Ganz vorne im Handbuch auf der erste Seite finden wir diese Warnung :
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• "© Copyright 1985, TEAC Cor­poration"
• The guarantee of performance that we provide for the ATR-60-4/8 must have several restrictions. We say that the recorder will perform properly only if it is adjusted properly and the guarantee is that such adjustment will be possible.
• How­ever, we cannot guarantee your skill in adjust­ment or your technical comprehension of this manual. Therefore, Basic Daily Setup is not covered by the Warranty. If your attempts at internal adjustments such 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 obvious­ly cannot guarantee that. A company that makes paint and brushes for artists cannot say that the paintings made with their pro­ducts will be well received critically. The art is the provice of the artist.
• TASCAM can make no guarantee that the ATR-60-4/8 by itself will assure the quality of the recordings you make. Your skill as a technician and your abilities as an artist will be significant factors in the results you achieve.

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• Anmerkung : Also da steht, daß man (also der Bediener, Benutzer oder Eigentümer) immer nur dann diese garantierte Qualität bekäme, wenn man die Maschine täglich auf ihren Zustand hin untersucht und nachjustiert. Auch müsse der Techniker sehr qualifiziert sein und die Qualität der Aufnahmen hingen sehr von den Fähigkeiten und der Erfahrung des Technikers sowie des Künstlers ab.
  
  
• Auf gut Deutsch, sie garantieren eigentlich für gar nichts.

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2-1

10-1

11-1

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• NOTE: Since the ATR-60-4/8 amplifier module is packaged separately from the transport, the mounting configuration may be determined by the user. However, for ease of operation, we strongly recommend the use of the optional CS-65 Console Rack and CS-62 Overbridge Kit.

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Figure 3-1 illustrates the ATR-60-4HS in­stalled in the CS-65 Console. The mounting procedure is detailed in a brochure provided with the CS-65.

Connections are made on the rear panels, as illustrated in Figure 3-2. Use care to ensure that the sync head and repro head cables are con­nected properly, and are not inadvertently crossed.

The REMOTE CONTROL connector on the transport rear panel can be connected to the optional RC-65 to establish complete remote control of nearly all transport functions.

The FUNCTION REMOTE connector enables con­nection to the Record Function Control panel when it is separated from the transport unit and mounted in a distance for remote control of track record and insert status. (This configura-
tion of mounting requires the optional CS-63 mounting kit.)

The ACCESSORY connector on the transport rear panel can be connected to the optional AQ-65 Auto Locator/Tape Trans­port Controller to establish more extensive cue point manipulation than is provided within the transport itself. Alternatively, the ACCESSORY connector can be used to interface with time code synchronization or editing systems.
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SMPTE is an acronym for the "Society of Motion Picture and Television Engineers".

The SMPTE Time Code was defined in 1970 (C98.12: time and control code for video and audio tape for 525/30 television system). This specification has now become accepted as a universal standard, although additional practices have been informally added over the years (i.e., drop frame), as explained below.

The 1970 SMPTE code is an 80-bit digital code which designates the exact location in hours, minutes, seconds, and frames. There are 24 frames/second in film time code, and 30 frames/second on television time code. Some of the bits in the time code are undefined "user bits," and are often used to identify takes or production sequences, or for special functions (opening and closing automated theatre curtains, for example).
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It used to be true that U.S. television operated at 30 frames/second, but that was in a mono-chrome ("black and white") world, and current NTSC (National Television Standards Com­mittee) standards utilize 29.97 frames/second for color TV broadcast. This means that an hour of 30 frame/second code is about 3.6 seconds too long when run at 29.97 frames/second.

In order to remedy the problem, a slightly different time code format known as "DROP FRAME" was developed. In drop frame, one frame is dropped (skipped) every 108 frames, except that every tenth minute the frames are not dropped. In some cases, the difference between drop frame and standard TV time code is not significant. However, it is important to know what type of code is being utilized, and to set up the synchronization system accordingly.3.3.3 EBU Time Code

The European TV time code equivalent of SMPTE code is known as EBU (European Broadcasting Union) code. It is very similar to SMPTE monochrome TV code, except that it runs at 25 frames per second, not 30. No drop frame format is required with EBU code.

A new format is the "Vertical Interval Time Code" (VITC). Basically, this is SMPTE TV time code, with a few extra bits for special control codes and error correction. The difference, however, is that instead of recording it in a continuous longitudinal track (recorded in a stripe along the edge of the video tape by a fixed audio head), the VITC is recorded in vertical bursts, during the vertical retrace interval, by the rotating video head. This method enables time code to be read while the video image is in "still frame" mode.
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A tape synchronizer using SMPTE/EBU time code, reads the time code from a master machine (ATR or VTR) and from slave machines. It then compares the tape addresses in code of both the master and slave machines, making the slave machine "chase", adjust itself, using fast-forward or rewind mode to a point that corresponds to the tape address on the master. Upon com­pleting the chase maneuver, the synchronizer will place the slave back into play mode. It will continue to monitor the master and slave in this way using the slave's capstan servo control to make any adjustments necessary.

