system. If we can decide that we don’t have to truly hear the signal while we are processing it from point to point and we can wait until the electronic devices have done all their routing and switching before we need audible sound, we can lower the power of the signal. What is a good value for a reference here? Well, we need to have enough energy so that the signal is not obscured by hiss, hum, buzz or other unpleasant things we don’t want, but not so high that it costs a fortune in “juice” or electrical power. This was a big consideration for the telephone company. They now have the world’s biggest audio mixing system, and even when they started out, elec: tricity was not free. They set their electrical power signal reference as low as was practical at the time, and it has lowered over the years as electronic equipment has gotten better. In 1939 the telephone company, radio broadcasting, and recording industry got together and standardized 1 milliwatt of power as dBm, and this is stilt the standard of related industries. Thus, a 0. dBm signal into a 600 chm-line impedance will present a voltage of 0.775 volts. Once again, we owe you an explanation. Why does it say ZERO on the meter? What is an ‘ohm? Why 600 of them and not some other value? What's a volt? Let’s look at one thing at atime. 1. The logic of ZERO on the meter is another hangover from the telephone company practice. When you start a phone call in California, the significant information to a telephone’ company technician in Boston is — " did the signal level drop? If so, how much? When the meter says ZERO it indicates (to the phone company) that there has been no logs in the transmission, and all is well, The reference level is one milliwatt of power, but the gain or loss is in the information the meter was supposed to display, so the logic of ZERO made good sense, and that’s what they put on the dial. We still use it even though it's ot logical for anything else, and the idea of a reference level described as a ‘no {oss”” ZERO, no matter what actuel power is being measured, is so firmly set in the minds of everyone in the audio world that it is probably never going to change. .. One ohm is a unit of resistance to the passage of electrical energy. The exact reesons for the choice of 600 ohms as a standard are connected to the demands of the circuits used for long distance transmission and are not simple or easy to explain. Suffice it to say that the worst possible thing you can do to a piece of electronic equipment is to lower the fesistance it is expected to work into (the load). The lower the number of ohms, the harder it is to design a stable circuit. When you think about “load”, the truth is just the opposite of what you might expect! 0 ohms is @ “short circuit”, not resistance to the passage of signal. If this condition occurs before your signal gets from California to Boston, you won't be able to talk — the circuit didn't “get there”, it “shorted out” Once again, telephone company logic has entered the language on a permanent basis. Unless the value for ohms is infinity (no contact, no possible energy flow) you will be better off the higher the value, and many working electronic devices have input numbers in the millions or billions of ohms. A volt is a unit of electrical pressure, and by itself is not enough to describe the electrical power available. To give you an analogy that may help, you can think of water in a hose. The pressure is not the amount of water, and fest flow will depend upon the size of the hose {impedance or resistance) as well. Increase the size of the pipe {lower the resistance, or Z) and pressure (volts) will drop unless you make more water (current) available to keep up the demand, This analogy works fairly well for DC current and voltage, but alternating current asks you to imagine the water running in and out of the nozzle atwhatever frequency your “circuit” is working at, and is harder to use as a mental aid. Water has never been known to flow out of a pipe at 10,000 cycles per second, This reference level for a starting point has been used by radio, television, and many other groups in audio because the telephone company was the largest buyer for audio equipment. Most of the companies that built the gear started out working for the phone company and new audio industries, as they came along, found it eco- nomical to use as many off the shelf components as they could, even though they were not routing signals from one end of the world to the other. Must we use this telephone standard for record: ing? Its use in audio has been so widespread that many people have assumed that it was the only choice for quality audio, Not so. A 600-ohm, 3-wire transformer-isolated circuit is a necessity for the telephone company, but the primary reason it is used has nothing to do with audio quality. It is noise, hum and buzz rejection in really long line operation (hundreds and hundreds of miles). Quality audio does not demand 600-ohm, 3-wire circuitry. In fact, when shielding and isolation are not the major consideration, there are big advantages in using the 2-wire system that go well beyond cost reduction. {t is, as a system, inherently capable of much better performance than 3-wire transformer-isolated circuits. Since TASCAM’s mixers are designed to route a signal from a mic to a recorder, we think that the 2wire system is a wise choice. The internationally accepted standard (IEC) for electronics of this kind uses a voltage reference without specifying the exact load it is expected to drive, The reference is this: 0.dB=1 Volt This is now the preferred reference for all electronic work except for the telephone company and some parts of the radio and television business. Long distance electronic transmission still is in need of the 600-ohm standard. Mf your test gear provision for inserting a 600-ohm load, be sure the load is not used when working on TASCAM equipment. Now that we have given a reference for our "0.48" point, we can print the funny curve again, with numbers on it, and you can read voltages to go along with the changes in dB 2IMPEDANCE MATCHING AND LINE LEVELS All electronic parts, including cables and non- powered devices (mics, passive maxiers and such}, have impedance, measurable in ohms (symbol © or Z). Impedance is the total opposition a part presents to the flow of signal, and it’s important to understand some things¢ OUTPUTS: — It is generally said that the output imped- ance {G) should be as low as possible. 100 ohms, 10 ohms. The lower, the better, in theory. A circuit with a low output impedance will offer a low resistance to the passage of signal, and thus witl be able to supply many multiple connections without a loss in performance or a voltage drop in 'y part of the total signal pathway. Low impedance values can be achieved econom- ically by using transistors and integrated circuits, but other considerations are still a problem in practice. 1. The practical power supply is not infinitely large. At some point, even if the circuit is capable of supplying more energy you will run out of “juice”. 2. Long before this happens, you may burn out other parts of the circuit. The output impedance may be close to the theoretically ideal “ohms” but many parts in the practical circuit are not, Passing energy through a resistance generates heat and too much current will literally burn parts right off the circuit board if steps are not taken to prevent catastrophic failure. 3. Even if the circuit does not destroy itself, too high a demand for current may seriously affect the quality of the audio. Distortion will rise, frequency response will suffer, and you will get poor results. SOURCE (output) The classic procedure for measuring output impedance is to reduce the load's impedance until the output voltage drops 6 dB (half the original power) and note whet the load value is. In theory, you now have a load impedance that is equal to the output impedance. {f you gradually reduce the load (increase the input impedance), the dB reading will return slowly to its original value. How much drop is acceptable? ‘What load will be left when an acceptable drop is read on the meter? t 13 about this value when you are making con- nections in your mixing system. The outputs of circuits have an impedance rating and so do inputs. What's good? What values are best? It depends on the direction of signal flow, and in theory, it looks like this: Plug into INPUTS, Inputs should have very high impedance numbers, as high as possible (100,000 ‘ohms, 1 million ohms, more, if it can be arranged). A high resistance to the flow of signal at first sounds bad, but you are not going to build the gear. If the designer tells You his input will work properly and has no need for a large amount of signal, you can assume that he means what he says. For you, @ high input impedance is an unalloyed virtue. It means that the circuit will do its job with a minimum of electrical energy at @ beginning, The most “econom- ical" electronic devices in use today have input impedances of many millions of ohms. Test gear, for example, voltmeters of good quality must not draw signal away from what they are measuring, or they will disturb the proper operation of the circuit ‘A design engineer needs to see what is going on in his design without destroying it, 50 he must have an “efficient” device to measure with, - Plugs into LOAD (input) Traditionally, when the load