An editing machine also uses time code ad­dresses on tape as a means of monitoring any machines (ATR or VTR) that it is operating. It will use time code addresses to determine precise edit in and out points during the pro­duction of "rough cut" or master tapes, and also as cue points to perform any searches necessary.

Using this technology in the video environ­ment improves the quality and quantity of available audio through the increased fidelity of audio dedicated machines and through the adaptability of multitrack audio machines.
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In audio only application, several multitrack recorders can be synchronized to achieve more available tracks, or multitrack and mixdown machines can be controlled automatically during remix or editing using time code.
Generally speaking, the manufacturer of a SMPTE time code synchronizer or tape machine controller will provide interface information for use with the TASCAM ATR-60 series transports. We work closely with those manufacturers to ensure that our equipment will operate satis­factorily with the widest possible variety of equipment. Some of the more popular systems with which the ATR-60-4/8 transports have been tested are manufactured by Adams-Smith, Audio Kinetics, Cypher Digital, Convergence, EECO, TimeLine, United Media, and Video Media.

The TASCAM ATR-60-4/8 provides signals to the controller or synchronizer, via the AC­CESSORY connector, which indicate the trans­port's speed, the direction of tape travel, and a reference power supply voltage. Also, tally signals indicate the ATR-60-4/8's operating mode (PLAY, F.FWD, REW, STOP). Inputs on the same ACCESSORY connector accept commands from the controller/synchronizer (PLAY, F.FWD, REW, STOP, REC, LIFTER CONT). Also, there is an input for a capstan drive reference frequency signal so that the actual record/play speed can be precisely varied to maintain synchronization.

Given the ACCESSORY connector pin assignments in this section, the manual for the controller or synchronizer should provide you with sufficient information to connect that equipment ot the ATR-60-4/8. If not, please contact the controller or synchronizer manufac­turer or representative for further details on interface to this TASCAM equipment.
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These are permanently mounted as the ATR-60-4/8 is supposed to be used with 10-1/2" (26.7 cm) or 8" (20.3 cm) large hub reels only. - Also keine Dreizack-Spulen verwendbar !

Always use the same size and kind of reels on the takeup and supply reel tables. The REEL selector switch should be set to the appropriate position for the size of reel in use (LARGE for 10-1/2", or SMALL for 8" or smaller reels).

This button turns on the AC power to the unit. As soon as power is turned on: the digital counter indicates "00.00", the pitch control indicator shows the amount of pitch adjustment, the STOP button begins flashing at a rate of 1 Hz and the VU meters on the amplifier module are illuminated. After about 3 seconds, the STOP button stops flashing and lights steadi­ly, indicating the machine's logic circuitry has been initialized (i.e., all the control lines have achieved stand-by-status).

and Indicator, SPEED Selector
The SPEED selector button determines the basic record/play speed of the transport: LOW is 7.5 ips for the ATR-60-8 or 15 ips for the ATR-60-4HS, and HIGH is 15 ips for the ATR-60-8 or 30 ips for the ATR-60-4HS. These set speeds are valid only when the nearby SPEED MODE "FIX" switch is engaged. The SPEED MODE controls may alter the speed, as explained below. One of the three LED's above the but­tons is always on or flashing to show which speed has been selected.
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indicates that the transport is in fixed speed/pitch mode. It will record or reproduce exactly at machine's nominal LOW or HIGH speed. In the FIX mode the indicator will always show: 00.0 %

is used to change the tape speed with the PITCH CONTROL. COARSE control is ± 15% and FINE control is ± 0.7%. Using these controls in conjunction with the indicator will ensure repeat-able VARI (able) pitch settings (relative to the set LOW or HIGH speed).

assigns the transport speed control to external equipment. The external equipment can be the optional RC-65 Remote Transport Control ora SMPTE/ EBU Synchronizer/Controller.

The EXT LED will remain on if the capstan is under external speed control or flash if external control is interrupted. The indicator will show the amount of speed change. The indicator display will flash on and off if the speed change is outside of the display range (-49.9%, +99.9%).
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Sliding this lever toward the reels (up), while the machine is in the fast forward or rewind mode, disables the muting circuit (i.e., the line outputs are no longer muted). Sliding the lever further up progressively retracts the tape lifters so the tape contacts the heads, allowing monitoring of the tape to find a cue (slate tone) or the end of a program during a high speed wind.

CAUTION: Sliding the Tape Lifter lever to monitor tape during a high speed wind will cause high-level, very high frequency audio signals to appear at the ATR-60-4/8 outputs. Be sure that you turn down the level of your monitor speaker prior to operat­ing the Tape Lifter lever so that speaker components will not be damaged by excess high frequency energy. If you're wearing headphones, turn down the ATR-60-4HS PHONES level control. It's your responsibility to protect your monitors . . . and ears!
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Both left and right tension arms have a built-in sensor which detects and compensates for any variation in tape tension. The tape tension is thus maintained at the appropriate value despite long hours and complex tape shuttling. Also provided on the right tension arm is a shut off mechanism which will cut power to the reel motor and put the transport into Stop mode if the tape slackens or spills from the reel.

This precision aluminum splicing block has been provided to facilitate editing. Neat, uniform splices can be made by laying the magnetic tape in the slot, and using the block's pre-cut grooves to guide your razor blade.

The counter displays the elapsed time of the tape, as wound from initial "00.00" point. The counter measures linear tape footage, then computes elapsed time based on the nominal play/record speed. Thus, even if the tape is actually wound to a cue point at high speed, the counter will indicate the correct running time. The maximum time displayed is 99 minutes, 59 seconds in either direction. (When counting prior to the "00.00" point, a minus(-) sign is displayed at the left of the counter.) The counter will indicate "00.00" when power is first turned on, or when the RESET button is pressed.

Pressing this button resets the tape counter to 00.00. The RESET button does not affect the stored (memorized) Cue point, which remains as previously set. Refer also to CUE Button, Section 4.1.10.

Press this button to set a cue point. The cue is not actually recorded on the tape; instead, the ATR-60-4/8 remembers the precise counter value at the moment the CUE button is pressed, and will return to that point whenever the STC button is subsequently pressed (Search-To-Cue). Until a "cue" is entered, the machine will assume a "00.00" cue point. Whatever cue point has been memorized remains valid until a new cue is established by again pressing the CUE button, or until power is turned off.

Pressing the STC button activates the "search-to-cue" function, which winds tape rapidly forward (or rewinds) and stops at the established cue point (which must previously have been entered using the CUE button). The search-to-cue operation may be commanded from any tape motion status (i.e., from stop mode, or during play, rewind, etc.).

If PLAY is pressed after pressing the STC button, the ATR-60-4/8 will go to the cue point and then enter the play mode. Pressing the counter RESET button does not affect the previously established CUE point... the tape counter (including the display­ed zero or other time value) and the cue point actually utilize separate position memories, and the cue can only be changed by pressing CUE again, or by turning off power to the ATR-60-4/8.

Pressing the RTZ button activates the "return-to-zero" function, which causes the transport to fast wind to "00.00" on the tape counter. The RTZ function, like the STC function, can be activated from any tape motion status, and can be pre-programmed to enter play on reaching "00.00" by depressing PLAY after RTZ.

The EDIT button has no effect unless pressed when the machine is in stop mode. Then the EDIT button is illuminated to indicate the unit is in edit mode.
If EDIT is pressed when tape is stopped, the reel motor brakes are disengaged and a small, proportional amount of back tension is held by each reel motor so that the reels may be moved easily by hand for editing purposes, yet slack will be eliminated.

If EDIT and PLAY are pressed simultaneously, the transport enters Dump Edit mode. The capstan and pinch roller pull tape past the heads at the nominal speed, or at the adjusted pitch, allowing the operator to listen to playback for a particular edit point. However, the take-up reel does not turn, allowing tape to spill off the machine until the edit point is reached (take-up tension arm position is "ignored" by the shut off sensing logic). Upon reaching the desired point, pressing the STOP button stops the tape and cancels edit mode.

NOTE: If the EDIT button has been pressed (the EDIT button is illuminated) to place the machine in edit mode and the PLAY button is pressed subsequently, the machine will not enter dump edit mode (the two buttons must be pressed simultaneously). Instead, edit mode will be cancelled, and tape will begin moving normally as the machine enters reproduce (play mode).
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Pressing this button selects the rewind mode, which may be entered from any other mode. Pressing it a second time after the machine is placed in rewind mode causes the tape to slow to an intermediate winding speed (the reverse spooling mode) and the rewind button begins flashing on and off. Spooling is used for a rapid yet extremely uniform, tight tape pack. The third pressing of this button returns the machine to rewind mode (the rewind button lights up steadily). The approximate tape speeds are: for rewind, 240 ips (610 cm/sec), and for spooling, 80 ips (203 cm/sec).

Pressing this button selects the fast-forward mode. The button functions similarly to the rewind button in that pressing it a second time causes the machine to enter forward spooling mode.

Pressing the PLAY button places the machine in play mode. When PLAY is pressed during fast-forward, rewind or spooling mode, the machine will enter play mode after tape has stopped. If PLAY is pressed during a search operation (using STC or RTZ), the machine will enter play after the cue or "00.00" point has been reached.

CAUTION: To enter record mode from play mode, press only the RECORD button (It is not necessary to press both PLAY and RECORD)*: To punch out of record mode, while keeping tape rolling at play speed, press the PLAY button.
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Pressing this button stops tape motion and cancels any other mode of operation. The STOP button flashes for about three seconds when the AC power is first turned on, indicating the machine is not yet ready to operate while the logic is being initialized. In stop mode with the STOP MUTE switch OFF, the stop edit mode can be entered.