value (input Z} approximately seven times the output imped- ance, the needle is still a little more than 1 dB lower than the original reading. Most technicians say, ‘1 dB, not bad, that's acceptable.” We at TASCAM must say that we do not agree. We think that a seven-to-one ratio of input (7) to output (1) is not a high enough ratio, and here’s why:)|@ 1. The measurement is usually made at a mid- range frequency and does not show true loss at the frequency extremes, What about the drop at 20 Hz or 30 kHz? 2.All outputs are not measured at the same time. Most people don't have twenty meters, we do. Remember, everybody plays together when you record and the circuit demands, in practice, are simultaneous. All draw power at the same time. Because of the widely misunderstood rule of thumb — the seven-to-one ratio — we will give you the values for outputs impedance. True Output Impedance Even though the true output impedance may be low, say 100 ohms, it takes a lab to check the rule of thumb, so for the practical reasons we have explained, the use of the ratio method of impedance calculation must be changed to a higher ratio. We prefer 100:1 if possible and we consider 50:1 to be the minimum ratio that we think safe. Because of this, we will give you a number for ohms that you can match, Minimum Load Impedance. No calculations, we have made them already. Minimum Load Impedance MAKE CERTAIN THAT YOU CONNECT NO TOTAL LOAD IMPEDANCE LOWER (nu- merically) THAN THIS FIGURE. LINE OUTPUT: 10k ohms Nominal Load Impedance Our specifications usually show 10,000 ohms as a Nominal Load Impedance. This load will assure optimum performance. Remember, any impedance lower than 10,000 ohms is more load. Input Impedance Input impedance is more straightforward and requires only one number. Here is the value for the 44. LINE INPUT: 50k ohms I one output js to be “Y” connected to two in puts the total impedance of the two inputs must ‘ot be lower than the minimum load impedance, mentioned above, and if it becomes necessary to increase the number of inputs with slight reduc- tion of the load specifications, you must check for a drop in tevel, a loss of headroom, low frequency response, or else suffer from a bad recording. If one input is 10,000 ohms, another of the same 10,000 ohms will give you a total input impedance (load) of 5,000 ohms. To avoid calculations you can do the fotlowing when you have two inputs to connect to one output. Take the lower value of the two input imped- ance and divide it in half. If the number you have is greater than the minimum load imped: ance, you can connect both at the same time. Remember, we are not using the true output im- pedance we are using the adjusted number, the minimum output toad impedance. If you must have exact values here is the formula for dissimilar 2 loads or inputs: Ri x RZ Re“ RTyR2 When you have more than two loads (inputs) just dividing the lowest impedance by the num ber of inputs will not be accurate unless they are all the same size, But if you still got a safe load greater than the minimum load impedance by this method, you can connect without worry. If you must have exact values, here is the formula for more than 2 loads or inputs: Finding Impedance Values on Other Brands of Equipment When you are reading an output impedance spe- ification, you will occasionally see this kind of statement: Minimum load impedance = X ohms Maximum load impedance = X ohms 4These two statements are trying to say the same thing, and can be very confusing. The minimum, load impedance says: please don’t make the NUMBER of ohms you connect to this output any lower than X ohms. That's the lowest NUM- BER. The second statement changes the logi but says the exact same thing. Maximum load impedance refers to the idea of the LOAD instead of the number, and says: please don’t make the LOAD any heavier. How do you increase the load? Make the number lower for ohms. Maximum load means minimum ohms, so read carefully When the minimum/maximum statement is made, you can safely assume that the manufac turer has already done his calculations, and the number given in ohms does not have to be multiplied. You can MATCH the value of your input to this number of ohms successfully; but as always, higher ohms will be okay (less load). Occasionally, a manufacturer will want to show you that 7 times the output Z is not quite the right idea and will give the output impedance and the correct load this way, they will call the output impedance the True Output Impedance and then will give the recommended minimum LOAD impedance. It may be higher or lower ratio than 7 times and will be whatever the spe- cific cireuit in question requires. REFERENCE LEVELS We should talk about one more reference, 0 practical one. Anyone who has ever watched a VU meter bounce eround while recording knows that “real sound” is not a fixed value of energy. It varies with time and can range from “no reading” to “good grief” in less time than it takes to blink. In order to give you the numbers for gain, head: room and noise in our mixers, we must use a steady signal that will not jump around. We use a tone of 1000 Hz and start it out at a level of =60 dB at the mic input, our beginning reference level, All levels after the mic input will be higher than this, showing that they have been amplified, and eventually we will come to the last output fof the mixer — the line-out and the reference signal there will be -10 dB, our “line level” re- ference, 6 From this you can see that if your sound is louder than 94 dB spl or — your mic will produce more electricity from a sound of 94 dB spl than =60 dB, all these numbers will be changed. We have set this reference for mic level fairly low. If you examine the sound power or sound pressure level (spl) chart on page 9 you will see that most musical instruments are louder on the average than 94 dB spl, and most commercial mics will produce more electricity than the -60 dB for a sound pressure of 94 dB, so you should have no problems getting up of “0 VU" or your recorder. We should also make a point of mentioning that the maximum number on the chart on page 9 re- presents “peak power” and not average power. The reason? Consider if even some momentary part of your recording is distorted, it will force a re-recording and it is wisest to be prepared for the highest values and pressure even if they only happen “once in a while”, On this point, statistics are not going to be useful, the average sound pressure is not the whole story. The words themselves can be used as an example, Say the word “statistics” close to the mic while watching the meters and the peak LED level detector. Then say the word “average”. What you are likely to see are two good examples of the problems encountered in the “real world” of recording. The strong peaks in the “'s"” and “sounds will probably cause the LED’s to flash long before the VU meter reads anywhere near “zero” while the vowel sounds that make up the work “average” will cause no such drastic action. To allow peaks to pass undistorted through a chain of audio parts, the individual gain stages must all have a large reserve capability. If the average is X, then X + 20 dB is usually safe for speech, but extremely percussive sounds may require as much as 40 dB of “reserve” to insure good results. Woodblocks, castanets, latin percussion (guido, afuche) are good examples of this short term violence that will show @ large difference between "LED flash’ and actual meter movement. When you are dealing with this kind of sound, believe the LED, itis telling you the truth, If you are going to record very loud sounds you may produce more electrical power from the mic than the mixer can handle as an input. How can you estimate this in advance? Well, the spl chart and the mic sensitivity are tied together on a one-to-one basis. If 94d spl in gives -60 dB(1 mv) out, 104 dB spl will give you -50 dB out, and so forth. Use the number, on our chart for sound power together with your mic sensitivity ratings to find out how much level, then check that against the maximum input levels for the various jacks on your mixer. If your mic is in fact producing -10dB or line level, there is nothing wrong with plugging it into the line-level connections on the mixer. You will need an adaptor, but after that it will work! Most mic manutacturers give the output of their mics as a minus-so-meny-d8 number, but they don't give the loudness of the test sound in dB, it's stated as a pressure reference (usually 10 microbars of pressure). This reference can be found on our sound chart. It is 94 dB spl, 10 microbars, 10 dynes per em? or 1 Newton per square meter. For mics, the reference "0" is, DAILY SETUP It’s obvious that an entire alignment procedure is not something that can be completed quickly. You don’t begin a “major” ten minutes before the musicians arrive. It is not likely to be neces- sary every day, but what is reasonable? Most good engineers make three quick tests. If nothing is amiss, they start setting up the rest of the ses sion with confidence, If there is a problem, they go further. Here is what they do. 1, Clean and degauss, Obvious first step. 2. After the recorder has been on for 10 minutes and is nicely warmed up, then check the repra duce response with the test tape. A little trim? OK, no problem. 3. They then set up the signal generator and re: cord several frequencies, say 100 Hz, 4k, 10k Looks good? Then we can begin. 