These three switches determine the source of the signal which is fed to the output con-nectars and the VU meters, as follows:

INPUT Selects the input to the track (primarily for alignment). This is the same as the E-to-E function on a video tape recorder.

SYNC Selects the record/sync head signal for synchronous reproduction, or the input signal, depending on the setting of the track's REC function switch, and on the setting of the track's INSERT (SYNC/INPUT) switch, INPUT EN­ABLE switch, LIF/DEF

MUTE switch, and STOP MUTE switch, as explained in subsequent paragraphs. This setting is the one used most often during pro­duction.

REPRO Selects signal from the repro head. This is used primarily during alignment, although it can be used for mixdown. Actually, the SYNC and REPRO head performance is equivalent, so there is no need to use REPRO for mixdown.

These switches determine whether the as­sociated track can enter record mode. There are two ways to cause a track to record:

a) Press the RECORD ( • ) and PLAY ( ? ) buttons. If the track's REC function switch is not engaged, the LED above it will flash to in­dicate that the track will enter record mode as soon as that REC function switch is pressed. When the REC function switch is engaged to commence recording, the LED above it will remain on steadily.

b) Engage the track's REC function switch with tape stopped, or in the play mode. The LED above it will flash to indicate that the track is ready to enter record mode. Press the REC ORD (•) and PLAY (?) buttons to commence recording. The LED above the REC function switch will remain on steadily to indicate the track is recording.

In either of the above instances, recording can be stopped on all tracks by pressing the PLAY ( ? ) button or the STOP button, or, for individual tracks, by disengaging the corres­ponding REC function switch.
When the REC function switch is released, no recording is possible on the track, and the track's LED indicator is off.

Assuming the OUTPUT SELECT - SYNC switch is engaged, whenever a track's REC func­tion switch is off, that channel's output will come from the record/sync head regardless of the transport's record or play status. This per­mits safe synchronous playback during inserts or overdubs.

When making an insert (punch-in), the per­former needs to hear synchronous playback from the track (via the record/sync head) up to the point where recording is initiated. Then the performer must hear himself. For this function, any number of tracks can be programmed by setting their INSERT switches to SYNC.

SYNC can also be used for making over-dubs, although when making an overdub, the performer usually needs to hear himself continuously playing (or singing, or speaking) in sync with previously recorded tracks both prior to and during the overdub. Setting the INSERT switch(es) to INPUT accomplishes this goal. For further details, refer to the OPERATION Sections 5.2 and 5.3 of this manual.

NOTES:
1. It is possible that the line outputs may produce unwanted sounds. To eliminate these sounds, the ATR-60-4/8 is equipped with:

a) LIF/DEF MUTE — which serves to mute high-speed cueing sounds during RTZ or STC operations, or when the time code controller retracts the tape lifter during fast winding.

b)STOP MUTE — which functions the in­stant tape starts moving from the stop mode, or just as the machine re-enters the stop mode,

c) A noise cancelling function is incorporat­ed which is activated automatically (typically during record on/off opera­tions) to prevent switching noises from bleeding into the record/reproduce am­plifier.

2. When a REC function switch is turned on, its LED begins flashing to indicate that the machine is in the record ready mode. Steady illumination of this LED means the machine is recording.

3. When an INSERT (SYNC/INPUT) switch is set to SYNC (switch down), its LED turns on if the RECORD button is off; the LED turns off when record mode is engaged.

4. The INSERT switches have no effect if the REC function switch is off, except for the highest numbered channel (4 on the ATR-60-4HS, 8 on the ATR-60-8). That channel can be LOCKED to the SYNC head to ensure uninterrupted time code playback. For more details, see Section 5.7.
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This switch mutes the audio output of all tracks except the highest numbered track (track 8 on the ATR-60-8) during RTZ or STC modes, and when the ATR-60-8 is under the control of a synchronizer/controller which can independently control the action of the tape lifter. With the LIF/DEF MUTE switch on, external control of the tape lifters will automatically mute the output of tracks 1-3 (or 1-7). At the same time, track 4 (or 8) is opened for output of high speed time code data to the synchronizer/controller for location control.

When depressed in conjunction with the OUT­PUT SELECT SYNC switch, this switch pro­grams the inputs of the ATR-60-4/8 to be auto­matically switched to directly feed the out­puts during F.FWD, REW and STOP modes. This automatic programmable function allows for convenient communications between the control room and talent without the need to reset any console or recorder controls, thus eliminating the possibility of mis-set controls and the need for retakes.

When the STOP MUTE switch is engaged, the ATR-60-4/8 audio output is momentarily muted as the transport starts, or as tape comes to a stop. This eliminates the "dragging" sound which is otherwise heard as tape is moving up to or down from normal play speed.