4,A very fussy engineer will take a look at the bias adjust to make sure everything is OK there as well, before he looks at the record EQ. These three quick checks will usually uncover any serious troubles, and the idea is to work backwards up the chain of adjustments if any- thing shows an error. “Reproduce” is the first step in a major overhaul, and Record EQ is the last 1 voit (dB). So, if the sound is 94 dB spl the electrical output of the mic is given as -60 dB, meaning so many dB less than the reference 0 I volt. In practice you will see levels of -60 8 for low level dynamics, up to about ~40 d8 or slightly higher for the better grade of condenser mics available today. TASCAM recorders and mixers work at a level of ~10 dB referenced to I volt (0.316 volt} so, for 94 dB spl, a mic with a reference output of -60 dB will need 50 dB of amplification from your mixer or recorder in order to see “0 VU" (-10 dB) on your meter. Now, if the sound you want to record is louder than 94 dB spl, the output from the mic will be more powerful and you will need less amplifica- tion from your mixer to make the needles on your recorder read “0 VU". If everything works OK, you can assume all is well. If you get something funny as a reading, you will have to track it down, but these three tests will usually give you some idea of where the problem lies. Work backwards through the recorder (that's forward through the adjust ments, by the way, they run from back to front in the procedure, don’t get confused) until you uncover the problem, You always clean and de. geuss, and you should always check the repro- duce response with the test tape. Again, repro- duce, bias, record check, no problems, OK, go and good luck with your tapes. Speaking of tape, we strongly suggest that you buy good quality tape and stick to one kind. White box tape is cheap for a reason. It doesn’t perform as well as the “good stuff,” and will be hard to tune up to, and may even damage your recorder. Excessive shedding of oxide, uneven slitting and other defects too numerous to men- tion will make all your efforts go for very little Tape is important, use the best 16VOLTAGE CONVERSION This deck is adjusted to operate on the electric voltage specified on the reel tag and packing carton, Note: This voltage conversion is not possible on model sold in the U.S.A. and Canada, UK, Australia or Europe. For general export units, if it is necessary to change the voltage requirements of this deck to match your area, use the following procedures. Always disconnect Power Line Cord before making these changes. 1. Disconnect the power cord of the deck from the source. 2. Remove the bonnet panel and locate the voltage selector on the side of the deck. Refer to 2-2 Removing the Panels of the Deck” on page 56. 3.To increase the selected voltage, turn the slotted center post clockwise using 2 screw driver or another suitable tool 4.To decrease the selected voltage, turn the slotted center post counter-clockwise. 5.The numerals that appear in the cut-out window of the voltage selector indicate the selected voltage. 6. If the desired voltage numerals do not appear in the cut-out window as you turn the slotted center post, your deck must be taken to an authorized TEAC Service Facility for voltage conversion. Set voltage for ‘your area ” NOTE FOR U.K. CUSTOMERS U.K. Customers Only: Due to the variety of plugs being used in the ULK., this unit is sold without an AC plug. Please request your dealer to install the correct plug to match the mains power outlet where your unit will be used as per these instructions. [ IMPORTANT The wires in this mains lead are coloured in accordance with the following code: Lue: NEUTRAL | Snow: UNE The wire which is coloured BLUE must be con- rected to the terminal which is marked with the lenter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter Lo coloured RED. . WCONNECTION AND OPERATION OF THE DX-4D | CO TASCAMIDX-4D w _ Hook up Because the DX-4D is an optional 4-channel or you may become confused. Make sure that, DBX UNIT, it is necessary to connect two of the each track ENCODE/DECODE pair is connected DX-4D's to facilitate the 38's eight channel to the same section, or your bypass switch function, There is no specific order in which the functions will not work properly. ‘two units are to be connected, But be consistent Note: When DX-40s are used together with the 38, encoded signal levels displayed on VU meters will be found to be of somewhat less value (through compression] than no-encoded signal levels Dx-4D Dx-40DBX Bypass Switch 1. The DBX Noise Reduction system (both ENCODE/DECODE) is in operation while this switch is in the (1 DBX) position. With this switch in the (= BYPASS) position, the DBX circuit is bypassed, which deactivates EN CODE/DECODE. The switches for each channel (1 — 4) work independently to facili- ‘tate separate functioning. 2. With this switch in the ( a BYPASS) position, an LED lights to indicate that the DBX circuit thas been bypassed. Keep this switch in this position when not using the dbx Noise Reduc: tion system. How the DX.4D functions This DBX UNIT functions only when connected to the DBX UNIT CONTROL SIGNAL terminal of the 38, Once the OX-4D has been connected, you may Virtually ignore it. The unit is completely auto. matic. And, because of the design end nature of the DX-4D noise reduction unit, there is no need for record or reproduce level match adjust- ments — the level is non-critical within nominal tolerances; the circuit is stable. Since decode and encode functions are actuated by the respective channels of the DX-4D, simul taneous dox NR Coding/Decoding is possible without having to switch between ENCODE or DECODE. EXAMPLE 1. Original Recording Suppose you are going to record, with OUTPUT SELECT in the SYNC position, depress FUNC- TION SELECT buttons 1 thru 4. LED indicators will light, signaling ready-to-record on those tracks. ‘An encoded signal _will be automatically re produced when the 38 is started because of the DBX units ability to simultaneously cade and decode while the DBX switch is in the (2 DBX) position EXAMPLE 2. Overdubbing In this example, suppose you have recorded on tracks 1 thru 4, and now wish to record on tracks 5 thru 8, in sync Set up the OUTPUT and FUNCTION SELECT buttons the same manner as in Example 1, The DX-4D will automatically encode the signals going to tracks 5 thru 8, and decode the signals, ‘on tracks 1 thru 4. 1° The same process occurs when you punch-in during any recording session. When the 38 is in the record mode, the DX-4D is encoding; in reproduce (syne monitoring), it's decading. HOW THE DX-4D WORKS The DX-4D is a wide-band compression-expan- sion system which provides a net noise reduction (broadband, not just hiss) of a little more than 30 dB. In addition, the compression during recording permits a net gain in tape headroom of about 10 d8. ‘A compression factor of 2:1 is used before re- cording; then, 1:2 expansion on reproduce. These compression and expansion factors are linear in decibels and allow the system to produce tape recordings with over 2 100 dB dynamic range — an important feature, especially when you're making live recordings. The DX-4D employs RMS level sensors to eliminate compressor-ex: pander tracking errors due to phase shifts in the tape recorder, and provides exceilent transient tracking capabitities. To achieve @ large reduction in audible tape hiss, without danger of overload or high frequency self-erasure on the tape, frequency pre-emphasis and deemphasis are added to the signal and RMS level sensers. If you're an electronic engineer, all of the above gab may tell you the whole story of what's going on in the DBX, but if you're not, to make things a little easier to understand we'll ask you to use your imagination. Imagine four little recording engineers in the box with each of their hands on @ volume con trol. They are incredibiy fast but very stupid, 50 you must give them a set of rules. You tell them to raise signals that are below “0 VU", and re- duce signals that are higher than “0 VU". The lower the signal is, the more they raise it, and the higher levels above “0 VU" get lowered more and more as they go up in level past “0”. This is the 2:1 compression, You also tell them to call "0.316 V" “0 VU". Here they do nothing, no charge except frequency preemphasis or boost. Since you know they are going to keep the high levels under control, you can raise the “top end” a bit and still not overload the tape, Just to keep it simple for them, the boost in highs is fixed, They put it in all the time, no matter what level changes they are making. Now we play tape back, and say OK, do everything backwards. Levels above “0.316 V" “0 VU" areraised and levels below “0,316 V“ are lowered, and while you're at it, fellows, take off the extra top end as well. Follow the rules in reverse. As long as you don’t confuse them by shifting the ‘0.,VU" point, they work just great, but — don’t put in more than "0.316 V" as zero VU, and don't make the tape playback zero anything other than "0.316 V" either, As we said they’re very dumb and will follow instructions very precisely. Differing levels will produce decoding errors: The reason these errors may not be objection: able is that people could have played or sung or whatever with a little more or less dynamics. A smell change won't be a5 noticeable 2s a mistake, but it is not perfect. The tolerance here is not electronic, it’s human. To get exactly what you ut in, it'is necessary to get an exact “0 VU" 0.316 V in and out. The system is level sensitive although it is realistic to say it is “artistically” foregiving, One common mistake we find, is that people don’t check the OUTPUT voltage of the mixer or other device feeding the DX-4D, and don’t remember that the DX-4D is the first item in the system (38/DX-4D). “Breathing” and “pump. ing” can result especially on instruments like no and acoustic quitars, if the levels are seriously mismatched, because of the way the DX-4D works. If your mixer “0" VU is not 0.3 volt, (the DX-4D “standard zero”) the code process will reflect the fact that all levels are higher (if the mixer “zero” is 1 volt.) Now, when you DECODE, the troubles start. The 38 playback electronics cannot safely be set to this “high” output level, and the decoder will not “see”, the same levels in playback. Decode errors will occur. Consider also the fact that the DX-4D will in crease your signal to noise ratio by 30 dB. If you record at a generally lower eve! you will avoid dbx probiems and still have quiet tapes. Try using -5 or -7 VU as a “zero” Mixing Program material must be in uncompressed form for mixing and sound-on-sound recording. You must first decode the program material which has been encoded by the DX-4D in order to mix it with any other material — compressed or un- compressed. Of source, mixed material may be compressed again for recording. If this precau tion is not followed, you'll get cross: modulation of the separate signals or tracks. The little guys in the box will look at their “chart” and give you some really entertaining level shifts, as we have said, they're fast but dumb. Subsonies and Interference The DX-4D incorporates an effective bandpass filter with -3 dB response at 20 Hz and 30 KHz. This filter suppresses undesirable sub- and super sonic frequencies to keep them from introducing errors into the encode or decode process. How: ever, if rumble from trains or trucks, is picked up by your microphone and fed to the DX-4D — filters are_not perfect — modulation of the program material during low level passages may occur. This low frequency component will not itself be passed through the recorder and so, will not be present at reproduce for proper decoding If this low level decoding error is encountered, and subsonics are suspected, we suggest the addition of a suitable high pass filter ahead of the DX-4D and after the mic preamplifier for further attenuation of these subsonic frequencies.M-30 RECORDING MIXER ‘The 38 is designed to be used with a Recording Mixer and because of this reason, there are no input/output level controls on the deck; the commands of which are effectuated through a mixer. Thus, a Recording Mixer is a “must” for the 38 a The M-30, 8 multi-function recording mixer, not only offers multi-microphone recordings, mixing and equalization functions, but also offers the possibility to draw out any desired signal throughout sound processing, and the ability to mixdawn to obtain a master tape on a 2-track tape deck. We recommend the TASCAM M-30 RECORD: ING MIXER as the ideal partner for the 38 FEATURES OF THE M-30 INPUT SECTION, ‘© 8 mic inputs (6 low impedance balanced, and 2 high impedanced unbalanced mic input} #8 tane inputs © 8 line inputs # Mic/line/remix(tape} input selecto! Mic ATT (0/20/40) © 2 band parametric equalizer (60 — 1.5k, 1k = 10kHz plus 125kHz shelving type equalizer (= 15 8)) Mute switches Direct out Cue out Accessory send/receive for each input Overioad indicator for each input Buss assign buttons and pan pots MASTER SECTION 4 main program mixing busses 4 buss input for each buss Accessory send/receive for each buss 4 buss out (line out) Monitor gain and pan controls for each pro- gram buss © Master fader Meter input selector (buss/monitor/submix} Stereo monitor headphones with volume con: trol and input selectar (monitor /submix) SUBMIX SECTION 8 x 2 submixer Pre/post/tape input selector Gain and pan controls Submix master gain control Stereo submix out Stereo submix in OTHERS #2 setsof stereo phono in/out terminals (built-in phono RIAA EQ} sSPECIFICATIONS OF THE M-30 Bnput/4-Line Output/2Monitor Output/2 Submix Output Input Selector 16 channel MIC (Low impedance)! REMIX/LINE. 7,8 chan MIC (High impedanced/ REMIX/LINE, {Mic Input (Low impedance) — channel 1 ~ 6: Mic impedance: "200 to 600 ohms nominal mies {matched for mies of 600 ohms oF lass} Input impedance: 600 ohms, balanced XLR type Nominal input levol: ~60 4BV (1 mV} Maximum input level: +10 dBV (3 V) — ATT to 40 4B, Mic Input (High impedance) ~ channel 7, 8: Mic impedence: 10« ohms nominal mics Ingut impedance: 100k ohams Nominal input level: -6048V' {1 my} Maximum input level: +10 d8V (3 V) ~ ATT to 40 4B, Line Input Ingut impedance: 20k ohms Nominal input level: “10 dBV 10.3 Vi Maximum input level: +14 dBV {8 V} Tape Input: Input imped 50k ohms Nominal input level: -10 BV (0.3 V) Maximum input level: +14 dBV (5 V} Line Output: Minimurs load impedance: 8k ohms Nominal load impedance: 10k ohms Nominal output evel: -10 d8V (0.3 Vi Maximam output level: +14 dBV (5 V) Monitor Output Minimum load impedance: Bk ohms Nominal load impedance: 10k ohms Nominal output level: -?.2 dBV (0.775 V) Maximum ouput level: +14 aBV (5 Vi Submix Output! ‘Minimum load impedance: 5k ohms Nominal load impedance: 10k ahms Nominal outputiovel -10 d8V (0.3 V1} Maximum output level: +14. aBv (5 V) Cue Output: Minimam loa impedance: 5k ohms Nominal load impedance: 10k ohms Nominal output level: -10 dBV (0.3 V) Direct Ourput: Minimum los impedance: 5k ohms Nominal load impedence: 10k ohms Nominal output level: -10 aBV (0.3 V) ACCESS SEND Output Input/Master Section) inimam load impedance: 5k ohms Nominal load impedance: 10k ohms Nominal output level: -10 dBV (0.3 V} ACCESS Receive Input (Input/Master Section): Input impedance: 200k ohms Nominal input level: ~10.dBV (0.3 V) Minimum input level: 18 4BV (0.13 V) ‘Submix input — channel L,A (and PRE, POST, TAPE 1 — 8): Inputimpedance: 10k ohms Nominal input levie: -10 dBV (0.9 V} Maximum input level. #14 dBV (5 V) Buss Input Input impedance: 10k ome Nominal input level. -10 BV (0.3 V) Maximum input level +14 dBV (Vi Headphones Output Load impedance: 8 ohms Maximum aurput power: Greater than 100 mW ~ Output VR at max Phono Input Input impedance: 454 ohms Nominal input Minimum input level: Maximum input level Phono Output: Minimums load vel: -B4 dBV (2 mV) at 1 kz 80 dBV (1 mV) at 1 ke -30 eBV (31.6 mv) ar 1 kHz impedance Sk ohms Nominal load impedance: 10k ohens Nominal ousput level: -10 eBV (0.3 V) at 1 kH2 Frequency Responce: Line output monitor output Submix output 30 to 20.000 Hz, +2 6B 30 to 20,000 Hz, #2 4B 130 t0 20,000 Hi, #2 43 Equalizer: Type Peak Parametric and SheWing Level: #15 48, Frequency, low: 60 to 1500 Hz Middle: 1,900 to 10,000 Hz High: 12,500 Hz Signal to Noise Ratio (A weighted/unweightod) Equivalent Mic (Lowimpedancel: 116 48 WTO 114 dB UNWTD (20 to 20,000 He) Mic (Low impedanes) 1 channel 6 channel Mic (High impedance) channel: 2 channel: Mic (Low ana high impedance} 8 channel: Better than 53/51 dB Phono input to phono output Bottor than 66/84 6B Bettor than 57/5508, Better than 58/7 dB Better than 85/53 dB Better than 87 a8 UNWTD (20 to 20,000 Hz) Better than 60 08 (TH, Nominal input level) Cross Talk: Total Harmonic Distortion: Less than 0.1 % at 1 kHz, Nominal input evel Fader Artenustion: 60.48 or more Overload Indicator Level: 25 dB above nominal input level Peak Indicator Level: Dimensions (WxHxD): 410 d8 sbove nominal output level 465 x 160 x 520 mm (18-1/4"" 65/16" x 20-1/2") 16 kg (95-5/16 ths.) 100/120/220/240 V AC, 50/60 Hz, 26 W (General Export Model) 420 V AG, 60 H2,26 Ww (U.S.A./Canaas Made!) 220 V AG, 50 Hz, 26 W {Europe Model) 240 VAC, 50 Hz, 26 W (UK/AUS Model) Weight Power Requirement 22ACCESSORY INFORMATION TO-122A Test Tone Oscillator Checks input/output balance or other elec: tric characteristics of the system chain. This unit is also useful for tape deck maintenance work, “Output pin jack “Output level -10 dB, -40 dB (0 48/1 V) "Selectable frequencies 40 Hz, 400 Hz. 1 kHz, 4 kHz, 10 kHz, 15 kHz E-2A Bulk Eraser RE-1013 Reel (10-1/2”, 1/2” tape} oe 23 8-64 Patch Bay ) A tangle of cables is one of the growing vexa. tions of any audio system. With all of the inputs and ourputs plugged into the rear panel jurmper cables plugged into the front make any hookup you need neatly C-71 Rewote Control Uni 4 oo Bea | RC-30P Punch In/Out Remote Pedal > | RC-1 Rubber Cleaner/HC-1 Head Cleaner Tal one“) wr-o3s Single 30em we Dual 100 em wrac.os Quadruple —-50.em. wrac-1s Quadruple 150m wrac-2s Quadruple -250.em was Dual 5m wR7s Single Im There are vast differences in cable design and performance, and those differences can make or break an otherwise excellent sound system. When you're investing in the kind of high quality audio equipment represented by the TASCAM Studio Series, it makes sense to use TASCAM profes- sional audio cables. Anyone who's switched to them will tell you they're worth every cent. LOW CAPACITANCE Our cables feature very low capacitance under 15 picotarads per foot, so they don’t act as high-frequency roll-off filters as do typical cables of 100 or 300 pF/foot. In addition, our abies use an ultra-high density bare-copper braided shield (99 % coverage), so electrostatic noise (buzz