NOTE: When using the Stop Edit mode, be sure to disengage STOP MUTE. Otherwise, audio cueing is not possible.
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Pressing this button at the same time the PLAY button is pressed initiates record (or record ready) mode. Recording actually occurs only on the track or tracks whose REC function switches are engaged. On those channels, the REC function LEDs will cease flashing, and will stay ON, indicating recording is taking place. Pressing the PLAY ( ? ) button cancels re­cord mode, but allows tape to continue play­ing. The RECORD button flashes in the record ready mode, and lights steadily in the record mode.
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This 38-pin connector has the necessary inputs and outputs for direct interface with SMPTE/EBU time code synchronizers, con­trollers or editors. Signals at the connector include capstan motor tachometer, logic and tally lines. This connector is plug-to-plug com­patible with equipment made by Adams-Smith, Audio Kinetics, Cypher Digital, Convergence, EECO, TimeLine, United Media, Video Media, and others.

Alternatively, the ACCESSORY connector may be used for interface of the ATR-60-4/8 with the optional AQ-65 Auto Locator/Tape Transport Controller. Detailed physical dimensions and pin assignments, as well as a description of time code editing systems, are given in Section 3.3.

There are two multipin remote control con­nections on the ATR-60-4/8 rear panel, R EMOTE CONTROL and FUNCTION REMOTE. The REMOTE CONTROL connection is for use with the optional RC-65 Remote Transport Control. FUNCTION REMOTE accepts the cable from the Record Function Control panel when it is remotely mounted using the optional CS-63 mounting kit.

Plug the female contact connector on the 33-pin cable into the male POWER SUPPLY terminal on the rear of the amplifier module. Power and control signals are thereby conveyed from the transport to the amplifier module.

Connect these head cables to the correspond­ing ERASE HEAD, SYNC HEAD, and REPRO HEAD connectors on the amplifier module rear panel.

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The meters indicate signal levels appearing at the ATR-60-4/8 line outputs. 0 VU indicates the average, nominal output level is present (+4 dBm). The PEAK LEDs turn on when the instanta­neous output level is 3dB below clipping. Depending on the setting of the OUTPUT SELECT, REC function switches, INSERT (SYNC/INPUT) switches, INPUT ENABLE switch, LIF/DEF MUTE switch, and STOP MUTE switch, the output signal displayed will be derived from the input to the record/sync head, output from that head, or output from the repro head.

These LEDs light up to indicate the cor­responding track or tracks are in the record mode. Different from the REC function LEDs, these LEDs show only the record mode.

NOTE: It is assumed the ATR-60-8 will always be used with a mixing console, and that the console's controls will be used to make level adjustments, which is why this model does not have INPUT and OUTPUT controls.

4.2.4 PHONES Selector Switches (ATR-60-4HS)
4.2.5 PHONES Jack and Level Control (ATR-60-4HS)
4.2.6 CH1 to CH4 OUTPUT Level Controls (ATR-60-4HS)
4.2.7 UNCAL Buttons for Input and Output Signals (ATR-60-4HS)

AC power and control signals are fed from the transport section to the amplifier through this connection.

This connector enables power, control signals and audio signals from the ATR-60-8 to be conveyed to the optional TASCAM DX-8DS dbx Noise Reduction System. The DX-8DS is an 8-channel, simultaneous encode/decode Type I processor. Tape noise reduction systems built by dbx also may be used, in which case this connector would not be used, but rather the dbx made unit would be placed between the ATR-60-8 audio inputs and outputs and the mixing console.

Der Blindstecker auf dem Laufwerk - ohne dbx Unit !!!
CAUTION: When the DX-8DS is not used, the jumper connector shipped with the ATR-60-8 must be installed in the'TO DBX UNIT" connector. Otherwise, no audio signal will get through the tape machine!

These connectors accept the head cables coming out from the transport rear panel.

These XLR-3 type connectors accept a balanced line input to the ATR-60. Input impedance is 10k ohms, nominal input level is +4 dBm (1.23 V), and the maximum source impedance is 600 ohms.

These XLR-3 type connectors provide a balanced line output from the ATR-60. The nominal level is +4 dBm (1.23 V), the output impedance is 20 ohms, and the minimum load impedance is 200 ohms. Above each of the XLR-3 type OUTPUT connectors is a two position slide switch which allows the signal to be selected as either balanced or unbalanced, as required. When in the balanced position, pin 3 is hot, pin 2 cold, and pin 1 ground. In the un­balanced position, the output remains at +4 dBm; however, the pin outs change as follows: pin 3 hot, and pin 2 and pin 1 ground.

NOTE: Refer to Section 5-2 and Table 5-1 for information on the signal source for the line outputs on both machines, except in SYNCLOCK mode. Refer to Section 5-7 and Table 5-3 for more information on the output of the highest numbered channel when SYNCLOCK mode is engaged.

NOTE: We recommend use of the TASCAM LA-40 Low Impedance Adaptor when con­necting the ATR-60-4 low impedance, balanc­ed inputs and outputs to high impedance, unbalanced circuits.