or hum} and RFI (CB or broadcast signals} are kept out of your program, Low capacitance is important, and so is con sistent capacitance; that is, you want the elec: trical coupling of center conductor-to-shield to remain the same throughout the cable, even if it is sharply bent, crushed, flexed, or tugged. Should the local cable capacitance change, noise and/or signal losses often result. We utilize the unique dielectric known as Datalene. This special insulation keeps the stranded signal conductor perfectly centered within the shield. Datalene is about as flexible as foam core dielectrics but far more resistant to extreme heat or cold, and it has a “memory”, so it retains its shape after flexing. Datalene also acts as a mechanical shock absorber, guarding against external im: Pacts which, in other cables, might sever the center conductors and cause intermittent contact. When we join the connector to the cable, we insert the cable's stranded center conductor all the way into the pin and then fill the pin with solder. The braid is wrapped and soldered a full 120° around the shell, not tacked at one spot, 50 you get maximum shielding and strength. Note: If these TASCAM professional audio cables are not obtainable in your area, use an equivalent cable. RM-300 Rack Mount Kit The RM-300 is a rack mounting kit for the TASCAM recorder/reproducer 38 to enable mounting in the CS-607 or a standard 19-inch rack. CS-607 Console Rack ‘The CS-607 is a standard 19-inch console rack to be used with the RM-300 for mounting of the TASCAM 38, 28SPECIFICATIONS OF THE 38 MECHANICAL Tape: Track Format: Reel Size: Tape Speeds: Speed Accuracy: Wow and Fluttor: 1S ips Fast Wind Time: Head Configuration: Tape Cue: Motion Sensing: Dimensions: Weight: ELECTRICAL Line Inpu Input impedane Maximum source impedance: Nominal input level: Maximum input level: Line Output: ‘Output impedance: Minimum load impedance: Nominal load impedance: Nominal output level: Bias Frequency: Equalization: Record Lovel Calib Frequency Response: Record/Reproduce: ‘Syne and Reproduce:® Total Harmonic Distortion (THD): Signat-to-Noise Ratio: Adjace Erasur Headroom: ,Channol Crosstalk (Overatl);*) Connectors: Line inputs and outputs: Remote control: Punch in/out remote: ‘dbx unit: 1/2 inch, 1.5 mil, low noise, high output tape channel, track width 0,032 inch (0.8 mm) NAB (large) Hub 15 inches per second (38 cm/s}; Variable, £12 % relative to 16 ips 40.8 % deviation 40.06 % peak (DIN/IEC/ANSI weighted] 40.1 % peak (DIN/IEC/ANSI unweighted) 0.05 % RMS (JIS/NAB weighted) 0.07 % RMS (JIS/NAB unweighted) 100 seconds for 10-1/2" reel 2,400 feet Less than 0.8 sec, to reach standard Wow and Fluttor FG (frequency generator) DC servo motor 2alotiess DC mators 3 heads; erase, record/reproduce and reproduce Manual 0.18 see. #0.15 sec, delay time, stop to next motion (W) 1653/16" x (H) 17-1/2"" x (D) 10-2/4”" (410 x 444 x 273 mm) 59.6 Ibs (27 kg), net 50 k ohms, unbalanced 2.5 k ohms “10 dBV (0.3 v) +18 dBV (8.0 V) 1k ohms, unbalanced 40K ohms 50 k ohms =10 dBV (0.3 Vb 150 kHz ‘<= usee + 35 usec IEC standard (International Electrotechnical Commission), CCIR (International Radio Consultative Committee) 0 VU reference; 250 nWo/m tape flux level 40 Hz ~ 20 kHz, #38 at 0. VU 40 He ~ 20 kHz, $3 dB at -10 VU 40 Hz — 20 kH2, +3 dB 0.8 % at 0 VU, 1,000 Hz, 250 nWb/m 3% at 13 dB above 0 VU, 1,000 Hz, 1,116 nWb/m. ‘Atareference of 1 kHz, at 13 dB above 0 VU, 1,116 nWib/m 68 dB A weighted (NAB), 60 dB unweighted 92 dB A weighted (NAB), with dbx" 82 dB unweighted, with dbx Better than 50 dB down at 1,000 Hz, 0 VU Rotter than 65 dB at 1 kHz, +10 VU reference Recording Amplifier ~ Better than 25 dB above 0 VU at 1 kHz Reproduce Amplifier ~ Better than 43 dB above © VU at 1 kHz RCA jack Mul t-Pin jack Phone jack (Tip-Sleeve) Mu't:Pin jackPower Requirement: 100/120/220/240 V AC, 50/60 Hz, 100 W (General Export Model) 120 V AC, 60 Hz, 100 W (USA/Canada Model) 220 V AG, 50 Hz, 100 W (Europe Model) 240 V AG, 50 Hz, 100 W (UK/AUS Model) In these specifications, 0 dBV is referenced to 1.0 Volt. Actual voltage levels also are given in parenthesis, To calculate the 0 dB ~ 0.775 Volt reference level (.c., 0 dBm in 3 600-ohm circuit) add 2.2 dB to the listed 4B value; ie., ~10 dB re: 1 V = ~7.8 JB re: 0,778 V. 1) Specifications were determined using STL. Test Tape 62 or equivalent. 2) Specifications were determined using TEAC Test Tape YTT-1144SP. 3) Specifications were determined using TEAC Test Tape YTT-8163. Changes in specifications and features may be made without notice obligation. “dbx is a trademarks of dbx. Ine, Options tor: Mounting (Standard 19 inch rack): M300, C$:607 Console Rack w/@ Remote eontat Full raraport function valable with RCT Punch in/out mote control Punch infout funtion aallable with RC-QOP DDBX noite reduction: ‘channel DBX unit with DX-AD ¥2 es [nie amen | | | j ® ® ‘ei qa ciiiiiat ait ® SS SSSSSs) KMORE INFORMATION IS AVAILABLE We've tried to give you representative examples of some of the things you can do to get started, and you'll discover many more — some by way of happy coincidence, others after long hours of concentration. Hf you're just getting into record- ing and want to expand your knowledge, more information is available. BIBLIOGRAPHY Beranak, Leo L Acousries MeGraw-Hil Book Co. tne New York, New York gee More concerned with exact formulae, but all vry readable. ts hot necessary to. do calculations to stn knowledge fram tht Geranek, Leo L, MUSIC, ACOUSTICS AND ARCHITECTURE John Wiley & Sons, ine ‘962 2 technical survey on concert has with much documentation. Worth randing, tht author has many wet storie 1 tll s50U" {helinterfoce tacionet and art Cciford, Matin MICROPHONES: HOW THEY WORK AND HOW TO USE THew Tab Books Blue fldge Summit, Ps. ier An ecoene tow cost book for the beginner on microphone typen, nitory and construction, The axplonstions given aku 10 prior krowiedge and are very complete. Racommenses Everes Alton ACOUSTIC TECHNIQUES FOR HOME AND STUDIO (2-4 ncn ‘Tab Books Blue Ridge Summit, sare Low cast basi book. This book on sudo scoustics isthe easiest {@ read and understand of al te texsbooke on the susect, ond Comes elasest to dealing with the actual problems encounterad in the home sudo. Everett F. Aton HANDBOOK OF MULTICHANNEL RECORDING Tab Rooke {ue Miege Summit, Pa tore. 2 fury voluma containing good informatian on all topics. Veey early writen ana recommended for a bagianer Nisvers, tee THE TECHNICS OF THE SOUND STUDIO FOR RADIO, TELEVISION AND FILM Hastings House Publishers, Ine New ark, NY. 1978. Although not specifically writen forthe cape recorlst, this 500 faoe book is well worth its cost. Very useful practical advice I {You ere working with gpeech [deamo, commercial snnouneins, we) Nisbers, oe ‘THE USE OF MICROPHONES Hastings House 1976 ‘The euthors point of View ie basically radio, out has ability to communleste dffcul concent every good, Well esared. 2 Olsen, Harry F. ACOUSTICAL ENGINEERING -Van Nostrand Company New York WY. 1957 and Olsen, HaeryF. MUSICAL ENGINEERING B.Van Nostrand Company New York, NV, tse0 ‘Anything you cen find by this writer is worthwhile, and the inter book in aartcular will gue scanutie answers to questions (wonae frequency is the note Bd above middle 71 ena can be tied fran one "anguage” ino. somes. Exvemsy Rertinger, Michel ACOUSTIC DESIGN AND NOISE CONTROL, VOL. + Chemica Publishing Company ew York, Nv. 1977 Although this book is highly technica, the writing is very lucis fn many scamples se given to go along with tre math. This tanter fe not afrais to Sea conclusions sad sive his Yeatons for Soing so In simp lanqusae. unssin, Robert E MODERN RECORDING TECHNIQUES Howard W. Same snd Co Indianspatis, Indiana The firs tow cost nook on studio practice. The equipment date sith is somawnat outdstad, but the theory is tit the same, Exonlent varie survey Tramaine, Hoyard M THE AUDIO CYELOPEDIA Howars W. Sara and Co. Ingionapotis, Indians 1378. {This 1,700 page reference work i= sure to contain the answer to almost any echnteslquestian you ean tuink of. The wr ting Sssumes much prior Knowiedge and ‘his book Should be used (with sthere that are more nasi in shairatting style you are SOME MAGAZINES OF INTEREST: ‘db — THE SOUND ENGINEERING MAGAZINE 1120 O14 Counny Head Plorview, N.Y" 11603 “MODERN RECORDING’ 14'Vanderventer Avenue Port Wathington, N-¥. 11050 “RE/P" — RECORDING ENGINEER/PRODUCER 1880 whitey Strat, Sure 220, Hollywood, 63, 80028 ‘MAINTENANCE NOTES * Alll resistors are 1/4 watts, 5 %, unless marked otherwise. Resistor values are in ohms (K=1,000- ‘ohms, M=1,000,000 ohms). All capacitor values are in microferads (p=pico- farads). 4 Parts marked with this sign are safety critical components, They must always be replaced with indentical components ~ refer to the TEAC Parts List and ensure exact replacement. OB is referenced to 1 V in this manual unless otherwise specitie PC boards shown viewed from foil side. Effective: November. 10811. THEORY OF OPERATION Signal flow and functions of the various control circuits of the Tape Deck are explained in detail in ‘this section. These should be of help in analyzing any troubles which may occur and in correcting the malfunctioning circuit. 4-1, LOGIC USED IN THE TAPE DECK (a) 2 INPUT NAND GATE 1-2. SYSTEM CONTROL IC 1-2-1. Pin assignments and their functions s[eye a TETC oust Canal pat ——_— =o Oe we ta ~~ a str rast sew may runt ek tied MS em (b) 2 INPUT NOR GATE [) 56107 [ete ror vets ° wpatC] > ~ HLH ctw A] o B WE tl GT el cies mut Figo wo mw ait ake 7 1d eam! (e) INVERTER — Fig. 141. Pin Assignments 2 > ote “pe TH we Note: H level =3.4V~5V Lievel =0V~ 08 V Fino, | Pin none Function 1 | PLAY | Reproduce start signal input vrminal Signal vo: 2_| STOP | Stop signa! input terminal Signa eel L Operation 3_|FLEWD | Fastforward signa input termina Signal lve: L impute 6 | Rew wind signal input terminal. Signal vel: L © | PAUSE | Pause signa input trina Sina evel: L 7 | REC Record sgnal input minal. Signal level Control | MEMO | Memory input termina (res rewind mode when at L level inputs 3 | AR Record inhibit signal input terminal (Level: record inhibited, H evel record enabled) wo | REC {eve signal output terminal during reordreproduce or record/pause mode 11 [PAUSE | Hievel signal output terminal during pause mode outputs 12__| PLAY | Hevel sigal output terminal during reiroduce mot power 13 REW H-jevel signal output terminal during rewind mode. 14 | FAST | Hevel signal output tinal during rewind o fst-forward mode. 15 | F.FWO | Havel sal output terminal during fat forward mode, | oxo (Ground torminal Power 6 8 Power mpply terminal (ctanderd: 45 V H—10% absolute maximum: +7.0 V)2, Block diagram Ms4410P FW ™ new few ™ our Fast our memo few our ec m an Rec out Pause Pause our ™ Pay our play oy “a xo Fig. 1-2. Block Diagram 1-2-3. Input signals and resulting modes T 7 REC) PAUSE | PLAY | REW | FAST | F.FWO Operating mode t L x U t L_| PLAY mode L u L L t | STOP mage | Fewo L L topo H H.FLEWO mode EW ce L 4 x | REW mode PAUSE i H L L t L__ | PAUSE mode REC and PLAY H L 4 L L | RECIPLAY mode REC and PAUSE H H L t tt FRE orPAUsE mode Notes 7. The mode is set at the decaying edue of the input signal waveform 2. The output retains the current mode until an input signal indicating a different mode is received 3. Output REC remains at Las long as input AR is L. 4. Output REW remains a L a long asinput MEMO is L.1-2-4, Mode transition The table below summarizes transition from one to another due to an input signal. vant | stor | cao | new | rtar | muse | ecuar| acca sr0P stor | “Sor, star eror_, vor [STOP FFWO F.FWD ~ ~ F.FWO FFWO F.FWO F.FWD FFwD | REW REW REW Rew | REW PLAY PLAY, PLAY PLAY. = REC/PLAY PAUSE PAUSE = REC/PAUSE | _ eC nd LAY AECPLAY_ REEIPLAY | nEUUAY |RECPLAY | AEGPLAY ~ LaecpLay necoaPause—revause | —_|pebrausel necause ‘ecaUse [~~ ‘Note. A diagonal line indicates thatthe eurent mode 1-25, Operation with more than one input signal When more than one input signal is received simultaneously, the deck enters the mode indi- cated below. When input signals applied simul taneously are removed in sequence, the mode indicated by the last signal to be removed is normally enabled. If REC and PLAY or REC jemaing uachenged. and PAUSE are combined, the record/reproduce or record/pause mode will be enabled regardless of the sequence in which the input signals are removed. If F.FWD (REW) and REC or PAUSE are combined, the fast-forward (rewind) made will be enabled regardless of the sequence in which the input signals are removed Terao Tapa Resign sto? Fy combination of FWD, REW, REC, PAUSE, nd PLAY STOP mods | [Trew STOP mode wo EC onal PAUSE EWS moe | ptay STOP mode | a EC malo PAUSE EW noae Fray S10? mase 7 PAUSE, 7 REC/PAUSE mode ec Lay — RECPLAY nose PAUSE and PLAY AECIPAUSE nose | PAUSE | PLay REC/PLAY mode 1-2-8. Input/output levels Input/output levels and voltages are given below. tem Minimum Standard Maximum | Absolute maximum Maximum supply voltege = [ Tov Maximum input vo 55V Recommended supply valtge 50V 55V - Hievel input voltage 20V = = - [Love input voltage = ~bav = | Open input vol 32V = ~ Hlevel output volt 2aV = = ‘Level output vaitage — = oav” = 311-2-7. Initial reset circuit See Fig. 13. The initial reset circuit generates a signal which puts the deck in the stop mode as soon as the power is turned on, preventing incorrect opera tion during the time the DC supply voltage is unstable. When the power is turned, current from the IC US19 charges the noise suppression capacitors (C502 ~ C807). It takes only about 20 msec to charge C502 ~ C507 because of their low capa city. When the capacitors are fully charged, the Fig. 1-3. System Control IC Input Circuit of f= Fig. 1-4. PLAY, PAUSE, F.F, REW, and REC input terminals become HIGH. However, it takes approximately 100 msec for the STOP input ‘terminal to rise to HIGH because C507 has large capacity. Since STOP takes longer to become HIGH than the other input terminals, a flip-flop is set in U519 when power is turned on and the deck enters the stop mode Unless C507 is fully charged and the STOP input terminal is HIGH, U519 does not switch from the stop mode to any other mode even if opera: tion signals are input. 1-3. SHUT-OFF CIRCUIT ‘See Fig. 1.8. ‘A photo interruptor type shut-off switch is, interlocked with the right tension arm. 1. When the tension arm deviates from its normal position, the light beam falling on the photo transistor is interrupted and the photo tran. sistor output voltage drops, turning off 0516 and 0517. When 0516 is cut off, 0813 is also turned off and no power is supplied to termi- nal 6 of capstan motor assembly, so that the capstan motor is deenergized 2.When Q517 goes off, base bias current flows to the base of 0518 through R551 and R552 and 0518 goes on. Since the collector of 518 is connected to the STOP mode switch, the tape deck is set to the STOP mode. Thus, the entire system stops when the tension arm is not set in its specified position due to tape slackness or other trouble. Power Shut-Off Circuit3.When the tension arm is in its normal position, the photo transistor receives the light beam and outputs a high level voltage to make 0516 and Q517 conduct. 4. When 0516 goes on, the 813 base bias circuit is grounded and Q813 supplies current to the capstan motor. 5.When Q517 goes on, 518 and O519 are turned off, disconnecting Q518 from the stop mode switch and Q519 from the speed sensing circuit 1-4. CAPSTAN AND BRAKE SOLENOID DRIVE CIRCUIT The Tape Deck uses two solenoids; their drive circuits are shown in Fig. 1-5 (A). 1) Capstan solenoid This solenoid operates in the PLAY made to activate the pinch roller. The solenoid goes off in the PAUSE mode, 2) Brake solenoid In the PLAY, F.F, and REW modes, this solenoid operates to release the reel motor brakes. The solenoid goes off in the PAUSE, STOP, F.F., and REWIND mode. These solenoids operate as described below: 1. When the deck is in the STOP mode and the PLAY button is pressed, pin 12 of U519 goes HIGH. 2. When pin 12 of U519 goes HIGH, 0537 goes ‘on and current flows to the base of Q538 so that Q538 goes on. 3.When Q538 goes on, the ground side of the capstan solenoid coil is connected to the ground. 4. When pin 12 of US19 goes HIGH, 0539 goes on followed by Q541 so that R614, C531 and the brake solenoid are grounded through the collector-emitter path of 0541. 5. When Q541 goes on, charging current flows to C831 through route (1) and Q535 goes on for approximately 200 msec. Then 536 also goes on and supplies the capstan and brake solenoids with +24 V. A large solenoid current flows to ensure activation of the solenoids, 6. When the charge current stops flowing, 0535 and Q536 go off, disconnecting +24 V supply. However, +12 V is supplied through D514 and solenoid activation is maintained with minimal voltage. 7. Thus, the solenoid voltage applied during activation is reduced for holding, maximizing the activation force to ensure positive action but minimizing heating of the solenoid during holding. Fig. 1-5 (A). Flashing & Steady State Voltage 4z Fig. 1-5 (B). Solenoid Drive Circuit ® @ ee 6 ‘cAPSTAN SOLENOID sane S0.2n010 FRASHING CURRENT CAPSTAN SOLENOID STEADY STATE CURRENT BRAKE soLeNoID STEAOY STATE CURRENT18, REEL MOTOR DRIVE CIRCUIT 1-5-1. Reproduce (record) operation ‘See Figs. 1-6 (A), (B). 1. Pushing the PLAY button sets U519 in the PLAY mode and sets pin 12 of U519 to HIGH. 2.When pin 12 of US19 goes HIGH, 0542 and 0543 go on and C532 charging current flows to the base of 0544 through the Q543 emitter- collector, R626 and C532, turning Q544 on. Q559 then goes on turning on 2SD 716 and #24 is applied to the hot sides of both motors. 3.When charging ends after approximately 500 msec, 0544 goes off, and Q559 also goes off turning off 2SD 716 so that only +14 V voltage is applied to the motors. 4, The high voltage produced at pin 12 of U519 also makes Q548 conductive, so 0549 goes off. As Q549 goes off, the two diodes (D529 and D530) connected to ground through the collector-emitter path of 0549 are disconnect- ed from ground so that normal bias is applied to each input {pins 3 and 12 of U518) of the first motor drive circuit stage. Next the ‘comparator produces high voltage at pin 1 of US18, and the output is fed to pin 5 of USI8. As a result, pin 7 of U518 outputs a high level DC voltage to drive Q554, which in turn drives motor drive power transistor 25D 716. Thus, the right reel motor starts to rotate. Potentiometer R658 is adjusted to provide proper take-up torque. 5.1n a similar manner, the left motor drive circuit drives the left motor at the same time. Potentiometer R675 is adjusted to provide proper back tension during the PLAY and REC modes of operation. 