This connector is used to drive the meter panel when it mounted in front of the optional CS-65 Console or mounted in a remote location. The maximum cable length to the meter panel is 5 m (16 ft.)
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Use only large 26cm (NAB standard) hub reels and 1/2" wide tape. Before starting tape movement, confirm that the outer section of the holddown knob is turn­ed fully clockwise and the reels are firmly secured to the reel holddown knobs. Also be sure the REEL size selector is set to the ap­propriate position in order to ensure proper tape tension.

NOTE: Optimum tension and tape handling will be obtained when the supply and takeup reels are the same size and type.
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Lift the head access cover and press the head shield (head gate) into the top plate to gain free access to the heads for threading tape. The tape should be threaded along the path illustrated in Figure 5-1.

NOTE: If the tape has been stored "tails out/' which is a recommended practice, remember to place it on the takeup reel table, and to rewind it onto the supply reel prior to further use.
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A previously recorded track is automatically erased when you make a new recording on it. However, if an entire tape is to be erased, or if you are using a brand new tape, we re­commend using a bulk eraser such as the TEAC E-2A. This is faster and more convenient than erasure in real time. If a tape is to be reused, the initial bulk erasure combines with the track-by-track erasure which occurs during the subsequent recording to provide a more thorough erasure for optimum signal-to-noise performance.

NOTE: Do not overlook the importance of cleaning. Insufficient cleaning is the number one cause (der häufigste Fehler) of tape machine performance degradation.

The first thing you will need for maintenance is the least expensive —cleaning fluids and swabs. The whole outfit, 2 fluids and all the cotton swabs you'll need for months, costs less than one roll of high quality tape. We can't stress the importance of cleaning too much. Clean up before every session. Clean up every time you take a break in the middle of a session (we're serious). Here's why:

a) Any dirt or oxide build-up on the heads will force the tape away from the gaps that record and play back. This will drastically affect the response. Even so small a layer of dirt as thin as one ten-thousandth of an inch will result in degraded performance. The thickness of a bit of oxide can rob the performance for which you have paid a lot of money. Wipe it off with head cleaner, and get back normal performance.

b) Tape and tape oxide act very much the same as fine sandpaper. Over time, these will grind down the heads and other parts in the tape path. If you don't clean off this abrasive material on a regular basis, the wear will be much more rapid and, what's worse, it will become irregular. Unifdrm wear on heads can be compensated for by electronic adjustments for a while, but uneven wear can produce notches on heads and guidesthat will cause the tape to "skew" and skip around from one path to another, making adjustment impossible. This ragged pathway chews up the tape, producing more abrasive material, thus causing more uneven wear. . . so begins a vicious cycle that can't be stopped once it gets a good start. The only solution then will be to replace not only the heads, but also the tape guides. Being conscientious about cleaning the tape path of the ATR-60-4/8 will more than double the service life of the head assembly.

All heads and metal parts in the tape path must be cleaned after every 6 hours of opera­tion, and before starting or after ending a recording session. Use a good head cleaner such as TASCAM HC Series or TZ-261.

Clean this part at least once each day the transport is used. Use a good rubber cleaner such as TASCAM RC Series or TZ-261.

• 1. Unthread the tape from the head area.
• 2. Apply a small amount of cleaner to the end of a cotton swab.
• 3. Press in the EDIT button, and then the PLAY button to place the transport in Dump Edit mode so that the pinch roller will turn.
• 4. Lightly press the cotton swab onto the pinch roller, and move it up and down. Use care to prevent the swab from becoming en­tangled. Clean until there is no more visible residue on the pinch roller.
• 5. Press the STOP button.
• 6. Using a clean cotton swab, wipe off all excess rubber cleaner from the pinch roller. Make certain that there is no foreign matter remaining on either the pinch roller or cap­stan shaft.

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After cleaning the pinch roller, it is necessary to clean the capstan shaft. TASCAM HC Series or TZ-261 head cleaner is recommended.

• 1. Apply head cleaner to the end of a cotton swab.
• 2. Lightly press the cotton swab onto the rotating capstan shaft, and move it up and down to clean the entire height of the turning shaft.
• 3. Make sure there is no visible residue on the capstan.

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Use a swab moistened in head cleaner to remove all oxide and other contaminants from any fixed or rotating guides which the tape contacts, including the tension arm guides, and the scrape flutter idler.

NOTE: Do not overlook the importance of degaussing. Magnetism is the means by which the tape stores the audio signal. Even a small amount of residual magnetism on tape path components can significantly degrade record/ reproduce performance, and can permanently alter the quality of a tape which is played on the magnetized transport.

CAUTION: If the degausser is accidentally unplugged or turned off while it is near the tape heads or guides, it can place a strong, permanent magnetic charge on these com­ponents that no amount of subsequent degaussing will remove. That could require costly replacement of heads, etc.

CAUTION: A degausser can erase a tape, so keep it at least three feet (1 meter) away from any recorded tapes.