35 6.When Q545 goes on, Q546 goes off, causing charging current to flow to C533 through route (2). Then Q547 goes on, causing the input voltage at pin 2 of U518 drop. As the voltage drops, the output voltage at pin 1 of US18 increases because the voltage difference between pins 3 and2 of U518 increases. Thus, the right reel motor drive voltage is increased, so that it temporarily develops more torque than the lett reel motor to take up tape slack at play start. 7. When charging has ended after approximately 150 msec, 0547 goes off and the voltage at pin 2 of US18 returns to normal and the motor develops normal torque. 8.When the STOP button 1s depressed during the PLAY (or REC/PLAY) mode of operation, ‘the high level control voltage applied to the base of 0548 drops to the low level and 0548 goes off. Then, charging current flows to capacitor C535, and the base voltage of 0549 gradually increases. When the capacitor has fully charged (after approximately 60 msec), 0549 goes on, dropping the voltage at pins 3 and 12 of UB18 to 0.64 V, since both pins are grounded through 0529 and D530 and the collector-emitter path of "0549. Conse- quently, the left and right motor drive power transistors (2SD716s) each go off appro: mately 50 msec after the STOP button is depressed so that tape slack is taken up.Fig. 1-6 (A), Reel Motor Drive Circuit 36Pay PINIZOF USIS orr 0542.0545.0548 oy (C-E) ore Q543(C-E) gy 544 (8) L — or —— Q859(C-E) ow f yey 2so7i6 aay u (MOTOR ORI VE VOLTAGE) ov fe! Aperox soomsec ore esasic-z) 9547 (8) on asso te-e1 \ pinsorusie } j PIN2OF USIB ; —__+—__ j : OQ eweorusie } ‘ pinisorusia | pin gwar usiel —— MOTOR ORIVE a CURRENT (RIGHT) (9554. 280716) MOTOR ORIVE (ert) CURRENT (556. 280716) Fig. 1-6 (B). Reel Motor Drive1-6. TAPE DIRECTION SENSING AND COUNTER CLOCK GENERATION CIRCUITS See Fig. 17. This tape deck employs photo-sensing circuits which detect whether the tape is running or stationary and the direction in which it is running. This function is performed by two pairs of photo-interruptors, each consisting of an LED and 9 photo transistor. The LED and the photo transistor are respectively mounted on the upper and lower sides of a rotating disc which has four openings and is coupled to the right reel motor shaft. The second pair of photo-couplers is mounted in a similar manner, but in such a way that both output pulses produced by the two photo transistors are 90° out of phase when the disc rotates and the openings pass between each Pato couner Grtoa Fig. 17. pair of LEDs and photo transistors. Thus, the pulses output represent tape speed, and the higher the pulse frequency, the higher the tape speed. The pulse output obtained from the first, photo-transistor (PH502) is applied to pin 2 of U517_ (an amplifier/wave shaper) and the wave-shaped pulse output developed at pin 1 of US17 is further applied to the base of 0530, then to pin 11 of USO5 (the clock terminal of flip-flop U505). The pulse output by the second photo transistor is applied to pin 6 of U517, then to pin 12 of USO5 after wave-shaped in the same way as the pulse applied to pin 11 of the same flip-flop. The flip-flop checks the phase ‘Tope Direction Sensing and Tape Counter Clock Generation Circuits turns ‘conduc incremn counte way, ¥ tion, 1 Down counte yo cLock input oF \w eves + FoR ronwanD Tare RUNG LEVEL = FOR REVESE TAPE RUNNINGMp 10 00% meUT OF TAPE COUNTER UNIT (high, low) relationship between the two input pulses applied to pins 11 and 12 and produces a high level output at pin 9 when the tape is run- ning in forward direction and a low level output when the tape is running in reverse direction. The high level signal produced at pin 9 of U505 turns on Q532, which in turn makes Q533 conductive so that the instruction required to increment the tape counter is issued to the counter UP/DOWN input terminal. In a similar way, when the tape is running in reverse direc- tion, the low level output is applied to the UP/ DOWN input terminal to decrement the tape counter. 30 uP/ooWN INPUT OF nach TAPE COUNTER UMIT SRWARD TAPE RUNNING 1-7, COUNTER CLOCK PULSE See Fig. 1-7. The wave-shaped pulse output developed at pin 1 of US17 is also applied to the base of 0528 to turn Q528 on or off, along with Q529. The pulse output thus obtained at the 0529 col- lector is applied to the clock input terminal of the electronic tape counter as a clock pulse. 1-8, MOTION SENSING CIRCUIT See Fig. 18, 1, The wave-shaped pulse output from pin 7 of U517 to represent the tape speed is dif- ferentiated by C525, then applied to the base of 0527 to turn it on and off at a frequency corresponding to the tape speed at that time. Thus, C523 is repeatedly charged and dis- charged. However, C523 does not charge when 527 goes on and off repeatediy at high speed or when the tape is running at high speed, and pin 6 of U516 (comparator) goes HIGH so that pin 7 of US16 goes HIGH. On the other hand, pin 7 goes LOW when tape is, running at low speed. (Pin 7 may develop HIGH and LOW output in alternation when the tape runs at a threshold speed.) 2. Since the voltage developed at pin 7 of US16 is applied to the base of 0521 through R566 and D507, 0521 goes on at high tape speeds and off at low speed. Consequently, pin 1 of U516 also outputs H at high speed and L at low speed as long as 0520 is off. 3, The two signals obtained at pins 7 and 1 of U516 are used as motion control signals, as described later. 4, The motion sensing circuit does not operate in the PLAY and PAUSE modes because pin 12 (PLAY OUT) and pin 11 (PAUSE) of U519 are connected to D508 and D509, respectively, and Q526 is forced to go on when the PLAY or PAUSE button is pushed. «‘naug Burues UonoW “et Big (mau 009 41K1-9. F.F AND REW OPERATION See Fig. 19. 1 a As described above in 1-8 “Motion Sensing Circuit, pin 7 of U516 outputs a LOW level signal when the tape is running at low speed. Therefore, logic states at pin 1 of flip-flop US12 and pin 1 of flip-flop US13 are set to LOW. This means that pin 3 of U512 is set to HIGH and pin 6 of U512 to LOW. In the same way, pin 3 of US13 becomes HIGH and pin 6 of U513 becomes LOW. When the FF button is depressed, pin 15 of U519 and pin 13 of US12 go HIGH. Since pin 12 of U512 is connected to pin 3 of U513, pin 12 of US12 also goes HIGH. Then, pin 11 of U512 goes LOW, making pin 1 of US14 go LOW and pin 3 of U514 go HIGH. Thus, in the F.F mode, pin 3 of UB14 becomes HIGH. In a similar way, when the REW button is depressed, pin 13 of U519 goes H, pin 11 of U513 goes L, pin 4 of U514 goes L and pin 6 of US14 goes H. Thus, in the REW mode, pin 6 of U514 goes HIGH When either pin 3 or 6 of U514 goes HIGH, base current flows to Q540 to turn it on, Which in turn makes Q541 go on, Then the brake solenoid is actuated as described in 1-4 "Capstan and Brake Solenoid Drive Circuit” and the brakes are released As described above, HIGH is produced at pin 3 of U514 and applied to the base of 0550 in the F.F mode, turning on Q550 and, in turn, 0551. Thus, +24 V is supplied to the junction of R652 and RE5S through the emitter collector path of Q551. The same voltage is applied to pin 5 of U518 through R562 and D526, and to pin 10 of U518 through R655, R654, R6BS and D527. Since overall resistance ‘of the current path to pin 5 of US18 is lower than that of the current path to pin 10 of U518, the voltage applied to pin 5 of U518 is larger than that applied to pin 10 of US18 Thus, a larger drive motor current flows to the right reel motor than to the left reel motor, so that the right motor develops take- up torque and the left motor develops back tension torque. When the REW button is depressed, the H level voitage developed at pin 6 of US14 is applied to the base of Q552 and 0562 is turned on. Then Q553 also goes on and +24 V voltage is applied to the junction of R654 and RGSS. Voltage is then applied to pin 5 of US18 through R654, R655, R652 and D526, and to pin 10 of U518 through R653 and D527. At this time, a higher voltage is applied to pin 10 of US18 than to pin § of UB18, so the left reel matar rotates with higher torque than the right reel motor. 1-10. ELECTRICAL BRAKE SYSTEM Seo Fig. 19 The electrical braking system functions when a fast operation mode is changed to any other mode and continues to function until the tape speed drops to a predetermined speed and the motion sensing circuit develops an L level signal The case in which the mode is changed from REW.to STOP is described below. 1.When the STOP button is depressed in the REW mode of operation, pin 13 of U519 goes LOW, then pin 12 of U513 goes LOW to make pins 11, 5 and 10 of U513 and pin 4 of U514 go HIGH. When pin 4 of U514 goes HIGH, pin 6 of U514 goes LOW and 0552 and 0553 are turned off. 2. While the logic state at pin 6 of U513 is set to HIGH by the H level output from the motion sensing circuit during REW mode of operation, pin 8 of US13 (and thus, pin 2 of U514) goes LOW when the STOP button is depressed. Then pin 3 of U514 goes H. 3, Thus, the mode of operation is temporarily changed from REW to F.F and electrical braking is applied to the reel motors to reduce tape speed rapidly. 4.When tape speed has been considerably reduced by applying the electrical brake to the reel motors, the motion sensing circuit ‘outputs an L level signal to the reset terminal (pin 1 of U513) and the flip-flop output (pin 6 of U513) goes L; then, pin 8 of U513 goes H and pin 3 of US14 goes L. Thus, both pins 3 and 6 of U514 are set to L (pin 6 of US14 is set to L when the REW mode is changed to the F.F mode). 