CAUTION: The powerful magnetic field created by a degausser can overload the head preamplifier circuits in the tape machine. It can create a signal that is roughly equal to 10,000 VU at 60 Hz! This could seriously damage the ATR-60-4/8 electronics and meters. Therefore, MAKE SURE AC POWERIS TURNED OFF ON THE TAPE MACHINE DURING ALL DEGAUSSING ACTIVITY. Do not turn on power to the tape machine until after the degausser is turned off.
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Due to the potential for costly errors, it is a good idea to concentrate when you are degaus­sing any tape machine. Don't try to hold a conversation or think of anything else but the job you are doincj. Make sure you are wide awake.
A little stray magnetism can cause a lot of touble. About 0.2 gauss residual charge can be developed on the heads and other ferrous tape path components after recording and playing 10 reels of tape, which causes increased dis­tortion. A little more than that (0.7 gauss) will start to erase the high frequency signals on previously recorded tapes. For this reason, we recommend demagnetizing the entire tape path, including the tips of the tension arms, after fully playing six 10-1/2 inch reels. Fast motion is not as significant, so just keep track of record/play time.

The actual procedure is simple, provided you follow the precautions noted above:

• 1. Turn OFF the tape machine.
• 2. With the degausser located at least 3 feet away from the transport (and from any tapes), plug it in. If the degausser has an on/off switch, turn it on while it is still 3 feet away from the transport.
• 3. Slowly move the degausser toward the tape path. When it is nearly touching the heads, gradually move it in and out about 6 inches (15 cm). Slowly move it adjacent to each head, each guide roller, tension arm, and so forth until all ferrous parts (including bearings and rollers) have been subject to the varying magnetic field.
• 4. Slowly withdraw the degausser until it is at least 3 feet away from the transport.
• 5. After the degausser is at least 3 feet away from the transport, turn it off (if applicable) and unplug it. Now the tape machine can be returned to normal service.

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The OUTPUT SELECT switches determine the source of those signals that are present at the amplifier module's line OUTPUT con­nectors. When the INPUT switch is engaged, the signal at the input connectors appears at the output connectors, regardless of transport mode. When the REPRO switch is engaged, playback from the Reproduce head appears at the output connectors. When the SYNC switch is engaged, the output may be derived from either the input connectors or the Record/ Sync head, depending on the setting of the REC function switches.

Table 5-1 illustrates these functions.

When the RESET button is pressed, not only does the ATR-60-4/8 digital counter indicate "00.00/' so, too, does the counter display on the RC-65 remote control unit if one is plugged into the ATR-60-4/8.
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To fast wind in the forward direction (onto the takeup reel), press the Fast Forward button (F.FWD > ); in the reverse direction (onto the supply reel), press the Rewind button (REW < ). These fast winding modes can be initiated from the stop, play or record modes. The tape lifter arms pull tape away from the heads as soon as fast winding is initiated, and the line outputs are electrically muted.
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The spooling mode is used to transfer tape from one reel to the other at a constant speed of approximately 80 ips (203 cm/sec). This is about 1/3 the speed of fast forward or rewind, which moves tape at approximately 240 ips (610 cm/sec). By moving the tape more slowly, spooling mode makes it possible to obtain a tight, uniform tape pack that is almost the same as winding at play speed . . . but many times faster.

Generally, spooling will be done onto the takeup reel at the end of a recording or editing session so that tape can be stored "tails out," which reduces audible print-through effects (pre-echoes). Fast winding is not used here because the tape pack is less uniform, and edge damage to the tape would be more likely during storage. When tape is again to be used, it is first rewound onto the supply reel at normal rewind speed. It may be helpful to use a white or red leader tape at the head (beginning) of the tape, and a blue leader tape at the tail (end) of the tape to avoid any possible confusion as to which end is which.
To select the forward spooling mode, press the F.FWD ( ?>) button twice: once to begin fast forward winding, and again immediately to initiate spooling. The F.FWD button will flash to signal the transport is in forward spool­ing mode. Pressing F.FWD a third time will return the transport to normal fast forward winding (F.FWD button is steadily illuminated), or pressing STOP will stop all tape motion.

To select the reverse spooling mode, press the REW (<« ) button twice consecutively. As with forward spooling, the REW button will flash, and pressing it a third time will cause the transport to enter full-speed rewind mode. Pressing STOP stops all tape motion.
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Once the initial cue point is marked, pull tape forward, lay it onto the splicing block (oxide down), and cut the tape diagonally at the mark. Use a sharp, non-magnetic, single-edged in­dustrial razor blade. If a substantial length of tape is to be removed, rethread the tape from the supply reel, through the heads, capstan and pinch roller, and let the "takeup" end hang off the right edge of the transport. Then, press the EDIT button and the PLAY button (?) simul­taneously. Tape will begin unthreading itself (dumping) from the supply reel as you listen to it play, and the takeup reel will not turn; tension arm position is disregarded by the transport logic.