5. When pin 3 of U514 goes L, 0540 base bias is ‘cut, and 0540 and 0541 go off to disconnect the ground side of the brake solenoid and apply mechanical braking to the reel motors. 6.When pin 3 of US14 goes L, 0552 goes off to disable the left and right reel motor drive circuits. Thus, no current flows to the motors. 7.When pin 6 of U514 goes L, Q558 goes off and C540 discharges through R693, R684 andD531 so that the voltage at pin 10 of U518 is voltage from D527 is disabled immediately maintained for 100 msec or more, Conse- when the STOP button is depressed; this pre- quently, the left motor drive circuit is actuat: vents tape slack which would otherwise occur ed for this period even though the control during a stop operation. *veRpR Fe wane / usi2 » one FRow moron FoR mice SENS cRcuTy, CFO (ew? or Bi: 280716 Fig. 1.9. FF and REW Mode Operation Control Circuits1-11. COUNTER ZERO RETURN See Fig. 1-10. If ZERO RETURN switch $609 is set to ON, the tape stops automatically when the electronic counter reading reaches zero during the REW mode of operation. The electronic counter is designed to produce one H level pulse when its reading reaches zero. The zero return operation functions 2s follows 1. When the REW mode is set, an H level voltage is applied to the base of Q509 to turn it on. Thus, pin 11 of U510, pin 10 of US10, and pin 12 of UBQ6 are set to H. While the tape is, running at high speed, the motion sensing circuit also outputs an H level signal, which is applied to pin 5 of USO7 and pin 5 of USO9. While in the REW mode, the electronic counter is decremented and, when it reaches 2ero, it generates one H level pulse. This pulse is applied to the base of Q507 to turn it on, which in turn makes pin 6 of USO6 HIGH: this HIGH pulse is applied to pin 13 of 506. Since pin 12 of U5OE has already been set to H, pin 11 of U506 goes L, then pin 8 of U506 goes H to turn on 0510. As 0510 collector is connected in parallel to the F.F button, the tape deck operation mode is changed from REW to F.F mode electronically. 2.When pin 11 of U506 goes L, the flip-flop Is set, pin 3 of US5O7 goes H, pin 6 of US07 goes L, then pin 8 of U507 goes H and pin 12 of U507 is set to H. 3. When tape deck operation mode changes from REW to F.F, the electro-magnetic braking system starts to function but the tape does not stop immediately because of high rota- tional inertia and the tape counter continues to be decremented. When the inertia decreases the tape stops, then starts to run in the for- ward direction (the F.F mode is set at this time). 4.When the F.F mode is set, an H level signal is applied to the base of Q508 to turn it on, then pin 3 of U5OB (pin 12 of U508) goes H. Now the tape counter is being incremented and, when the reading reaches zero, the counter outputs one H level pulse. This pulse is applied to pin 13 of U50B to make pin 11 of U508 go L. Pin 8 of U50B then goes H to set pin 13 of USO to H. As pin 12 of U5O7 has already been set to H, pin 11 of U5O7 goes L and pin 6 of USOB goes H, turn- ing Q511 on or changing the tape deck opera tion mode from F.F to REW. 5. On the other hand, when pin 11 of USO7 goes L the flip-flop consisting of two USOS units is set and pin 3 of U5OS is set to H and pin 6 of the same is set to L 6.When the REW mode is set, pin 11 of US10 goes H again and pin 10 of US10 is set to H. Now the counter is being decremented and, when it reaches zero, one pulse is generated and applied to pin 9 of US10. Pin 8 of US10 then goes L, pin 3 of US10 goes H, and pin 8 of UB09 goes L. 7, Meanwhile, when pin 3 of US11 is set to L fas started below), pin 6 of US10 goes H to turn on Q512, which in turn closes the STOP mode switch, Thus, the tape is stopped at a gradually decreasing speed when the counter reaches zero. 8. However, when the position in which the tape is to be stopped is within 3 or 4 seconds of that at which the REW mode is set, the tape can be directly stopped without repeating the REW/F.F./REW/STOP operation described above. This operation is conducted as follows: When the rewind mode is set, an H level signal is applied to C542 and a differentiated impulse is applied 10 the base of Q561 to turn it on, decreasing voltage at pin 2 of US15 and setting pin 1 of US15 to H for 3 ~ 4 seconds. When ‘the tape counter reaches zero within this, period, its zero pulse is applied to pin 2 of US11, setting pin 3 of UB11 to L, causing pin 6 of USI0 to go HIGH and to turn 0512 on, Thus, the REW mode is changed directly to the STOP mode if the counter zero pulse is generated within 3 ~ 4 seconds after the REW mode is set.20 ROM eLecrRonics) op usIO | 2509 USI HeMigs speeo Utow Spee (Gf SPEED sensine eiRevsr) Fig. 1-10. Counter Zero Return Control Circuit1-12, PUNGH IN/OUT CONTROL CIRCUIT See Fig. 111 1. The PUNCH IN/OUT switching pulse circuit consists of Q901, 0902, U506 and a momen- tary switch. When the punch in/out switch is pushed once, 0901 goes off, 902 goes on ‘and USO6 generates an H level pulse. 2.1n the PLAY mode, pin 1/2 of U502 is L and pin 12 of US02 is H, so pin 2 of the U505 flip-flop is H. Under this condition, a H level pulse is applied to pin 3 of USOS if the punch infout switch is pushed, then the flip-flop output (pin 5) changes from L to H, pin 6 of UB02 goes L because pin 5 of USO2 is set to H through pin 12 of U519, and pin 8 of US02 goes H so that Q505 goes on, Since the Q505 collector is connected to both the PLAY and REC mode switches, the operation mode is changed from PLAY to REC/PLAY. 3. At the same time, another flip-flop in U503 changes its logic state and outputs L at pin 6 ‘of UBOS . Then, pin 8 of USO3 goes H and sets pin 13 of U503 to H. Further, pin 1/2 of U502 goes H, changing the logic state at pin 2 of US05 from H to L. 45 4, When the PUNCH IN/OUT switch is pushed ‘once more, a positive pulse is applied to pin 3 of USO5 which changes output from H to L. because of pin 2 of UBOS is at this time set to L, Then pin 1/2 of U504 goes L and pin 3 of US04 (and pin 12 of U503) goes H. Since pin 13 of UBO3 has already been set to H, pin 11 of U503 goes L and pin 6 of US04 goes H. Thus, the H level pulse obtained is finally applied to the base of 0506, turning it on and operating the AR circuit of UB19 to inhibit recording. 5. Three diodes (D537-D539) connected to the CLEAR terminal of U505 are inserted to avoid erroneous PUNCH IN operation which would be caused during operation mode switching (F.F, REW & STOP)unaiig jonueg ng/yy YouNd “LLL “Big sos9 12eu © 3 zosn zon4-13. EDIT CONTROL CIRCUIT See control section of the inserted circuit diagrams. 1.When the EDIT switch is on, 0513 goes on, 0514 goes on followed by Q516, With 0516 turned on, the Q813 base bias circuit ‘on PCB assembly power supply Is closed and 813 supplies DC power to the capstan motor circuit to actuate the motor. At the same time, Q515 also goes on to turn off 0518 to release the STOP mode. 2. At the same time, when Q513 goes on, pin 3 of U518 is grounded through R661, D528 ‘and through the collector-emitter path of 0513, to stop the take-up reel motor. 3. During the EDIT mode of operation, no FF or REW mode is available because the FF IN and REW IN circuits are opened by the EDIT switch being set on. 1-14. REC AND PLAY MUTE SIGNALS ‘S00 Fig. 1-12. 1. REC signal When the REC button is depressed, pin 10 of US19 outputs an H level signal, which is applied to the base of 0524 to turn it on. ‘When 0524 goes on, 0525 base current flows ‘and 0525 also goes on. The +24 V line is then ‘connected to R579 for useas a control voltage to actuate amplifier circuits associated with recording. 2. Play Mute Signal When the PLAY button is depressed, pin 12 ‘of U519 outputs anH level signal, which is applied to the base of Q534 to turn it on, grounding the PLAY MUTE terminal. This low level state is also used to control the amplifier circuit (as described later). The CUE Switch connected in parallel with 0534 serves the same function as the PLAY MUTE signal when it is closed. Pay MUTE: nec 516 Fig. 1-12, Rc & Play Mute Circuit 471-15, DISPLAY CIRCUITS Sea Fig. 1-13, A.RECORD LED 1. The comparator of US15 with pins 5, 6, and 7 constitutes a square wave oscillator and outputs a pulse signal at pin 7. When the REC button is depressed, pin 9 of U511 is set to H and the pulse output is obtained at pin 8 of US11. The pulse signal is then fed to gate n § of Q501. Meanwhile, as the REC button on, pin 1 of USOT is set to H. 2. If one or more of the eight record function ‘switches are switched on, aL level signal is applied to R511 as the REC MODE sign causing pin 11 of US11 (pin 2 of U501) to g H. Then, pin 3 of U5O1 (pin 4 of U501) goes L, setting pin 6 of USO1 to H and turning Q501 on. Thus, the REC LED (D601) lights, 3..Next, assume that none of the eight record LAREC MODE) ~m——. function switches are on; an H level signal is then applied to pins 12/13 of U511 through R511 so that pin 11 of U511 (pin 2 of 501) goes L. Since pin 1 of UBO1 is set to H, pin 3 of USO1 (pin 4 of USO1) goes H and the output gate (pin 6 of U501) opens. Then, the pulse signal applied to pin 5 of U5O1 is output from pin 6 of U5O1, turning Q501 on and off and making the REC LED flash to indicate that the tape deck is in the REC mode but that no recording channel is design ated, PAUSE LED When the REC and the PAUSE buttons are ‘on, pins 12 and 13 of USOT are set to H and an L level signal is output at pin 11 of U501. Then, pin 8 of USOT goes H, turning on Q502 and lighting PAUSE LED D602. +eav ese Fig. 1-13. Display Circuit