When you reach the next edit point, press STOP ( ? ). Once again, press EDIT, and manual­ly move the tape so the splice point is opposite the head being used for reproduction, and mark that point. Lay the tape onto the splicing block, and make the second diagonal cut. Then butt the two cut ends from the supply and takeup reels, apply a small piece of splicing tape or splicing tab.
NOTES:

1. If the PLAY button is pressed alone, after the EDIT button lights, the transport will go into play mode, and the EDIT button light will turn off. To enter dump edit mode, both the EDIT and PLAY buttons must be pressed at the same time.

2. If the STOP button is pressed during dump edit mode, the edit mode will be dis­engaged, and tape will stop.

The highest numbered track (track 8 on the ATR-60-8) if used to record the SMPTE time code, needs to be held in the SYNC output mode so that the time code can be continuously read by the synchronizer/controller, regardless of the OUT­PUT SELECT switch settings. This is known as SYNCLOCK (Sync Lock).

To SYNCLOCK the highest numbered channel so that it remains in reproduce mode, with the SYNC head as the source, set its REC function switch to off, and set its INSERT switch (SYNC/INPUT) to SYNC. The channel's INSERT LED will turn on in a orange color, a color different than the other channels' LEDs, providing positive visual indication that the track is "locking up."

NOTE: In fast winding mode, the controller/ synchronizer reads the time code by retract­ing the tape lifter. Therefore, during period, audio signals appear at the line outputs of the other channels unless the LIF/DEF MUTE switch is engaged.

Text übersprungen

Prior to recording, make sure the ATR-60-8 is properly wired to the associated sound equipment (mixing console, etc).
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There are a number of ways to initiate record­ing. The settings in Table 5-2 are one reasonable suggestion:

Recording can be initiated by pressing the RECORD (•) and PLAY (?) buttons simul­taneously, or by pressing PLAY first, and then pressing RECORD at the moment you wish to punch in to record mode. To end recording, press the PLAY or STOP button.
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Observe the VU meter corresponding to each track. The meters monitor the output connectors, and hence the signals depicted in Table 5-1. The meters should peak around 0 VU, and the PEAK LEDs should flash on no more than occasionally. If the meters indicate the level is too high or too low, make appro­priate adjustments.

The mixing console output level can be adjusted so that the proper signal level reaches the ATR-60-8 input connectors. Once a program is recorded at the correct levels, the reproduce level should be correct with the output UNCAL buttons disengaged (i.e., at calibrated level). If not, alignment may be necessary.

The ATR-60-4/8 has two digital tape position memories. One memory is associated with the digital counter on the transport that indicates elapsed running time from 00 minutes, 00 seconds (00.00) up to 99 minutes, 59 seconds (99.59) — which is an ample range because a 100 minute long tape will not actually fit on the transport.

The second memory is reserved for a cue point, which the user can enter at any time by pressing the CUE button; this position is remembered but is not displayed.
From any mode, the ATR-60-8 can be made to fast forward or reverse wind to the "00.00" point by pressing the RTZ button (Return-To-Zero). If the tape is wound to a non-zero point, and the RESET button is pressed, that point becomes the new "00.00" reference at which RTZ will subsequently park the tape.

By pressing the STC button (Search-To-Cue), the tape will fast forward or reverse wind to whatever cue point had previously been memorized by pressing the CUE button. This cue point is not altered when the RESET button is pressed so that a different RTZ zero point can be established while retaining the same STC cue point. Similarly, a different cue point can be established without affecting the zero point.

There is a presettable function associated with STC and RTZ; if you press PLAY after pressing one of these buttons, the tape will fast wind to the cue or zero point, then enter the play mode.

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The record and reproduce amplifiers - The ATR-60-8 equalization is factory set for IEC standards at either 7.5 or 15 ips.

Switch S1 on the Mother PCB Assembly determines the reference fluxivity for the transport. The nominal input level (0 VU) causes the set reference fluxivity of 250 or 320 nWb/m to be applied to the tape. Once set, this fluxivity applies to either record/play speed.

With 320 nWb/m fluxivity (open circuit), the reproduce output level will 1.3 dB higher than at 250 nWb/m (short-circuit). These variations should be considered whenever mak­ing level adjustments or checks. Switch S2 on the same Mother PCB Assembly sets the equal­ization at the reproduce amplifier.

When in IEC standard, the reproduce amplifier equalization is infinity +70usec at 7-1/2ips (19cm/sec) or infinity +35 usec at 15ips (38cm/sec).

When the reproduce amplifier is selectively set for NAB standard, the equalization becomes 3180 + 50Msec at both 7-1/2 ips and 15 ips (19 and 38 cm/sec).

OUTPUT LEVEL

The nominal output level at the XLR con­nectors can be changed from +4 dBm (1.23 V) to +8 dBm (1.96 V). Figure 6-2 shows the loca­tion of the output level select switches on the Input/Output PCB Assembly. 2-position eight switches on the ATR-60-8. By placing these switches to the "+8" position, the output amplifier gain is boosted 4dB to change from the +4 dBm nominal factory out­put level to +8 dBm.